Monotonic scale phrase is marked by a descending glissando. Monotonic passages are also used in art music for stylistic effect. In Schubert's "Death and the Maiden", the character of Death generally employs monotonic recitation, described by one scholar as depicting "an inanimate being incapable of the lyricism of the living." In "La gazza ladra" (1817), Rossini represents Ninetta's simplicity and innocence with an almost monotone declamation at "A mio nome deh consegna questo anello", whereas in the Wolf's Glen scene of "Der Freischütz" (1821), Weber characterizes the powers of evil by having the invisible spirits sing in monotone, and denies song entirely
Academy of Music (New York City) role and Giuseppe Mario as Pollione headlining the performance under Max Maretzek's baton. The first season's repertoire was ambitious, and included "Semiramide" and "The Barber of Seville" by Rossini; "Norma" and "La Sonnambula" by Bellini; and "Don Pasquale", "Lucrezia Borgia", "La Favorita" and "Lucia di Lammermoor" by Donizetti. Maretzek's company performed an annual season at the Academy through 1878. His company was not the only group active at the opera house as the theater during this time. Musicologist George Whitney Martin writes: New York's Academy of Music, from 1854 to 1883 the city's leading house for opera, did not offer