Sigma Alpha Iota

sai-national.org • Summer 2026 19 a locket with a snippet of his hair, and two death masks; the impressive Legion of Honor medal from King Louis-Philippe of France, however, can only be seen in two paintings, as it was donated by the Bellini family to the patron saint of Catania, Agatha of Sicily. Bellini had blonde hair and green eyes and apparently was quite handsome. Several portraits of "The Catanese Swan" (which was his nickname) are also part of the collection. Bellini's music is heard throughout the museum. English signage is limited. Fortunately, Dr. Alessandra Reitano and Tiziano, a multi-lingual guide, were readily available to provide further explanations and answer my questions. The exhibits in the rooms are arranged chronologically. In the first, which focuses on the composer's life between his birth and 1819, is a large wall screen with continuously changing images. Of particular note was the Bellini family tree. The youngest of seven sons, musically-precocious Vincenzo composed "The Rooster Crowed" when he was only seven years old. His early music composition training was from his father and grandfather, both church musicians. Initially, he wrote church music himself; his first dated piece in this genre was "Tantum ergo in Fa" (1824). "Therefore so great" is the translation of this Latin incipit. A glass case encloses documents requesting financial aid from the Municipality of Catania in order for Bellini to attend the Real Collegio di Musica in Naples. At the time, the annual cost was thirty-six ounces of gold (about €11,000 today). Quite an investment, since he studied there for six years! Later in Milan, he wrote his first successful theatrical work, Il Pirata. Then he began composing serious operas, writing about one a year for just over a decade before his untimely death. He was very popular in London and also renowned in Paris where he met Chopin and Rossini. The museum's next room has exhibits about his short sojourn back to Catania in 1832. The third and final room, formerly the kitchen, focuses on the 1876 transfer of his ashes from Père Lachaise Cemetery in Paris (where they had been for forty-one years) to Catania's Metropolitan Cathedral. Among the prominent displays are the coffin that carried his remains between France and Italy, and a white shroud. There is a short documentary showing an enthusiastic crowd welcoming Bellini on his final hometown arrival. After leaving this intimate museum and returning to the courtyard, I visited the new, engaging, multimedia museum, which opened in 2023. In the reception area is a huge, informative timeline, including the years and locations (Milan, Naples, Parma, Genoa, Venice, and Paris) of his opera premieres. Informative videos about Bellini's life (available in both English and Italian) are shown in four decorated rooms (Naples Room, Milan Room, Travels Through Southern Italy Room, and Paris and London Room) with authentic design. Each room represents a venue in which his works were performed, which made it feel as though I were there. Two nearby displays particularly caught my eye—and my ear! The first was a digital display to access his letters, which have provided scholars much information about his life. The second had one large, cushiony, earmuff-like headset to listen to chosen compositions, including recitatives, duets, and finales from his various operas. Unfortunately, I was not able to hear and read everything because of time constraints. Near the end of the museum stood costumed mannequins by wall posters related to Bellini opera performances. On the way back to the train station, I entered the nearby cathedral, which had been closed earlier because it was All Souls' Day. I paid my respects at Bellini's tomb, an elaborate sepulcher sculpted by Giovanni Battista Tassara. Underneath the engraved music, which I hummed, are the words "NON CREDEA MIRARTI SI PRESTO ESTINTO, O FIORE" ("I did not believe you would fade so soon, oh flower") from the composer's La Sonnambula. Then, before leaving, I stood in silent reverence and awe for several moments. On the way back to the train station, I passed Teatro Massimo Bellini where Maria Callas sang in Norma to commemorate the 150th anniversary of the composer's birth. Later, to celebrate my Bellini connection, I ordered Pasta alla Norma, a delicious Sicilian fare, which according to some sources, was named for this famous Bellini opera. Jayne I. Hanlin is an initiate of Alpha Omicron and current member of the St. Louis Alumnae chapter. Mrs. Hanlin, the sister of famed pianist Malcolm Frager, is the co- author of Learning Latin Through Mythology (Cambridge University Press, 1991). A Wld of Music

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