"poo

The

if Story

of

Opera

BY

E.

Markham
M.A.

; Mus.

Lee
Doc,

Cantab.

London

|j|y

Tbe

Walter
New

York:

Scott

Publishing Co.,

Charles

1909

Scribner's

Sons

Ltd.

"HIE

LfflRARY

BRIGIIAM
YCUV

:iSITY

PROVO,
UTAH

MfHTBO
AND

MADE

BRITAIN,
ORiAT
|H

Preface.

have

Opera

of

Histories
been

articles

many

and

the
work

books

at

"

is

Opera
those
In

the

far

of

exist

as

Art
tions

on

has

space

notable

every

is

It

will
of
that

Opera

work

present

these
has

was

the

not

to

the

since

written,

such

Beyond
of

number

the

solely

"

of

nature

has

give

the

on

case,

brief

the

features

account

of

advance

additions
the

so

is

anything

which

the

in

made,

been

some

of

constant

elapsed

reader,

everyday

date.

that

Even

these,

excellent,

language

Opera

claimed

of

amateur.

attempt

of

pages.

the

ment
develop-

are

essays

of

out

allowed,

necessitate

not

for

an

School

Some

for

from

and

get

soon

Art.

English

the

limited,

gradual

not

dictionary
in

rate

very

known.

time

and

any

that

is

bulk

speaking,

magazine

these

the

Dictionary,

Grove's

such

of

generally

nor,

in

one

zines,
maga-

presented

have

Operatic

the

various

which
of

synopses
of

growth

notably
but

concise

less

or

forth

so

in

essays

there

numerous

very

and

and

dictionaries,
more

not

are

to

or

short
of

body
as

the

alteraof

space
this
the

book

nse

in

of

popularity
works

of

the

Every
book

in

which

included,
century

some

placed

Our
left

to

for

times

future

It is
and
to

"

some

How

to
extent

omitted

twentieth

these

with

any

is enduring.
and

us,

must

judgment

pronounce

operatic

cized
criti-

in

but

what
to

equal
be

can

speak

and

been

with

gaze

notable

most

modern

and

works

brilliant
are,

ally
gener-

recorded.

that

hoped

the

to

be

mushrooms,

failures,

close

too

are

like

up

ephemeral

bring

Modern

in the

cannot

one

historians

only

speaking,

or

to

have

generations

successes

is

may

that

public

bygone

what

amongst

successes

from

many

on

should

spring

output

own

Hence

upon.

as

strenuous

certainty as

be

of

there

in mind

borne

composers

Works

and
of

be

made

Chapters

consider

may

of

others.

been

the

in

wane

Wagner's

for

rewriting

of

Appendices

disappear

rapidity.

days

the

opera

if in

and

slight

mission
perand

Samson

the

the

has

however,

it must

often

and

modification

date,

to

and

names

and

the

and

up

Saint-Saens'

imperative

made

the

Melisande,

English public

the

modern

such

of

or

and

play

to

attempt,

Operas

Pelleas

part of

have

paragraphs

the

operas,

Opera

English stage,

the

on

operas,

Puccini's

censor

the

on

interest

of

Debussy's

as

Delilah

Story

the

listen
on

new

Chapters
to

and

"

What

is

enjoy Opera"

ground
vi

on

and

may

Opera?"

may

be

touch

helpful to

Preface
the

Appendix

amateur.

amount

of

nothing

that

it is

to

in

under

known,

with

compared
The
to

it.

If this
them

be
out

of

edition

There

to

me,

ask

availing myself

of this

in

sources,

State

Grants

generally

not

this

matter

those

who

hope
of such

mistakes

good

my

as

of

my

and

friends

corrections

errors.

to

having

an

in

care

point
tunity
oppor-

second

work.

Green,
November

and

interest

of

E.
Woodford

course,

compiled
and

use

sincerityto

possibly,

the

other

perhaps
is

of

countries.

in all

will
in

from

tabulated

England

are,

so,

contains,

of

is

what

other

many

is offered

book

read

off

badly

how

The

enormous

an

thus

be

may

Opera.

will show,

Appendix

gathered

heading
of

it

information

the

one

student

the

be

that

entailed

has

although

cannot

trusted

placed

and

work,

1909.

Vll

M.

L.

Contents.

CHAPTER

I.

WHAT

OPERA?

IS

PAGE

What

is

Opera

Derivation

"

product
Hybrid

opera

Modern

"

definition

"

important

term

justification

Its

"

of

Music

an

one

centuries

Points

etc.)

of

aria"

of
and

treated

subjects

of

elements
the

early
and

France

of

jjjuck
opera

order
"

Gluck

"

"

Gluck's

the

"

Birtrr

Opera,
Varying

"

singers

"

"

The

beauty

GLUCK,

MONTEVERDE,

WAGNER.

thereof

reasons

The

by

"

III.

AND

the

same

followers

of

art

(Monte-r,

operas

date

His

"

OPERA

OF

innovations

drama
the

opera

REFORMERS

and

the
of

writers

Abuses

"

THE

later
the

"

CHAPTER

Musical

of

progress

between

Scarlatti

Italian

"

modern

and

Wagner

difference

JEngland
empiricism"

Musical

Reforms,

an

ART.

the

with

and

"

in

change

those

WITH

MUSICAL

concurrent

opera

verde,

THE

sion
expresbut

opera,

CORRESPONDING
OF

little

see

of

buffa

"

II.

SCHOOLS

Growth

the

music

of

GROWTH

"

"

of

one

DIFFERENT

music

to

ficial
arti-

An

medium

accessory

CHAPTER

The

effect

Emotional

"

demands

taste

"

"

work

musical

stage
of

explanation

"

Monteverde's

discards

Scarlatti's
of

ix

his

influence

music
arias

reforms

of
Their

"

"

the

"

astical
ecclesi-

weakness

Triumph

of

his

of

Story

Opera
PACE

methods

Another

"

leit-motif
reforms

retrogression
on
subsequent

Influence

"

become

Rossini

"

and

necessary,

composers
shape will

what

CHAPTER

Early

OF

"

18

?
.

OPERA.

"

Peri

further

they take

The
Bardi
enthusiasts
of opera
Caccini
A
logical commencement

commencement

achieved

Will

"

The

"

IV,

BEGINNINGS

THE

Wagner

"

What

"

and

they
Its

"

"

imperfections

32

CHAPTER
EARLY

V.
AND

GERMAN,

FRENCH,

ITALIAN,

ENGLISH

OPERA.

Monteverde

Scarlatti

"

Handel

London

in

J-ajlly
"

"

Handel's

"

obsolete

now

operas

Cambert

"

by

rival,
of their

reason

OPERAS

his

and

Gluck

^romantic

"

opera

"

writing

Opera

"

of the

influence

really great

LESSER

{a)
Italian

The

"

"

ITALIAN

THE

school

notable

Recitative

Donizetti

STARS

"

"

"

contest

"

and

Verdi

its
:

his

upon

"

The

"

opera

OPERATIC

THE

small

.48

FIRMAMENT.

(CIMAROSA
The

"

Cimarosa

"

"

and
X

school

his Barber

William

later

VERDl).

TO

Neapolitan
Rossini:

significance
early

operas

and

Schubert

VII

IN

buffa

Weber

"

composition

composers

SCHOOL

Opera

Other

of

form

CHAPTER

SOME

truth

COMPOSERS.

Beethoven

"

Freischiitz

distinct

"

lack of dramatic

GREAT

THE

Mozart

masterpieces
Der

"

Handel's

VI.
AND

GLUCK

OF

Purcell

"

CHAPTER
THE

Keiser

Buononcinl

operas

Tell
.

"

Piccini

of Seville
Bellini

"

and

.63

39

Contents

CHAPTER

STARS

LESSER

SOME

(b)

THE

VIII.

THE

IN

OPERATIC

(KEISER

SCHOOL

GERMAN

FIRMAMENT.

NICOLAl).

TO

PAGK

Keiser

his

and

successors

Hiller

"

Operatic interest

Marschner"

German

Real

"

centred

not

opera
in

Spohr

"

Germany

at

ty*

"

this

time

76

CHAPTER

LESSER

SOME

(c) THE
Rameau

STARS

of

Divergence

"

Piccinni
Auber

"

Carmen

(RAMEAU

methods

Bizet

"

and

Reasons

"

Offenbach

"

TO

The

"

Cherubini

"

Gounod

"

and

Mehul

OPERATIC

THE

IN

SCHOOL

FRENCH

IX.

THOMAS).

AMBROISE

of

successors

Gluck

and

Spontini
Meyerbeer
for the popularity of Faust
"

and

Delibes

"

FIRMAMENT.

Lalo

"

.81

Thomas

"

CHAPTER

ENGLISH

OF

OPERA
THE

The

Beggar's Opera
Thomas

Arne

"

Bishop

"

"

Balfe

Wagner's
At

early days

Paris

"

Bayreuth"
"

Rienzi
Death

Tannhduser

Meistersinger

development

"

"

Goring
91

HIS

Wtirzburg

OPERAS.

At

"

Zurich

Dresden"

"

Wallace

XI.

AND

At

"

"

writers

CHAPTER

WAGNER

OF

PART

CENTURY.

Living

"

AND

EIGHTEENTH

THE

NINETEENTH

Sullivan

"

X.

Konigsberg
Munich

"

"

"

At

Riga

Triebschen

"

"

The
man
DutchFlying
Wagner's methods"
Die
Tristan
and
Isolde
Lohengrin
continued
The
Ring
Parsifal Wagner's
"

"

"

"

"

"

89

.........

xi

of

Story

Opera

CHAPTER

OPERA

MODERN

XII.

WAGNER'S

SINCE

REFORMS.
I"AGB

Wagner's

influence"

of the

No

His

orchestra"

"The

of

Men

harmony"

Use

generation

younger

Il6

Slavs

CHAPTER

XIII.

SLAVONIC

Early

"Melos""

Modern

copying"

mere

Russian

Cesar

composers

Glinka

Tschaikovsky"

Cui"

Dvorak"

"

OPERA.

Other

Dargomijsky

"

Polish

opera"

TO-DAY

IN

opera-

countries

European

122

CHAPTER

OPERA

Borodin-

"

Bohemian

ITALY,

XIV.

GERMANY,

FRANCE,

AND

ENGLAND.

Boito"

His

dinck"
"

personality" Puccini"

interesting

cavallo"

Cilea"
The

English

Corder"

composers"
school"
Saint-Saens"

French
composers

Bunning,

"

Stanford

"

Covent

Garden"

HumperBruneau

"

Cowen

"

'3"

XV.

ENTERPRISE

Opera

Advantages

Massenet"

Leon-

etc

OPERATIC

opera"

and

Mackenzie

"

CHAPTER

Subsidized

Mascagni"

Goldmark

German

an

educative

English

"

IN

factor"
opera

"

ENGLAND.

sidies
Objections to subcompanies
Opera
"

The

Royal Opera
Syndicate" History of
this
in
The
Travelling
Carl
Rosa
companies
country
opera
The
The
Moody-Manners
outlook
Company"
Company"
"

"

150

Contents

XVI.

CHAPTER

TO

HOW

TO

LISTEN

OPERA.

ENJOY

AND

PAGE

Feelings of disappointment
Why

"

hear

to

the
to

story
Some

"

style of the
study opera

Expectations

"

is hard

the

To

suggestions
"

music

Garden

Covent
and

Grand

the
Dresden

"

countries"

Opera
unich

"

Egypt

OF

HOUSES

Scala

La

"

San

"

Carlo"

Vienna"

"

Bay

"

"

Wagner's
Vocal

"

the
"

and

of

Metastasio

singers

"

European

OPERA.

"

Pasticcio

"

casts

of

Curiosities

"

Ballet

"

stage

"

"

quirements
re-

Curiosities

"

and

.185

XIX.

CHAPTER

"

Stories

Prague

cadenzas

"

"

"

Other

"

supernatural requirements

politics Lohengrin
Jenny Lind's
composer

Librettists

Paris
Berlin

Masque
opera
of
construction

CHAPTER

Opera

Rome"

"

OF

163

WORLD.

Venice

Russia

"

Ballad

"

music

XVIII.

Curiosities
Objections thereto"
Mixed
language
Stereotyped
of the

enjoyment

THE

CURIOSITIES

comedy

"

begin

to

172

AND

Musical

opera

realize

America

"

OFFSHOOTS

"

"

How

"

Budapest

reuth

CHAPTER

Operetta

story

To

XVII.

OPERA

CHIEF

the

to

go

necessary

for its

is necessary

language difficulty
we

the

grasp

CHAPTER

THE

The

"

What

"

Re-hearing

"

What

"

follow

to

OF

in

CHATTER.

Paris

contract

and

"

"

Scribe

composers

Opera
Modern
"

The

non-lucrative
fees

"

prima

to

Royalties
donna

"

199

......

xiii

of

Story

Opera
I'AGK

Appendix

A.

Chronological

"

Singers, Conductors,
APPENDIX

B.

State

Municipal

or

Appendix

C.
D.

Appendix

List

"

Appendix

Aid

Granted

E."

.215

from

Operatic Schemes

248

.......

of

mainly

of

Periods
of

of

used

used

Instruments

Bibliography

List

to

Great

Opera,

Funds

of Different

Composers

of

Composers
.

Glossary of Terms

"

of

Financial

"

List

etc.

in

Opera

in

Opera

the

Orchestras

255

of
260

....

263

Opera

Illustrations.
PAGB

sir

Arthur

sullivan

Photogravure

from

ALESSANDRO

Painting by

Sir

John

Everett

Millais, P.R.A.

SCARLATTI

RICHARD

20

26

WAGNER

I3APTISTE

JEAN
DOMENICO

LULLY

42

64

CIMAROSA

GUISEPPE

VERDI

ADAM

JOHANN
NICOLA

J.

the

Frontispiece

72

78

HILLER

82

PICCINI

88

OFFENBACH

GIACOMO

PUCCINI

PIETRO

MASCAGNI

RUGGIERO

SIR

A.

BAYREUTH

MADAME

I30

LEONCAVALLO

C.

32

36

146

MACKENZIE

l8l

THEATRE

MELBA

200
XIV

The

of

Story

Opera.

CHAPTER

I.

WHAT

What

is

Opera

product

is

What

an

no

Emotional

drama
and

play,"

effect

"

to

set

so

ready

to

music,"

music

of

Hybrid

"

expression

important

an

ask,

to

easy

being-

forth,

so

but

opera,

artificial

An
"

of

medium

one

finds

"A

work

"

question

means

definitions,

musical

term

accessory

Opera

by

musical

Music

"

OPERA

demands

taste

"

definition

of

justification

Modern

opera

that

Derivation
"

Its

"

IS

an

"

one.

but

one

the

answer;

"A

but

loose
_

Opera?
.

and

and

inaccurate,

idea
The

the

i.e.,

words

"

musical

conveying

in

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abbreviated

rather

or

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be

may

define.

to

derived,

real

any

seek

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"Opera,"

term

from

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which

that

to

as

in

(Works

at

once

seen

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found

music
"

CMV*tIon

to

be

only

favour

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better:

see

is

that

convenient

its

brevity

translate
it is

something

it

title
and

and

meaningless

created.

that

lack

through
read
term

of

"works,"
in

all

and

else

than

we

may
that

it

of

Story
And

is

what

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that

created,

in

designate

we

will

cultured
the

stage,

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be

in

able

us

In

music

and

least

The
is

work

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prominent

part:

shown

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real

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only

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development.

little

studying

it

that

answer

been

and

often,

so

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something

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go

to

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its rise

mouths

word

the

has

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"something-"

people's

by

this,

study

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this

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it

tion.
defini-

find

that

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production,

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shall

we

opera

for

search

our

Musical

plays

music

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nature.

any

uninterrupted

illustrative

the

of

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burst

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them.

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circumstances

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in

one's

which
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adequate

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music
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expression

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naturally
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demand
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to

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connected

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indeed

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number

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action.

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song,

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its

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spoken

gesture

spontaneous

episodes

accompaniment,
words

very

considerable

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suggest

some

into

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or

that

story

foreign

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but

it,

in

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sentences

or

by appropriate

accompanied

although

continuous

throughout,

sung

"

is

dialogue

by speeches

voice

natural

spoken

therefore

".""".".*

part

important

an

fitting

vocalized
sentiments

Emotional
Fierce

the

on

dialogue
more

are

death

passion,

rage,

the

or

less

other

agonies, jealousy,
wit, humour,

and

hand,

one

on

Art

instances

"

commonly

of

ordinary

these

with

met

relling
quar-

in

our
#

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,.

ordinary

experiences,
and

frequently
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stage.
events

feelings
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sounds;

in

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emotions

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subject-matter

then,

music

into

into

dramatic

which

that

to

answer

feelings

characters,
express
far
or

them

with

far

piece;

to

admits
otherwise

is,

to

and

proper

that

be

be

gesture.

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are

these

an

unreal

be

music

the

of
of

element
natural

justified?"

whatever

spoken

thing

introduction

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the

stage

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intensity and

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of

receive

suitable

than

since

and

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expressed

power

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mere

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its existence

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emotions,

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admitted

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interpretation,how
The

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musical

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opera

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all is sung,

are

naturally expressed

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emotions

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conditions

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mo

lona

words

emotional
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qualities
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of

music

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quite ordinary significance

3

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in

phrase

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become,

of

Story
if wedded
life ;

emotional

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the

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their

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by
that

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for

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this

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find

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despite

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of musical

number

enhanced

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express,

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in order

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never

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music,

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loveliness

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of

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music,

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form

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and

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a

hybrid
to

the

form,
title of
4

should

expression

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which

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form

thing

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at

of

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no

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of

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exaltation

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varieties
existence.

real

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of

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of

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continuous
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modifications

to

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written

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speaking,

general

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fixed

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mind,

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expense

operatic

blame,

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at

promising

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lias

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of

music

the

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to

turn

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many
have

II.

CHAPTER

CORRESPONDING

SCHOOLS

DIFFERENT

MUSICAL

OF

The

centuries
of

difference

with

between
and

Scarlatti

in

change

concurrent

opera

of

little

see

later

ART.

the

the

early

of

elements

the

Birth

of

the

date

same

the

followers

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"

singers

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changes

that

three

hundred

short

music

modern

important

those

which

"

the

by

"

constitute

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during-

opera

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life

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prominent

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in

place

years

far

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Gluck

opera.

taken

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of

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opera

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those

and

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empiricism"
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treated

modern

are

than

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subjects
and

Wagner

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bufta

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etc.)

aria

Points

music

of

art

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drama

(Monteverde,

"

of

the

"

of

progress

operas

writers

GROWTH

THE

WITH

under-

been

change
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by

gone

,.,.,,

ordinary

dramatic

work

"

arts

are

for

of

elocution,

very
many

through
inventions
the

scenery

old

ones,

gesture,
and

centuries.
the
in

use

the

and
have

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of

radical
has

of

the

all

stage

lighting,
7

change
made

been

devices

mechanical

mounting

employed,

little

progress

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action

stage
seen

in

the

and

pieces
stage

"

and

i.e.,
effects

in

of

Story
generally:
the

these

is

ear

powerfully

not,

ear

the

whole

that

art

music

has

will follow
Growth

wjjj

concurrent

is

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the

Arts

a^e
A

different

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schoois
that

better

none

skill
instruments
forms

of

representation
it

growth,

with

music

into

difference

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the

and

of

opera

different

the

shall

we

find

only

were

operas

the

to

all

so

say
is

late

brieflyexamine

grew,

orchestra,

these

with

wide
between

nineteenth

that

as

additional

as

knowledge
found

result

the
and

music,
musical

as

improvements

seventeenth

very
seen

undeveloped

available

operatic music,

still maybe
of

one

added

between
opera

crude

knowledge

developed,

way

century

We

continuously

classes

earliest

the

being

and

were

difference

and

expression

continuous

of

state

empl"v

to

Music

their

ments
improve-

of

progress

of

to

during

and

and

its

for

th

more

appeal

the

with

to

Greek

the

then

technique
opera

that

and

therefore

of

place,

cioseiy correspond

styles

work,

days

takes

demanded

in

been

the

appeal

effect.

has

opera

the

dramatic

of

upon

and

power

but

eye;

in

kind

youngest

grafted

since

was

in musical

growth

been

it

powerful
the

the

to

ordinary

when

life of

progressive

an

an

most

and

Now,

in
than

But
of

have

appeal

made

dramatist.
the

all

Opera

an

one,

while

one

of the

that

the

eighteentha

vaster

eighteenth

century.

the
8

causes

of these

differences,

Innovations

Monteverde's

If

the

take

we

seventeenth

(about

music

all modern

what

do

the

mode

was

first few
find

we

and

(i.e.,measured

time

that

scale;

use

the

of

operas

century,

tonality in

of

of

a.d.)

1600

starting-point.

the

as

dawn

the

taking

the

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of

years

the
form

the

not

music),

as
_f"

difference
we

as

the

of

in

were

disuse,

little

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include

tremolo

passages
devices

"

its

to

the

dramatic

for

the

which

into

fallen

have

counterparts.
of

form

must

opera

generally

accredited

of

effects

pizzicato

struments
in-

stringed

used

been

have

survived),

successors.

innovations,

important

next

Monteverde,

and

different

very

this

ments
instru-

the

have

modern

no

that

out

that

some

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having

them

pointing

sounded

; and

(although

instruments

of

many

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have

main

harmony,

exist

not

orchestra

the

; that

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know

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we

to

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verde

with

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rr

in

music

church

anterior
for

written

music
the

novations

church

illustration
introduction
school
But

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date.

subsequent

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of

composers

certain

of

of opera

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from

Monteverde's

most

this

to

time,

only

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in

even

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the

on

is sufficient

alone

which

inventions
9

stage
to

preceded
or

the

voices

effectivelyemployed

situations

that

unknown

devices,

instruments

style, are
of

for
the

separate

in
the

mere

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of

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.

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to

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regular rhythm

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,

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sets

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Wagnerian

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orchestra,

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richer

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inasmuch

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shape

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accompanied

by harpsichord

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innovation,

by
Scarlatti.

Alessandro

took,

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whole

as

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bass,

harmonies.
claim
of
10

set

still

more

forms

his

important

ideas

were

The
often

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in

often

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deliberately

all, he

majority

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would

Aria

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solos

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t
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different

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ballet,

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duction
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retained

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by

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tinental

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of

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to

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delightful type
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played

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only gradually

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the

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12

of

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was

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of

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And

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they

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whole

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selected

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of

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at

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to

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ments
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instruments

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14

an

resume

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Singers' Abuses
these

of

Ballad

the

tuneful

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Rossini

as

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the

were

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of

of

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the

"

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the

the

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of

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melodic

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claims
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its

shining

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its

by

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attracted

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sons,

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attention

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for

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of

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into

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portions

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prominence
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to

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plenty

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back

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music

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of

Story
song-like

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exhibited

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in

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together,

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by

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monodic

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detail,

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16

the

and

in its

have

of

days

the

various

be

of

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constantly

we

of

well

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reforms

to

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the

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and

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practices

practice

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to

demonstrated

opera.

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progressed,

analytical

more

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art, the

the

chronicle.

to

side

of

the

the

were

operas

event

side

of

use

claim

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discords

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principles and

the

mighty

epoch-making
Thus,

in

composers

with

us

operatic development.

remote

attacked,

are

itself

technique

the

which

with

freedom

in

influence
of

resources

presented

justify for

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radical

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time, has

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have

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Progress
growth

clearly

more

also

and

be,
of

brief

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world
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a

to

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understand
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their

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proper

basis.

what

is due
defied
to

those

to

the

abuses

whole

establish,

17

stalwart
of

or

help

us

really should

opera

those

will

to

the

heroes
civilized

re-establish,

CHAPTER

OF

REFORMERS

THE

III.

OPERA

AND

Reforms,

the

and

innovations

The

of

each

for

his

reforms

the

others,
in

which

which

of

will

was

the

progress

they

take

is

here

the

Gluck"

Gluck's

they

influence
the

his

methods

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GLUCK,

MONTEVERDE,

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18

in

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into

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Florentine
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Opera

Arias

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weakness
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stage purposes,
21

it

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to

little
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of

Story
emotional

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our

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Opera

lyrical,rather

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than

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to

1714-1787
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works

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last

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revolted

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successful
22

his

the

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nature

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been

Efforts

Gluck's

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Italian

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ofc singers

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on

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for the

sake
23

did

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not

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take

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in vain.

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of effect."

to

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as

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opera

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iL

his

of Alceste:

score

all those

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composers,

avoid

opera

the

the

set

to

to

explained by quoting

prefix to

undertook

"When

music,

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music,

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remodelling

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own

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in

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of

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From

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itself.

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composers:

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M

we

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written

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good

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Years

delicate

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Mozart,

Beethoven,

pen

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less
rather

great

influences

"

of
of

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lesser

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extent

"

classics

aesthetic,

the

mischievous.
24

main

all

thoroughly
drama.

were

popular

were

influence

To

however,

tendencies

leanings
whose

others

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whose

whose

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music

upon
there

luminaries

truthfully artistic,
than

in

and

excellence

Spohr,

opera;

beautiful

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chain

group

Romantic

par

composer
r

'

grcssion

was

to

of

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of

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Most

gifts of ready

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offenders

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'

the
i

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thing.

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Rossini,

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Singers

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Besides
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the

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century.

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Opera,
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the

right

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the

this

period

again

the

again

was

singers, with

distracting attention

abilities, were

equally important

performed.

all

during

dramatic
aria
25

meaning
and

duet

of
were

the

from
works

usurping

of

Story
the

place

of

music

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the

stage

situation,

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tone-picture

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to

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of

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It

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Opera

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stagnation.

needed

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in

to

opera

the

efforts

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Wagner,

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on

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Richard

tide

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stem

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person
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1813-1883
that

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his

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attention

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Music,

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that

devoted

footing,
to

26

he

the

of

the

way

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really
Until

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time

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But

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of opera

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paid

Wagner,

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music

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Monodic

Poetry,

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melody

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the

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Action,

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stream

especially operatic music,

of

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Melos

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should

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very

Leit-Motif
special

air

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song

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way

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his way

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usual

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of

face

time,

In

accompaniment.

music

of

But
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nature

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of

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Mozart

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speaking,
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Scarlatti.

preceded
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Wagner
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that

signification:
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Beethoven.

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feature

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Italian

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41.

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mind

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connected

suggested
certain

character

music;

27

the

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something
Not

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with

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by

4X.

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Parsifal

Leit-motif.

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Opera

Wagner
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amount

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Whether

of

be

29

be

latter

satisfaction,

attention, study,

of

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Wagner

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gether
to-

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trouble

to

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listened

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or

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superimposed;

much

so

would
at

Wagner's

combined

many

contrapuntal

harmonious

the

is not

"

ideas

often

of

words

or

many
be

music

the

that

result

the

action

stage
suggest

or

themes

time, these

as

the

orchestration.

of

methods

so

listeners

are

careful

and

less
or

whether

no,

the

point

of

Story
remains

that
and

and

true

Wagner's

grasped,

works

dramatic

then,

continuous
from

while
which

combinations
of

realm

which

melos

first to

been

the

modern

have

been

so

but

stage,

the

derived

are

harmonies

the

was

have

opera,

material

the

to

he

important

an

the

of

wondrous

the

and

their

him.

by

on

links

inter-connecting

Wagner,

the

still exists

melody

his

framed

down

his

under

measure

laid

since

come

revolution,

another

was

Formal

lines

the

on

dramatically

operas,

have

large

stood
under-

once

so

of

composers

known,

when
be

to

seen

in

have

and

music

Here,
one.

all

widely

became

influence,

innovations,
were

fitting that

Opera

chord

and

introduce

into

additions

many

has

composer

for

manipulation.
Since
not

yet

are

to

mighty
that

time

to

contain
in

in

regard
some

is

the
be
many

has

Wagner

serious
this

much

achieved

only

turned

of

us

which

operas,

height

the

shall

or

certain,

permanent
3"

to

out

in
that

success:

slowly
that

when
of

it.

at

the

we

repeat

What

some

It

may

present

perfection,

flaws, either
is

know

seem

dramatic

If

probably
other.

do

we

come.

seems

are

we

direction

has

is to

certainly

opera,

we

master-mind

method;

Wagner

to

reformers;

no

reform

which

wrong

direction

wrong

be

history,

on

with

trending

direction

in what

see

rely

itself

there

Wagner

may

yet

workmanship
no

imitator
the

Colossus

or

of

Period

Interregnum
stands

and

alone,

none

vie

can

him

with

his

on

own

ground.
But

opera

lines.

Some

of

these

the

but

bad,

interregnum
and

if the

(as they

written

be

some

on

go

and

successfully adopted

be

will

must

such

of Gluck.

as

Weare

present

used

works

will

seems

to

the

succeeded

experiencing

unimportant operatic production

go

brain

of

on

of

add

to

our

in

some

we

things.

are

all

astray,

Until

list of reformers

his advent
of opera.

3*

or

all

direction

we

and

of

period

more

will,in

will

other

on

alter

have

no

less

bility,
proba-

until

gifted genius
and

operas

of Monteverde

spell of

which

not
can-

good

be
be

times

wrong

clear-sighted and

some

that
course

slowly

by others,

being written)

are

new

reforms

Wagner

has

the
name

the

covered
dis-

whole
to

CHAPTER

BEGINNINGS

THE

Early

of

commencement

achieved

IV.

OPERA.

they

What

enthusiasts

Bardi

The

opera

and

Peri

OF

"

"

Caccini

logical

A
"

"

Its

commencement

"

imperfections.

is

It

should

is,

and

polished

the

from

more

origin

the

form

back

to

owe

we

the

of

of

dark

of

so

after

circle

small

and

but

amateurs:

in

what)

not

birth

the

accident,

to

of

group

gropings

knew

that

less

or

to

blind

the

to

fact

of

as

opera

we

to-day.

is

impossible

addition

references

poets,

due

scholars,
it

It

its

(they

something

have

be

owe

interesting

and

should

opera

it

curious

of

to

we

very

know

early

trace

to

music

the

to

of

use

that

times.

it

the

was

In

play

stage

the

32

made

from

the

constant

by

the

handmaid

to

the

Middle

Ages,

art

times

earliest

the

too,

Greek

drama

there

of

Story
no

be

The

represented.

the

for

adequate

means

their

of

steps

native

which

musicians

music

write

believed

paths,

of

kind

fit

dramatically

be

to

to

turned

other

towards

to

ideas

the

therefore

amateurs

them

they

of

expression

Bardi

induced

and
y

the

Opera

Achieved
.

and

does

not

unable

give

to

sought

the

dramatic

availed

composers

Peri,

who

later, in

style
stage
of

the

achieved

and

of

composition

music.
birth

of

production
the

prologue

real

of

the

success

were

soon

term.
to

the

earliest

was

taken

is

1600

the

opera;

We

first of these
this

Daphne

that

date

real

music

to

field

(or 1597) Daphne,

such

first

which

of

setting

in

Euridice

the

Greek

it invented

"

The

day.

Euridice.

but

Hence

in

success

1594

1600,

privately performed,
world,

of the

form

same

quote
known

34

the

as

whole
opera:

was

and

before

put

the

its method

assigned

we

and

models

as

for
that

as

seeing

the

stand
under-

now

of

semi-

was

year

oratorio,

was

these

of

expression,

themselves

in

produced

years

of

it

what

reproduction

original

achieve

to

of

failure

was

although

idea

method

productions

early

few

its

music

for

least,

namely,

"

and

soon

composers

this

genuine

with

medium

new

the

any

consistent

tragedy

That

in

matter

enthusiasts

suitable.

the

short

Prologue
Prologue

"

to

"

to

1600.)

(Peri,A.D.

Euridice."

"

Euridice

Prolozo.

--$="=

-a

"

"

*-*--""

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1"

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fc*=*z"

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Fei

negli am

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te

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sco

r^
.

t=f

35

lo

of

Story
=*=i

Opera
T*

ct

10

^t"=^

while
final

for
"

an

11

example

Ritornello"

~o_

"

of

early operatic

from

the

same

dance-music

opera

the

serve

may

as

illustration.

Final

in Peri's

Ritornello

"

Euridice.
-O-

?SSf^

L~

"

T3L

m. ^T-p-t

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j=^"

3="

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z?:
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A_A

^^

35t

Questo Ritornello

"ri

va

Q-

riplicatopiu volte,

36

ballato da due

Soli del Coro.

Pen

Peri
decade

led

the

the

North

short

school

whole

ideas

their

grafted

had

In

Italy produced

of

who

writers

of

followed.

others

way;

"

Euridice

"

on
"

PcrI

the

of

those

composer

in

fame

the

invention

been

had

content

the

allow

to

-singing voice

by inflections
voice

his

preface

modifications

notes

sung

quicker rate,"
Thus

begun,
aesthetic

was

and

by

and

of

in

this, too,

an

untried

and

but

it contained

watched

sought

bass;

the

various

in

ordinary
these

half-spoken,

half-

emotional

more

disjunct character,

more

tells

reproduce

to

by

speaking

himself

speaker

the

speech

expressed

the

he

operas

and

at

etc.

opera,

basis.

he

instrumental

an

feelings by melody
a

made

Soft, gentle
on

As

might

his

ideas

by

say,

predecessors
in

the

the

owe

that

his

made

be

Euridice,

to

dialogue,
"

music:

in

depict

must

is to

that

music

as

circumstances.

in sound

conversational

to

would

as

similar

under

in

us

such

we

endeavoured

he

do,

to

that

to

church,

for the

designed

been

have

him

dialogue

merit

chief

recitative;

the

coupling

of

great

the
to

was

dramatic

the

of

instead

Peri, for it

to

anc*

won

But

style.

new

accorded

be

who

chief

Euridice,

being Caccini,

them

among

of

"

It

was

meaning

modern

our

on

in

logical,

proper,
1600

new

form,

questionable innovation;
the

of

elements

37

of the

strength

and

term,

Logical

Commencement

endurance,

of

Story
and
a

rapid steps

by

short

few

plays

stage

other

by

music

were

"Monodic"

style
it

Crude

held

certainly
it,

understand

for

still

was

much

tonality,

modern

music

the

new

sway.

harsh

undeveloped;

its

of

and

obsolete,

unquestioned

was,

accompanying

of

methods

within

until

developed,

and

grew
all

years

Opera

and

have

must

we

as

ugly
for

been,

"

melody
.

yet, in

far

so

and

truly

of

more

recent

the

polyphonic
performance

date

choral
in

our

music

and

of

its

day, yet

clearness

invaluable.

38

of

was

many

was

for

Unlike
it will

it must

aim;

more

as

of

another

success.

date,

none.

faithfully

to

work

such

than

greater
of

there

in its music

opera

of

form

situation,

and

own

sought

of

essence

truth, strength,
been

it

as

dramatic

the

reproduce

it has

practically

was

j
non-existent,

And

time

unknown,

was

fections

be

not

the
bear

claimed

pioneer

work

CHAPTER

EARLY

ITALIAN,

V.

FRENCH,

ENGLISH

AND

GERMAN,

OPERA.

Monteverde
in

London

obsolete

Opera

by

Scarlatti

"

"

by

in
the

Cambert

"

Handel's

Italy, after

commanding-

sway

influence

have

we

its

Peri

of

Lully

Keiser

"

rival, Buononcini

of their lack

reason

works

"

of

of dramatic

initial

Handel's

stages,

operas

now

as

fell

represented
under

the

of whose

Monteverde,
said

Handel

"

truth.

Caccini,

and

already

"

Purcell

"

much

in

'

the

1568-1651

chapter
An

which

upon

example

somewhat

the
of

crude
we

append:

"Reformers
his

of

melodious,

style,

be

may

"

39

Opera."

although,
seen

in

the

of

course,

"Moresca"

of

Story
Fragment

of

"

Moresca

"

(Dance)

=t
Clarino.

Opera

from

rj

Monteverde's

Alto

Basso.

Vulgano
(a trumpet).

Basso.

Orfeo

"

(1609).

^=pcz

~jdl

^r^z:.

-i

Quinta
(a trumpet)

"

i-H-

oz::
'"

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=3=

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|^^

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22:

4gM=qd~

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l=J:

it

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si

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*-

?3

:ct

321

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t?

ga:

22t

EC

n:
-"*:

-*5"XT"

40

of

Story
the

of

expense

he

followed

was

years

of

the

various

the

of

names

before

their
the

to

in
was

quickly

had

been

Cambert

Robert

his

French
For

first

by the

Italian,1his

and

saw,

is

name

history

position

of

in

opera

Florence

as

at

duce
pro-

ousted

was

founder

the

Although
in the

Coming
early

an

of

Lully.

prominent

France.

but

to

brilliant

most

Paris

to

time,

conquered."

of the

one

ballets

writer

and

unscrupulous

Lully "came,

and

Cambert

successful,

high

its influence

and

French

opera.

performed

this

before

in

France;

to

Masques

first

the

deservedly

opera

felt.

now

Lotti,

Italian

been

1647,

as

staged

was

At

opera.
from

early

as

were

are

its way

had

the

contributed

early

found

Euridice

Paris

had

there

Caldara,

and

of

of

these

Rossi,

successes,

this, Opera

world-renowned

the

of

many

Gluck

writers

most

development

drama

for very

recognition by

remembered;

degrees

But

the

Opera

all had

Buononcini,

all composers

situation.

many

"

in music

employed

arts

by almost

hundred:

the

forgotten

an

other

until, in fact,

"

falseness

by

the

Opera

"

from

a^e,

he

on

the

1633-87
.

quickly
popular
talent

put

the

older

Lully's great gift lay

1

The

and

name

less

is often

his

writer

in

42

inventive

into

aptitude

spelt with

improving

to

way

of Cambert,

operas

soon

his

saw

1, not

the

and

background.

for the

y."

fertile

Ed.

conception

LULLY.

in

Lully
of

melody,

in

the

his
not

as

chorus

is

he

stage;
French"

slow

Germany
like

in

its

Germany,

he

is

he

wrote

career.

little

operas

of

of

of

German

promise
Reiser

and

be

Hamburg

opera

of

direction:
must

for

operas

during

opera

the

at

this

grand

Hasse

contain
43

of

no

name

was

chief
exser*

in

write
an

the
he

named
at

mark

day.

operas

being

as

his

Reiser,

first to

the

not

whom

among

few

number

in this

laboured

followers,

being

high

development

also, the

important

popularization

which

but

great

and

boast

can

the

conclude.

towers

till this

here

of

quick fugal
to

period,

operatic

country

Although

Hamburg.

his

this

progress

produced

the

but

importance,

in

who

period

same

in

France

that

exists

Opera

the

at

taking place
agent

of

composers

Grand

French

in

the

introductory

an

movement

Italy, Lully

situation,

invention

another

dance

short

in

all opera

upon

of

third

ployed
em-

encumbering

which

by

he

in the

the

in

is followed

Scarlatti

above

with

form

dramatic

Moreover,

puppets

credited, too,

movement

Like

of

than

orchestra,

factor

integral

an

overture,

style, with

in

recitative.

collection

mere

as

the

writing truly

of

possessed

suitably expressive

and

"

he

powers

skill with

in his

even

or

France

an

such

works

early

factor

in

forty

years

in

had

also

many

Handel,

who

time, however,
future
but

of

early period

before
few

it

gave
:

the

indications

of

Story
of

the

glories

Mozart,
And

school

Beethoven,
what

genius

of

of

doing

highest rank,

child

of

includes

that

composers

Weber.

England

was

of the

and

Opera

music

this

at

would

some

that

period?
the

say

has

England

One

greatest
ever

pro-

Purccll,

duced,
,

in

work

at

was

of

form

the

Henry

1658-95

Purcell,

occupied by

dramatic

conception
of

;E?ieas" is

however,
English
and

had

did

Purcell
of

most

the

containing
England

other

say

that

an

have

this

soon

country:

national
been

early

such

large,

school

of
44

and

Dido

but

King

the

use.

success,

Arthur,

all

wholly

it is not

other

sound

Purcell

of

genuine

for

dominating

overshadowed

influence

masques

unfortunate

that

the

first

continuous

as

is

It

sons

this,

the

early operatic

works,

so

its

of

his

musical

Handel
in

incidentally,

dialogue.

her

aesthetically true
undoubtedly

music

stage

of

are

Dido

them,

throughout;
title

the

these

(about 1675)

time

up

of

one

the

instance

spoken

and

life

this

follow

not

personality of
musical

known

only

of

rare

of

of

Many

itself

for

employed

earliest

characteristics

continuous

Before

opera.

plays

is the

claim

may

in

part

and

thought,

master.

for

music

of

in

was

Spontaneity

opera.

chief

the

are

only,

the

of

boldness

early English

our

by courtesy

operas
and

and

life

short

too

composition

freshness

melody,

works

the

whose

too

and

would
much

English

to

opera

Purcell's
might
Saxon

it not

flourished, had

have

within

was,

composer

great

Purcell's

of

years

of

production

the

to

the

that

been

few

death, turning his attention

"

Arthur

King

''

opera

in London.
For
in

Handel

although

Italy,

in

and

it

England,
his

of

large majority

very

produced

in

operas

first

pieces

the

that

London

in

was

Germany,

saw

Handel,
"

the

"*,

light,

and

and

Handel

composed

he

which

contain

failure,

he

sometimes

much

making

The

bankrupt.
career

was

rivalry

brought

between

Buononcini,
influential

fiery Handel,

dispute
social

John

became

and

Byrom

of

and
more

by

and

had

body

final stage

been

brought

nobles
his

supporters,
than

sums

an

up

45

other

musical

London,
times

and

Italian

expensive
composer,

England

to

coming
be-

operatic

in Handel's

by

one,

and

"

The

developed

epigram

situation:

an

the

offended.

had

amusing
the

by

politicians whom

and

political sides:
neatly

clever

of

many

in

another

lengthy

frequent

Undeterred

at

money,

about

him

who

after

1741,

operas.

very

works,

music.

theatre

one

of

face

these

powerful

took

in

forth

poured

in

forty-two grand

and

24th,

February

Deiamia

opera,

than

energy,

first

the

Haymarket,

last

less

no

indomitable

misfortune,

his

greatest

of

at the

of

the

date

the

that

11

achieved

oiRinaldo

performance

With

he

Between

success.

171 1,

that

by

one

of

Story
"

Some

Mynheer

Others
Is

'Twixt

by

of

of

expense
and

composers

and

capable

of

the

In

work.

were

pro-

end,

the

at

the

to

have

we

sit

indeed

this

expressed
Handel's

arias,

clavier

bankruptcy

health;

turned

in future

he

and

expensive

less

and

lucrative

more

of

are

through

with
and

in

of

those

very

not

idiom

the

and

to

stringed

of

bygone

old

are

works,

instruments

46

formed,
per-

would

operas,
in

mentioned
the

era,

for

is

music
the

style

is, especially in

music

we

his

of

any

that

much

opera
and

constantly

are

composers

so

of

similar;

pleasure
for

of

is undoubted,

interest, few

performance

any

oratorio

oratorios

commanding

is

It
the

his

of

many

gainers thereby

the

been

chapter.

listen

his

and

him,

upon

but

triumphed,

Oratorio.

and

the

probably

was

both

talent

pocket

the

to

whereas

care

his

came

attention

That

of

as

Handel

of

both

paralysis

art-form,

or

lines

last

"

for

'

Tweedle-dee.

two

excellent

be

should

there

and

great

ninny;

candle;

especially

many,

genius

his

hold

the

of

ducingf
_.

Handel

to

Tweedle-dum

men

Rival

he

difference

all the

sentiment

voiced

but

fit to

scarcely

Buononcini,

to

Handel's
that

aver,

Strange

The

compared

say,

That

Opera

frequently
written

by

the

able

for

to

the

Continental

CHAPTER

Gluck

great

composers

influence

therefore

and

all

We

as

seeing

given,

be

of

the

of

and

methods

those

influence

small

writing

of

the

little

of

the

really

to

already

Monteverde,
the

these

influenced

they

boards,
may

the

now

composers

nationality.

every
the

works

many

during

produced

Monteverde.

hold

his

and

have

of

still

consideration

ignore

life;

him,

operas

reformer

that

Gluck,

after

came

later

composer's
of

Opera

"

Willibald

Unlike

safely

may

the

that

and

schools

The

Chrlstoph

upon.

works

the

"

opera.

all

upon

romantic

and

Schubert

operas

composition"

of

touched

been

Other

upon

methods

The

old

of

Weber
"

"

"

form

COMPOSERS.

GREAT

Beethoven

Mozart
"

"

distinct

THE

AND

Freischiitz

Der

opera

of

masterpieces

his

and

GLUCK

OF

OPERAS

THE

VI.

they

are

But

48

the

first

practically
those

written

written

forty
as

on

years

obsolete
under

the

Gluck's
strong

convictions

failure

in

which

him

great

importance,

models

the
and

beauty

have

that

following

the

for

upon

the

titles:

Paris

in

in

has

the

method

and

music

have

other

in

Vienna.

the

of

in

Paris.

Orpheus

dramatically
often

and

beautiful

heard
UC

it borne

be

Paris.

Paris.

story

most

more

operas

in

in

(1779), produced

famous

is

and

Vienna.

__

Masterpieces
,

one

the
in

that

however,
there

masterpiece

when

the

perhaps

setting,

in

ideas

notice

to

(1772), produced

Tauride

works,

these

mind,

in

others,

musical

(1769), produced

Aulide

in

Iphigenia

are

to

are

,,

(1777), produced

Armida

than

the

claim

,,

Helen

and

Iphigenia

musical

set

and

"

(1767)

Alceste

Euridice

of

greatest

Orfeo (1762), produced

Of

they

worth

comparative

by

contain.

they

Those

of

are

only

the

for

also

but

forced

England

interesting, not

Labours

and

in

is

comparatively
the

even

much

form;

considers

the

that

this

sounds

is of

date
backward

at

antique

necessity
which
state

mid-eighteenth century.
49

this

in

the

Gluck
of

the

both
case,
wrote

art

of

of

Story
Gluck's

type

of

melody

following quotation:

The

be

discerned

from

"Che

from

the

"

of the

commencement

may

Opera

famous

Aria,

faro,"

Gluck'

"Orfeo."
Orfeo.
Andante

espressivo.

*=i=^-

:t=
Che

fa

ro

Eu-ri

sen-za

di

*=
1

"

ce

do-ve

an-

-0-

=t

=3=^=2

FT"l~riig;g=:

H33

3=q=+

r%

*"="*:

"P

n#~
-*"

dro

sen-za

il mio

ben

Che

=^

fa

do-ve

"*

F4=acpta:
:t=t

imjTTlJSfJf

li
|=3E2*^

^3

^r
5"

an-

Orchestra

Mozart's

Gluck,
of

height
a

in

even

musical
and

young

his

later

works,
that

technique

glorious

reached

never

attained

was

who

composer

the

by

to

was

Mozart,
his

contemporary

the

whole

for

thirty

years

almost

"

1756-91
of

his

Amadeus

Mozart

the

of

works

and

others

find

of

vastly

diversity of
all

written

Wolfgang

models

the

an

in

and

his

Cimarosa,
scores

improvement

too,

operas,

they

the

show

than
"

in

orchestra

masterly

more

treatment
on

and

Benda,

for

him,

guide

to

we

all

upon,

previously penned.

his
that

him,

to

of,

up

handles

subject

other

known

music

life.

Gr^try, Piccini, Sacchini,

were

Mozart
and

had

summing

operatic

short

grand"

way

than

deal

with

of

model.

his

of

any
such

infinitely more
those

modern

more

variety

and

resource

Gluck,
We

which
feel

decessors
pre-

that

were

we

of

Story
have
and

whose
less

be

outline,

in

and

the

the

him

in

which

expression
in

had

the

of

full

round,

and

warmth

older

master;

and

piquancy

in

the

ducts
pro-

examples

Two

his

illustrate

ally
natur-

must

place

no

school.

severe

to

too,

vivacity, charm,

style.

of
first

The

lyrical mood,

fragment of a Mozart
Marriage of Figaro).

Don-ne,

of

discernible

scenes

serve

melodies,

have

more

sympathies

our

richness

we

lighter

to

His

addition

will

shows

vivid.

always

not

of
Mozart

appeals

classic

shadowy

far-away,

flesh

of

creatures

women,

with

not

possess

is

that

and

men

and

blood,

shapes,

in

with

do

to

Opera

ve

de

"

Canzone,"

s'io

te

-J

em^m

'

52

nor*"

"

Voi

l'ho

Che

nel

Sapete

cor.

"

(The

Mozart's
while

the

gives

second

Style

the

us

in

composer

dramatic

more

guise.

The

famous

from

passage

Commandant

Mozart's

the

when

Giovanni"

Don

"

appears.
The

Commandant.

m
Andante.

^"=z-

-^EE^

ff (Trombones,
%

Gio-

Don

etc.)

te=z*=$EL

"r*-*-

mm

if

*3:

i-

"=?

"=t
-t-

van

by thee

m.

in

vi

ted,

ZJfe
-I-.

H-"

-I-

-H-.

-+-

-J" ~+i

r"t^=J
4=t

53

-k

H-5.

H-

Here

be

3vT

H-i

H-

-*i

"

"

of

Story

Opera

tt

4=
hold

asthou'stdi

rect

mmmt"ifm
"r/c.

tt^44-

A-

lF.

Mozart's

Die

Entfurhrung

di

Nozze

Figaro

(produced

Zauberflote (produced

the

distinct

the

most

and

Don

then

although

The

so

Juan,

prevalent
national

bright

at

which

Italian

style.

Flute

Italian

works

in

the

the

most

is

raise

in

his

operatic
to

as

be

and

born,

step

of

part,

opera,

yet
a

that

temple

Marriage

German

was

sparkling Figaro
54

for

not

was

1791).
The

are

written,

are

1786).

1787).

Vienna,

at

Magic

pinnacle
and

of

product,

Mozart's

high

(produced

Vienna,

at

Prague,

at

popular

direction, it is his
to

1781).

(produced

Die

in

"

Serail

de?n

aus

Juan

of Figaro

are:

Munich,

at

Don

These,

-0-

1782).

Vienna,
Le

=3:

operas

(produced

31

2*

Tit'.

"+.

-*-

successful

most

Idomeneo

-4-4

4-

this
name

fame.

heard

in

of

Story

Opera

f5P
1

dolce.

ere

km
r-

"

of

Romantic
the

g1

of

school

romance

in

(i.e.,opera

opera

literature,
its

classic, is felt) owes

Weber,

first

place

as

influence

the

opposed

prominence

Maria

Carl

to

which

to

the

in

the

#The

Weber.

von

1786-1826
such

operas

classical

models

in

its

remote

and

music
the

more

harmony,

more

and

its sudden
and
are

its

suggestions

many

Weber

school

of
his

that

the

composition
wonderfully

differs
its

unexpected

picturesque

more

it is to

With

of

greater

poignant
turns

orchestration.

of romantic
credit

is,

as

beautiful

56

of
a

from

richness
use

of

of
of
cords,
dis-

modulation,
there

Although

opera
the

of

that

before

foundation

his
of

day,
this

rule, usually ascribed.

work,

Der

Freischiitz,

Weber
led

he

the

follow
The

the

him,

Der

opera

weird

and

the

comparatively

yet

as

ready

were

composers

enough

leadership is unquestionable.

Freischiitz

of

mode

new

his

but

and

vast,

field; other

unexplored
to

into

way

lent

treatment

its

supernatural,

and

itself

particularly to

story

deals

thus

with

the

seems

"Der
to

demand

form

of

distinct

treatment

and
Freischutz"

different

stately

setting

from

that

libretti

conventional

and

conventionalities
is

Scene":

Fragment
Chorus.

schools

story, Weber

made

methods
with

In

opera.

slight

of

use

German

of the

his
the

opera,

reference

absence

and

and

of

constant

to

the

stereotyped

Ensemble.

illustration

from

Incantation

Scene

the

famous

tation
Incan-

"

"

from

the

of

"

Der

Freischiitz."

Basses.

fit"=t

"-;

1
Ere

calm

it is

noticeable

of Aria

short

the

to

older

simple,

Volkslieder,

Here

the

Italtan

and

pure

of

this

of

accorded

des-cends

"3

:"="

r
to

mor-row's

sun,

deeds

of

dark-ness

of

Story

Opera

Trebles,

Contraltos,

be

will

done,

ft

:x

Wte
m

hu

SI

i,

J^R-J-]
bu

ggjgf^fe

i,

1
p

*
"
"s":

fm^"
lUl*

Tenors.

and

93

vn

c/oc"
(77t"?

strikes

twelve

distance.)

in the

ig
hu

i.

4=

r-

/T\

-^

r.?^-?

/T\

::lg|f

~c".

58

~Ed
z*

skill appear

so

other

for

all

prefers

the

expression
of

of the

in Vienna

ever

in

1823,

and

poor

from

the

Freischiitz
In

Weber,

influence
the

great

Wagner.
all
but

so

do

It is almost

masters

(from

Schubert,

be

the

one

that

confessed

the

only

work

composers,

has
we

achieved
that
59

and
some

for any

in

be

to

almost
to

Der

his best.
had

of

untold

an

the

meet

operatic point

an

London

unfortunately
as

at

opera

produced

previous

composer

great

in

are

of view

operas

Schumann,

they

music,

point

earlier

operatic

upon

of

means

Oberon, produced

show

whose

versatile
it must

not

the

Other
now

heard, for Euryanthe,

dramatic

intolerable, while

"Singspiel,"

boards,

opera

one

1826, in spite of their beautiful

so

Like

Operas

of

music.

by the wizard'

in 1821.

it is

the

serious

use

is

that

in Berlin

holds

in

taste

namely,

Weber's

Zamiel,

"

finer old operas,

continuous
"

"

"

hear

me,

it still

that

music)

produced

was

modern

although

hear

Zamiel,

Freischiitz

many

but

the

{speaking through

Caspar

Der

Freischiitz

Der

it

last

view)

Mendelssohn
success

abiding

of

until
were

in opera;
result

their

of

Story
work

has

works

had,
all.

at

such

they might
Lesser

wider

and

greater
branch

of

This

is

mighty

partly owing
of

men

music

but

even

classed

the

opera

musical

while
art

of

towards

rarely
The

list of

reached
have

influence

every

influence

has

of
been
other

nature

the

stage

in

of

also

in
the

the

great

how

60

toire.
reper-

small

classical

the

in
of

and

immense

art,

exalted

poetic heights, they

dignified and

be

pinnacle

with
of

and

Camacho

development

exerted

elevated

and

hearing.

ordinary

topmost

form

their

cannot

notice

the

of

comparatively

Genoveva

to

his

Fierabras

obtained

in

and

success

are

the

had

three

knowledge

Wedding

works

interesting

have

the

Lorelei^

these

to

skilled

and

very

almost

to

particular

Mendelssohn,

Schumann's

and

that

popular examples,

has

that

this

turned

or

operas

composers
over

forms

most

temple

while

romantic
sway

his

who

those

his

the

It is curious
share

on

while

among

had

have

non-dramatic

often

melodies

fragment

unimportant,

in

fact

of

early works,

Mendelssohn's
his

the

Schumann

Estrella,

and

Alfonso

firmament,

Meyerbeer,

influence

to

more

did

than

helped

and

were

beautiful
effect

musical

the

such

composed

art.

Schubert

and

in

stars

reaching

musical

have

not

Spontini, Marschner,

as

day;

Opera

and
such

have,

with

of

single exception

the

Neglect

Composers'

Great

left

Mozart,

almost

opera

unaffected.
of

heroes

The
less

importance

the

masters

it would

Weber

than

efforts

Whereas

of

were

composers

operatic

eclipse.

and

Gluck

Weber,

and

all-round

as

whose

completely

Gluck

opera,

they
Opera
"

difficult

the

conceive

fluence
On

the

in the
the

that

art

other

string quartet,

composed
operas
and

works

the

The

of

harmonic
many

music,

again

the

and

symphony,

sonata,

only

unimportant

light

perfecter

form

calm

beautiful

of

notable,
of songs,

composer

classic

and

orchestral
the

daring

rhythmic designs, and

masterpiece
a

InfIuencc

the

the

solitary

of
and

61

upon

stage;

of the

unrivalled

never

Small

for the

solitary, though

one

or

puntist,
contra-

great

father"

the

honoured

most

seldom

appear

boyish pieces; Schumann,

many

of those

names

of

number

composition.

music

and

Mendelssohn,

oratorio, and

of

"

Beethoven,

design,

Schubert,

few

of

the

no

so-called

the

Haydn,

."

..

operatic play-bill.
wrote

we

little in-

had

have

branches

hand,

to-day,

opera

composition

of

Bach,

the

of

they

other

over

form

position

admit

must

to

distinct
.

of

many

without

be

far

pianoforte
little

known

example;
a

few

writer

early
of the

overtures,
inventor
the
and

of

so

composer
chamber

specimen.

of

Story
Brahms,

the

classical

severely

school,

to

creator

but

of

also
opera.

of absolute

apostle
followed

Bach

in

music,

leaving

and

of

the

the

stage

alone.
stands

Mozart
rose

great

Opera

highest

the

of
as

out

sonata,
a

All

as

the

of

point

quartet,

eminence,

symphony,

consistently great
honour

genius

to

great

one

the

62

and

great

and

who

composer
not

only

choral

successful

versatility of

as

work,
master

his

measurabl
im-

of

Story
there

grew

play

known

"

less

lighter and

up

an

interlude

of

serious

Buffa."

"Opera

as

Opera

At

designed

between

this

drama,

of musical

first

intermezzo

or

serious

form

new

the

acts

and

bright

to

quickly

Buffa

itself

justify for

in

harmonious
of

was

charming

little

which

mostly

was

was,

priately,
appro-

It flourished

most

antly
luxuri-

the

fact

the

of these

composers

classed

generally

are

operas

It

music

and

texture.

from

as

existence.

separate

slighter

Naples,

fascinating

so

character,

in

"

...

art-form

11

as

the

as

school."

Neapolitan

Logroscino (born
series

of

separate

Concerted

invented

1700), who

about

known

movements

Finale,

the

and

nected
con-

the

as

Pergolesi (1710-36),

The

who

wrote

famous

of

example

this

kind

Neapolitan
"^

of composers.

In

Jomelli,

Sacchini,

the

named

last

with

contest

than

that

between

addition

Handel

and

For
'

though

1728-1800
in

Gluck,

not

"

whose

1776

to

these

yet

genius,

pitted

revolutionary
64

this
be

little
named

Piccini,

through

already
of

his

notorious

more

man

tioned.
men-

talent

great

brought
fe

was

Padronay

and

Buononcini

f
and

may

famous

duel

Piccini,
of

of

Paisiello,

specially

musical

Serva

members

Galuppi,

being

Gluck,

title La

the

notable

two

are

band

un(^er

"Pera

Shi

to

Paris

against

methods

of

the

reformer

procedure

met

CIMAROSA.

Cimarosa
with

anything

rival

composers,

results
who

only
was

read

that

of the

which

work,

with

maestro,
For

we

production
intended

seriously

was

Italian

poor

first

of the

night

the

on

respective

handicapped.

unfortunately

very

their

pre-eminence,

the

to

The

quarters.

by

for

bitterly

disastrous

too

certain

backed

strongly

fought

supporters,

in

favour

but

to

Contest
~i

beat

Gluck

the

being

his

on

prima

his

of

donna

eighty

is

operas

this

with

sparkling work,
to-day.

On

famous

that

"

wrecked

lady

good
men

claimed,
ex-

Iphigenia

but

merits, this composer

known,

of

in

except

in

nection
con-

controversy.
is

Neapolitan
Secret

The

occasion

Vienna

Tauride

almost

was

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in

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in

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the

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In

(the

music

hopelessly intoxicated;

Champagne!"

1/1

viz., Iphigenia

"

chosen),

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ground

own

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by

for

subject

"

in

Marriage^
its

of
1702,

the

whose

Cimarosa,

first

is

still

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formance
per'

Emperor
1749-1801

was

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the

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artistes

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other

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it that

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supper

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beauty,

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the

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charming

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young

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and
:

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his fame

rising Mozart.

of

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to

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give

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musician,

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dis-

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capable

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understand

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the

Italian

although

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was

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by

who,

skilled

very

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rare

created

Rossini,

methods

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cloud.

German

Spontini,

and

furore

of
a

Italian

the

under

creations
means

of

in

Weber

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Cherubini

by

by
'

Mozart

desertion

French

for

lay

opera

of

success

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we

this

was

and
can

facile

composer.
earliest

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of

grand

his

produced

opera
after

followed

win

to

operas

him

in

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1813.

interval

an

fame

of

two

was

was

years

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the

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excellent
is

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melody

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be

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66

of

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a

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the

his

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of

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of

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musical

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music

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70

Mozart,
its

Moreover,

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orchestra

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of

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to

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the

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FreischiitB, the

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term

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music
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Followers

Rossini's
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is

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good

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of

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are

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orchestra,

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of

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Rossini
has

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relieving

35.)

page

Gluck

and

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Both

from

quotation

first

our

opera.
orchestra
form

this

of

Recitativo

Stromentato.
Rossini's

light

such

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trivial

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long-lived

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William

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,r

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last

The
is

of

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Rossini

taken

last

forty

wrote

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some

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popular

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long period

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to

of

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can

musician,

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the

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its brethren,

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to

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Rossini

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followers

"

of

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in

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to

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aere

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Lammermoor,

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skill

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Donizetti

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same

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Pacini, Bellini, and

Mercadante,
wrote

Opera

works

of

ripe

so

his

that

methods

an

Verdi

later

of

mould

sterner

bear

than

family

close

Bellini

letto

of

"

short

//

(185 1 ),

(1853)

the

space

vigour

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melody.

and

one

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"

and

are

and

scores

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of

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im-

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sometimes

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post-

early

Verdi

(1853),

month

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to

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them,

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last-named
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his

model,

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predecessors.

gift

in

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Italian

the

entirely on

wrote

rightly

belong

period.

Wagner
Verdi

all

operas

with

somewhat

in

energy

the
and

vulgar

VERDI,

Verdi's

appeal

and

music,
For

his

plot

between

music

the

action

is

earlier

the

in

and

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in

Radames'

Andantino.

in

"

Aida

in

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is

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operas,

transition

ready gift of melody

first Aria

"

of

(Verdi).

"

never

is evident

187

1.

and

This
with

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:

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he

full)it

the

late

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tuneful

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popular plan,

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to

laid

of its composer

type of Verdi's

and

master

glowing

and

of the

Aida,

opera

in

the

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this

on

Ballo

Un

him,

over

position on

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the

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to

rich

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love

familiar

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interesting

Verdi

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1859.

their

with

coupled
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those

to

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as

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is

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Falstaff
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1893,

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years

of

CHAPTER

SOME

LESSER

(6)

IN

GERMAN

THE

his

and

Reiser

STARS

FIRMAMENT.

(KEISER

Hiller

Real

interest

NICOLAl).

TO

German

"

"

Operatic

"

OPERATIC

THE

SCHOOL

successors

Marschner

VIII.

centred

not

opera
in

Spohr

"

Germany

"

this

at

time.

start

good

already

given

was

shown,

for

operas

shifts
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and
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out

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them

of

therefore
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even

at

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at

specimen

the

fact

The

interest

of

centre

(where

must

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important

Prague,
in

Munich,

."

still

Handel
T

with

classed

of

sons

it

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or

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we

in

Vienna

Vienna;

Vienna.

76

Italian

soil

plan,
school,
content

were

capitals

find

Gluck

or

Paris;

Beethoven

does

True,

Italian

the

German
in

works

idle.

the

on

Italy,

to

more

were

operas

masterpieces
Thus

home.

his

writing

greatest

composers

were

their

produce

than

house.

England

and

work),

German

that

mean

and

decease

hundred

one

over

have

we

f"
was

many

wrote

to

as

opera,

Hamburg

partly

Successors

not

the

his

after

that

who

Reiser,

by

German

to

rather

bringing
Mozart
his

only

German

The
be

work

done

passed

such

their

influence
in

opera

but

has

of

which

to

in the

place
Hiller

to

of

must,

we

frequently, seeing

it

that

in

German
almost

was

clusively
ex-

prevailing Italian
Adam

upon

history of

that

opera.

credit

the

allotted.

be

among

either

upon

influence

"Singspiel"may

of the

opera,

allude

largely

nor

the

on

great

distinct

it is very

foundation

had

both

they

place

important

work

libretti

hundred

one

their

not

their

magnitude,

over

have

however,

not,

second

the

generally

opera

Italian

to

must

wrote

are

particular, since

Hiller, who
For

They

upon

done

model;

of

(1701-1759)

Graun

constellations.

the

Stars

(1699-1783), who

and

operas,

soil

German

on

lightly.

over

Hasse

as

Opera

the

of

Thisform

necessity,
'

form

the

was

1728-1804
,

largely

very

in

and

Beethoven,

first instance

the

its existence

adopted
words

as

raised

Hiller

an

to

forms

Die

Jagel,

to-day.
success

their

although

from

French

the

of

larger

His

chief

of

Without

doubt

attained
of

works

by

Der

are

had

Weber

similar

of

"

77

and

setting

Dorfbarbier
gain

something

song-plays

to

for

"

are

the

complex

more

Mozart,

and

songs,

in

sometimes
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of

method
and

justified

of art.

form

outline

in

derived

soon

collection

mere

which

Mozart,

operetta,

dramatic

and

,,

possibly

distinctlyGerman

it from

both

settings

of

time

Weber,

able

development.

the

vogue

"

the

at

and

hearing
do

with

although

infinitely

of

Story
superior, their
the

leadership

land

seldom

he

must

they

affected

were

able

on

and
Mozart

notice

to

new

not

Italian,

and

Weber,

the

by

and
for

appeal

deeper

audience

German

of

reason

in

pioneer

The

German

were

by

sure

limits.

have

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more

them.

its utmost

operettas

also

certainly

gave

reaches

Hiller's
that

is

work

Opera

perform-

'

Gcrman
,

ance

-k

the

in

and

vernacular,

followed
Freischutz

justify such

many

and

Until

eventually

school

the
House

course,

but

writing
of

of

production
in 182
after

that

which

Der

there

was

date

we

operas,

and

includes

such

German

composition

Spohr, Marschner,

as

Opera

composers

founding
names

suit.
Berlin

the

at

little to
find

both

'

Opera

Lortzing, Lindpaintner,

Nicolai.

Spohr's
staged

at

Frankfort
first

'

operatic work,

greatest

two

of

light
in

both

popular
F
F

before

years

the

saw

Faust,

Although
and

...

it

now,

Gounod's

Besides

Faust,

following
method,
music

Spohr

Weber

to

although

the

never

leaves

same

one

for

England

rarely gets

opera

having

of the

work

this

years,

very

if

1784-1859
many

Freischutz

Der

day.

Germany

actually

was

formance
per-

entirely eclipsed

been

by

title.
wrote

large

in

extent

peculiarly
in doubt

78

other

many

chromatic
as

to

operas,

romanticism

of

genius

of his

its

authorship.

J.

A.

HILLER.

Marschner
The

of

successful

most

Der

Jessonda,

"

still

faithful
Heinrich

and
"

.,

The

influence
The

may
the

Great's
Flotow

popular

be

their

of

life

this

Hans

(founded

Jewess

had

have

to

he

on

affections.

German

time

school
the

great

composing

was

in

and

famous.

work.

Among
of

dealing

of

with
at

Peter

Zaandam)
tuneful

the

the
;

and

(1782-1849), Lindpaintner

Kreutzer
Nicolai

frequent

(1803-1852),composer

(a story

composer

remain

date
less

or

more

shipbuilder's yard

the

(1812-83),
Martha;

this

and

successful

most

Lortzing

named

last-named
world

the

through

Shipwright

(1791-1856),

is

Marschner,

on

is held

at

of

memories

Peter

the

Wagner

hold

Heiling

composers

performances
such

have

the

moniacal
de-

the

j.

most

Vampyr,
and

of

footsteps

Dutchman.

Flying

our

the

over

the

operas,

Templar

Hans

over

Many
in

The

of

study

gloated

Der

are

Ivanhoe), still

Scott's

from

loved

.Li.

His

which

and

and

the

who

ur'

music.

of

Heiling,

with

song

comes

in

Marschner,

"

his

famous

popular

follower

weird,

the

i_*

in

The

Azor"

all almost

Alchymist,

Softly Blooming,"

more

was

them

and

of these.

first-named

Weber

Zemir

are

Der

now.

Rose

sopranos,

and

Berggeist,

entirely forgotten

these

(1810-49).

composer's

Merry
Cornelius

Peter
79

The

Wives

overture

of

to

Windsor

(1824-74)
g

and

of

Story
(1840-76)

Goetz
The

Barber

each

Opera

composed
and

of Bagdad

well-known

The

opera,
the

Taming

of

this

time

Shrew

respectively.
The

fact

produce

that

Germans

the

of

composers

largely
ic

pera

interest

charm
not

at

to

of

fact

the

French

grand

to

devotees

many

Paris.

While

or

Rossini

could

will

that
now

composers

many

national

to

had

uphold

in their

opera

on

opera

its

successfully

vie with

the

of

the

grand

brilliant

episode

in

the

story

turn

attention.

and

our

80

the

brilliant

traditions

land, there

own

like

interest

magnificence
To

Verdi

and

of German

composer
that

one

draw-

was

of
no

and

Italy

at

this time

was

not

is due

grandeur

opera

and

Germany

the

that

ing

eminence

operatic

greater

did

eminence,

ever-increasing
opera

of

the

of

Paris.

opera

we

of

Story
he

But

was

for

much

French

his

opera;

antique,
ameau,

skilled

and

capable

music

versatile

and

workman,
is

Jean

and

pompous

with

Rousseau,

Jacques
m

did

in interest

it compare

does

nor

^ ^

Opera

1683-1764
who

wrote

Village, which

enjoyed

belong

Divergence

which

serious,

and

the

of

they

ran

Much

due

Comique"
obtained

the

Opera

Such

1813),

House

side

by

hearing,

the

followed,

in

having

variety

of

its aim

as

indeed

as

1762, of the

whose

music
who

in

one

side.

Paris,

work

exalted,

other

its

all

in

and

proper,

lines,

interest,

of

opening,

Theatre

attempted

have

serious

the

to

with

be

must

two

great extent,

was

Opera

Opera,

in

art

excelled

taking

treatment,

subjects

these

of
to

Comic

human

more

course

for

tragic themes

production

scope

"

or

an

(1760 circa)

two

and

Opera,

to

was

of

date

into

diverging

Grand

but

aiways

this

about

from

was

towards

looking

the

France

in

have

French

tfae

pretend

not

branch

du

popularity.

Opera,"

Comique,"

Opera

indeed,
opera

Grand

genus

"

did

Devin

Le

of

years

moreover,
"

the

to

work,

one

many

very

work,

last-named

The

least

at

the

which

at
was

would

larger

not

not,
and

new

posers
com-

fit for
over,
more-

more

forms.
men

and

were

Philidor

(1729-1817), GnStry (1741-

Monsigny

(1726-1797). They
82

were

at

work

PUCCINI.

PICC1NI.

Mehul
shortly

Paris

in
wrote

with

they

of
to

these

flourished
his

much

with

theirs

as

Of

in

writing

Gluck

his

as

considerable
curious

for

experiment

of

the

throughout
idea

the

in

successful
this

was

time.

His

dealing

with

of

giving

that

the

by

popular
Bible

it may
for

narrative.

83

upon

Paris, such

while

still
did

so

the
violins

the

out

work

and

of

man

of

his

be

the
was

One

of

the

Uthaly

opera

effect.

cold, vague

M^hul

Mozart,

Comique,

made

whole

respect,

done
most

in

of

taking
a

leaving

of

who,

manner,

who

forms

of fashion.

Opera

was

themselves

principle

Mehul,

He

p,

light

set

hearing

out

the

operas

of

Gluck

exemplification

the

is

originality,

orchestra

that

obtain

model.

main,

unity

artistic

thoroughly

with

main

the

the

the

when

importance

more

did

nor

dropped

soon

had

for

room

to

Gluck,

the

artistic

logical lines, began

in

in

Consequently,

constructed

to

principles;
they,

write, leave

works

re-

although

composers,

subsequent

which

such.

be

that

opera

it must

i.e.,

"

of

imbibed

not

of

being

Singspiel"

But

dialogue.

spoken
F

membered

"

German

of the

order

them

all of

and

contest,

ness,
simplicity,bright-

their

pleased by

tunefulness;

and

the

which

operas

Gluck-Piccini

the

after

However

safely prophesied
first and

Joseph,
of

last

the
a.

story

its tunes

is

of

Story
well

known

wrote

set

Opera

to

pianists through

of

very

Weber

that

fact

the

variations

interesting pianoforte

it.

upon

We

must

turn

now

who

composers,

belong

their

of

attention

our

France

to

having

all
of

boards

fact

the

almost

the

on

Italian

two

through

produced

works

important

to

their
either

*nd

the

Opera

,
Spontini

Comique

(1760-1842)

Cherubini

works,

great

such

classed

although
its
and

in

known

named,

music

Cherubini's

music
of

composers

antique

sounds

and

it is solid
of the

"

romantic"

and

of

in the

heroism

and
of

is

following
in

succeeded

exploits

and

good,

Spontini (1774-1851)

has

to

who

Fidelio

the

hour.
all

preceded

therefore

and

modern
far

in

ephemeral

of

period,

colourless

in

the

to

man

first-

theless
never-

ears;

superior

to

much

date.

same

historian

of

Les

approximates

fashion

the

were

three

Carrier^

wrote

than

Freischiltz

The

Water

Beethoven

is that

the

The

or

(1800),

(1833).

comique,

what

which

productions

two

Joumees

as

opera

Der

wrote

Baba

AH

England

to

in

Weber

and

as

more

deux

Les

as

(18 13),

Abencerages

Academie.

the

or

spoken

glory

Napoleon,

which
in

"

words:

infusing

of

"

into

by
No

prompted

portrayal
84

other

music

the

of

the

Naumann

the

which

composer
the

spirit

victorious

Spontini

Story
music-maker,

music

is

and

The

of Luther's
This

persecuted
to

much

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old

is

used

other

as

and

music

opening of the Chorale,

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and

progress

of

"

hymn-tune,

Huguenots,

of the

clever

kind

of

forms

of the

from

andante.

Ein

"

the

story

Burg."

Feste

for

the

effective

most

foil

opera.

"

"-

"

Les

"

Huguenots."

;" -^

m iff

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striking

=a""i*"^

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^~

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beer's
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fine

some

the

in the

points

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chorale

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for

that

conventional,

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Huguenots,

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at

admitted

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whom

to

must

specially noticeable

made

use

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is often

masterpiece,

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banker

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operas."

compose

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his

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Les

famous

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(1836),

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(1859),

and

still

that

performed

they

and

effective

are

also

descending

operatic music
Passing
who

written

made

with

for

the

singers,

without

characterizes

often

so

view,

of

point

vocalists.

genius,

lack

brilliant

the

operas

intervals, seeing

of

Berlioz,

Hector

operatic

in

popularity

remarkable

notice

must

we

eccentric

bids

few

these

stage
to

please

to

that

over

which

inanity

that

to

from

gratifying

extremely

orchestrally.

pompous,

fairly frequent

at

his

shows

and

vocally
and

Dinorah

(1849),

Prophete

both

effect,

(1831),

Diable

le

(1864), Meyerbeer

over-elaborate

Although
are

Le

Africaine

of

knowledge

Robert

works,

position,
com-

success,
'

whose

Auber,

"

1782-1871

light-hearted
audiences

with

known
so

his
He

to

popular
operas

the

the

new

and

sea-side
still

his

for

field ;

of

for

French

the

classic

incorporates

the

is

larger type,
as

opera,

of Gluck

of the

87

and

newer

Continent.
the

being

successes

important

model

the

are

bands,

amateur

on

Opera

grand

elements

and

enough

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the

which

overtures

orchestras

only

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years.

the

by

popular

and

Opera Comique

many

lasting

most

known,

from

for

England

both

career

breaks

with

latter

best

in

are

wrote

filled the

delight

us

Comique,
in

music

Opera

achieved
is

Masaniello

inaugurating
in
and
romance

so

far

as

his followers
school.

it

of

Story
Of

lighter works,

the

successful.

Auber

the

and

vivacity

his

which

he

be

clever

his

of

the

not

music,
of

employment

with

of

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remembered

brightness

wrote

is

Diavolo

will

fascinating and

for

Fra

Opera

consummate

only

for

also

for

but
the

most

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in-

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excellence.
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the

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popular

most

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'

the

meet

we

that

opera

seek

to

the
its

for

reasons

world

has

popularity

easily

an

"

of Faust,

composer

probably
known.

ever

hard

not

are

well-

and

understood

1818-93
1
known

melodious,

and

of

amount

average

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keep

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sound
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to

square

melody

sonorous

likely to please.
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and

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same

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latter

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pleases

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ultra-

appear
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to

opera-goer.

accustomed

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tended

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numbers,

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1859,

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It

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musical

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bright,

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succession

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all

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beyond

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story,

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the
is

and
operas,

composer.
often

Doctor,
Gounod

heard,

Philemon

always

opera.
first

place
88

for

popularity

with

the

OFFENBACH.

it is

masses,

and

its

and

rhythms.

ingenious

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Carmen

show

of

had

in

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be

to

at

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performances

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of

enjoys

works

time

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to

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as

was

representations
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together.

put

share

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is

operas

works

exceeded,
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large

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all

the

statistics

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in 1881

opera-

often

very

Indeed,

and

of

that

or

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performed

been

Wagner's

music

attention

works

operas,

Berlin,

and

Wagner's

Faust

performances

all other

Carmen

ascertained
of

of

number

of

of

fill any

to

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scoring

touring companies.

the

that

times

certain

and

power,

colouring

Spanish

performance

find

we

the

exceed

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of

mainstay

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in

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by

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fresh

use

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work

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followed

closely

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Offenbach

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of

public
of

proportion

probably

ably
consider-

now

less.
with

Contemporary
Offenbach,
with
and

of

amount

knowledge

sure

musicianly

effect.

of

mostly

are

enjoyed

public.
operas

is

furore
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aux

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to

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of
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day

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in

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1819-80

they
to

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nearly
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Parisian

seventy
famous

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of

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death.

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only completed

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only

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given

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there

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opera,

(1836-91),

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Va

of

composer

(1873),

dit

music

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in

was

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of

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operas

(1883),

Lakme

and

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known

ballet, Coppelia.

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work,

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d*

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music.

good

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Victor
and

Virginie

et

(1823-92)

Lalo

brief

mention

influenced

much

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Ambroise

of

(1822-76)

Massd

works

other

many

of

enduring

Hamlet

for

the

present

French

the

composition, returning
of

number
at

work

by

brilliant

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men

to-day adding

their

anon

predecessors.

90

leave
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at

school

happily
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and
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mention

make

quota

works

opera,

this

still

musician

(1866)

quality, Mignon

(1868)
for

must

two

wrote

1811-96

reared

and

staged

Thomas,

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by Gounod,

least

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is best

gained popularity.

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time,

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although

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Rot

of

pleasure

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of

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1710-78
of

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English

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airs

composition;
native

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popular

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believe
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reputed

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are

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93

tuneful

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sucks."

this

and

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bold,

fashionable

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tune
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we

of

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nothing

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with

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94

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1808-1870

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1786-1855

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Bishop

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John

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Balfes
in

1835

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first

at

their

as

in

hearer)

These

education

the

trying

more

cultured

Girl.

whose

Wallace,

even

"

the

Bohemian

poor

is

plane

same

is Maritana

to

Opera

an

musically

more

satisfactory.
As
so

and

we

musical
find
more

(1804-85)
performed

education
our

in their

and

Macfarren

musicians,
and

who

dramatic

overlooked.

Killarney,
Greater

the

are

artistic
The

work.

output

Benedict's

heights

still

their
of

operas

talented

of

best

which
opera

and

gifts

moreover,

characterization

in

in

(1813-87), although

possessed,

produced

gradually improved,

England
more

composers

solid

now,

in

of

must
was

The

outlook
Benedict
seldom
cultured

melody
not

Lily

1862.
were

reached

96

by Goring

Thomas,

be

of

Thomas

Goring
who

and

Esmeralda

wrote

which

from

merit, and

Sullivan

and

excerpts

works

both

Nadeshda,

of

frequently

are

Goring
Last

serious

one

it is hard

of

give

to

English

Arthur

composers

Sullivan,

Ivanhoe

opera,

delightful works

Thomas,

,","..

named

be

may

rooms.

deceased

amongst

of opera
wrote

concert

our

in

given

slighter

(1891), and

are

1842-1900
.

the

opera

"

answers

as

nondescript
well

as

favour

not

works

(such

Their
appears
models
More
in

only

in

other
of

be

somewhat

of refinement
serious

English by

and

attention
composers

the

to

the

of

the

also

on

twenty

has, however,
still

the

such

of

some

Continent.
now

ago,

they

still

are

musicianship.
been

living than

paid

by

in this

named

monious,
har-

found

years

sound

good

Opera"

case

; but

wane

Bouffe."

charming,
which

in

some

on

Opera

"Light

as

but

Mikado)

popularity, immense
to

"

"Singspiel"

England,

The

as

such

do

nor

of

nature

term

any

class

graceful

type,

comique

they partake of the farcical

Perhaps

of

'

They

:
_

quite of

not

host

which

to

scope

class-name.

who

to

opera

any

chap-

__

writers
_

J%T*iJtd*

ter.

To

these

consideration
after
some

extent

the

Wagner

operas

97

we

and

some

must

have
their

be

given,

noticed
influence.

to

CHAPTER

WAGNER

Wagner's

early

Paris

The

"

Ring

"

of

of

in

of

practically,
need

we

slightly
been

by

more

possible

his

no

Afeister

than

singer

this

in

of

modern

more

in

it

was

work

giving,

in

or

striking

most

alone

can

interest

is

or

judged,

of

all

musical

in

his

case,

notice

operatic

repute.

98

terest
in-

none

biographical
less

days

achievement,

in
the

the

composers

Verdi,

or

field

the

although

whose

one

all

shadowy

men,

only

in

from

distinctive

not

hesitation

developed
men

Die

away

Wagner

also

efforts

have

for

of

case

is

he

"

development.

more

and

but

composers,

opera

far

these

Richard

great

Dutchman

interesting

Spontini,

Since

fascination.

continued

too

character

the

"

Flying

Isolde

most

of

the

Meyerbeer,

as

and

feel

to

in

and

pronounced

approach

art,

Gluck

personality

the

marked

such

the

live

We

of

Triebschen

"

is

Wagner

opera.

The
"

Wagner's

"

At
"

"

methods
Tristan

Riga

At
"

Munich

"

"

Parsifal

"

and

Lully

very

Lohengrin

of

name

annals

Zurich

Wagner's

Death

"

Konigsberg

At

"

"

Tannhduser

OPERAS.

"

Dresden
"

Bayreuth

HIS

Wurzburg

"

Rienzi
"

The

AND

At

days

XI.

than

has

of

Story
as

chorus

at

the

taking-a post
writing-

and

At

-Fairies;

Wihrz

bure

record

act

second

work

acting

having

retired

directed

to

failure, the

of

Wagner's
After

Jew.

into

this

ruptcy,
bank-

conductor.

certain

Wilhelmina

Wagner's

and

lady-love,

there

gone

gracefully

this small

to

to

productions

was

Polish

Das

except

us,

two

first

The

opera,

successor,

consisting

the

its

had

the

Konigsberg,

at

his

latter

and

by

first

detain

not

these

it went

attracted

Being

the

theatre

with

and

his

and

need

husband,

her

Wi'irzburg theatre,

twenty

audience

an

Magdeburg

was

this

Of

to

was

landlady,
the

of

1836, Wagner

conductor.

as

the

at

age

that

in

Magdeburg

at

master

Liebesverbot,

1833

Opera

next

steps

where

town,

also

Planer, who

received

married

he
the

were

director-

berg. 1836
lot

of

this
he

where

Riga
ambitious

the

of

ship

found
had

heights,

of

the

shortly

the

coast

which

are

of

story
after

the

and

set

of

longed

out

for

recorded

Flying

voyage.
100

scale

to

us

Dutchman,

went

wrecked

received
in

the

greater

He

well-nigh

for

Riga,

inspired

so

and

the

footing.

Paris.

Norway,

ably
the

and

to

to

secure

more

being

London,

to

sea

he

that

composer

lga'

on

opera-house,

good

shifted

Wagner

work

better

and

also,

theatre

fell

Bankruptcy

opera.

his

by
off

pressions
im-

setting

composed

Crossing
the

very

Paris, Wagner

to

other

and

lived

for

had

had

; he

starvation

of

verge

Meyerbeer

to

"

Rienzi

time

some

introductions

of influence

persons

At

in the
work
he

capital,but

French
of

unknown

an

forced

was

him
for

did

and

on

failed

verbot

his

the
not

author

meet

looked

Wagner

of

style

its

of

the

to

of

Wagner
could

on

is the

nor

as

to

at

Dresden

prepare

of

worthy

importance, however,

the

older

in

at

both

find

not

its

had

making

do

attention,

the

he
of

we

reform

start,

futilityof

Wagnerians

101

score

Rienzi'

and

problem

in Rienzi

Dresden

the

founded

composer

hearing, being produced

went

Liebes-

on

is

crusade

struggling

serious

it had

The

his

the

work

Meyerbeer,

the

Das

Its music

Paris.

idea

him,

came.

which

name.

consequently

by

Wagner

same

convinced
as

production

Rienzi)

cheered

dogged

produce

his

by

turning

wife

His

to

continued

specially arrest

upon

of

before

his great

as

day

of
:

be
and

to

the

born

must

present
ends

of the

opera

yet

methods,

the

and

misfortune

but

'

could

he

operas,

cornet.

agreed

opera

after

grand

the

best,
that

real

novel

is modelled

was

her

Wagner

first

Lytton's

of

for

before

Undaunted,

popular

Paris

and
best

as

the

composer,

living

from

little theatre

of

earn

melodies

tuneful

out

to

wanted

one

German

fantasias

arranging

no

on

thing
any-

work
sideration
con-

gaining
in

work

1842.
for

of

Story
and

performance,

settled

duties
1

of

The

settled

He

kingdom.

Liszt

produced by

living

While
the

Ring"

the

conductor

for

to

the

i860

Wagner's

returned

to

In
he

also

to

of

soil
his

of

which

was

libretto

England

to

deal

and

was

Shortly

afterwards

Munich,

beneath

Zurich

to

down

at

Die

he

only

Tristan.

the

to

and

end,

an

Meister

went

to

not

composed

operas,

approval
dis-

of

experienced

was

returned

exile

as

Society's

good

his work

of

which

of

newly-conceived

period

German
1

he

the

German

Paris

operas,
came

year.

and

the

life in

Philharmonic

the

and

got

fly

to

the

again there, settling

work
but

Ring;

he

1855

the

country,

four

of

of

Ta?m-

1850.

sketched

he

his methods

this

his

up

in

In

anon.

and

Lohengrin^

at

produced

had

roving

his

Wagner

year
and

to

Zurich

at

more

with

take

down

gigantic cycle

in

latter

Weimar

at

concerts

by him

the

working

Switzerland,

and

in

But

he

(1843)

Dutchman

the

up

During

capital

political troubles,

into

himself

taking

there,

Saxon

the

Flying

(1845).

hliuser

down

Hofkapellmeister.

in

sojourn

Opera

most

singer.

dwell

in

1861-65

King
the
were

II.

Ludwig
end

of

his

of

life.

hand-in-glove

the

Bavaria,
The

with

who

monarch
each
102

other,

his

of

eye

patron,

financed

him

and

composer

so

the

much

so

until

that

in

Bayreuth
the

latter had

the

1865

year

capital, returning

of

Lucerne,

and

in

wife

having

firm

so

his

theatre

and

should

the

seat

should

be

should

front

for

mechanical
the

Ring

brought

to

be

on

it;

sight
the

happy

schemes

Biilow,

the

present

to-day

also

and

issue

and

three

103

^45,000
'

that

view

of

that
the

all

built

every

seat

the

was

than

orchestra

stage.

the

stage,

level

the

heavy
for

was

It

1876.
idea

also

necessary

II.,

after

here

in

beneath

by

raise

slightly higher

and

made,

Ludwig

Bavarian

complete
a

to

and

small

remarkably

devices
were

is

von

Bayreuth

at

Wagner's

have

of

of

out

arrangements

first

his patron,

opened

to

therefore
in

'

off

This

upon,

and

erected

house

in the

period,

of

Cosima

liked,

he

where

special reference

with

devise

to

pitched

was

was

his

all

to

design; Bayreuth,

own

township,

of

him

theatre

rules

returned

encouraged
build

work

this

lake

grip.

1872 Wagner

who

detail

1870,

the

on

during

Liszt.

who

years.

home

married

friend

Wagner,

In

and

his

of

more

polished

In

Bavarian

the

Triebschen,

was

died, Wagner

daughter

with

to

Ring

produced.

part

Madame

the

of

the

of

composition

of

Wagner's
most

leave

to

soil for six

village

was

which

during

Swiss

to

well-known

The

perforce

stage

Special
scenes

production
successfully

performances

of that

of

Story
in full, under

cycle

great Wagnerian
After
returned

which

was

Early

in

visit

produced
the

to

and

following
his

but

in

his

last

wrote

body

1877,
work,

Parsifal,
in

died

Wagner
taken

was

Wagner

House

Opera

new

year

happily living

Richter.

England

the

at

and

Hans

conductor,

Bayreuth

to

well-known

the

further

Opera

Venice,

at

his

to

1882.

home,

Death
11

is

the

during
In

chapter

our

methods

the

of

which

by

work

the

to

:
"

Reformers

of

noted

music

into

of

adjunct

that

the

stage;

we

an

its

need

we

not

f
.

recapitulatehis

here

necessity

dramatic

set

before

in

himself

in

the

set

rather

the

aria, duet,

his

greater
or

and

fully-scored

very

largely

accompanied
series

of

other

in

absolute

hindering,

than

mind

that

he

all

that
and

predecessors,
part

his work,

of

concerted

ment,
move-

continuous,

recitative,

melodies,
104

of the

eliminating

of
of

methods
in

borne

place substituting

their

of

object

the

unable,

the

it be

Let

himself

theories

helping,

action.

unworthy

accept

music

the

of

the

to

place

brought

found

take

the

Opera

Methods

was

of

of

namely,

"

of

years.

Wagner

sphere

proper

reuth
Bay-

performances
generally

alternate

the

upon

interred.

pilgrims, people

many

which

works,

summers

there

for the

assembling

other

and

of

goal

the

to-day

all nationalities

Ring

and

Wahnfried,"

heard

rich,

consisting

singly

or

in

combination

also

be

however,
combination

of
train

Wagner

did

of

of

of

for
seven

woman

only

may

will

offers

opera,

and

do

to

of

throws

his

she

clings

all entreaties
herself

of

into

away.

This

sinks

; its

wanderings

"Curse"

of

the

herself

her

proves
now

Motive,

as

her

at

with

to

in

him

that

; then

of

the

for her

determination,

(Daland)
the

vessel

being

affection

and

lover,

Dutchman's

devotion,

over

associated

"

once

heroine

the

to

father
sea

land

salvation

this, in spite of her

Erik;

sail his

touch

to

Senta,

peace.

sails

The

chance

r\

well-known

allowed

being

Flying

perpetually

to

spectacular

voluntarily give

find

lover

promised
spite

doomed

its

ception
con-

copy

in The

is the

this

at

methods.

opera

taken

story

only;

he

and

ship
the

ship

last.

the

"Flying Dutchman."
4-

3=

X-r*

1
4-m-

to

brain,

and

ear

with

avowed

an

grand

was

ever,

years

some

in

the

sailor

and

ever

his

bring

to

arrive

Rienzi^

music, is

The
the

characteristic

or

meant

means

any

away.

step in advance

one

by

not

and

Dutchman.

chord-progression,

thought.

showy

Meyerbeer

leit-motif (which might,

or

listener, through

straight
and

Advance

instruments), being

the

definite

effects

melody,
a

of

mind

the

each

"

Dutchman

Flying

"

"

-I-

cJ

,s

-0-

I05

122

#-c*"

#"

of

Story
in this

music

The

the

of

traces

stormy

the

of

Wagner

in

is dull

that

contains

It

1838.

with

deals

his

world,

the

he

and

their

of the

Elizabeth
return

desires
reminds
funeral

him,

without

to

the

Pope
to

return

him

of

bier, just

her

his

ultimate

his

to

seek

as

the

also

but

Venus,

passes,

but

to

penitence,

back
refrain

at

died

Rome.

pilgrims

the

his

Rome

of

is

and

absolution.

Tannhauser

Pope.

of

reappearing

and

106

chorus

haunts,

has

the

of

Wolfram,

from

Venus.

cannot

who

messengers

forgiveness by

him

duties,

of

forgiveness
him,

refused

his

Landgrave

impious

for

who

welcomes

eventually

he
has

him

however,

of

Elizabeth,

procession

by

joys

solitude

in

prays

despair, for

work,

the

knight

and

Elizabeth

He,

Court,

the

from

banished

angry,

much

the

these,

of

court

beloved.

her

boasting

from

of

delight

moves

daughter

whose

Tannhauser

the

but

bride,

of

Rome

the

to

of

story

last

at
to

way

returns

Thuringia,

music,

unhallowed

Tiring
on

the

affianced

the

for

pilgrims

overture,

perilous voyage

own

fine

few

unconvincing.

and

Tannhauser
leaves

much

fine

the

portions

sea

largely inspired by Wagner's

were

only

depicting

other

the

divided

roughly

shows

future;

passages

and

waves

and

chorus,

well-known

its

with

is still

work

early

and

solo, duet,

into

Opera

in
He

friend,

grief;
falls
announce

her

dead

of

Story

hand

upon

him.

that

Elsa

has
she

although
his

as

to

to

anxious

to

in

Telramund

defeats

nurtures

married

curiosity :

she

Parsifal, guardian

of

origin

is

once

more.

swan

is

under

his

At

her

the

by

brother

power

of

and

then

sails

the

is
but

with,

away

Grail,

Holy

the

away

Elsa

whom

made

having

his

that

suggests

brother

son

now

him

bear

to

is

he

that

Grail, and

Ortrud

and

restores

her

leaving

away,

ever.

mystical beauty

The
with

its distinctive

string harmonics,
of the

Prelude,

music

is not

there
and

is

more

known
occurs

throughout

at

consistency

is made

Bridal
in

right

the

of

Chorus,"
second

the

writing, also,

Lohengrin's

in
"

Elsa's

the

throws

always

greater

"

Grail

"

(see p. 28) theme,

an

hearer,

than

in

often

played

afforded

procession

108

outset

The

work.

to

at

the

well-

weddings,

greatly
there

is

but

works,

The

themes.

adds

Farewell."

the

earlier

the

and

act,

at

and

equally high level,

guiding
so

this

for

mood

flutes

for

original scoring

and

into

use
"

of the

spectacular opportunities

in

him

come

the

than

her,

to

will

Elsa,

insinuation

to

prey

Holy

departure

of

suspicion

the

suggests

question Lohengrin

to

elicits from

swan

other

none

Lohengrin,

for

the

known,

and

adventurer.

never

origin, falls

or

name,

her

bestows

revenge,

nameless

promised

has

Elsa

duel, and

Ortrud

Opera

to

the

beautiful

Cathedral,

and

Tristan

"

Tristan

and

how

narrates

is

King

Mark

of

Cornwall

bring

back

for

Tristan

knight
Ireland

to

The

bride, Isolde.

of

exposition

Isolde

an

"

Isolde

and

his

other

during

neither

of

of

latter

the

the

and

he

pines

she

The

King

to

surprise them,
conveyed
in

away

reaches

and

voyage,

the

combined

fall

for

longing

in

"

with

return

are

followers

The

Tristan,

stabs

Melot

castle

Isolde"

love

in

their

Mark.

and

his

to

on

m.

"T

ministered
ad-

potion

Brangane,

faithful

them

is then

who

the

love

maid

the

by
each

of

charm

under

trusty

from

and

maiden,

which

legend

sends

him

knight

Here

Brittany.
dies

Isolde, and

just

as

shore.

themes

Tristan's

of

Sufferings and

Isolde's

Love-

longing.

This
with

occasional

movement,
which
upon

has

opera

and

accounts

the

cultured

been

described

interludes
it is the
for

as

there

surpassing

the

public.

wondrous
It is the
109

one

long

is very

beauty
hold

love

duet,

little action
of

the

manifestation

the

or

music

work

has
to

the

of

Story
full of

ideas

Wagner's

illustrative

of
and

purposes,

Opera

the

propriety

the

music

stream

of

surging sound, passion

nature

of

the

be

to

the

themes

conveyed

and

of

passion

The

the

of

musical

love

embodying
called

the

but

of

the

beauty

and

able.
inimit-

an

work

one

but

this is to

humorous

it is

opera,

as

of

It is sometimes

of humour.

comic

in

word,

is the

of Nuremberg

sought
popular

unapproachable

touches

chromatic

be

expression

it is

Mastersingers

Wagner

of

The

never

for

continuous

emotionalism

can

ordinary interpretation

illustration

44

music

music

laden.

intensifythe

such

is

of

give

it

]")|i"

misleading
these

but

title

parts,
of

stretches

by long

separated

are

in

singers"
.

of

music

The

plot

with

is concerned

singers, entry

which

to

in

knight,

singer

that

daughter

to

over

will

to

the

gain

singer

him

about

middle

ages.

it is

win

to

and

he

has
the

He

admission.
no

as

of

Master-

by

less
number-

Walther,

only
hand

the

the
an

song
breaks

fair

of

prize

which
every

Eva,
to

the

song.
is also

Eva,

unfair

master

as

beautiful

most

for

thus

sings

the
her

the

of

candidate

guild,
when

Walther

hedged

awards

who

another

Beckmesser,

umpire

hope

can

Pogner,
and

composer

the

nature.

guild

old

entry, since

seeks

he

dignified

the

was

petty restrictions
young

and

serious

advantage
he

hopes

possible

is

shoemaker,

comically hopeless attempt

Walther,

with

wins

coveted

the

14

beautiful

and

with

dignified overture,

combined

the

themes,

periods

various

and

the

than
musical

of

musical

in

the

form,

the

this

from

of

effective

performance

For

the

rest,

the
in

work

Sachs,
of

quintet
the

for

more

in

numbers

which
from
is

the
are

opera,

several

have

we

apart

the

Beckmesser's

story allows

that

music

at

story,

Hans

in

dramas

result

excerpts

setting.

The

music

other
with

for

late

interest.

to

the

and

occurs

delightful
capable

allied

monologue

which

the

of

in

skill

Walther

by

sung

music

apprentices,

characters

all features

etc.

contrapuntal

development

noble

the

its

songs

lute

the

of

dance

in

humorous

verses,

principal

set

Song,"

^^EBP*

f-d-al-

"

scope

Prize

and

^v

iz

the

' '

impassioned

--.

""=*"

quaint

competition,

award.

-~"

--"

curious

in

down

Mastersingers."

The

The

final

the

him

give

to

breaks

at

Walther's

of

masters

the

Sachs,

beauty

Beckmesser

hearing.

another

other

the

Hans

But

the

of

convinced

induces

and

song,

Meistersingers

hopelessly rejected.

is

and

rule,

"

The

"

in

are

the

quite
stage

Wagner's
I

of

Story
advanced

but

manner,

with

usual

him

of the

of many

nature

The

of

cycle

four

G otter

which

Die

the

to

Walkure,
is

of

set

same

Siegfried,

and

conveniently spoken

The

"Ring."

is

portrays.

the

on

than

humorous

music

the

written

operas

dammerung,

the

as

lighter style

sequel

scenes

Rheingold,

leg-ends,

in

often

natural

Opera

is derived

term

of

in the

same

in any

not

complete

expresses

figures largely

in the

which

of

here

to

by

the

in

long

one

The

Dusk

Die

Walkure

operas
The
of

it to

the

of

lasting

the

Gods,

and

in three

operas,

(Walkure),

child

his

been

that

possible

these

hearing

handy

of

the

four

volumes

is

operas

the

recent
a

plete
com-

being Rhei?igold, which

shortest
about

two

for

about

of

each

are

the

hours

plays

Siegfried

around

published during

each

which

of

before

numerous

which

is

longest

is

five hours.

them

ordinary

forms

the

acts.

legendary

Siegfried,

say

itself,the

act

the

have

which

Suffice
work

of

one

plots

studied

be

object

it is

ring

It is not

the

to

ideas

golden

desired

the

circle, and

or

of

group

centres.

as

should

of

cycle

actual

as

story

detail

means

subject

years.

in

plot

theymayand

work,

the

from

the

into

go

operas;

on

much

so

word

rounded

or

taken

way

is the

as

way

story of the
and
of

with

it

Nibelungs
is

earth-mortal

life, death,
112

and

combined
and

the

the
of

general

basis

birth

of

war-maiden
fall of

the

The

gods.

he

of

story

clear,

of the

beneath

mortals

fight
the

In

and

Ring,

music

these

sound

most

and

full

and

last

of

the

"

Holy

Drama.

Its

which

lies

gods

and

of

of

the

the

who

would

for

be

only

Parsifal^

opera,

Grail,"

wish

twenty

have,
before

York
much

their

and

was

at

Bayreuth

years

this

followed.

Festival

it

against
patrons.

Madame

request,

Wagner's
to

Parsifal"

and

backed

enterprising

According
"3

only,

Recently,

in Amsterdam

subject

Sacred

that

was

the

to

returns

is entitled

and

composer's

by copyright laws,
in New

after

come

re-hearing.

performed
than

more

In

beauties

should

and

necessary.

wondrous

will

scores

which

depths, study

addition,

of

beauty,

him

For

and

consummation.

highest

fullest
in

are,

enjoyment

much

Wagner's

the

leit-motiven

moments

their

to

complexities

hearing

which

of

use

auditor.

every

thought

cases,

for

gold

the
this

make

necessary

over

their

reach

works

concentrated

by telling
To

cursed

and

Wagner's

to

apparent

are

Rhine,

its supreme

has

that

contend.

general principles
The

story of Siegfried;

was

of the

somewhat

was

war-maiden.

the

presence

the

the

explain

(Rheingold)

prelude

explanation

with

must

Briinnhilde,

buried

he

that

"Ring"

the

started

Wagner

found

then

of

conception

fortuitous.

"

Parsifal

"

also

however,
managers

wish,

all accounts

put

it

it is

of

Story
in

impressive

less

unsuited

work
should

of

with

and

be

given

before

an

other

the

to

concert

to

Amfortas),

and

Titurel

and

of

temptations
his

with

the

knights

and

faded.

feeling

and

strains

that

the

of

use

in

important
operas,

closely

accompany

guiding

nor

followed

this
are

work
the
out.

is

and

is

theme
than

in

his

had

less

of

spotless
opens

and

languished

devotional

only

by

its

of

the

Girls:

prominent

case

all

to

Flower

the

the

principles

and

the

Ring

composer

so

sincerity, poetry,
114

beautiful

intensely

and

the

Klingsor,

most

varied

the

with

Amfortas,

ot

of

eventually

faith

Kundry

Flower

(guarded

contact

maintains

whose

Its

of

Grail

his

religious fervour,

the

his

fallen

the

its

given.

Kundry,

throughout
of

in

temptation,
to

have

when

chorus

Holy

Parsifal

Grail

the

of

music

The

all

salvation

of

way

of

sympathy

England

exemplified by

as

and

assistant.

spite

innocence,
up

world,

magic charms,

ravishing

and

the

suitable

in

that

relationship

the

be

one

room,

the

dual

the

hero, Parsifal, in his service

by

in

sometimes

are

with

and

thoroughly

the

to

seems

time, in

performances

excerpts

deals

story

suitable

Friday music,

Good

the

Girls, and
The

Its

it

and

performance,

audience

restricted

been

Prelude,

at

amidst

than

theatre

Bayreuth,

general

subject.

the

far

so

for

only

place,

ordinary

an

quiet surroundings

Opera

and

depth

CHAPTER

MODERN

Wagner's

OPERA

of

the

orchestra

His

has

claim
has

new

lines

been

generation

younger

the

altered

Wagner

which

can

of

art

nothing

opera,
to

easy

by

see

take

to

what

on

advantage

Colossus

that

among

innovations

whose

whole

the

of

slow

been

not

writers,

opera

there

not

introduced

methods

new

said,

attempted.

be

can

have

is

mark

before

the

it

indelible

an

have

time

the

and

fresh

composers

we

advanced

done,

anything

But

of

having

to

As

since

left

has

history.

nothing

been

lay

Use

"

"

revolutionists

the

of

operatic

upon

of

Men

harmony

"Melos"

"

Slavs.

last

The

REFORMS.

Modern

copying

mere

"

"The

WAGNER'S

SINCE

No

influence"

XII.

of

aspect

have

things,

both

rt

Influence

in
suitable
of

the

music

to

leit-motif,
by

in

management,

stage
a

and

characteristic

really
in

dramatic
the
and

orchestra.
116

in

libretto,

writing

of

definitive

of

wedding

the

melos,
use

the

use

panied
accom-

of

the

Melos

Modern
is

It

not

since

opera,

that

say

later

works

influence

the

consciously

master,

to

Wagner's

under

come

much

too

of

every

composer

became

known,

the

has

great
It is

unconsciously.

or

of

Copying
inferred

not

taken

the

that

of

system

systematically in
the

this

Ring:

quite

on

methods

have

themes

adopted
of

or

the

is

influenced

been

witness

as

nineteenth
doubt

no

the

by

and

Elgar's Apostles.
has

plan

been

composers

all have

and

melos

not

music,

century

that

accom"

panied

of

recitative

richly-constructed
it,which

term

the

hands

out

attractive

modern

of

its

musical
the

was

individual

and

with:

he

work

dramatic

has

tool
been

apparent

passages

treat

if
in

became

The
and

are

first to

that
117

"

new,

dialogue,

manner,

composers.

results

The

Wagner.

use

common,

in abstract

guiding-theme
late

by

no

there

opera,

oratorio,

Wagner's

systematic

become

even

success,

of

The

has, however,

the

whether

failure.

in

sometimes

with

imitation

them
used

are

attempted,

mere

but

used

they

sometimes

and

spelt

music,

occasionally in
But

been

failure ; for

in dramatic

only

indeed

always

and

in which

manner

has

with

guiding

of

the

have

themes

guiding

large scale,

often

more

musicians

modern

is

we

istic
character-

so

one

so

may

new

tool

which

in

turns

plentifullylaboured
everywhere,

differ

as

in

widely

the
from

of

Story

of

recitatives

Mozartean

the

of

themes

they

or

may

they

case

any

than

extent

sections

led

the

the

for

way

in

case

of

use

the

to

those

the

to

orchestral

phonic
poly-

ment:
accompani-

much

in

but

themes,

greater
tive
recita-

chordal

simple

orchestra,

of

completeness
the

timbre

same

instru-

of

family

found

has

rich

the

scoring;

whole

unquestionably

too,

modern

the

of

of

due

guiding

the

from

do

days.

much

ments

be

not

of earlier

Wagner's

in the

superimposed

are

was

is

difference

blending
may

in turn

they

as

main

The

Scarlatti.

Opera

many

Orchestra
.

and

admirers,
and

resonance

music
use

prior

his

and

more

according

their
of

offering a palate

of

use

the

We

not

difficult, if

not

the

say

and

mind,

too,

impossible,
in

occurred

writings

the

is

to

them

colour,

thus

into

prominence
harmonies.
it

because

that

any
of

taneous
simul-

Wagner's

these,
find

in

find

group

uncommon

to

variety.

that

invented

he

to

brought

of many

use

to

to-day

tone

and

scope

themes

many

possibilityof
will

greater

hard

tendency

characteristic

in

borne

be

The

is

instruments,

more

to

It must

time.

has

orchestration

which

roundness

to

modern

have

is

not

marvellous

that

His

contrapuntist,
in
and

rare,

the

older

they

J.

S.

118

in

Wagner

whereas

but

their

master

become

Bach

is

use

of

tous
fortui-

frequent

To-day

Workers
and

designed

bequeathed

to

first

at

generation by

younger

repelled.

the

of

part

are

them

accepts

ear

sometimes

harmonies

new

many

the

hence

"

although

eventually,
These

occurrence

legacy

the

Bayreuth

of

Wagner's

maestro.

have

We

contemporaries,

of

of

alone

thus

influence

during

least

after

and

to

it is
in the

and

their

of

men

and

Verdi

was

such

of

traces

Gounod,

another

many

lifetime

wrote

which

owe

learned

had

composers

in

spoken

already

of

fuller

in

to-day,

various

results

generation,

younger

work

at

that

natural

only

and

countries

should

be

happily

men

various

nationalities.

To

Younger

j.%

,"

we

they

Wagner
time

Nor

the

the

from

apparent.

so

Wagner's

what

fountain

the

him.

alive

That

although

Sullivan,

something

But

these

have

we

of

sprung

Ring.

everywhere

not

Thomas,

works

seen

whom

which

poser,
com-

tion
transforma-

underwent

deeper

the

as

influenced,
are

Ambroise

from

of

those

of

being

works

German

the

by

and

ideas

and

such

greatest

style

deeper

methods

new

study

at

his whole

imbibed

he

as

the

influenced

was

how

and

Verdi,

how

seen

may

it cannot

little

"

attention.
-,

have

is

devote

now

of

Generation

by

no

course

be

slavishly copied

means

readily
maintained
119

admitted
that

they

at

have

the

same

in

any

of

Story
advanced

way

largely dependent
chief

merits

some

of their

and

The
are

work,

their

upon

his

of

of their

his

upon

Opera

models

and

features

of

the

upon

combine

to

is

success

seize

ability to

particular

own

their

and

with

them

temperament,

individualityof style.

chief

modern

of

composers

living to-day

opera

"

(a) German

Goldmark,

"

Richard

Humperdinck,

Strauss.

(b)

Italian

Boito, Puccini, Mascagni,

"

Cilea, Mancinelli,

(c) French

Bruneau,

(d) English

we

can

treat

nationalities

to

turn

of

aside

composition
features

and

Slav
have

that

of

races.

lived

its
The
and

these
under

"

most

Ethel

Smyth,

the

they

that

prominent
since

worked
1 20

the

of

headings
belong,

peculiar

namely,

whom

composers,

of

consideration

possesses
own

bussy.
De-

Bunn-

Cowen,

Lara,

which

for

moment

and

others.

about

more

conveniently

different

de

and

McCunn,

Messager,

Charpentier,

Stanford,

Corder,

saying

Massenet,

d'Indy,

Mackenzie,

"

ing,

Before

Franchetti.

Saint-Saens,

"

Leoncavallo,

and

of

we

the
may

school

istic
character-

the

Russian

of its representatives
time

of

Wagner,

Schools

Modern
but

the

have

national

strong

his

prevented

characteristics

influence

from

being"

Slavs

the

of
so

_,.

The

apparently

marked

composers

of

writers

of

but

death

as

and
to

of

treat

making
of

the

colour

the

this

school

in

are,

taken

the

case

cases,

many

from

Glinka

us

composers

in

slight

endeavour

to

grasp

distinctive

features

which

compositions,

otherwise.

121

are

whether

The

opera-

still

living,

and

kovsky,
Tchai-

it will

Slav

the

be

separate

chapter,
outline

some

the

well

as

theirs, and
for

Slavs

of

nations.

recently Dvorak,

more

all their

in

western

more

has

some

it is

as

which

stage

or

CHAPTER

XIII.

OPERA.1

SLAVONIC

Russian

Early
Cui

Other

The
far

so

they

in

should

find

foreign

are

referred

by
volumes

to

four

in

the

the

Proceedings

1737

as

of

under

for

this

1900,

122

Italian

National
before

heading,
1902,

in

opera
the

on

read

papers

Italy.

that

Development

exhaustive

Newmarch,

Mrs.

of

early

as

find

we

and
derived

had

that

in

generally

we

as

borrowed

methods

of

history

the

was

is

It

foundation,

its
it

only

do

interest,

back

trace

main,

the

in

characteristics.

to

therefore,

interested

Those

to

elsewhere,

produced

"

"

Bohemians,

and

individual

natural

employing

Although,

in

that,

art,

of

countries

these

origin

was

their

therefore,

Opera

Poles,

points

possess

of

unnecessary,

their

Russians,

the

virtue

by

so

Dvorak

opera

"

countries.

of

as

"
"

Bohemian

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the

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Musical

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of

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124

one

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1840-93
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composed,

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the

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creator

poem.
Poland
126

has

at

present

made

as

of

Bohemian
claim

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national
have

in

achievement

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the

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polonaise, valse, mazourka,

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of

and

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127

the

of

the
a

and

people
form

new

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consideration

realization

thusiasm
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Story
the overture

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borders.

confined
The
128

itself

up

Scandinavian

to

the

present

composers,

School

Scandinavian
such

in other

world-known

of opera.

respect

Copenhagen

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claim

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; and

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have

to

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France,

and

of
he

is

dramatic

as

of

opera

the

no

name

specialist,rather

to-day

129

also

far

in

us

little travel

that

although
so

in

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Germany,

show

to

Christiania

Portuguese

Interest

work

writer

countries

and

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opera

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of

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Italy.

in the

CHAPTER

OPERA

TO-DAY

IN

XIV.

ITALY,

GERMANY,

FRANCE,

AND

ENGLAND.

Boito

His

interesting

"

Cilea"

personality

German

French

school

it

is

forth

gives

Puccini,

Leoncavallo

much

home,
all

among

with

but

few

the

English,

find

notable

works
home

tions,
excep-

of

borders

the

its

putting

be

to

be

to

loved

appear

posers
com-

etc.

appears

Contemporary

beyond

birth,

Bunning,

composers,
who

operas,

heard

its

to

work.

them

and

composition

nationalities,

rarely

are

Corder

The
"

English

"

"

Italian

German

Humperdinck

Bruneau

Cowen"

results

best

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and

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the

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its

the

of

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of

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Italy:

Mackenzie

Leoncavallo

"

"

"

the

and

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Stanford

"

To-day

Saint-Saens

"

Mascagni

"

Goldmark

composers"

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Puccini

"

of
in

land

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Mascagni,

every

opera-

house.
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the

of

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Arrigfo

Boito,

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review

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famous

of

figure

strange
for

opera

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one

com-

1842

pleted
have

endowed

the

opera
world

than

with

130

are

many

dozens

composers
of

such

who

works.

of

Story
and

at

the

author

of
Verdi's

given

concert

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1890,

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to

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dividing
132

most

modern

popular
was

part of

or

by everybody

Mascagni,

entitled

the

music,

heard

been

operatic repertoire.
to

whose

Pietro

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3^=3v

composer
have

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Leoncavallo
into

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prevent

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is

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of
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pen,

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1905,

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of

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composer

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at

Covent

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"34

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visit

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of

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Story
the

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LEONCAVALLO.

of

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138

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Strauss
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of

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Richard

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Strauss
attention
Dresden

have

as

in

1906,

(January 25th).
most

and

as

and

Elektra

writes

lack

this

produced

the

Strauss

cacophonous
voice,

Salome,

of

example,

culled

from

Agitato.

Strauss'

"

Elektra

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(igog).

with

boldly,

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Elektra, will show.

Fragment

in

staged

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1909
the

orchestra
random

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Other

Siegfried Wagner,
composer

Nacht

und

Tag

bei

Knie

of

(a wonderfully popular

The

work,
140

opera

of

the

Trumpeter
which,

Max

are

orchestral

great

son

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great

ductor
con-

master

of Sdkkingen

however,

is

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Saint-Saens
of

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first

the

Wagner

and

Gretel,

which

in

with

the

of

Hansel

originality

and

power,

opera

of

exception

the

followers

the

German

Modern

distinction,

the

find

we

hardly,

has

since

fame

whose

others

many

enduring.

be

not

may

and

Italian

young

school.
famous

More

the

natural

and

their

from

the

are

followers

of

fellows.

the

music

Ambroise

is

noticeable

which

school,

French

the

Gounod,

Progress

of

type

of

men

Thomas,

in

prevails

School

in

Faust

Saint-Saens,
of

traditions
which

and

Foremost
the

is that

art

missed

just
o

among

the

to

certain

French

becoming

gifted

"

..

Like

characteristics

disappearing
He

branch

every

who

man,

has

Camille

genius,

.,

^,

he

Boito,

world
will

of

being

for

which

then

come

months

he

habit

amongst
he

together
has

grown

back

from
141

an

possesses

interesting personality, prominent

in

Saint-Saens

"

baint-Saens.

his

charm

school.

and

old,

"Grand
and

grace

composers

versatile

of

modern

more

the

opera

"Academie"

Gallic

this

individualityto

preserve

of

with

the

influence

the

in French

But

to

descended

combine

Opera,"
to

belonged

have

and

Bruneau,

quite apparent.

which

as

composers

and

Massenet,
is

Wagner

such

of

works

the

has

from

of

suddenly

the

temporarily
some

half

eyes

of

weary.

civilized

of

Story

bearing
a

district

barbarous

totally

or

with

him

impress

been

penned,

many

of

in

known

of
of

popular

it is

as

list also

Les

Barbares.

the

on

Jules

Massenet

his

other

works,

last

and
Dame.

Le

the

author
of

Manon,

Le

and

best

known.

Phryne,

DAncetre,

and

produced

many

Le

Rot

Cid,

operas,
de

of

Lahore,

Esclarmonde,

Thais,

1* fojflwfr

Navarraise,

Hdrodiade

as

Saint-Saens'
the

of

made

be

may

Jongleur

is

became

1906.

Werther,
La

work

the

original

its beautiful

Proserpine, Ascanio,

Herodiade,
1

where

admirers.

is

mention

Continent,

by

England,
its

it then

but

1909;

many

His
in

in

best

tized
drama-

in

performed

finds

includes

Carlo

which

year

work

such,

As

exists

that

be

to

Delilah,

story.

plays

is, of

Monte

at

the

music

VIII.

The

Bible

the

Comique

the

the

its

to

written

has

and

and

it has

degree

success:

Samson

allowed

until

impassioned
Henry

is

stage

not

condition

marked

bears

which

small

no

finds

soon

often

amidst

Grand

the

very

England

censorship
was

for

which

Saint-Saens

public.

any

version

this

the
both

without

stage

in

adds

elsewhere,

or

composed

so

surroundings

which

operas

music

The

the

by

acceptance

Africa

of

piles of manuscript,

ready publisher.

some

Opera

de

is

Noire

really
142

Bruneau
version

dramatic

and

Salome.

and

lines

By
it

Chamberlain's
in

Garden

The

1904.

it

taste

the

of

best

at

most

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Carlo

follows

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the

of

finest

his

first

owing

future

Moulin,

given
being

been

minded

and

chief

perhaps
the

been

his
and

esteem.

Dame,

the

that

his
143

and

late

grip

there

DAttaque

named

M.
the

and

less
is doubt-

the

are

was

while

but

Reve,

third

by

prose-poems

'

dramatic

Bruneau

desire

his

accept;

Le

the

who

the

L'Ouragan

of

to

his

operas.

best.

entrusted

La

of

one

to

strong

so

services

librettist, several

in

From

hard

works,

the

and

Notre

Wagner

revolutionary,

are

Messidor,

perhaps

composer,

Bruneau,

somewhat

before

his

to

securing

having

serious

musicians.

purpose

English

to

popular
de

sacred

in 1902.

musically deficient,

sincerityof

in

Jongleur

is Alfred

has

crudities

sometimes

Le

Gluck

French

style

to

it nearest

and

earnest

closely

more

du

is

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Manon

operas,

Lord

at

it is

unpopular:

Massenet

success

latest

produced

tor

the

approaching

Navarraise
His

and

names

of the

it, and

over

John

the

pass

general atmosphere

unpleasing

was

St.
of

produced

was

still hovered

subject, however,

to

as

and

censorship,

of

story
alterations

altered

so

was

trivial

few

Bible

the

of

names

of

these

fortunate
Zola

great

in
his

as

novelist

care.

of

Story
Andre"

has

Messager

charming

light work,

attention

at

others
but

Gustave

has

made

gifts

hands.

much

Claude

of

employs

mostly

the

of

has

scale

of

than

in

produced
Pelleas
work
the

become

showing

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if-

season

composer's

the

"Pelleas

^rg"

based

an

in

that

and

and

of 1909.
curious

use

semitones,

distinctive

and

was

Here

performed
is

of whole

'

144

3.-1

at

fragment

tones.

Melisande."

gjfrgr-jt-i-g/

tones,
.

Maeterlinck's

on

original

pected.
ex-

written

whole

and

tones

highly popular,

Garden

Covent

opera

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Melisande.

et

has

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1902

of

one

be

Fervaal.

unique kind,

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school,

Debussy
rather

(1900)

future

work,

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and

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younger

who

of

much

Louise

of the

composer
music

successful
it

in

another

representative

possession

fairlysuccessful

Debussy,

had

French

of

opera

may

by

Paladihle,

modern

shows

more

d'Indy,
of

composer

field

the

whose

and

has

Dubois,

prominent

hit,

which

from

amount

in

work

great

which

Basoche,

Charpentier,

Vincent
is the

La

its most

perhaps

is

chieflydistinguished himself

English

still at

are

Opera

4--^

of

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wishes

of

the

After

boxholders

forward

and

for

conditions

by
'

in

Sir

Charles

he

earliest

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opera.

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Veiled

(Hamburg)

many
not

and

appearing
the

until

style

enjoyed
charming

great
music.

that

favour

Of

the

for

still

short
more

146

in

his

time,

was

O'Brien

Irishman,

an

less

1884.
it

but

Shamus

romantic

bury
Canter-

the

is

The

Savonarola

came

suited

confessedly

of

and

of

efforts

where

named,

Stanford

by

repeated

companion,

1896.

work,

The
than

made

lack

Garden

vent

particularly

subject

temperament.
opera

it found

before

on

last

the

attended

years

Co

fame

been

Germany,

Later

at

it

when

and

(Hanover)

assart

produced

success

present

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made

in

some

wrest

has

success,

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light.

to

came

Pilgrims,
Some

Khor

be

to

respect

has

it is

concerned.

Stanford.

indifferent

failure,

appreciation,
in

this

come

as

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by

just

will

would

pluckiest attempts

audiences

grudging

do, there

war,

no

infrequent, although

seized

the

of

has

public

composers.

is

cate.
syndi-

schemes,

opera

to

opera

generally

Undoubtedly
from

invited

the

sinews

large

at

English

national

opportunity

it is

comes

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of
the

supply

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support

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members

that

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being

constantly
hope

the

complaint.

for

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all,it is these

therefore

and

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individual
in the

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and

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SIR

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named

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idea

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of
is

music

that

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enough

carry

completed

Mr.

147

there

successful

has

as

and

opinion

beautiful,
of

far

of Lyons

Lady

general

so

list of his essays

The

concerned.

heart,

(1890), Sig?ia (1893),

(1895).

Harold

lost

have

to

seems

operatic enterprise is

poser,
com-

anon.

Frederic

in

bid

and

also

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run.

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halls

written

also

was

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exacting

issue.
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operas,

produced,
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a

of

Story
Scotch

is answerable

composer,

Deans

instances

rare

point

any

of

considerable
and

Wald

success

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music

her

where

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of

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England

the

rising

sex

operatic composition

in still

opera,

music

the

Ethel

member

distinction

of

work

one-act

Miss

Diarmid.

and

Opera

Germany,
had

great

success.

Osra,

Princess

is the

work

of

simulates

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produced

Garden

Englishman,

young

Italian

modern

the

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at

Herbert

whom
be

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delightful,and
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opening
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woodland

the

Ed.

148

1902,
scene

real

The

Rosbart,

while

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direction

Somerville,

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,

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distinctlyWagis

abilityof this

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Non-Individuality
English
still more

from
able

composers
natural

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interest

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graft

characteristics,
of

Bohemians
but

of

absence

their
and

to-day

of

individuality.
to

on

find

done,

have

would

enduring

149

success.

opportunity,
English

Were

style some

their

we

as

productions
more

lack

from

much

suffers

opera

the

there
command

Russians
is

of

trace

and

little doubt
a

greater

CHAPTER

OPERATIC

Subsidized

"

opera

The
"

Opera

Royal

Opera

Company

England

The

subsidies
different

there
to

to

may

provide
be
the

and
In

but

towns,

which

sums

nations,

in

far

support

nor

care

such

an

countries

the

country

The

"

Moody-

in

certain

really
as

more

on

good
these,
150

is

of

most

of

or

be

The

House.

all

is

so

always
of

payment

in

and

cases

money

less

the

should

countries
in

no

Opera.

to

grant

amount

go

aid

Opera

idea

the

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different

main

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may

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of

as

State

annual

of

vary

so

is

enterprise
most

economy

an

opera-house

people

witness

in

expenses

granted

so

same,

to

that

the

towards

made

this

"

operatic

as

footing"

Governments

European

far

so

Government
is

in

opera

Company

Rosa

Garden

"

outlook.

Continental

It

Carl

of

subsidies

to

Covent

companies

History

"

different

on

Objection

factor

Opera

"

"

stand,

we

concerned,

opera

The

"

ENGLAND.

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Syndicate

companies

Manners

IN

educative

an

English

"

Travelling

In

ENTERPRISE

"

Advantages

XV.

quite

the
that

open,

small

performances.

Opera

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looked

upon

of

Story
when

towns,

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Intendant

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control

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opera

are

three

months

high

and

as

it

in

all the
of

hours

152

of

at

very
of

course,
street

pleasures
with

Grand"

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to

power,

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"

and

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position

year
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least

man

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singers,

critical

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prices

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opera,

England

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is

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working

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of his life.
the

be

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to

During

the

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desirability of

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advocated

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others,
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undoubtedly

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musician,

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and

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tickets

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in

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amount

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has

Stanford

Charles

Sir

by

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natural

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of

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of ultimate

national

our

it is not

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be

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peoples,

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education

likely that

very

more

would

grant

practical value.

Operatic enterprise in England,

initiative

private

State

is

this

of

means,

different

bids

time

by

various

has

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course,

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singers, orchestra,
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companies

spend freely on
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as

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to

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of

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very

154

of

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opera.

season

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London

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performance

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of

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of

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ance

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old

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fashionable

upon

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156

House

supporters,
in

the

from

Haymarket

in

Opera

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it

downs;

theatrical

chief

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was

1826, while

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1885,

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when

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it

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in

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in

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to

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Since

1896.

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hands

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Covent

present day.

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to

up

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present

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and

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in

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operas

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have

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short
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is

work

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main, by English

held

157

Wagner's

while
in

Wagner,

other

specially

detailed

placed

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of

great

of

charged;

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Butterfly,and

performed

performances

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care

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Of

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seasons

grand

and

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season

of

Story
and

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of

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various

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Varieties;

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title

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occasionally
in the

provinces.

palmy days,
158

heard

was

the

the

in

Of

these

company

of

Story
travellingparties;
especially
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in the

England.

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is

'

Mr

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made

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certainly
and
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The

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in

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plot, music,

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performances,

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contains

he

Garden

Covent

taking

repertoire
160

be

loses

Manners

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provinces,

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action
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too

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the

of

This

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form

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Cambridge

sufficiently high
161

Opera

actually

in

January
was

parts

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same

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Story
special mention,

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slipshod presentations

of

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also

to

in the

opera

for

to

build

162

of

music

congratulate
hopes

for

the

those

but

that

progress

England

to-day
on

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to

as

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much

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CHAPTER

disappointment

of

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hear

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music

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OPERA.

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XVI.

ment
.

music

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harmonies

so

great
will

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convey

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most

delight
163

.,.

unfamiliar
to

their

ears

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of

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faction
than

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generally

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with

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of

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for

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details
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papers

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as

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and

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of

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musical

girl

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sixteen.
It

does

not

take

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long
164

to

discover

that

she

can

Difficulty

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the

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and

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almost

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of

for that,
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166

too,

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68

of

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massive

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170

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on

171

and

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faculties.

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CHAPTER

THE

Covent

CHIEF

Garden

OPERA

La

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OF

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countries

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sights

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our

of

already

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on

to

some

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of

the

houses.

first,

to

the

sunny

172

land

where

opera

was

Houses

Famous
born, the
Milan

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3,600

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financial

173

its

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originallyfrom

Carlo."

fire in 1816, is of

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Story
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Barbiere

77

To-day

than

the

in

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present
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upkeep.

174

at

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duced
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of

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176

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17

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^509,795.
177

to

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The

mounted

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178

notice,

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Continental
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building, magnificently

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mounting

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179

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according

to

his

should

be.

the

present

still

time

in the

famous

is

Wagner

may

description

Bayreuth

that

its

is

so

fortunes

the

conclude

house

in

and

the

world

wide-spread,

and

"
'

opens

reuth
Bay-

position,

these

short

at

such

worship

from

with

by Wagner

of what
is

There

therefore

must

we

seems

than

up

interest

much

very

of

it

size has

any

description

although

them;

of

town

detailed

fitted

reached

house

but

prejudiciallyaffect

very

German

every

Munich

performances,

easily

early

too

yet

as

new

better

have

operas

Bayreuth,

even

and

is

the

of

Wagnerian

central

more

Mozart's
It

if any,

fortunes

for

of

these.

theatre

itself
much

with

influence,

have

Opera

as

the

all parts
its
with
case

glow

the

doors,

of

any

world,

are

enthusiasm
other

house.
1

80

his

name

and

his

little

town

which

he

labours

when

pilgrimages

intense

an

the

upon

of his final

scene

of

surrounding

the

Bayreuth

made,
which

and, therefore,

and

has

Moreover,

theatre
devotees

no

parallel
until

the

i8i

of

Story
Americans

boldly pirated Parsifal, contrary

wishes,
be

it

spot

that

felt for

May

1872

in

Choral

in the

feature

should

obtained

little above

seat

and

by

putting

between

the

Another

feature

below

the

conductor,
seen

by

brass)

is

the
each

heads

level

of

which

seemed

whole

proved

the
he

one

immediately

has

successful.

the

and

the
at

where

The
182

same

(hence

front

of

the

stage

"

"

which

machinery

see

i.e.,
the

even

be

cannot

(the

orchestra
an

it,

him.

before

view,

every

of

could

house;
in

first,but

of view

orchestra

the

or

year

the

he

stage

part

equally good

in

persons

of

of

by raising

done

submerged

floor

under

doubtful

an

was

two

have

performance;

point

every

the

audience,

actually

that

the

when

are

each

this

the

was

although
the

of

building,

the

1876,

which

for

spectator

Beethoven's

intervals

was

from

equality of prices);

of

was

performances

at

"1

cost

construction

be

then

Seats,

house,

of

in

place

scale

summer.

the

over

took

since

grand

in the

years

view

on

quite

foundation-stone

the

completion

of funds,

is

Bayreuth

reverence

performance

the

performed;

place

price all

the

lack

by

was

taken

and

Symphony,

delayed

that
a

could

other.

any

with

work

great

inspiring a

hallowed,

celebrated

last

Wagner's

to

Wagnerian,

true

from

and

Ring

the

to

and

was

laid,

two

hence,

his

that

only

sacred

distinct
It

here

was

heard;

Opera

experiment
has

and

on

the

scenery

of

Story
in

Information

1793.

these
Of

and

other

sufficient

will be

theatres

outside

mention

to

(the

the

to

as

houses

opera

Opera

of

found

in

Cairo

of

which

received

be

and
the

saw

by
B.

Appendix

it will

Europe

those

former

subsidies

perhaps

Alexandria
of

production

Egypt
Verdi's
houses

(New

York,
the

opera

houses

in the

in

1871),

Boston,

York,

and
talent

A'ida

command

witness

world.

184

the

Philadelphia).

Metropolitan,

the

and

best

and

very

and

the

American
The

Manhattan

magnificent
most

New

formances,
per-

expensive

XVIII.

CHAPTER

Operetta

"

Musical

comedy

thereto

language
Wagner's
Vocal

The
or

of

humorous

Weber's

with

the

or

of

Mixed

"

music

the

"

"

such

that

Der

this

under

perhaps

in

not

being

as

necessarily

works

in

of

of

belong

When

Germany.

and

by

this

to

very
a

its

Opera

Fidelio

Beethoven's

as

mentioned

title

the

Singspiel

importance,

already

described

fact, however,

work

Freischutz

Comique,

Opera

dialogue,

mere

the
of

is

already

spoken

on

France,

of great

operas
come

Next

tions
Objec-

"

requirements

stage

Curiosities

"

proper

have

we

nature:

remembers

the

Ballet

"

Pasticcio

"

of

Curiosities

"

Opera

confers
in

evidently
of

This

interspersed

Comique

and

of

offshoot

introduction

one

construction

supernatural requirements

Singspiel.

casts

Masque

"

cadenzas.

chief

opera

opera

of

Curiosities

"

Stereotyped

"

Ballad

"

OPERA.

OF

CURIOSITIES

AND

OFFSHOOTS

type, it is
number

large

variety

of

posers
com-

heading.

interest

185

is

the

operetta,

or

short

of

Story
originally a

opera,

style,

and

been

theatre-goers
and

series

long

Sullivan, which,

two

or

of

posing
im-

less

later

In

days
acts,

more

speciallyfamiliar

very

the

by

into

general

of

opera.

prolonged

made

the

and

lighter

serious

frequently

very

opera

dialogue

is

than

often

are

have

spoken

moreover,

proportions
operettas

light

one-act

employing

Opera

English

to

works

by

properly speaking, belong

Gilbert
this

to

category.
Of

lower

somewhat

of

popular type
of

musical

of

but

less

the

only

comedy,

considerable

piece making

stage

music,

is

grade

use

exalted

forms

to

artistic

Musical
.

the

or

art;

no

....

pretensions

serious

Comedy

beauty
for

which
the

on

an

to

seems

be,

by these

the

at

the

works,

taste

time, somewhat

present

wane.

form

had

claimed

are

of

affection

which

for

opera

"

is the

airs, often

of

the

Ballad

English

Opera,"

different

by

have

always

really a string
thrown

composers,

Ballad
.

less

or

more

...

promiscuously

into

story,

Opera
with
close

very

music,
to

which

the

ballad

whole

to

this

was

is

there
bears
The

concert.

for years

often

they

connection;

and

belonged

which

practicallyno

for
and

category,
1

86

English

set

an

no

concerted

resemblance

Beggar's

renowned

model

of

sort

some

have

to

appear

Opera"

entrepreneurs,

example

for hosts

Masque
imitators

of

beginning
this

of

Bohemian

hundreds

such

works

unknown

"

of

also

of

in

artistic

more

which

the

such

took

in

flourished

interest

where
it

and

time,

it receives

merit

The

America,

for

where

of

approximate.

to

root

now

as

operas

tend

it

was

reigns

of

towns,
the

during

The

monarchs.
of

title

the

in addition,

both

and

great

demand

They

were

for

great attention

remains

in

of

the
it to
in

even

early days

of

to

took

as

music

has

have

been

performance

which

the
in

were

royal weddings.
manner,

lost,

excellent

of

costume,
but

its

what

class,

to-day.

operatic history
i87

in

part

machinery,
been

and,

Campion,

sumptuous

stage

with

instrumental,

others

most

sentation
pre-

stage

dancing.

functions
the

the

was

upon

and

of

succeeding

some

divertissements,

being paid

shows

effective

works

vocal

such

staged

much

such

many

these

in

England

and

large proportion

of

composition

in

VIII.

of

Masque,"

of

streets

allegorical idea

some

Coperario,

the

adopted
Henry

"

is the

originally developing

opera;

plan

descriptive music,

Lock,

and

processions through

Italian

In

trammels

Germany,

really preceded

carnival

and

from

only

Liederspiel."

Of

etc.

free

Maritand

opera

is

which

to

and

England

indeed,

herself

work,

Girl

ballad

is not

shake

to

class

The

follow;

to

there

was

no

radical

of

Story
difference

the

between

of
1

produce, by-the-bye)

la

Royne."

is its

had

it has

even

position

of

to

seems

been

have

done

to

with

has

and

become
recent

so

even

opera-goers;

introduces

ballet

continuing

ballet

has

maintained

and

to

the

extent

same

which

it

and

as

it has

was

feature

Cilea's

it

as

brethren,

familiar

work

it has

although

in

very

lengthy

without
and

the

which

with

France,

Lully,

works

the

date

to

appears

Continental

our

alone, which

dance

opera

day,

de

connection.

lasting

with

francs

comique

Ballet

in

Joyeuse

million

half

in

English

the

to

of

ballet

importance

great

transported

Lecouvreur

and

present

appealed

never

Duke

"

opera

beginning
the

to

up

in celebration

of the

recently grand

unknown;

was

the

close

very

until

Indeed

of

tainment
enter-

an

music

termed

was

signification,the

foundation

the

and

illustration

an

present

from

three

581 (costing

to

the

of

ballet

the

instrumental

marriage

the

As

and

masque

and

of vocal

Opera

troduced
into

Adriana

annoying

somewhat

ballet.
For
breaks

jec

the
up

great
the

the

sq

interest

ions

as

being

that

the

the

of

in
old

style
train
188

the

the

opera

is

js conCerned
is
of

often

development
arrested, and
a

complete
the

necessary,

thought

it

is that

ballet

story;

the

musjc

difference
result

of

continuity

of

of

disadvantage

and

idea

is

Ballet
often

only

in

and

most

irrelevant

in

successful,

in the

form

separate
has

of

had

Sullivan,

music
and

popular amusement)
mainly

it is wedded

where

to

from

written

; but

(in

in

of

it

the

it is

its

ances
appear-

music-hall,

light and

As

by Adam,

Russia

the

to

an

specially

opera,

England

confined

music

for

by

as

imitated.

apart

others

that

as

been

not

widely

entertainment,

excellent

now

been

include

ballet

have

ground,
back-

somewhat

such

introduce

it

artistic

the
not

best,

at

attempts,

to

they

do

Hence

for

into

to-day

is,

few

Tchaikovsky,

are

fallen

denouement,

have

nor

appreciation

has

what
A

difficulty.

seen

Ta?mhauseri

integral factor

very

of

interlude.

Wagner

ballet

ballet

operas

performance

any

growing

the

opera,

with

resumed

that, with

happens
truth

be

to

charming

character.
few

words

as

grouped

under

two

curiosities

to

three

or

of

opera;

different

these

may

be

heads,
Curiosities

somewhat

as

(i)

The

follows

Curiosities

:-

of Construction

(2) Curiosities

of

(3)

Curiosities

of the

old

manner

materials

in the

of
way

Design.

Stage Requirements.
Music.

collectinga
of

and

airs

and

189

mass

songs,

of

heterogeneous
and

of

turning

of

Story
into

them

kind

of

Construction

applicable
*^

popularity

of

one

kind

is

This

work

not

1738

his

followed

thing

few

would

work

suggestive

languages

the

at

to

so

little

of

the

regard

with

Gluck
kind

this

of

serious

of

which

procedure
of

out

favourite

which

for

is

pantomime.

is another

that

libretto

of

up

in

defunct
to

the

it used

to

paid

the

brought

performers

was

posed
com-

certainly

composer

construction

time

same

also

day

no

different

by

singing

The

of the

would

example

The

revert

1771.

composer,

which

day,

an

and

in

and

great

its

of

by Buononcini,

acts:

entirelymade

later.

years

instances

first

present

works;

other

great

the

things

doing

to

produced

three

last-named

fortunately past,

is

operatic
more

in

second

the

attained

Scevola,

was

which,

growth,

famous

most

almost

opera

an

the

at

muster

from

airs

is very

times

at

Muzio

of

manner

pass

in

curious.

"pie,"

or

hybrid
.

has

; the

Handel

by

this

to

the

by Ariosti,

easy

Pasticcio,"

name

however,

an

certainly

of

Curiosities

third

is

opera,
"

The

Opera

different
custom

importance
be

quite

Languages

stage
or

sung

to

her;

sing
on

in Italian

inconsistency

language

in whatever

the

tor

occurrence

common

the

Continent
and

that

the

is

airs

recitatives
almost
190

each
came

would

in

person

on

easiest

to

the

him

perhaps

German,

incredible; when,

with

be
an

how-

of

Story
portion
the

it

of

"

placing

the

orchestra.

the

band

of

have
a

of

the

been

thin

proved
entire

disastrously

Mr.

Conried

down

for

shall

sound

if, on

the
be

movable

other

hand,

lowered

One

of

enough;
with

but

voiceless

in

so

idea

One

when

be

raised
is

to

wait

instruments
into

the

air;

required, they
will,
of this

elevation
to

or

up

crescendo

long

players

move

this

see

of

what
some-

for

grand

in opera,

effects

in

extravagances

many

in

performers

In

the

scenic

modern

ballet,

in

and

'

these

effect

proved

brass

their

groups

display.
r

Requirements

the

adopted.

of

works,

the

gradual

yet

indispensable

Stage

of

effect
;

enormous

reads

"

has

invention

when

days

by

with

also

that

subdued

effected

had

could

will

feet

string

Metropolitan,

which

they

has

players.

desired

few

be

floor

considered

of

is

it

prominently

freakish
In

if

the

designs

orchestra

has

placing

platform,

other

the

which

York

the

suggested

presumably,

which

poor

New

of the

good;

in of

but

the

the

will;

at

will

hot

movable

upon

sound,

below

increase

whole

covering

the

from

emanated

the

and

sight

the

substance,

transparent

subduing

of

out

on

innovation,

Wagner's

it necessitated

stage, although

sections, has

Opera

the

were

one

way

dramatic

pantomime,
r

effects

far

supers

as

are

the

hardly
192

no

doubt

cumbering
helps

on

legitimate
of
the

the
cause

stage
of

A
it

opera,

is

that

congratulation

demands

are

no

longer

made

these
to

took

for

instance, is the

part in Freschi's
100

Virgins.

100

Soldiers.

100

Horsemen

40

Mounted

Drummers.

Ensigns.

1680

performers
:

"

Armour.

Horseback.

on

in

Berenice

in Iron

Cornets

list of

modest

Trumpeters.

6 Sackbuts.
6
12

any

extent.

Here,
that

for

matter

exceptional stage
great

Company

Queer

Minstrels

4
12

Flutes.

playing

Turkish

on

Pages.

Sergeants.

Cymbaleers.

12

Huntsmen.

12

Grooms.

12

Charioteers.

Lions

Elephants.

led

Berenice's

Horses

with

Horses

drawing
6

by

cars.

Chariots.
193

instruments,

Turks.

Triumphal

Car.

etc.

of

Story
A

stable

with

forest

filled with

However

Spontini,
ideas

these

bar

the

to

the

on

pleasure

in

chiefly
crowds

the

are

bird

so

sleeps,
of

fire

is

maidens

must

the

and

dart

rock

and

play.

convincingly.
dragon
his

to

these
of

ming
swim-

be

of

the

Siegfried

Brunnhilde

living
It

flames

is

such

;
,

of

but

points

out

huge

involved

to

that

the

occur

operas

which

on

find

eye.

elements

Requirements

at

also

hardly

more

appear

rock

round

must

fly ahead

must

but

stage,

Wagner

essential

bird

the

upon

are

him

show

the

only

supernatural

the

put

of

the

water,
to

to

many

Rhine

; the

in real

of

not

management

naturally

features

supernatural
situation

stage

are

beautiful

of the

effects

modern

across

will

grand

they

in

delights

sensuous

enough

fly

In

matter.

of

of
but

With

opera.

to-day,

drama

such

effect

expense,

that

presentation

easy

works

considerable

merely

difficulties

The

make

in such

their

sense

not

favour;

appropriate

to

is

bears.

composers

found

very

artistic

wedded

other

of

in

imposing
sphere

and

have

of

the

because

boar, deer, and

and

production

score

music

wild

be, its proper

may

Meyerbeer,
opera

living horses.

ioo

magnificent

spectacle

Opera

mouth

Has

Fafner
at

these

as

the

The
wrong
194

difficult to

are

felt

ever

anyone
?

which

fire

has

frightened

very
a

way

time, his

stage

of

head

coming
and

his

Curiosities
tail

seem

and

the

marred

which

through

music

in the

Curiosities

instance, is the weird

Euryanthe

is

such
curtain

the
in

display

to

midst

the

is

such

reiterated

for

for

note,

of

one

the

is

in the

stage

ment.
manage-

then:

such, for

middle

curtain

rises
tomb

of

Weber's

of

the

stage

.-

Leoncavallo's

of

curious

the

and

gruesome

aside

thrusting

Pagliacci prelude
song;

strange

ineffective, there

now

the

where

overture,

momentarily

portion

megaphone

these

modern

occur

ances
utter-

sonorous

In

is

in

another,

one

visible

very

uttered.

are

improvement

for

still scope

deeply

machinery

which

for

beasts,

the

by

they

his

of

effect

impressive

is often

with

little connection

have

to

the

characters

vocal

chorus

schezo

of

sing

to

one

upon

in

seraphim

Boito's

Mefistofele.
On

Michael

scale

in the

opera

any

violins

than

the

various

the

of

peal

Handel

in the

orchestra.
of

unusual
for

the

bells

sighed

Of

in
for

made

experiment

for

many

as

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203

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than

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of

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rival
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received

sixty nights
204

the

secure

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house,

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during

note

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receive

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of

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imprisonment
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206

poor

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Prima

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poems

as

composers

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Gluck,

dramatist

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Harold,

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light

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:

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every

207

the

Prima

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in
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Opera Comique.

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of

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Opera

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tenor

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source

208

as

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for

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the

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a

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Arsani,

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; but

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; for

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by

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measures

of

success

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militant

organized

French

measures

Village^ for example,

in

that

fact

1828

Berlioz) threw
midst

the

opposition

door.

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already

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Jomelli's Armida,

opposition
commented

stronger:

noise

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the

songs.
fair
these

house

Jockey

So

hearing
conditions

not

it is
209

the

have

to

the

to

produced

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in

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was

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by

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1750,
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Paris

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to

1866,

was

theatre;
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du

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So

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the

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of

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music

after

pianoforte

the
Of

of

This

very

much

of

what

there

enough,

himself,

engaged.

He

When

way.

audience
while
and

often
much

no

been

in

it is said

that
he

patient thought
performance
the

"I

response,

deafened

deaf

of La
man

hear," said

can

for

by

the

the

should

have

his

noise.
210

in

be
own

the

1804,

everything,

His

comparison

orchestra,
with

be

made
After

with

delight

he.

His

hear

by

specially

turned

remark
doctor

to

so

had

who

doctor

what

noisy,

very

Vestale.

the

he

laughing, snoring,

certain

that

reason

if,

fainted,

smashed

might

loud

well

as

physique

considered

was

have

play

parts

nightcaps.
in

result

would

donna

with

volume

that

passage

doctor:

of

thought

the

not

produced

and

stage

on

He

always

was

greeted

was

their

writer.

opera

Italian

could

more

Maison

to-day,

down

amusing

else, with

prima

however,

the

on

moderate

attending
noisy

Petite

putting

deaf

sing

to

not,

single

all

cellos

with

obtains
so

very

did

Vestale

althoug-h

write

and

more

reading.

his

someone

dashed

the

little of

rehearsal, his

La

La

could

up

high-handed

made

hours'
that

and

If

were

suggested

walk

cat

other

amusing

wanted.

six

after

of any

and

life is very

they

he

perhaps

are

than

opinionated

he

his

that

Spontini

his

that

exclaimed

hearing

composers,

stories

have

Opera

to

met

himself

his

with
had

Persecutions

produced

was

hissed, much

him

find

to

his

of

maestro

in the

such

books

interested

A
the

daily

York

seem

world.
those
and

book

of

asleep.

might
there

but

History of

the

those

need

therefore

are

Opera

which

to

the

that

composer

this,

as

the

on

expecting

fast

and

Reminiscences
and

him

house,

and

Edward's

composer's

instead

and

be

not

here.
of

to

love

of artistic

amusement

and

papers,

Opera
who

of the

in bed

singer

readily turn,

wealth

whole

such

Musical
may

reprinted

despair

of

hooted

was

his

are

Barbiere

77

with

at

up

Sutherland

as

Ella's

and

tucked

of

chapters

called
of

depths

stories

of

Quotations
fill many

they

safely

was

1816, it

commiserate

to

work,

Rossini's

of several

chagrin

the

to

others

keenly:

very

When
in

Rome

at

Thinking

friends.
failure

opposition

by hostility.

affected

less

such

felt

Spontini

be

has

may
the

to-day

the

its

it it is

worries
constant

joy.

211

derived

impressarios

persecuted

most

be

and
source

persons

troubles,
of

from
New

of

in

the

but

to

refreshment

A.

Appendix

Opera (with

of

chief

535 (?). Vincenzo

drama

1550

the

(?). Cavalieri,
music

illustrate
1

5"

Bardi.

musicians
Greek
1

"

(?)" Jacopo
modern

(1600)
These
other

1558.

Guilio
school

Peri,

sense
are

the

opened
composers

Caccini
;

shares

the

of

of

first

idea

(Rome).

to

and

resuscitate

music.
in the
opera
Euridice
and

Dafne
(1597)
works, in the monodic
model
set
a
ground, and

quickly

seek

dilletanti
to

real

of four

of modern

his

new

with

the

of suitable

term;

titles of
up

circle

provision

Composer

of

to
composers
music.
by the

endeavoured

and

the

by

words

the

house

assembled

drama

earliest

oratorio,also

instigatorof

The

Bardi's

at

the

of the

meaning

the

(?). Giovanni
opera

of

One

first

music

of

Early writer
tragedy.

of the

Composer

dramas.

Singers,

(Florence).
of Greek

lines

their

of

names

etc.

Galilei

on

Composers

Great

works),

Conductors,
1

of

List

Chronological

style.
which

followed.

Opera

Peri

opera.

215

the

composer

merit

of

of the

monodic

founding

modern

of

Story
1567. Claudio

Monteverde

instruments

certain

of the

Thomas

and

1585. Hcinrich

who

"

1596.

in

1597.

Lawes

Henry

Lock

earliest

Pietro

English

of

composer

travelled

who
Englishman
English plays.

English

of

composer

First

court

and
was

music.

foreign musician

music

wrote
a

German

in church

excelled

(Italy).

for

masques;

Ben

by

masque

School

Johnson,

wrote

but

(Crema).

at

least

some

were

of dramatic

power.

Production

of

The

Siege of

Peri's

Orfeo, the

in

first

one

found

to

follower

performed

of

of

Rhodes.

Helped

twenty-seven

shared

who

composer

composition

the

(Venice).
Opera.

of

Cavalli

English
Cook

operas,

Ferrari

F.

Venice,

and

English

Benedetto

who

1600.

Laniere

(Dinton).

Matthew

Venetian
1600.

also

England
compositions

his

with

stylo recitative"

with
the

who

in

settled

poser
com-

instruments

(Kostritz),1 585-1672.

Nicholas

of

one

earliest

the

airs.

Schutz

1590.

or

An
for

(Dinton).

operatic composer,
1588

of

use

ballets.

Lawes

masques

groups

(London).

580. John Coperario (London).

in Italy,and
music
wrote

1582. William

the

The
of

innovator

great

extend

characters.

stage

and

was

of

Writer

567-1643.

orchestra.

certain

Campion

masques

the

of

associate

to

1575.

(Cremona),

intermezzi, etc. ; he
and
also did much
to

many
operas,
in harmony,

various

Opera

of

operas,
Paris ;

the

Monteverde,
mostly for
a

composer

publicly performed

opera.
1600

credit

1604.

of the

Giacomo

oratorio,
1620.

Manelli

(Venice).

foundation

of opera

(?). Francesco

Carissimi
who

Marcantonio
and

Carissimi;

also

Cesti
wrote

Shares

with

in his native

Great
(Marino).
wrote
occasionally for

(Florence?).
about

216

twelve

Follower
operas.

Ferrari

the

city.

composer
the
stage.
of

of

Cavalli

Appendix
operas,

1627. The
1628.

of seventeen

Composer
Legrenzi (Bergamo).
Venice.
in
mostly produced

1625. Giovanni

first German

{Dafne) produced.

opera

of
(Paris). First French
composer
was
first thoroughly successful, this musician
at
opera;
in
his position by Lully, and died
ousted
from
England
in 1677.
Robert

Cambert

Lock

1632 (?). Matthew

music

plays
{Psyche)
to

which

English
1633. Jean

Migrated

Lully (Florence).

Batiste

early age ; obtained

great
and
Louis
XIV.,
monopolized
He

years.

wrote

in

Lully died

at

; a

1640. Giovanni

of

act

for

twenty

for his

Rossi

in

settled

few

remain

which

(Bari).

music,

four

Wrote

obtained

Akebar, Roi
music
by the

1649. Pascal
model

de

Mogol,

Abbe

Colasse
of

world-wide
the

Lully.
217

operas.

of

and

opera

and

Eve,

duced
pro-

publicly
being the

be

class

same

popularity.

first French

Mailly), performed

(Rheims).

more

for Venice.

operas

Composer
(Naumburg).
His
Singspiel, Adam
Singspiel.

Although

eleven

wrote

for

operas

(Venice?), 1645-81.

church

England

of

works
the first of such
to
1678, was
is
in
and
interesting as
performed
Germany*
of the
forerunner
of many
a
subsequent work

1646.

many

in MS.

Thiele

has

of

operas.

Father

in

which

at

court

tunes.

(Modena).

Stradella

famous

1645. Francesco
also

composer
and
music

five operas,

wrote

1645. Alessandro

1646. Johann

and

who

Italian

Buononcini
son;

the

opera

Pasquini (Tuscany). Wrote

fine polyphonic composer.

1637. Bernardo

more

French

France

to

at

power

thirty ballets

least

incidental

wrote

famous

"The

1687.

1635. G. V" Draghi.

Rome

title of

Opera."

an

and

of

etc.), one

the

under

published

was

incidental

of

(Exeter).
Composer
{The Tempest, Macbeth,

Wrote

many

opera
at

(words

and

Carpentras.
operas,

after the

of

Opera

of French

opera;

Story
1650. Marais,

Composer

1658. Henry

Purcell

great
music

for

English
the

many

London,
English

Purcell

1659. Alessandro

of

the

Da

first real

not

been

which

founded

he
real

and

in his

forms

set

although
popular as

so

make

to

composer

accompaniment

full

1659. Francesco
Bolognese

of

A.

1661.

J, A* Perti
school

his

of

who

opera,
Italian

school

of

be

to

His

music

of

of

means

be

is

first

the
for

the

teresting
histrionically inaccepted to-day.
of

member

(Palermo).

its

ritornello,

orchestra

While
would

with

attended

the

the

use

the

composers.

of
(Aix, Provence).
Popular writer
features
the
attempted to combine

and

thirty works

use

Pistocchi

school

Campra

the

in

works.

first

at

of

recitative.

of

little of

French

lived

fifteen

He
also
the
orchestral
undoing.
uses
and
occasionally employed
by Monteverde,

Andre"

all

ALneas

own

1660.

for

dwarfed

time

the

Aria,

capo
became

success,

the

(Trapani), 1659- 1725.

Composer
is
important as the
;
operas

and

largely employ

to

it

had

works:

Scarlatti

hundred

one

have

might
Chief

for

Handel,

during

of

Dido
(1677),
Queen
(1690),
(1690), Dryden's
Tempest
(1690), King Arthur
(1691), Bonduca
(1695).

Dioclesian

first

of

musical

opera.
Indian

The

JEneas;

personality

matters

and

plays,

masques,
Dido
and

opera,

marked

of

17 18.

English composer
originality. Wrote

1658-95.

and

power

powerful

other

of

(London),

dramatic

died

French

high

he

schools;

about

produced

rank.

(Bologna). Another
in
produced
operas

of the

member
his

native

Bolognese

town

and

at

Venice.

1667.

Antonio
was

Lotti

sixteen

Produced

(Venice).
of

years

and

age,

he
before
opera
in after
others
many
an

wrote

life.

1667. Dr.

Pepusch

settled
which

in
made

line of such

Famous

(Berlin).
and

London,
up

The

ballad

German

collected

Beggafs

operas.

218

the

Opera^

who

composer
and
songs
the

first of

pieces
a

long

Appendix
Conradi.

1670 (?) Johann

works

produced
1672.

German

and

Buononcini

Batiste

(Paris).

Destouches

as

sixteen

and

stage.

in

eight
his

to

with

many
Italian.

in

English

1680

Caldara

1681.

Mattheson

the

opera,

England
first real

of

sixty-sixoperas,

Wrote
and

of

Handel,

Opera
in

retired

; he

^15,000.
singer
of

some

in

appeared

London

fortune

works.

other

who

soprano,
for
wrote

(Hamburg).

friend

Rameau

Phillippe
early fathers

importance

of

whose

Francesco

1685. George
operas
contrast

who

for
to

some

(Naples).

mostly

Frederick

opera,

produced

heard

Durante

stage, but

(Dijon), 1683-1764.

French

Lully;

to

Gluck,
the

an

in

and

poser
com-

operas

appeared.

1683. Jean

1684.

male

Famous

Handel
operas
in
stage
1735 with

and

the

Apneas,

oratorios

of

of the
the

Johann
he

(Venice).

number

large

(?). Senesino,
many
from

recitatives

the

opera.

1678 (?). Antonio

besides

and

Dido

PurcelPs

of

and

hundred

one

year;

name,

arias

the

one

Wrote
Antonio
Buononcini
(Modena).
1675. Marc
was
played sixty-four times
Camilla, which
rival.
of Handel's
during four years ; brother
Production

Isse\

opera,

of

as
many
stand
works

in German

famous

portant
First im(Weissenfels), 1674- 1739.
German
times
composing someopera,

Keiser

Reinhard

Wrote

for the

works

other

many

composer

1677.

opera;

1672-1750 (?).
(Modena),
of twenty-two
as
having
Writer
; mainly famous
operas
been
the selected
pitted against Handel, with
composer
results to both
disastrous
partiesfinancially.
Giovanni

1672. Andre
1674.

at

of

writer

Early
Hamburg.

for the

Handel

and

second

One

of

only

in

fluenced
inoperas,
in Paris.
of his works
many

Wrote

and

occasionally

for

church.

Wrote
(Halle), 1685- 1759.
and
In
Italy, Germany,
England.
great
the
music
of his oratorios, his opera
music

219

of

Story
sounds

antiquated

is

occasional

the

Opera

and

dull ; its only performance

air from
one
singing of an

to-day
the

of

operas.

1686.

Wrote
Porpora
(Naples), 1686- 1767.
of
arias
and
florid
consisting
mainly

Niccola
operas,

gymnastics
out

1698.

Metastasio

P.

A.

of

librettists;

D.

B.

for

furnished

he

of

One
(Rome).
subjects for
of

number

vast

singing-master,

who

turned

pupils.

excellent

some

and

wonderful

many
vocal

composers,

the

greatest

operatic

ment
treat-

including

Gluck

Mozart.

Hassc

Fertile
(Bergedorf), 1699-1783,
opera
hundred
works
who
with
over
one
produced
composer,
Hasse
possessed great gifts of melody, and was
success.
in having
fortunate
a
remarkably fine singer in his wife,
of the leading parts.
of many
who
acted as exponent

A.

1699. Johann

1700.

Hasse

Faustina

^2,000

in

popular

very

was

(Venice).

her

and

Handel,
for

salary

rivalry existed

great

for

also

Sang

London

between

1726

was

Hasse

and

Cuzzoni.
1700.

Cuzzoni

Francesca
this

is the

window

1700.

in

Nicolo

Logroscino

Tod

wished.

he

what

sang

for Handel;
sang
throw
of the
to
out

Also

threatened

She

of the

invention

all in the

concerted

in

died

Wrote

melodies

contain

known

his

by

and

church

operas,
finale

and
; his

dialect.

Neapolitan

(Wahrenbriich).

which

comic

Wrote

(Naples).

the

Graun

H,

K,

he

1770.

with

are

operas,
better

1703.

she

poverty

operas
701.

lady

unless

is credited

(Modena).

whom

good

cantatas,

twenty-seven
arias.

is

He

especially Der

Jesu.
M.

G.
have

been

of

exercises

in

Europe.

kept by
and
He

Famous

(Naples).

Caffarelli

Porpora

then
had

for

dismissed

great
220

success

five
as

singer,
to
one
years
the
greatest

in male

soprano

said

to

page

singer
parts.

of

Story

Opera

Orfeo (1762), Alceste

(1767), Iphigenie en Aulide

(1777), Iphigenie en Tauride
(1778).

Armide

1725.

Gaetano

F*

Handel

for

sang

1726.

Guadagni

A,

operatic

and

(Dreux).

male

great

contralto

who

in London.

furore
Famous

chess

player

and

He
the
was
prolific writer.
the
unaccompanied
quartet upon
the English subject
happiest essay was
upon

composer

first to

introduce

stage.

His

Tom

created

Philidor

D.

(Lodi).

(1774),

was

the

Jones.

1728. J. A, Hiller

(Gorlitz). Established
of these
works,

posing
Singspiel, com-

the
which

fourteen

with

met

nounced
pro-

success.

1728. Nicolo

Piccini

remembered

against

attention

1729.

of

and

P.

were

St.

A.

which
in

won

operas
and

Produced

Joseph
claim
written
Count

upon
form.

F.

of

operas

His

to-day.

centres

Milan

as

Monsigny

works

best

his

gained
prevalent

many

contrasted

such

fact
their

upon
has

the

on

forgotten

are

the

Petersburg.

are

so

to

be

(1769),

Deserteur

(Rohrau), 1732- 1809,

Haydn
in

Le

branches

many

of

the

weak.

were

and

composer

labours

in

the

growth

other
and

fields, nor

A
he
no

had

development

(Hainault).
222

the

Felix

ou

Belgian

no

works

was

attached

were

bearing

any

opera

composer

to

with

compare

they

celled
ex-

serious

few

way
of

who

master

art, made

of

opera.
for the
by him
stage while
in
Esterhazy, but they can

J. Gosscc

forgotten
little training,

(1777).

Venfci7ittrouve

1733.

success

his

(St. Omer).
Composed
many
melodic
while
he
had
gifts
possessing
;
operas
constructive
his scoring and
and
powers
His

1732.

of

(Faenza).

excellence,

triumphs

1729.

opponent

the

mostly

now
composer,
of Gluck
; while

has

Sarti

Guiseppe
great

good

kept his memory

green
for his music, which, although
merit.
its time, has much

production, it
model

the

as

militated

(Bari).

as

an

of

art

some

Appendix
repute

his

in

his

gifts

much

day

A
mostly written fof

were

operas

Paris.
1734.

A,

Sacchini

G.

M.

dramatic

of

A
(Pozzuoli), 1734-86.
composer
influenced
by Gluck, whose

compositions quite
Sacchini
1739.

K.

D,

wrote

serious

both

74

1.

A.

it

have

said

was

the
been
a

many

was

one

bass

and

Paisiello

of

the

first

under

opera

Lucretia

Fischer

of

compass,
and
two

duction

of
of

Theatre
appears
many

to

He

seems

to

than

be reckoned

his

of

amongst

concerted

been

the

almost
Seville

of

by Rossini.
Was

Also

singer

of

ordinary
extra-

singer

round

half

_".

bass

and

are

died

operas

in

in the

sang

dem

aus

for

(("):

was

^-^-:
pro-

Serail.

Composer
both

possessed
notable

He

octaves.

(Durham).

have

of

production

into

finale

Barber

wreck

He

period.

compass.

(Mainz).
having

wrote

works

title

(Ferrara).

Entfuhrung

yet

four

conceptions

His

opera.
almost
to

Mozart's,

Shield

William

and

hitherto

having

same

Agujari

Ludwig

friend

musical

light
as

the

coach

fiddle,"he

composers
introduce
the

form

to

abilityand

musician.

to

this

famous

so

great
voice of

his

draw

(Tarento). May

entirely confined
an

in

first

prolificof Italian
opera,

became

the

apt

"

could

one

cultured

more

most

serious

1748.

operas.

(Vienna).
Composed
very
many
is
He
known
best
light.
by the
Apotheke (1786).

that

more

Giovanni
the

1745.

follower.

Gretry (Liege). A fertile composer,

very
gifted for the writing of opera comique, wrote
fiftyoperas
for Paris.
had
knack
He
of cleverly illustratingthe
a
thin
were
so
stage situation, and although his harmonies
between

1743.

his

of

M.

E.

that

1741.

those

and

unci

Singspiel,Doctor
1

forty

over

Dittersdorf

von

operas,

overshadow

S~
to

serious

great
their

Covent

and

melodic

vigour

Garden

comic.

He

gifts,and
and

their

1829.
223

his
fulness.
tune-

of

Story
1749.

The
of

Abbe

Vogler
parts

many

music

composed
church, and
of

the

1749.

his

the

1749.

best

operas,
known.

Gertrude
little

Antonio
and
of

1752.

He

made

his

of

which

//

present

Reichardt

successful

N,

A.

had

for

Wrote

thirty-seven

operas
those
upon
of interest.

modelled

were

features
Wrote

moderately

some

important

some

of

specimens

Berlin.

Zingarelli (Naples).

Cherubini,

singer,made

fine

still appears
to have
voice
and
great
best singers in England.

special

no

his

works

beautiful

works

and

operas,

who
composer,
sacred
music.
to

and

matters,

but

(Konigsberg).

Singspiel, mostly
1752.

She

His

(Cassel).

(Legnano).

Singspiel.

more

of Handel's

one

Salieri

mark

Mozart,

upon

was

Gluck, and

J, F,

man

day a most
standing
especially in his
segreto (1792) is

matrimonio

Mara

artist.

great

facility; she
1750.

in
(Aversa). Was
fine
sixty-six
opera,

Elizabeth

pieces.

of

impression

been

Was

for

organ,
His
stage.

composer

credit.

comic

upon

the

Cimarosa

popular
to

for

sixteen

some

Domenico

wrote

18 14.

theatrical

instruments, for the

for the
operatic music is perhaps
importance, although his stage productions

least

number

(Wiirzburg), 1749-

he

Opera

Was

prolificoperatic

penned some
His
style was

thirty operas,

much

disgust

the

to

besides

recommended

much

by Napoleon
of

last-named

the

composer.

1754.

Peter

large

Winter

(Mannheim),
of

number

works

have

tuneful

structurally weak,
composer's life

but

the

1756. Vincenzo
composer,
of
many
some

years

Righini
and
them

were

for

His

produced
of

224

at

the

very
His

day, being

successful

during

afterwards.

years
Was

operas.

present

very
few

(Bologna).

conductor.

conductor

the

to

they

and

melodious

and

survived

not

Wrote

1825.

1754-

operatic singer,

twenty

operas
he

Berlin,

where

Italian

Opera.

were
was

for

Appendix

Amadeus
Mozart
(Salzburg), 1756-91. The
1756. Wolfgang
in
list
of
written
Mozart's
(many of them
long
operas
Idomeneo
(1781), Die
Entfiihrung aus
youth) includes
di Figaro
Serail
dem
(1786), Don
(1782), Le Nozze
Clemenza
di
Co
La
Giovanni
si
tutte
fan
(1790),
(1787),
Tito (1791), Die
Zauberfiote (1791).

1760.

(Florence), 1760-1842.
Luigi C, Z. S. Cherubim
musician
in
all
wrote
departments;
accomplished
of sterling music.
His
fine operas,
containing a wealth
chief
La
Finta
are
Principessa (1785), Giulio
operas
Sabino
(1788), Lodoiska
(1791), Medee
(1786), Demophon
(1 803), Faniska
(1 797),Les deuxjournees (1 800), A nacreon
Alt
Baba
(1833).
(1806), Les Abencerages (1813),
Maria

An

Weber

A
for
vocalist
whom
(Mannheim).
conceived
Mozart
affection,eventually, however,
a
great
in Die
marrying her sister. The
part of "Constance,"
dem
written
for
her.
Serail, was
Entfiihrung aus

1760. Aloysia

76 1.

Cavalieri

Katherina
whom

their

both

return

(London).
he

(1789), The

which

attained

example

concerted

Henri

opera,

examples,
His

best

died

in

that

she

Produced

friendship

with

The

Mozart.
Hawited

other
is

He

success.

English

singer

early operas

some

produced
(1792), and many

great

was

in

proud."

be

works,

almost

the

introducing

composer

of
in

Mehul
which

the

addition

known

talent
wonderful
a
(Givet). Had
a
produced
great quantity of
to
writing ballets and
operettas.

he

works

are

Uthal

and

Joseph.

Mehul

1822.

(Abbeville). Wrote
1763. J, F, Lesueur
for Paris, of which
the best
operas
march

"

for

finale.

1763. Etienne
for

singer
special parts
a

he

Pirates

very
of an

Was

wrote

her

formed

London

to

Tower

earliest

of
well

might

Germany

his

said

Mozart

1763. Stephen Storace

in Vienna, where
On

Salieri

and

Mozart

operas.

of whom

(Wahring).

of

time

has

left Lesueur

225

certain

is Les

behind,

number

Bardes.

in company

of
The

with

of

Story
another

many

Opera
considerable

of

composer

but

not

manding
com-

merits.

1766.

F.
as

X.

Sussmayer

being

and

G.

factotum

the

Emperor
He

arias

Joseph

for

was

some

Weigl

; he

own

famous

favour

won

composer,

including
many,
benefits
upon
but
composed

magnificently,
special style.

sang
voice

and

(Eisenstadt).

Wrote

Familie,

numbering

thirty-one in all, besides

Berton

recitatives

sopranist,one

from

showered

who

Schweizer

Henri

fame

to

years.

Was

Napoleon,
only

not

suit his

to

the

for

class

Is

to

(Urbania).

last of his

him.

1767.

he

Cresccntini

of the

1766.

"hack"

of

sort

filling in details

whose

1766.

chiefly known
Mozart, writing
and
busy
great

(Steyer).

and

others

many

(Paris).

Wrote

famous

one

of

work,
import,

less

ballets.

interesting,moreover,
as
an
early
libretti.
music
His
penning his own
in conjunction with
as
others, such

is

He

operas.
of a
instance
many

composer
written
often

was

Cherubini,

Mehul,

Spontini.

and

1768.

Was
a
(London).
prima donna
varied
of
During
a
exceptional compass.
long and
the
of
she
boards
career
operatic
an
appeared on
many
in
her
successes
however,
largely
Europe;
stage
were,
in England.
won

1770.

Ludwig

Elizabeth

single
177

1.

Paer

to

S.

operas,
have

Was

(Parma).
both

serious

inspired

the

before
associated

with

trial

and

Cherubini

opera.

226

operatic
looked

was

because

had

he

hence

little chance.
in

his

1806.

composer
Eleanor

Fidelio.

many

Conservatoire

in

Italian

comic

Beethoven's

Catel

at

an

and

(l'Aigle). Wrote
music
Paris
His
the
Opera.
"academic"
French
public as
C.

Beethoven's

(Bonn), 1770- 1827.

produced at Vienna

Fidelio, was

opera,

many

seems

Beethoven

von

Ferdinand
of

l773-

Billington

the

works

upon
held

it

by
a

stood

the

fessorship
prodemned
con-

Catel

composition

for

of

was
one

Appendix
1774.

G,

L.

P.

Spontini (Majolate), 1774-185

interesting personalities in
Italian
Although he wrote
opera
successes

achieved

were

in

for
field

the

of

of

history
Naples,

the

most

One

1.

opera.

his

great

French

of

the

grand

he remains
of the shining ornaments.
of which
one
opera,
His
chief operas
La
Vestale
Cortez
are
(1807), Ferdinand
now
are
(1809), Olympia
(1821), Alcido?'
(1825) ; none

performed.
1774.

C.

E.

F.

Weyse
for

been

which

one

F. A.

He

introduce

to

seems

inavian
Scand-

the

stage.

Boieldieu

Nicolo

Isouard

for

Parisian

the

their

forth

houses,

For

probably

made
success

Mozart's

Nozze

D.

F.

piquant
secured

E.

more

di

Auber

Le

Chevale
Diamants

lasting
are

de

operas

in

were

since

speciality
which
than

both

put

voice

of

chromatic

for

she

flourished,

she

any
been

have

to

of

possessor

at

money

seems

opera
orchestration

which

Les

the

Was

period

of

of

Boieldieu

work.

the

greatest

thirty-four

and

advantage,

great

of works

composer

than

Isouard

flexibility,with

scales.

masters

their

less

no

credit.

Catalani.

Angelica

Is another

(Malta).

best

wonderful

1782.

written.
to

Dame

standing to his
keen
rivalry, to
1780.

the

penetrated beyond

not

were

earliest

Danish

of

composer

Is world-known
(Rouen).
by his opera,
Paris
in
in
of
Blanche, produced
1825, one
He
all known
to fame.
at
works, but the only one
many
Russia
ballets
in
and
writing operas
eight years
spent
his greatest
but
for that country,
achievements
belong to
his second
Parisian
period.
La

1775.

to

have

they

the

of

Volkslied

1775.

Was

works, however,

whose
opera,
the
country
have

(Altona).

other
"

as

artist.
Susanne

Her
"

in

Figaro.
(Caen).
comique

for

one

his

models

are

vogue
Masa7iiello

Was

his

of

their

works,

(1828), Fra
Bronze
(1835), Le Domino
de la Couronne
(1842).
227

of

the

kind,
the

greatest

style and

melodious

and

best

Diavolo
Noir

have
known

(1830),
(1837),

of

Story
1782.

Conradin

Kreutzer

successful

as
operas,
powers
considerable.
His

being
wender, may

still

Spohr
1784. Louis
mostly known

van

with

regard

also

met

with

Italian

of

in

claims

Is

composer
and
his

writer

as

his

music

of

operas
in the

being

Faust

in opera.
His Jessonda
often
favour, and its overture

concert

our

rooms.

(Perugia).

Was

chorus-master

of

he
town
wrote
Dresden, for which
in
their
successful
works,
day, but
in the composition
He
mostly excelled

Opera

at

of

heard.

never

Der
Verschopera,
heard
in Germany.

Romanticism

to

number

large

now

of

attractive

of

composer

overlooked,

Morlacchi

Francesco
the

His

be

considerable

hearing

number

(Brunswick), 1784- 1859.

in England
by his sacred

not, however,

gains

Wrote

fairy

be

occasionally

compositions.

must

1784.

(Mosskirch).
his

arias

violin

Opera

light,sparkling,

superficialmusic.

and

1786.

Besides
(Eutin), 1786-1826.
call for no
special mention,
early works, which
many
Der
Weber's
Freischiitz,
operatic productions include
and
Oberon
(1826).
Euryci7ithe(1823),

1786.

Henry

Maria

Carl

Rowley

writer

of

such

Weber

von

for

operas

works

standing

do

merit

not

the

Was

(London).

Bishop
the

London
his

to

name;
"

term

opera"

his

effective
most
Bishop was
writing for the voice generally.

M.

E. Carafa

met

with

success

understand

we

his

it

choruses

and

thirty-fiveoperas, which
a
Italy; he is now
forgotten

Wrote

(Naples).

great

as

in

to-day.

1787.

prolific

most

theatres, eighty-two of
of these, however,
many

in

composer.

1790.

Alberico
who
opera

1790.

met

Curioni
with

(Naples ?).
great

success

Was
in

famous

London,

singer

tenor

in

notably

the

Medea.

Vaccaj (Tolentino).
One
particularly for Venice.
in
also
London,
presented
Nicola

time.

228

Wrote
at

where

Italian

many

least
he

of

his

lived

operas,
works
was

for

short

of

Story
his

achievement

symphony.
Alfonso und
1797-

Saverio

Italian

Elizabeth
as

She

degree

and

as
song
Fierrabras

are

and

singer

Wrote

of

model,

which

//

of

number

Gidramento

finest.

Vcstris

the

was

such

"

(Altamura).

is the

(Milan, 1837)

Lucy

in

Estella.

the

on

fields

other

chief

Mercadante

operas

1797.

in

The

Opera

Made

(London).
the

upon

habitues

opera

"Fatima"

original

in

of

the

pression
im-

great
her

day.
of

production

Oberon.
1797.

Gaetano

Donizetti

number

of

vocalists

(Bergamo).
which

operas,
to be

Wrote

present

large

very

opportunities to

such

frequently produced to-day. The chief

ones
repertoire are Lucia di Lammermcor
La
(1835), Lticretia
d'Amore,
Borgia
(1833), L Elisir
Fille du Regiment (1840), Linda
di Chamounix
(1842),La
Favorila
Don
(1840),
Pasquale.
as

in the

1798. Giudetta
charm

Pasta

Was
(Como).
ability; in Rossini's
almost
unequalled.

and

have

1798. K.

modern

been

G.

Reissiger
many

not

1799.

J. F.

F.

French

1800.

E.

member

excelled
operas
801.

the

Vincenzo

of

both

of

the

she

operas

of great

prolific composer,
class, which

an

to

appears

duced
prohave

"academic"

(Paris).
best

Wrote

known

the

and

of

for
the

is

so

"

of

number

Lajuive.

baritone

Puritani

Paris

interpretation
Rossini

Was

"

famous

vast

of which

(Faenza).

London

his

in

singer

day.

Tamburini

delighted

of

Halevy

operas,

Antonio
and

operas
their

survived

(Belzig).

Italian

an

singer

quartet, which

many

baritone

years.

parts

He
of

school.

Bellini

famous
poser
com(Catania). This
opera
his
is still known
the
of
frequent performance
by
works
Somnambula
best
La
(1831), Norma
(1831),
this
/ Puritani
from
come
(1835). More
might have
died
had
he not
the
at
early age of thirtycomposer,
"

four.

230

Appendix
1802.

John
a

Barnett
of

number

has

is his

such

as

work, but

(1837)

had,

however,

(Nyon).

operas

which

original

ideas

several

of remembrance

worthy

for

Adam

Charles

1803. Adolphe

music, and opera

the
last named,
for

ballet
for

work

best

is Le

A.
1803. G.
popular
has

met

He

wrote

upon
in his

Hector

Berlioz

among

musicians.

and

have

de

mostly failures.
as
orchestration, and
his giftsof melody.

He
is

to

he

had

real

Longjumeau

which

His

talent.

(1836).

many
Peter
the
in

success

Sullivan

Shipwright,

this
so

still

operas

country.

excellently

operas.

Wrote

eccentric

An
such

operas
contain

the

pleased

Les

as

Cellini, which
never

to

were

which

model

light

operas,

(1839).
misfortune

the

(Grenoble), 1803-69.

Benvenuto

which

Farinelli

Had

considerable
a

other

wrote

and

LorUing
(Berlin). Wrote
in Germany;
one
indeed,

employed
1803.

he

He

(Paris). Wrote
grand opera,
comique, being only remembered

Postilion

with

of

composer

for

pieces.
stage
since Arne's
English opera
in 1835.
Sylph, produced

Mountain

Rosamund

English

an

music

first real

Niedermeyer

produce

Was
of

best-known

Fair

Louis

his

in

This

and

operas
of the

credit

the

Artexerxes

1802.

(Bedford).

fine

public,

genius
Troyens

music,

which

and

but

remain

practicallyunperformed.
1804.

Benedict

Julius

always
having
by

his

from

looked
been

(Stuttgart). Although
a
German,
his
an
as
English
composer,
upon

often-performed
1862.

1804. Wilhelmine
remain

created

the

its revival

this

in

spent
Benedict

country.

person

part
in

of

is best

Lily of Killarney,
died
in 1885.

Schroder-Devrient
of

He

(Hamburg).
to
musicians,

interest
Leonora

when

in Beethoven's
that

work

is
life

known

which

dates

Must

always

in

that

Fidelio

she

upon
fair
a

1822,
really gained
also an
of Wagnerian
hearing. She was
early exponent
parts (Senta, Venus, etc.).
231

of

Story
I, Glinka

1804. Michael
Russian

of
that

he

Life for

founded

1805. Luigi Ricci

1805.

1806.

claims

notice

Jenny

Lind

gifted
all

with

A.
of
have

1808.

in
has

of operas,

large number
forgotten.

centenarian:

operatic artists,

fine

those

Hayes.

made

who

himself

for
the

his

Bohemian

Was

their

The

Siege of

Artois

(1836),

the

Blanche

Rochelle
Never

de

composer
which
but

1808-1888.

(Dublin),

Balfe

Girl
are

also

favour.

writers
opera
is
familiar
(1843)

successes

in all the

was

graceful
day,

of

English

of

known

He

pleased in
of popular

operas
continuance
no

best

reputation

masters.

(Naples).

William

Bohemian

"Tannhauser."

which

Michael

Was

great

greater

and

Clapisson

many
had

attainments.

(Weckelsdorf).

Tichatschek

L.

which

opera

wonderful

artistic

great

of
grand operas
original "Rienzi"

1808.

positions
com-

also

but

and
Was
a
charming
(Coblenz).
of European
delighted
reputation, who
combined
have
to
a
charming
seems

soprano

tenor

of

Catherine

hearers, and

J. A.

his

for

own

Sontag

personality
1807.

now

The

trainer

the

and

Henrietta

(Madrid).

as

his

of

fruit.

much

Garcia

Manuel

outside

Russian,

Russian

of

earliest

only

not

and

(Naples). Wrote
in their day, but

famous

very

known

Czar

school

forth

brought

the

the

Is

(Novospaskoi).

to be
composers
is important,
he

opera
and

country,

Opera

his

period, and
Other

all.

to

the

Is

of his

of
(1835), The Maid
(1863), // Talismano

(1874).
1808.

A.

Michael

conductor,
He

wrote

(Naples).
the

especiallyof

more

few

importance

Costa

A.

as

best

Italian

specimens,

forgotten
wielder

Was

of

the

known

as

in England.
opera
of
is mainly
but
died

Costa

baton.

in

1884.
1808.

P.

L.

chief

P.

Dietsch

claim

to fame

(Dijon).
seems

to

232

Was
have

also
been

conductor.
that

he

His

purchased

Appendix
libretto

the

Gnsar

Albert

elegance
Marie
the

(Antwerp;.
Paris.
They

for

operas

1808.

and

singer,

created

fortunate

1809. Felix

enough

works.
Ricci

which

have

to

1809. J, H. Hatton

10.

Robert

Like

his

(Liverpool).

contribution
is seldom
1810.

10.

Otto

Is better

field of

1809- 1847.

not
are
opera
and
incomplete

of Lorelei.

Luigi,
generation.
known

well

as

is his

wrote

one

operas

writer

of

good

deal

of

real

opera.

as

however,

opera

heard, in spite of many

Schumann's

one

Ge?ioveva, which

unquestionable

beauties.

Was
(Konigsberg).
a
capable composer
and
is chiefly known
fame
conductor.
He
to
by his
Wives
of Windsor, which
was
masterpiece, The Merry
in
in
Berlin
1849.
produced

Felicien

C.
is

not

violinist, and
grand
have
1.

were

Nicolai

operas;

181

the

that

of

(Zwickau), 1810-56.

to

undertook.

all

upon

brother

their

survived

Schumann

no

early
fragment

is the

of operas.
than
He
wrote,
songs
incidental
music
for the stage, as
1

of

in opera
at
rivals as
a

she

writer

few

best, musically,

not

works

(Hamburg),
a

as

confined

(Naples).

comic

her.

Bartholdy

are

had

impression

hear

been

which

parts

Mendelssohn

of

The

all

of

Performed

have

to

seems

Mendelssohn

serious, and

1809. F,

to

have

(Paris).
in

clothed

distinction.

special

indelible

an

claims

The

She

excelled

and

number

to

seem

Malibran

five.

of
and

Wrote

without

grace,

Felicita

age

She

Wagner's

Flying Dutchman,
absolutely forgotten music.

it with
1808.

of

David
to

(Cadenet).
be

friend

confused
of

French

A
with

Ferdinand

Mendelssohn.

Felicien

his greatest
for Paris, and
operas
Rookh
been
Lalla
(1862).

P. J. A.

Varney
(Paris).
French
Opera, his works,
being in the light style.
233

Is

of

one

which

are

composer
David

the

success

of small

the
wrote

seems

minor

of

to

lights of
importance,

of

Story
1811.

Ambroise

C.
the

much

known

F.

12.

from

Grisi

12.

idol
1

12.

Like

Mario

were

Pcrsiani

(Cagliari).
and

Petrella

been

seem

to

the

the

was

the

actress

same

the

was

of

singer
as

well

as

admiration.

Produced

Italian

an

every
many
year
years.
dead
for nearly thirty years,
the

her

seasons.

many

another

yet
fine

he

and

tenor,

greater
wife

capitalsfor

universal

(Palermo).

shared

of

Tamburini,
that
period,

his

for

have

famous

most

soprano

even

an

Like

Was

(Rome).

practically
has

of

Was

French

She
opera.
vocalist,and commanded
Enrico

exalted, but

means

and

Grisi.

Rossinian

1813.

this,

artists of
many
in the works
of Rossini.

married

Fanny

of

attractiveness.

one

century,

(1868).

composer
music
of

; the

no

is best

and

Hamlet

(Grisi, Rubini,
so

eventually
of the English

by

opera,
He
stage.

the

the

opera

tuneful

Was

last

achievements

Cavaliere
who

of

quartet

Lablache).
great

and

(Milan).

artists

"Puritani"

works,

is

and

Is

of

one

French

Herold,

and

(Bentendorf).

other
many
its
melodious
by

Guilia

Gounod

Was

1-96.

modern

writing for

for

ever-popular light

an

181

Mignoii (1866)

operas

his

of

operatic

18

talent

both

Flotow

von

pleases
18

real

his

by

Martha,
as

(Metz),
representatives of

possessed

learnt

1812.

Thomas

greatest

who

Opera

This
and

opera

composer

his

operas

fate.

and
names
Wagner
(Leipsic), 1813-83. The
chief
Rienzi
:
are
(Dresden)
Wagner's
operas
1 842 ; The
(D resden) 1 843 ; Tannhduser
Flying Dutchman
(Dresden)
1845 ; Lohengrin (Weimar)
1850; The Ring:
Walkiire
ft
Die
(1) heingold (Munich)
(Munich)
1859; (2)
J 870;
(3) Siegfried (Bayreuth) 1876; (4) GotterdamIsolde
und
(Munich)
(Bayreuth) 1876; Tristan
merwig,
1868
Die
(Munich)
Patsifal
1865 ;
Meistersinger
;
(Bayreuth), 1882.

1813. Richard
dates

of

"

"

1813. Guiseppe
are

very

mentioned:

Verdi's
1813-1901.
operas
be
specially
perhaps
numerous:
may
I Lo?nbardii 1843; Ernajii, 1844; ftigolelto,
Verdi

(Roncole)
these

"

234

Appendix

Ballo
'ata, 1853; Un
851; // Trovatore, 1853; La Tram
in Maaschera,
1857; Aida, 1871 ; Otello, 1887 ; Falstaj},
1

1893.
1

8 13.

A.

S,

portance
imIs of considerable
(Toula).
the development
of national
Russian
opera;
and
mention
The
Ronssalka
we
(1856)
may
his
after
Guest, only performed three
years

Dargomigsky
in

of

his

The

works

Stone
in

death,

1872.

1813. G, A, Macfarren
essayed many
successful.
and

best

Emma

married

of opera,

1814. W.

V,
if

his

G.

but

Hood

theorist;

the

was

Devil's

The

(London).
a

most

Opera

be

may

and

others

and

had

to

Carlo
which

wrote

operas,

to

all

better

wrote

by

donna
houses

his tuneful,

works, and

mentioned.

(Saint-Denis).

Was

great

French

Thomas,
Auber,
Clapesson
He
unfortunately lost an arm,

operas.
up the stage.

give

Perdrotti
mention

in all the chief

sang
indifferent
actress.

He

Ambroise

whom

prima

English

An

of

(1846).

Is known

Maritana.

Hippolytc Roger
for

and

poor

(Waterford).

ordinary,

Dancers

Night
She

writer

English

an

Italian.

was

Lurline

Was

is the

an

Wallace

tenor,

1817.

(Bath).

of which

Albertazzi

who

181 5.

of which
Robi?i
operas,
of his works
are

as

Helvellyn.

the

814.

known

well

Other

1813. E* J. Loder

So

(London).

(Verona).
may

be

made

Wrote
of

Tutti

of
operas,
and
Maschera

Italian
in

// Favorito.

1817.

Aime

Maillart

Rome,

and

(Montpellier).

wrote

operas

which

Won
had

the

Prix

Grand

de
of

measure

some

success.

8 17.

teacher
A
Lamperti
(Savona).
great
Albani, Mariani,
singing, whose
pupils include

of

Francesco

and

Shakespeare.
1818.

C,

F.

Gounod

(Paris), 1818-93.
23S

Besides

the

evergreen

of

Story
Faust

(1859),

Mock

other

Doctor, Philemon

and
1818.

Gounod's

Juliet, all

J. Sims
often

and

of which

Reeves

Opera
Baucis, Mireille, and

(Woolwich).

A.

N.

Serov

1819. Jacques
in

(Petersburg).
admired

their

was

followed

annals

light

such

these

as

and

enjoyed

he

was

melodious

many

methods

Russian

poser
com-

his

Wagner;

works

in his country.

of opera

A
(Cologne).
of
specimens
opera

works

of

parts

Offenbach

success,
1820.

and

in the

place

seventy

some

days

Serov
who

have

palmy

exactly suiting his

operas
and
style.

1818.

his

In

in opera,
the tenor
in favour
the time
at

heard

Rotneo

heard.

often

are

The

include

successes

of

prolificcomposer
bouffe

and

achieved

immense

operetta;

almost

ampled
unex-

popularity.

Lind

is fresh
in the
This
name
(Stockholm).
of all, although
the
its gifted possessor
went
memory
of all fleeh some
As
a
singer she
thirty years ago.
way
universal
while
commanded
she
as
woman
a
admiration,
looked
and
to
was
triumphs
respected by all. Her
up
in operatic soprano
seldom
such
be
to
as
parts were

Jenny

equalled.
1820.

Franz

Suppe

von

of Offenbach
1

82

1.

A.

of

ten, and

"

F, Echert

however,

(Potsdam).

others

as

at

later

conductor,

Wrote

an

He

and

lent
equiva-

German

of comic

date.

holding

capacityat Paris, Vienna,

1821.

the

(Spalato). Was
a
prolificwriter

opera
won

important

opera.
at
more

posts

the

age

fame,
in this

Berlin.

sister
of
(Paris). A young
considerable
Malibran, attained
celebrity as a singer and
Rossini
she
of the
only in works
appeared not
actress;
in
of
the
Gluck, and
Meyerbeer,
school, but
operas

M.

F,

P,

Viardot-Garcia

others-.
182

1.

Gardoni

Italo
who
sang

to

considerable

frequently

Was

(Parma).

extent

in London.

236

took

tenor

the

singer of repute,
place of Mario; he

of

Story
1825. F, R, Herve
French

operettas

likelyto
1826.

(Houdain).
down

go

Mathilde

Opera
Wrote

of

to

posterity.

Marches!

light trend,

very

which

hardly

are

eminent

An

(Frankfort).

of

number

large

very

soprano

influence
been
has
vocalist, whose
widely felt in the
operatic world, not only by her performances, but also
Her
Ecole
de Chant
and vocal
exercises
by her teaching.
world

are

1826.

Ivar

known.

Hallstrom

operas

has

(Stockholm).
produced works

Swedish

A
of

of

composer

distinctly national

impress.
1827.

Marie
at

Carvalho
time

one

and

the

(Marseilles).

in the

first rank

She

comique.

opera

interpretationsof

the

vocalist

French

of artists

of

the

grand

opera
in her

excelled

specially
characters

soprano

; was

of

the

Gounod

operas.
1828.

Antonio
Italian

mostly
1828.

Cagnoni

1829. Anton
known

great,
wrote

1829.

Ciro
songs;

to

the

was

(Nimes).

his
The

music

and

(Siena).

it is

not

so

well

were

style

number

of

his

master

of

charming
Adam.

labours.

few
Is

"

sacred

indeed

known

his

that
larger works
operas
and
elsewhere.
Scala, Milan,

1830.

attentions

Bears

that
have

well

name

he

fields:

being

Demo7i

Pinsuti

in opera
in
non-dramatic

musical

many

Wrote
the

(Wechwotynecz).

Rubinstein
in

in
of his

scene

of

number

buffa.

opera

somewhat

Wrote

quality; his

moderate

Poise

light works,
Paris

of

operas
confined

Ferdinand

(Godiasco).

hardly

was

He

character.

operas."

popular
he
been

as

includes

writer

of

amongst

produced

at

La

famous
most
(Keszthely). The
opera
is The
at
Queen of Sheba, produced
by this composer
less successful
Vienna
in 1875; subsequent and
tions
producthe
Cricket
The
include
Merlin
on
(1886) and
Hearth
(1896).
Karl

Goldmark

238

Appendix
1830. Edouard

Lassen
songs

Another
writer
(Copenhagen).
three
successful
produced
operas.

Liszt

succeeded

conductor

as

failed

1831. T, C

J. Tietjens (Hamburg).
successful
prime-donne

she

excelled

of

in

light

and

in

sacred.

music

artistic

One

alike

lamented

was

He

also

at

period

one

which

recent

years

maintain.

to

and

secular

lodious
me-

Weimar.

at

Kretschmer
1830. Edmund
(Ostritz). Had
of opera,
reputation as a composer
have

of

all

by

interpretationsof

the

century;

and

grand
early death

opera
Her

heard

the

brilliant

most

nineteenth

the

had

who

of

her

in
opera,
in 1877

beautiful

masterpieces

of

and
and

opera

of oratorio.

1832. A.

C.

Lecocq

French

(Paris).

pieces

in the

reckoned

with

notable

for their

1834. Pierre
and
he

an

operas

Flemish

and

1834. A. Ponchielli
as

1886,

Italian

school.

obtains

1834. Charles
and

in

the

from

Borodine's

died

He

music
in

His

works

many

known

music,

is also

well

are

as

national
of

in

view

known

in

in the

1887.

classed

be

composer
which

operatic point

an

are

chef

he

Although
as

died

as

of

composer
d'eeuvre, La

long

the

Gioconda,

ago

young
often

hearing.

Santley (Liverpool).
the

concert

latterly confined
on

study

be

composition

Is well

His

to

verve.

Flemish

his

writer.

(Paderno).

must

of

Among
pieces.

opera

best

hall.

concert

school

light

Not

compositions

(S. Petersburg).

an

character, is
Prince
Igor.

Is

form.

to

1834. A, P, V, Borodine
chemist

his

music,

(Harlebeke).

of

dramatic

and

manner

of

Offenbach.

sprightliness,vivacity,and

L. L. Benoit

endeavours

prolific composer
of

serious

as

apostle

Covent

hall ; while
oratorio.
to

Garden

stage

239

some

Famous
his
His

alike
attentions
was

on

the

stage

have

been

familiar

forty years

figure

ago.
R

of

Story
Marchetti

1835. Fitippo

of

school

A.

1835. Cesar
himself

(Bologna).

composers.

achieving great

Opera
A

of

member

Wrote

many

Has

built

the

Italian
Bias

Ruy

operas,

success.

Cui

(Vilna).
Russian

amongst

for

composers

for

reputation

up

his

works

of

description,and he has an important place amongst

have
in Russia.
those
who
William
developed opera
"and Le Flibustier
deserve
mention.
Rai %clijff
special
every

1835. C,

C.

Saint-Saens

and

gifted

of

the

world

by

Samson

et

rooms.

French

few

Dalila, which

More

One

(Paris).

modern

the

operas
is often

versatile

most

enriched
; has
sacred
drama

composers
and
by the

efforts

recent

of

in

heard

English concert
VIII.
and
Henry

include

Phyrne'.
1836.

Hartmann

Emil

(Copenhagen).
of Denmark.

operatic composers
in England.

(St. Germain
1839. C. P. L. Delibes
was
sparkling music, and
familiar
with
is
Everyone
are

operas

Guiraud

1837. Ernest

1837. F. C. T. Dubois

His

du

; wrote

certain

music

is

Wrote

his

Sylvia,

Pa

not

few
heard

the

and

and

ballet.
his

among

dit.
A

and

famous

other

French

with

success

and

contemporary

Piccolino
The

the

bright
in

successful

most

Roi

of

Val).

Orleans).

(Rosney).

achieved

also

Le

(New

of Delibes

co-worker

has

and

Lakme

one

Is

his

pieces.
organist ;

operas

and

ballets.

1837. Joseph
school.

disciple of the German

popular in their day.

(Sigmaringen).

Hubcr
Wrote

two

operas,

likely to be forgotten so
1838. Georges Bizet (Paris). Is never
attains to a tithe of its present popularity.
long as Carmen
is deservedly in the front
This
bright and sparkling work
rank
operas

of favourite
before

giving to

the

Bizet

operas.

Carmen,
world

any

but

his

successor

240

wrote

several

early

death

to

that

unimportant
prevented

famous

opera.

his

Appendix
1838.

Trebelli

Zelia

made

She

debut

her
in

and

Germany
opera

(Paris).

were

London, where

whose

Gomez

in

in Italian

appearances

of the
popular
composer
Wrote
several
Araby."
light
other

and

//

English houses.

Was

(Compinos).

opera

rank.

The

Garden

for Covent

1839. Carlos

her

high

successful

frequent.

very

Clay (Paris).
1838. Frederic
of
"I'll sing thee
songs
operas

of

prima-donna
Madrid, and
was

at

Guarany

Brazilian

composer,

performed

was

Covent

at

Garden.

1839. V.

de

operas,

(Paris).

Goncieres

of which

none

of

conductor

opera
and
operas

national

produced
with

met

several

continued
Was

(Koniggratz).
in Petersburg,

Napravnik

1839. Edward

Has

have

and

success.

for
also

grand

time

wrote

the

many

songs.

Famous
of
writer
(Vaduz).
as
a
Rheinberger
in almost
all branches
music, and of achievements
organ
also into the operatic field with
of composition ; ventured

1839. Joseph

his

work

Was
short-lived
a
poser,
com(Konigsberg).
the
The
showed
whose
of
Shrew^
Taming
opera,
possession of extraordinary gifts.

Goetz

1840. Hermann
the

1840.

P.

is

Oniegin,

Victor

Nessler

as

Der

and

versatile

his

only by

Eugene

is concerned.

successful

is

music

Bohemian

The

(Baldenheim).

Their

Germany.
works

as

gifted

England

(Kralup).

are
hardly
operas
his symphonies.

84 1.

opera

as

Dvorak

1841. Antonin

in

known

far

so

This

(Votinsk).

Tchaikovsky

composer

Raben.

Sieben

Die

as

von

(Verona).

Is

composer's

chamber

music

and

Wrote

popular operas for

high rank, but such
Sakkingen enjoy great

of

not

Trumpeter

his

popularity.
1841.

Franco
Italian

Faccio
opera,

whose

an

obscure

compositions display

originality.
241

composer
no

of

particular

of

Story
1

84 1.

Pauline

Lucca

appeared
Germany,

in

vocalist
who
soprano
and
Alike
in
others.

A
(Vienna).
of
Meyerbeer
operas
Russia, and
England,

the

aroused

interest

keenest

of

one

was

Opera

she

and

compass

and

(Ambert).
malgri

lui.

extended

of

have

to

seems

excitement.

voice

Her

sympathetic

quality.
1841.

1842.

Chabrier

Emmanuel
of which

best

and

(Vienna).

plan, omitting

opera

Jules F,

Massenet

E.

works

may

his

abilityand industry, and

in the development
of
Boito

and

(Padua).

unheard

of the

comic

He

also

was

form

of

Christine

delighted

opera,
before

in

brilliant

that

habitues

of the

factor

Was

most

of whose

reckoned

be

to

of

famous

light

Her

music

Mefistofele

public

are

the

works

still

opera

and

Ivanhoe.

charming

were

type.

and

soprano,

gifted singers
few

decades

appeared

frequent.

242

opera
of a

Swedish
of

florid

of

composer
in Paris

1900.

band

successes

of

in

First

(Madrid).

1861.

with
the

opera.

of
the

the

many

composer

died

He

(Wexio).

Patti

Adelina

the

many

Nilsson

yet another

opera

(Lyons).

comedy

of

grand

Herodiade, Manon,
other
works
testifyto

the
(London).
Composed
the
originator
practically

1842. A. S. Sullivan

the

on

one

and

in France.

opera

Is

producing

opera,
in London.

is

he

dramas

Nero.

Audran

Edmund

Singspiel.

opera,

in this country.
Werther, and

Cid, Esclatnonde,

1842. Arrigo

1843.

of French

Le

with

Is

the

operas,

music

Wrote

(Montand).

heard

be

of

light works
compose
all dialogue.

living composers

famous

1843.

to

some

Composer

(Berlin).

sought

Wrote

Roi

Hofmann

operas,

1842.

was

Millocker

Carl

1842. Heinrich

1842.

Le

in

all made
Her

who

back.

England
in

in

Italian

appearances

Appendix
Richter

1843. Hans
whose

and

the

pupil

and

German

the

of

friend

Cellier

the

he

Covent

at

Russian

musicians.

notably

in

The
The

Wrote

school

but
operas,
character.

he

(Tichwin).
In

Night.

Golden

Cock.

Carl

the

was

Ring

at

style

modern

successes,

some

(the 15th)

opera

of the younger

member
his

of

van

last

by

(Prossnitz).

Patrie.

operas,

written

Has

known

best

the

His

large
very
which, The
by the
England

are

operas

of

in

produced

been

Company.

Rosa

of

created

His

chieflyknown

Cross, has

Golden

and

also written French

Has
Scrpctte (Nantes).
of a
lighter style, pertaining to the Buffo

of

number

Garden,

the

In

he

opera

May

Briill

1846. Ignaz

Wagner,
conducts

after the
light operas
successfully caught.

1844. EmilePaladilhe(Montpellier).

C, A. G.

ductors,
con-

upon
Richter

production

manner

1844. Rimsky-Korsakoff

1846. H.

of

1876.

Sullivan, whose

French

greatest

Dr.

was.

first

(London).

is entitled

the

of

one

living authority

greatest

for

in

Bayreuth
F,

Is

performances

responsible

1844.

(Raab).

of

the

German

school.

Holmes

1847. Augusta
writers

1847.

with

the

the

few

women

Materna

German

opera,

impersonations

desk

and
Company,
favourable
awaiting a

Maas

was

(St. Georgen).
and

great

of Brunnhilde

(Dartford).

indifferent

stage, he

his

produced

Has

also

has

tunity
oppor-

production.

Amalie

1847. Joseph

Rosa

Carl
in

works
for

an

of

one

(Edinburgh).

Mackenzie

Alexander

and

Is

of opera.

operas
unheard

1847.

(Paris).

more

Was

appreciated
243

soprano

singer,
Wagnerian
being speciallyfine.
a

Although

actor.

famous

good
often

in concert

tenor

heard
work.

of
her

vocalist,
upon

the

of

Story
1848.

Mancinelli

Luigi

Italian

of

is also

(Orvieto).
Covent

at

opera

both

known,

Opera
Is

the

of opera

conductor

popular

Garden.

As

he

composer

of oratorio.

and

in many
music
much
1849. B. L, P. Godard
(Paris). Wrote
did not
attain to the popularity of his
styles. His operas
chamber
music
or
pianoforte pieces.

1850. Albani

(Chambly).

Whose

esse,

is familiar

to

Her

operatic

successes

nineteenth

the
such

1850. Zdcnko

were

of

the

and

Lajeun-

present

day.

decades

of

last

two

many,
"

and

she

well

sang

Elsa."

(Bohemian).
in his

is Marie

name

goers
the

during

Isolde"

Fibich

1850. Robert

Has

written

by

Smetana.

country

of

operas

the

the
Planquette
(Paris). Composed
evergreen
man.
Frenchthe
dear
the
of
heart
to
Corneville, so
His
bright and sparkling.
operettas are

Cloches

de

1850. Anton
He

as

popularized

type

concert

century
"

parts

all

real

Siedl
has

(Pesth).

conducted

A
the

on

Wagnerian
Continent,

of power.
in
England, and

conductor
in

America.

185 1.

Thomas

Goring

favourite

85 1.

Vincent

songs,
from
which

85 1.

Tamagno
fees

excerpts

d'Indy (Paris).

composer

is

his Fervaal

(Turin).

created

night
per
for male
record

Is

prominent

modern

dramatic

work.

fine

operatic

America

in

so

many
and

frequently heard.

are

celebrated

^400

of

of
composer
Esmeralda
operas

the

wrote

Nadeshda^

This

(Ratton).

whose

tenor,
said

are

vocalists.

French

have

to

died

Tamagno

in

1905.

185 1.

Jan

Blockx

Flemish
several
Princes

Music

in

operas,

of

which

mention

se

and
more

Is

of

1852. Frederick
with

(Belgian composer).

School

Antwerp

the
;

may

director
he
be

of

the

written

has

made

of

d'Auberge.
Cowen

(Jamaica).

conductor
or

less

has

success.

244

made

The
several

well-known
essays

writer
songon

opera

of

Story
other

Among
may

contemporary

mentioned

be

Opera

composers

and

singers

of opera

"

Composers.
Eugene d'Albert
H. Bunning

Franchetti

McLean

Glazounow

Edward

Cilea

Gilson

Orefice

Coronaro
Hamish

McCunn

Catalani

A.

Giordano

Reznicika

Galli

E.

Edward

Delius

J.

G.

Kienzl

C.

F.

Dupont
Debussy
Dupais

German

Holbrooke

Solomon

Schillings
E. Smyth

Max
Miss

Somerville

Leoni

I. de

Stenhammer

W.

Spinelli

Lara

Enna

Laparra

Tasca

F.

Leroux

Tinel

d'Erlanger

Filasi

A.

Ernest

Ford

Naylor

Messager

McAlpin
F. Weingartner

Siegfried Wagner
Webber

Amherst

Conductors.

Signor Campanini
Herr

Eckhold

Nikisch
Panizza

Mottl

A.

Signor Mugnone
Messager

Percy

Mahler

E.

T.

Frigara

W.

Lohse

Goosens
van

Pitt

Beecham

Norden

Singers.
M.

Alvarez

Madame

M.

Ancona

Olive

Suzanne

Adams

Fraulein

Alten

L. Arens
Ballisini

A.

Brema

Black

Mdlle.

Bauermeister

Frease

M.

Alice

Nielsen

Agnes

Gilibert

Giachetti

Nordica
Olitzka

Plancon
Van

McHinckley

Reinl

M.

Herr

Herold

Rooy

Walter

Russ

M.

Madame

Hyde
Journet

246

Nicholls

Madame
Mdlle.

Green

Madame

Signor
Marie

Fremstad

Madame

Anselmi

Signor

Eames

Reiss
Sembrich

Appendix
Herr

Burrian

Knupfer-Egli

David

Bispham

Selma

Signor

Caruso

Kirkby

Madame

Calve
Coates

John
M.

Cotreuil

Cornelius

Herr

Zelie

Madame

Marian

Destinn

Charles

M.

Donalda
Delsarta

Dufriche

Signor

Dalmores

Saleza

M.

Madame

Mdlle.

M.

Lafitte

John

Fraulein

Lussan

Maurel

de Cisneros

Dani

de

Scotti

M.

Madame

Dyck

Lunn

Signor Sammarco
Salignac

M.

Fraulein
Van

Kurz

McKenzie

Madame

Manners

Fanny Moody
Joseph O'Mara

M.

Slezak

Fraulein
Edna
Madame

Blanche

Marchesi

Vignas

Thomas

Meux

Madame

Madame

Norelli

C.

Ternina

Thornton

Tettrazini
Wittich

Whitehill

Gleeson

247

Saltzmann-

Stevens

McCormack
Melba

Sobrino

Seveilhac

White

Story

of

248

Opera

Appendix
O

"2
"

ii^

"

T3
B
O

J-

"

^6

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D-

B
-s

^y

""

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"h

in

aJ

-"

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"u

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pa

c/"

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s
Oh

in

rt

-So:

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O
Oh"""
o

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0)

G
a

CO

8"
q
S-^fr

ex

2.
"

bo

"""
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botJ

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"u

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T3

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"U.gg/"3S?"g

"u

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t:
:B

pq

a
3

*J2P
w

249

Story

of

250

Opera

Appendix

cue

.2c

"
3

"" 2

"_

rt

"^

"

S
53

a)

"

.t:
^

v)

rt

"

o
o

ft"!

"ug^a"u

_-"

S""

-5S

"

m" y

s "

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S
o

CD

J3
"

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en

4"

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ft

'C

rt

"u

.c

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tf^H""0

pq

"3

rt

"u

""

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"u

"

cs

53

2s

Story

of

Opera
i

"5

-3

"5

'55
3

bo
a

T3

K
c

"u

Oh

C/3

"

73

3
(/J

Si*

T3

"Sr; rt^

bo

"

cS

a*

in

252

Story

of

254

Opera

Glossary

Appendix

C.

of

mainly

Terms
in

Act*

The
Older

operas

often

Act

in

Tune

Curtain

Tune.

were

for

Air

Aria.

or

of

An

in

belonged
titles

Bravura,"
di

Arietta.

Ballad

short

Opera.

was

songs

little

Beggar's
Ballet.
feature

An

"Aria
less

form

of
were

by

1750,

pretension

English

all

The

such

were

which

to

they
these

Among

"Aria
"Aria

Capo,"
Mezzo

than

Parlante."
of

any

in

going.
fore-

the

which

and

old

music;

new

best

di

Carattere,"

"Aria

of

they

Unisono,"

da
di

opera

instead

music.

voice

class

"Aria

Grande,"

used

concerted

They

acts.

to

day.

"Aria

d'Imitazione,"

well-known

the

"Aria

the

of

mezzo,
inter-

single

Handel's

Concertante,"

aria,

only.

the

1650

defining
of

operas

Portamento,"

more

one

instrumental

between
about

for

scene

mentioned

"Aria

of

form

ones

in

Purcell.

titles

"Aria

Cantabile,"

"Aria

and

with

the
be

may

operas

modern

acts,

divided.

are

operas

Rheingold,

old

from

operatic

kinds,

many

five

performance

Locke

as

composers

An

for

composed
written

in

Wagner's

as

some,

which

into

usually

were

three

or

Opera.

sub-divisions

larger

used

example

there
is

Opera.
entertainment
of

operas

of
of

dancing,

certain

255

always

constituent

period.
s

the

of

Story
Bolero.

Cadenza,

Bellini,Rossini,
Male

so

breaking

the

by artificial

of

ballet.
of

operas

voices

whose

the

was

means.

air.

melodious

solo, " Salve

Faust's

dimora," is

named.

Chitarrone.

long-stringed,

in

Monteverde
The

Choragos,
A

Chorale,

Not

Highly

to

the

the

"Aria

the

as

be

of

Opera

older

Capo,
the

second

the

first.

Ensemble.

form

of the

an

Aria

of

the

short

opera

in

used

of

such

humorous

story.

and

other

describes

of

parts

characters
a

series

operas

are

of

upon

events

or

story.

Tune.

collection

See

Act

part

is made

use

music,

several

music

of

in

When

the

See

vocal

Finales

The

and

Divertissement.

Entr'acte.

drama.

light nature, with a

Opera Comique.

school.

Tune.

Entree.

in Greek

with

development

Curtain

by

Concertante."

confounded

stage,

some

chorus

ornamented

Numbers.

Concerted
of

of the

Effective
hymn-tune.
Meyerbeer's Hugue?iots.

Opera,

Comic

lute, used

Orfeo.

leader

in

Coloratura,

places

double-necked

German

chorales

Da

and

sopranos,

prevented
Cavatina.

in the
common
very
school.
early Verdi

flourishes

Vocal

Castrati,

into the

introduced

often

Spanish dance,

Opera

air

by Scarlatti,in which
followed
by a repetitionof

used

much
was

ballet,or
of

upon

most

the

or

stage

intermezzo.

instrumental

an

all of
at

the

the
same

acters
principal chartime.

Overture.

Music

composed

Entrepreneur
(Fr.).
performances.

The

for

performance

organizer

256

or

between

director

of

the
a

acts.

series

of

Appendix
Falsetto,

Fanfare.

false,artificial use of the voice, employed

mostly for singing alto parts.
flourish

of

in many

used

trumpets

by

men

(Fidclio,

operas

Tannhciuser, etc.).
Finale.

The

conclusion

of

an

opera,

of

or

often
duet
early operas
or
a
trio,but later
often
of
number,
dignity. It
great
very
used

Logroscino,

by

of many

feature

Glockenspiel,
used

since

has

on

first

was

become

concerted

largely

important

an

operas.

small

of

set

in

Mozart

by

and

thereof; in

act

an

bells

from

played

Zauberflote

and

bronze

struck

by

a
keyboard ;
in the
Wagner

Walkiire.

Gong,

Tam-Tam.

or

plate

with

stick ; used

by Meyerbeer.
Grand

serious
Opera.
or
Opera on
tragic subjects, with no
with
spoken dialogue, and
a
everything conceived
upon
and
scale.
used
denote
French
to
large
dignified
Generally
Opera.

One
of
Harpsichord.
the accompanying

instrument

A
confused
Imbroglio.
going on at the same
Meistersingers.

Impresario

short, light musical

the

of Grand

to

Leit-motif, or
harmony,
the

stage,

acts

an

in

street

definite

idea.

Its

use

Wagner.
Libretto.

Lied.

The

German

"

book,"

or

scene

of

are

Die

Entrepreneur.

as

interlude.

instrumental

with

operas.

play, originally introduced

is now
The
term
Opera.
usually

distinctive
The
guiding-theme.
with
associated
one
or
scoring
or

earliest

conflicting things
the

meaning

same

Intermezzo.

applied

as

pianoforte, and

the

in the

where

time,

the

of

used

passage,

Has

(Italian).

between

forerunners

the

words

for air.

257

of

an

opera.

piece

of

character
was

melody,
upon

perfected by

Liederspicl.
ballad

Opera

of songs.

This

corresponds

Play

An

form

early

of scenic

Buff

Opera

of

the

English

of

dancing

much

Comique.

the

music,

"

English term,
often

play,

stage

Fidelio

Beethoven's

and

humour

with

to

of

of

light opera
comicality.

Bouffe).

Opera
full

somewhat

mainly

made

effects.

set

which

of opera

(French,
dignity, but

little

Opera

with

opera.

Masque.
and

Story

in which

there

and

Weber's

Der

Comic

serious

of

but

is

very

It

responds
cor-

opera."
character,

dialogue.

spoken

Frischiitz

are

in this

class.

Operetta.

Overture.

The

It

short

preliminary

varies

according
called

in

much
its

to

character.

introduction

length,

introduction

to

and

an

opera.

importance;
it is not

construction

and

character

light

orchestral

character,

but

overture,

of

generally

opera,

(intrada),entree,

only

Vorspiel,

prelude.
Pasticcio

(a pie).

collection

Potpourri.
worked
the

together

woven

sources,

into

up

vocal

of

piece

duets, etc., from various

pleasing entertainment.

favourite

the
for

airs

of

instrument

solo

portions

of

Secco.

chords.

Reeitativo

during

an
"

opera

generally

recitation

by Mozart.)

instrumental
of

course

application

is

only by slight

supported

recitative,the
importance.

and

interlude

between

orchestral

scenes,

or

scene.

class

of

subjects

chiefly

declamation.

of musical

Accompanied
interest

definitely rhythmic

less

kind

used

individual

An
the

opera.

Stromentato.

Opera.
supernatural

school.

an

and

Simple

(Much

part having
Ritornello.

melodious

less

The

Recitativo

or

of songs,
to form
a

pianoforte.

Recitative.

Romantic

collection

to

opera
rather

operas

dealing
of

with

classic

than
the

Weber-

legendary

themes.
Marschner

Its

Appendix
Sccna.

long

for

movements,
or

aria

of

and

important operatic solo,

solo

voice.

portions,or

often

in

several

It may
consist
of recitative
but
should
in its
be dramatic

both,

construction.
Scenario.
an

synopsis

of the

plot

and

of

scenes

the

libretto

of

opera.

Secco.

{See Recitative.)
The

Singspiel.
music

and

Tessitura.

spoken

The

it lies

high

Transcription.
Tremolo.
the

German

range
low
or
The

form

of

vocal

in the
more

short

composition

modern

operetta

name

of the

for

i.e.,
as

to

(German).

Zwickenspiel

See

(German).

used

much

(French), usually

intermezzo

259

on

purposes.
of

Overture.
An

whether

Pot-pourri.

note;

same

for dramatic

"

nature.

Vorspiel

both

voice.

of the

compass

rapid reiteration
stringed instruments
A

with

comique,

opera

dialogue.

Vaudeville.

of

or

interlude.

frivolous

D.

Appendix
List

of

Instruments

Orchestras

of

different

The

X.

first

Chitarone

Lira

Grande

Monteverde's
2

Gravicembali

Contrabassi

(Clavicembali)

Viole

di

Arpa

Doppia

Violini

Chitarroni

Organo

Regal

10

Except
pretty

well

constitution
the

present

accompany

the

organs

Viola

Brazzo

alia

for

Viol

Theorbo

Tromboni

Francese

Flautino

Clarino

day

number

smaller
as

effect

and

Gamba

da

Gamba

(Flageolet)
(Soprano

Trumpet)

Sordini

Trombe

a
are

Orpheus,
and

absolutely

producible.
the
the

of
full

modern

hardly

Apollo,

"

(Muted

Trumpets)

large

as

(1600)

Cornetti

Legno

the

di

Bassi

3
di

Peri

by

Piccioli

Opera.

(1608)"

Orfeo

da

of

Flutes

2.

of

Euridice,

opera,

the

Composers

periods

Italian

real

in

used

violas

strings
operatic

The

gambas

260

Plato.

the

and

is

orchestra

orchestra,

different,

Euridice,

trombones

this

of
were

guitars

but
course

used

Charon,

its
in
to

Story

of

Opera

E.

Appendix

Bibliography
The

following
language :

the

are

chief

of

works

Opera.

upon

opera

in the

English

of

Operas.

"

Edwards,

H,

Matthew,

J. E.

Chesney.

The

"

Guerber.

Annesley.
Sachs

Mapleson.
Arditi.

Apthorp.

Lahee.

Streatfield"

Opera.
There

"

of

and

Theatres.

America.
Problem.
of

Aspects

Modern

Opera.

Opera.

Opera.

"

is also

perfect

(such
on

music, etc.,

as

the

Press.)

(Delamore

Dictionary.)

articles, books

Present.

Opera.

(Grove's

biographies
of the

"

and

Past

Operatic

The

the

at

Opera-houses

Opera.

in

Opera

Gilman.

Nights

Glass.

Memoirs.

History

The

"

Lawrence

Modern

"

Opera,

The

Grand

Galloway.

ioo

Operas.
Opera

Savoy

Critical
"

Famous

Standard

The

"

"

view

Reminiscences.

My

Fitzgerald.

Operas.

Mapleson

"

"

"

of

Woodrow.

and

or

Guide.

of the

The

"

Glass,

Opera

Operas.

Stories

"

Opera.

Donna.

Opera

Stories

"

of

Operas.

The

"

Standard

"

Barker.

Elson.

Prima

Drama.

History

of the

Alexander.

Upton.

Lyrical

Popular

"

The

"

Louis,

Spier.

The

"

Stories

"

Edwards.

S.

Mr.

Ring

of

mass

and

Wagner
Ellis'

Ashton

other

etc.

263

literature, including
work), essays,
books
explanatory

colossal

operas,

Index.

Thomas's

Ambroise

Mig-

Hamlet,

Benedict's

90

non,

Arensky,
Aria

Benda, 51
Benedict, 96

85, 189, 207

Adam,

96
Berlin, 178
Berlioz, 87, 175, 209
Bishop, Henry, 94, 157
Bizet, 89
Bizet's Carmen,
89
Boieldieu, 85, 207
Blanche, 85
Boieldieu's Za Dame

124

from

Gluck's

Verdi's

Orfeo, 50-51

A'ida, 73-74

Ariosti, 190
Arne,

93-94

Arne's

Artaxerxes,

93

Arrieta, 129
Arsani, 208
Auber, 87-88, 175, 207
Auber's
Masaniello, 87
volo, 88

Boito, 130-132,
; Fra

Boito's

Dia-

Nero

Borodin,

Bach,
Balfe, 94-95
The

Bohemian

Siege of Rochelle, 95
Girt, 95, 187

Opera, 15,

Ballad

94,

Barnett's

Bayreutb,

The

179,

Wagner's

131;

141,

Buononcini,

180-183
at, 103

42,

148
Osra, 145, 148
45-46, 64, 154,

190

55,

Caccini,
84,

Caldara,
Cambert,

Campion,

186

Bellini, 15, 72, 173

Bellini's La
Sonnambula,

143

du
Moulin,
VAttaque
Outragan, La Reve, Messidor,

Bruneau's

143

Beethoven, 13, 14, 24, 27, 44,

61, 76, 77, 99
Beethoven's
Fidelio, 55, 70,

72

Bruneau,

Budapest, 178
Bunning, Herbert,
Bunning's Princess

Sylph, 94

Mountain

170, 177, 185

Beggars Opera, 91-93,

124, 125
Prince
Lgor, 125

186

33

theatre

Orestiade,

Borodin's

L'

Ballet, 188-189

Bardi, Count,

141
and

Mefistofele,131, 173, 195

61

Balfe's

Lily oj Killarney,

The

"Canzone"

Norma,

Carl

37, 39
41,

Rosa

Caruso, 204

265

42,

207

Robert, 42
187
by Mozart,

52

Opera Company,

159

of

Story
Catalani, 204
Cavalli, 10, 40
Cavos, 123
Cesar-Cui, 124, 125
Cesar-Cui's
Angelo,
Fit 'bustier,125
Cesti, 41

Charpentier,
Cherubini,

Les

opera,

154;

stories

of, 209-211

Finale,

Invention

of, 12,

147

Nordisa,
Cornelius, 79
The

Donizetti,

Cowen,

147

opera,

La

Regiment,

Early

144

Favorita,
V

Lucretia
di

Elisir

La

d'Amore,

Lammermoor,

203,

154,

Flotow's

157

12

91
in

England,

159; Pauline,
159
Curiosities of opera,
189-198

204

79

Martha,
Franchetti, 134

Harold, Signa, The L^ady

Lyons,
Thorgrim,
of
147;
147,

79

French

Opera,

French

School, the, 81-90

Gade,

129

42-43

Galuppi, 64
Capo Aria,
of, 21;

Dargomijsky,

Birth
reform

173;

74

123

composers,

Fibich, 127, 178

Co wen's

Da

Fille

Borgia, 72,

Russian

Farinelli,
Flotow,

Garden

Roi

15, 72, 173, 207

of Bagdad,

80

Covent

Le

dit, 90

150

147

Barber

90

Elgar's Apostles, 1 17
Empiricism, Musical,
English Opera, 44-47,
Enterprise, Operatic,

notable, 65

Corder's

Cornelius'

Coppelia, Lakmi,

134,

Coperario, 187
Corder,

Robsart, Messaline,
148

Leo,

du

144

Dresden, 179
Dubois, 144
Dvorak, 126, 128, 178
DvSrak's
Der
Bauer
Marriage,
Demetrius,
and
ein
Schelm, King
Collier,
travelling,
128; Armida,
Rusalka, Wanda,
128, 178

65

Companies,
158
Composers,

Melisande,

Delibes'

Lucia

Lecouvreur,

124

Delibes,

Donizetti's
Les

Guest,

Light of Asia,

72;

51, 65, 207

The
Secret

Cimarosa's

Lara, 148
Lara's Amy

D'Indy, Vincent,

200

188

Cimarosa,

Aben-

Meyerbeer's

Adriana

64
Contest,

168,

86

Huguenots,
Cilea, 134

Water-Sprite,

The

JournSes, 84;

deux

from

Concerted

De
De

Carrier, 159,

Chorale

Cilea's

Ratcliff, The

Baba,

AH

Stone

Debussy, 144
Debussy's Pelleaset

63, 66, 84,

Les

cerages,
Water

The

Va

I75" 199
Cherubini's

The

Dargomijsky's

144

14,

Opera

of,

11

ness
weak-

German,

of, 22

124

266

Edward,

148

German

Opera,

German

School, the, 76-80

43-44

Index
Giordano,

Her

134

Giordano's

Andrea

Chenier, 134

Glinka, 123, 127

Glinka's
A
Life
Russia

and

Hiller's
the

for

Ludmil

Czar,

la, 123

80
The

Goetz's

Jagel, 77

Humperdinck,
137
Humperdinck's Die
Willen, 139; Hansel

138,

137,

wider

Heirat
and

Gretel,

141

Innovations,
musical,
206
85,

20

Isouard,
Italian

Opera, 15,

Italian

School, the, 63-75

39-42

Lind, 203
Jomelli, 64, 207
Jomelli'sArmida,

Jenny

137

Goldmark's

Cricket

Queen

Faust,

Hearth,

Esmeralda,

deshda, 97
Gounod,
88, 141
Gounod's
Mireille,
Mock
fuliet, The
Philemon

the

on

and

Na-

Keiser, 43, 76
Kelly, 94
Kreutzer, 79

and

Romeo

Doctor, 88;
88, 196;

Lablache,
204, 208
Lago, Sefior, 157

170

Lalo, 90

Baucis,

88, 95, 141,

Grand

Opera, definition
England, 156-162

of, 70;

in

Lalo's

Le

cC

Rot

116, 135
Leoi, Franco,
Leoncavallo,

85, 207
11,
190,

43,
191,

195;

64,

44-47,
195,

202,

76,

Deiamia,

45

202

Harris,
Hasse,
Haydn,
Herold,

Sir

Augustus, 157

43, 77, 207

Pagliacci, 133,

Roland

of Berlin, 133

Librettists,206

Rinaldo,

Liszt, 102, 103

Lock, 187
Logroscino, 12, 64
Lortzing, 78, 79

Lortzing's

61, 207

85, 175, 207

133

130,

Lindpaintner, 78, 79

203,

207

Handel's

107,

148

Leoncavallo's

154,

Ys, 90

Legrenzi, 41
Leipzig, 179
Leit-motif, the, 27, 28, 105,

French, 43, 63, 176

Graun, 77, 207
Gretry, 51, 82
Grieg, 129
Grisi, 208
Halevy,
Handel,

209

of Sheba, 137

Goring Thomas's

45,

Die

Dorfbarbier,

Der

of the Shrew,

Taming

80

Goldmark,
The

85

Hiller, 77, 78

Gluck, 13-15, 20, 22-24,

31, 42,
48-51, 61, 63, 64-65, 71, 76, 83,
87,98, 143, 175, 190, 207
Gluck's
in
Armida,
Iphigenia
and
Aulide, Paris
Helen,
49;
Orfeo,
Alceste, 23, 49;
49, 177;
Iphigenia in Tauride, 49, 65
Goetz,

old's Zamfia,

79

Lotti, 42

267

Peter

the

Shipzuright,

of

Story
Ludvig II., King

of

Bavaria, 102,

103

Lully, 11,42-43,81,98,

I75"I76,

188, 199

Opera
Messager Andre,
Metastasio, 207
60,
Meyerbeer,
169, 173,

MacCunn,

Hamish,
Diarmid,
Deans, 148, 159
Macfarren, 96
Mackenzie, 145, 147
MacCunn's

Mackenzie's

The

144

85-87, 98,

101,

176, 194, 207

Meyerbeer' 'sDinorah, U Africaine,
Le Huguenots,
Le Prophele, 87

147

148

Jeanie

Michael's

175,

Utal, 195

Mixed

language singing, 190

Monodic
style, 38
Monsigny, 82

Cricket

on

the

The

Monteverde,

9,

19, 20,

31, 39,

48,

Hearth,
Troubadour,
147
Malibran, 204
Manners, Charles, 160, 161
Marschner, 14, 60, 78, 79
Marschner's
Der
Hans
Vampyr,
The
and
the
Templar
Heiling,
Jewess, 79

Orfeo, 39-40
Moussorgsky's Judith, 125

Mascagni, 130, 131-132

Mascagni's Cavalleria
Rusticana,

Mozart, 13, 14, 24, 27, 44, 51-55,

61, 62, 63, 65, 66, 70, 76, 77,

170, 206; L'Amico

132,
I Rantzau,
Iris, William

Fritz,

Masse's

Massenet,

et

141,

Virginie, 90
142

HerodiEsclarmonde,
La
ade,
Cid,
Jongleur de
Notre
La
Dame,
Navarraise,
Le
Roi
de
Lahore,
Manon,
Thais, Wert her, 142
McLean,
Alick, 148
Mehul,
83
Me'hul's foseph, Uthal, 83
Le

Melody, Adoption of,

16, 26, 30,

Mendelssohn's

78, 168, 205, 207

Entfurhrung

Die

aus

Don

Serail, Idomeneo,
54;
Flute
Magic
54, 205;
The
Marriage
oj
54,
195 ;
Figaro, 54, 177; Cosijan Tutte,
177; Zauberjlbte,177, 196; Don
Giovanni, 124, 170, 178, 195

116;

Munich,

179

Musical

comedy,

Musical

empiricism,
Emotional

Music,

accessory,

Muzio

186

12

effect

of, 34;

an

polyphonic, 33

Scevola, 190

Napoleon

I., 199, 200

84
161
Naylor, Dr. Edward,
Neapolitan school, the, 64

10

Modern,

Naumann,

117

Mendelssohn,

Monteverde's

from

Juan,

Massenet's

Melos,

158,

Company,

dem

Victor, 90
Paul

160

Fanny,

160

"Moresca"

Mozart's

Rat-

cW, 133
Masque, the, 187
Masse,

71
Madame
Moody,
Moody-Manners

59, 60, 61

Lorelei, The
of Camacho, 60
Mercadante, 72
Merimee, 210

Nepravnik, 127

ding
Wed-

Nessler,
Nessler's

140
The

kingen, 140
268

Trumpeter

oj Sdk-

of

Story

Schubert's

81-82, 175
Rameau,
Recitative, 69-71
Recitativo Stromentato, 71
Richter
conductor),
(Wagnerian

}"
.

Serov,

Rimsky-Korsakoff, 124, 125

Rimsky- Korsakoff's Pskowitjanka,
The
May Night ', 125
Romantic
24, 56
opera,
Rome,

79.

Sinding,

Rossini's

(song), Singspiel,
185

25,

66-69, 7*"

80,

Cenerentola,

; La

Gazza

Le

example

Spohr,

Devin

du

Der

Kuss,
Bride,

Bartered

Wald,

Porto, 134

78
Alchy78; Der
Jessonda,
Berggeist,

79

Spontini,

Royalties,
Rubini, 208
Rubinstein,

60, 63, 66, 84, 98,

176, 194, 196, 200,

210

205,

Cortez, Olym210
Maison,
;

Spontini's Fernand
; La

Henry
Ascanio,
Saint
VLLL.t V Ancetre, Les Barbares,
Proserpine, and Phryne, 142
10, 12, 21,
Scarlatti, Alessandro,
Saens'

70,

Schillings,Max,

Petite

pia, 85
La
Vestale, 85, 200, 210
Stage pieces,Progress in mounting

123

Sacchini,
51, 64
Saint-Saens, 141-142

43,

14,

169, 175,

206

41,

14, 24,

mist,

Village,

Royal Opera Syndicate, 154, 155,

156, 157, 158, 161

27,

28 ;

Spohr's Faust,

82, 209

178
Dalibor,

Spinelli,134
Basso
A
Spinelli's

of, 67-69
Rousseau, Jean Jaques, 82
Rousseau's

Der

122-128

Emily, 148
Smith's
(Miss Emily) Der
The
Wreckers, 148
Somerville, 148

211

Crescendo,"

83, 97,

Miss

Smith,

Tancredi,
Otello, 69, 71;
Mose
Semiramide,
66,
;
174
The
in Egitto, Zelmira,
174;
Barber
of Seville ', 66, 174, 202,
Rossinian

77,

128, 178

71,

173;

"

70,

of,

127,

Libusa,

William

Ladra,

5,

opera,

Smetana,

; stories

by, 15

4,

Smetana's

206

La

Tell, 71

129

Singers, Abuses
207-208

Slavonic

Rossi, 42
Rossini, 15,
173, 202,

124

Shield, 94

174

Softly Blooming"

Estella,

and

Alfonso

Fierabras, 60
Schumann,
59, 60, 61
Schumann's
Genoveva, 60
Scribe, 207
Senesino, 202

Ricordi, Messrs., 161

"Rose

Opera

of, 7
Stanford,

145,

Stanford's
Savonarola,
The

146

118

146, 153

Canterbury
Shamus

147

140

Stereotyped casts,

Schubert, 13, 59, 60, 61

270

O'Brien,

Prophet of Lihorassan,
about
Ado
Much
Nothing,

Veiled
;

Pilgrims,

191

Index
Storace, 94
Strauss, 139, 179
Strauss's
Feursnot,

Vivaldi, 41
Volkov, 123
Guntram,

139;

Sullivan's

The

Ivanhoe,

Mikado,

97

158

97,

26, 73, 79, 85, 89,

98-115, 143, 157. 176, 179, 180,
Influence
of, 116189, 192;
of
orchestra, 118;
use
120;
his harmony,
118; supernatural

Wagner,

Elektra, Salome, 139, 179

Sullivan, 97, 119, 158, 189

Sussmayr, 70

15,

requirements, 194
Wagner's The Fairies,
208

Tamburini,
Tchaikovsky,

124,

26, 189, 195

141

102,

100,

101

Tannhduser,

113-115;

104,
101,

grin,
Lohen106-107, 189, 209;
107-108, 159, 170,
102,

200,

209

The

Ring,
170,

157,

112-113,

Meistersinger,
170,

157,

202;

1
102,
Tristan

Wagner,

Siegfried,140

Wallace,

96

Wallace's

80, 98,

119,

173,

Weber,

Maritana,
13, 14,

24,

96,
44,

66, 77, 78, 84, 89, 99,

207
Verdi's

Ernani,
Trovatore, La
Ballo

in

Rigoletto, II
Traviata, 72 ;
Maschera,
Aida,

Otello, Falstaff, 74;

Lombardi,
173
Vienna, 177
73;

THE

102,
202;
10-

103,
Die
2,
and

1 1

Isolde, 189, 170

Venice,
174
Verdi, 72-75,

Un

119,

105

IOI,

79,

126

Thomas,
Ambroise, 90,
Thomas,
Goring, 96
Titov, 123
Tomaschek,
127

Tonality,

; Rienzi,
Dutchman,
Flying
Parsifal,
159;
105,

Liebesverbot,

Tchaikovsky's Eugene
Oniegin,
The
loan
Mazeppa,
of Arc,
The
Enchantress,
Oprichnik,

; Das

1 00

WALTER

SCOTT

PUBLISHING

179,

87

56-59, 61,
157, 168,

205

Freischiitz, 56, 70,

78, 84, 178, 185, 205; fragment
from, 57-59J
Oberon, 59, 157;
Euryanthe,
59, 1 95

Weber's

Der

Weingartner,

CO.,

LTD.,

140

FELLING-ON-TYNE.