History of the Opera from its Origin in Italy to the present Time

M. Berlioz has said of Hoffmann's music, adding, however, that he had not heard a note of it, that it was "de la musique de littérateur." M. Fétis, having heard about as much of it, has said a great deal more; but, after what has been written concerning Hoffmann's principal opera by such a master and judge as Karl Maria von Weber, neither the opinion of M. Fétis, nor of M. Berlioz, can be of any value on the subject. The merit of Hoffmann's music has probably been denied, because the world is not inclined to believe that the same man can be a great writer and also a great musician. Perhaps it is this perversity of human nature that makes us disposed to hold M. Berlioz in so little esteem as an author; and I have no doubt that there are many who would be equally unwilling to allow M. Fétis any tolerable rank as a composer.

FINIS

1

Wagner calls the composer of an opera "the sculptor or upholsterer," (which is complimentary to sculptors,) and the writer of the words "the architect." I would rather say that the writer of the words produces a sketch, on which the composer paints a picture.

Since writing the above I find that the greatest of French poets describes an admirable libretto of his own as "un canevas d'opéra plus ou moins bien disposé pour que l'œuvre musicale s'y superpose heureusement;" and again, "une trame qui ne demande pas mieux que de se dérober sous cette riche et éblouissante broderie qui s'appelle la musique." (Preface to Victor Hugo's Esmeralda.)

I may add, that, in comparing Rossini with Beaumarchais, it must always be remembered that the former possesses the highest dramatic talent of a serious, passionate kind – witness Otello and William Tell; whereas Beaumarchais's serious dramatic works, such as La Mère Coupable, Les Deux Amis, and Eugénie (the best of the three), are very inferior productions.

2

Ménestrier, des representations en musique, anciennes et modernes, page 23.

3

See Vol. II.

4

Cambronne, by the way is said to have been very much annoyed at the invention of "La garde meurt et ne se rend pas;" and with reason, for he didn't die and he did surrender.

5

"The battle or defeat of the Swiss on the day of Marignan."

6

This was Heine's own joke.

7

And this, Beaumarchais's.

8

La Dame aux Camélias was to have been played at the St. James's Theatre last summer, with Madame Doche in the principal part; but its representation was forbidden by the licenser.

9

Spectator, No. 18.

10

"Life of Handel," by Victor Schœlcher.

11

I adhere to the custom of calling Margarita de l'Epine by her pretty Christian name, without any complimentary prefix, and of styling her probably more dignified competitor, Mrs. Tofts. Thus in later times it has been the fashion to say, Jenny Lind, and even Giulia Grisi, but not Theresa Titiens or Henrietta Sontag.

12

Spectator, No. 261.

13

Burnt down in 1789. The present edifice was erected from designs by Michael Novosielski, (who, to judge from his name, must have been a Russian or a Pole), in 1790. Altered and enlarged by Nash and Repton, in 1816 – 18.

14

It is to be regretted, however, that in sneering at an Italian librettist who called Handel "The Orpheus of our age," Addison thought fit to speak of the great composer with neither politeness, nor wit, nor even accuracy, as "Mynheer." —Spectator, No. V.

15

The same trenchant critics who attribute Addison's satire of the Opera to the failure of his Rosamond, explain Steele's attacks by his position as patentee of Drury Lane Theatre. Here, however, dates come to our assistance. The jocose paper on Mrs. Toft's insanity appeared in the Tatler, in 1709. The attacks of the unhappy Clayton on Handel (see following pages) were published under Steele's auspices in the Spectator, in 1711-12. Steele did not succeed Collier as manager or patentee of Drury Lane, together with Wilks, Doggett, and Cibber, until 1714.

16

Spectator, 290.

17

The Queen's gardeners.

18

Tatler, No. 113.

19

Spectator, No. 285.

20

It is also known that both profited by the study of Scarlatti's works.

21

See Chapter II.

22

Quoted by Mr. Hogarth, in his Memoirs of the Opera.

23

The Theatre. From Tuesday, March 8th, to Saturday March 12th, 1720.

24

See a letter of Dr. Harrington's (referred to by Mr. Chappell), in the Monthly Magazine, Vol. XI., page 386.

25

"Memoirs of the Opera," Vol. I., page 371.

26

The sopranists – a species of singers which ceased to be "formed" after Pope Clement XIV. sanctioned the introduction of female vocalists into the churches of Rome, and at the same time recommended theatrical directors to have women's parts in their operas performed by women. This was in 1769.

27

The Dictionnaire Musicale was not published until some years afterwards.

28

Le Vieux Neuf, par Edouard Fournier, t. ii., p. 293.

29

See Moliére Musicien, by Castil Blaze; t. ii, p. 26.

30

Choruses were introduced in the earliest Italian Operas, but they do not appear to have formed essential parts of the dramas represented.

31

With the important exception, however, of Don Giovanni, written for, and performed for the first time, at Prague.

32

Vocal agility, not gymnastics.

33

Of Faustina and Cuzzoni, whose histories are so intimately connected with that of the Royal Academy of Music, I have spoken in the preceding chapter on "The Italian Opera under Handel."

34

The copious title of this work is given by M. Castil Blaze, in his "Histoire de l'Opéra Italien." I cannot obtain the book itself, but Mr. Hogarth, in his "Memoirs of the Opera," gives a very full account of it, from which I extract a few pages.

35

F. Halévy, Origines de l'Opéra en France (in the volume entitled "Souvenirs et Portraits: Etudes sur les beaux Arts").

36

By M. Castil Blaze, "Histoire de l'Académie Royale de Musique," vol. i. p. 116.

37

For a copy of his Mass, No. 2.

38

It was precisely because persons joining the Opera did not thereby lose their nobility, that M. de Camargo consented to allow his daughter to appear there. See page 89 of this volume.

39

Among other instances of duels between women may be cited a combat with daggers, which took place between the abbess of a convent at Venice, and a lady who claimed the admiration of the Abbé de Pomponne; a combat with swords between Marotte Beaupré and Catherine des Urlis, actresses at the Hotel de Bourgogne, where the duel took place, on the stage (came of quarrel unknown); and a combat on horseback, with pistols, about a greyhound, between two ladies whom the historian Robinet designates under the names of Mélinte and Prélamie, and in which Mélinte was wounded.

40

Castil Blaze.

41

It is not so generally known, by the way, as it should be, that Garrick was of French origin. The name of his father, who left France after the revocation of the Edict of Nantes, settled in England and married an Englishwoman, was Carric. (See "the Eighth Commandment," by Charles Reade.) On the other hand we must not forget that one of Molière's (Poquelin's) ancestors in the male line was an archer of the Scottish guard, and that Montaigne was of English descent.

42

One of Mademoiselle Guimard's principal admirers was de Jarente, Titular Bishop of Orleans, who held "la feuilles des bénéfices," and frequently disposed of them in accordance with the suggestions of his young friend.

43

French audiences owe something to the Count de Lauragais who, by paying an immense sum of money as compensation, procured the abolition of the seats on the stage. Previously, the habitués were in the habit of crowding the stage to such an extent, that an actor was sometimes obliged to request the public to open a way for him before he could make his entry.

44

Compare this with the Duke of Wellington keeping foxhounds in the Peninsula, and observe the characteristic pastimes of English and French generals. So, in our House of Commons, there is always an adjournment over the Derby day; in France, nothing used to empty the Chamber of Deputies so much as a new opera; and during the last French republic, when a question affecting its very existence was about to be discussed, the Assemblée Nationale was quite deserted, from the anxiety of the members to be present at the first representation of the Prophète.

45

On this subject see ante, page 1.

46

"Gods and devils," says Arteaga, "were banished from the stage as soon as poets discovered the art of making men speak with dignity." —Rivoluzioni del teatro Italiano.

47

Published by John Chapman, London.

48

Addison gives some such description of the French Opera in No. 29 of the Spectator.

49

The origin of this absurd title has been already explained (page 15).

50

Molière Musicien, par Castil Blaze, vol. II., p. 409.

51

Gluck's name proves nothing to the contrary. The Slavonian languages are such unknown tongues, and so unpronounceable to the West of Europe that Slavonians have in numerous instances Latinised their names like Copernicus (a Pole), or Gallicised them like Chopin (also a Pole), or above all, have Germanised them like Guttenberg (a native of Kutna Gora in Bohemia), Schwarzenberg (from Tcherna Gora, the Black Mountain).

52

We have a right to suppose that the priest did not exactly know for whose arm the mass was ordered.

53

Of which, the best account I have met with is given in the memoirs of Fleury the actor.

54

From 1821 to 1828.

55

For an interesting account of the production of this work, see "Beaumarchais's Life and Times," by Louis de Loménie. See also the Preface to Tarare, in Beaumarchais's "Dramatic Works."

56

See vol I.

57

Question. Quelle est la meilleure? Answer. C'est Mara. Rejoinder. C'est bientôt dit (bien Todi). – (From a joke-book of the period).

58

A celebrated male soprano, and one of the last of the tribe.

59

Some writers speak of Mara as a violinist, others as a violoncellist.

60

Banti was born at Crema, in 1757.

61

Nasolini, a composer of great promise, died at a very early age.

62

All three sopranists.

63

It will be remembered that Berton, the director of the French Academy, entertained Gluck and Piccinni in a similar manner. (See vol. I.)

64

We sometimes hear complaints of the want of munificence shown by modern constitutional sovereigns, in their dealings with artists and musicians. At least, however, they pay them. Louis XV. and Louis XVI. not only did not pay their daughters' music-masters, but allowed the royal young ladies to sponge upon them for what music they required.

65

In chronicling the material changes that have taken place at the French Opera, I must not forgot the story of the new curtain, displayed for the first time, in 1753, or rather the admirable inscription suggested for it by Diderot —Hic Marsias Apollinem. Pergolese's Servante Maitresse (La Serva padrona) had just been "écorchée" by the orchestra of the Académie.

66

Mémoires Secrètes, vol. xxi., page 121.

67

This prevented me, when I was in Warsaw, from hearing M. Moniuszko's Polish opera of Halka.

68

To say that a theatre is "full" in the present day, means very little. The play-bills and even the newspapers speak of "a full house" when it is half empty. If a theatre is tolerably full, it is said to be "crowded" or "crammed;" if quite full, "crammed to suffocation." And that even in the coldest weather!

69

M. de Lamartine before writing the History of the Restoration, did not even take the trouble to find out whether or not the Duke of Wellington led a cavalry charge at the Battle of Waterloo. The same author, in his History of the Girondist, gives an interesting picture of Charlotte Corday's house at Caen, considered as a ruin. Being at Caen some years ago, I had no trouble in finding Charlotte Corday's house, but looked in vain for the moss, the trickling water, &c., introduced by M. de Lamartine in his poetical, but somewhat too fanciful description. The house was "in good repair," as the auctioneers say, and persons who had lived a great many years in the same street assured me that they had never known it as a ruin. – S. E.

70

There was a Marquis de Louvois, but he was employed as a scene-shifter.

71

It was built chiefly with the money of Danton and Sébastian Lacroix.

72

Twenty-eight thousand francs a year, to which Napoleon always added twelve thousand in presents, with an annual congé of four months.

73

According to M. Thiers, the pretended copies of the secret articles, sold to the English Government, were not genuine, and the money paid for them was "mal gagné."

74

Alexander II. gives Verdi an honorarium of 80,000 roubles for the opera he is now writing for St. Petersburg. The work, of course, remains Signor Verdi's property.

75

Nouvelle Biographie de Mozart. Moscou, 1843.

76

There are numerous analogies between the various Spanish legends of Don Juan, the Anglo-Saxon and German legends of Faust, and the Polish legend of Twardowski. It might be shown that they were all begotten by the legend of Theophilus of Syracuse, and that their latest descendant is Punch of London.

77

Madame Alboni has appeared as Zerlina, and sings the music of this, as of every other part that she undertakes, to perfection; but she is not so intimately associated with the character as the other vocalists mentioned above.

78

Waters appears to have spent nearly all the money he made during the seasons of 1814 and 1815, in improving the house.

79

After receiving, the first year she sang in London, two thousand guineas, (five hundred more than was paid to Banti,) she declared that her price was ridiculously low, and that to retain her "ci voglioni molte mila lira sterline." She demanded and obtained five thousand.

80

There is a scientific German mind and a romantic German mind, and I perhaps need scarcely say, that Weber's music appears to me thoroughly German, in the sense in which the legends and ballads of Germany belong thoroughly to that country.

81

As for instance where Semiramide is described as an opera written in the German style!

82

It would be absurd to say that if Rossini had set the Marriage of Figaro to music, he would have produced a finer work than Mozart's masterpiece on the same subject; but Rossini's genius, by its comic side, is far more akin to that of Beaumarchais, than is Mozart's. Mozart has given a tender poetic character to many portions of his Marriage of Figaro, which the original comedy does not possess at all. In particular, he has so elevated the part of "Cherubino" by pure and beautiful melodies, as to have completely transformed it. It is surely no disparagement to Mozart, to say, that he took a higher view of life than Beaumarchais was capable of?

83

The serious opera consisted of the following persons: the primo uomo (soprano), prima donna, and tenor; the secondo uomo (soprano), seconda donna and ultima parte, (bass). The company for the comic opera consisted of the primo buffo (tenor), prima buffa, buffo caricato (bass), seconda buffa and ultima parte (bass). There were also the uomo serio and donna seria, generally the second man and woman of the serious opera.

84

The San Carlo, Benedetti Theatre, &c., are named after the parishes in which they are built.

85

Particularly celebrated for her performance of the brilliant part of the heroine in La Cenerentola, which, however, was not written for her.

86

When Madame Pasta sang at concerts, after her retirement from the stage, her favourite air was still Tancredi's Di tanti palpiti.

87

Mémorial de Sainte Hélène.

88

"Lutèce" par Henri Heine (a French version, by Heine himself, of his letters from Paris to the Allgemeine Zeitung).

89

He persisted in this declaration, in spite of his judges, who were not ashamed to resort to torture, in the hope of extracting a full confession from him. The thumb-screw and the rack were not, it is true, employed; but sentinels were stationed in the wretched man's cell, with orders not to allow him a moment's sleep, until he confessed.

90

The Académie Royale became the Opéra National; the Opéra National, after its establishment in the abode of the former Théâtre National, became the Théâtre des Arts; and the Théâtre des Arts, the Théâtre de la République et des Arts. Napoleon's Théâtre des Arts became soon afterwards the Académie Impériale, the Académie Impériale the Académie Royale, the Académie Royale the Académie Nationale, the Académie Nationale once more the Académie Impériale, and the Académie Impériale simply the Théâtre de l'Opera, by far the best title that could be given to it.

91

I was in Paris at the time, but, I forget the specific objections urged by the doctor against the Freischütz set before him at the "Académie Nationale," as the theatre was then called. Doubtless, however, he did not, among other changes, approve of added recitatives.

92

No. 1. —Vive Henri IV. No. 2. —La Marseillaise. No. 3. —Partant pour la Syrie. No. 4. —La Parisienne. No. 5. —Partant pour la Syrie (encored). No. 6. – ?

93

Mozart, Cimarosa, Weber, Hérold, Bellini, and Mendelssohn.

94

In the case of Il Crociato, however, the model was an Italian one.

95

Rossini's natural inability to sympathize with sopranists is one more great point in his favour.

96

For instance: Fra Diavolo and Les Diamans la Couronne.

97

The second, Le Duc d'Albe, was entrusted to Donizetti, who died without completing the score.

98

Nourrit was the author of la Sylphide, one of the most interesting and best designed ballets ever produced; that is to say, he composed the libretto for which Taglioni arranged the groups and dances.

99

See Raynouard's veracious "Histoire des Troubadours."

100

When are we to hear the last of the "ovations" which singers are said to receive when they obtain, or even do not obtain, any very triumphant success? A great many singers in the present day would be quite hurt if a journal were simply to record their "triumph." An "ovation" seems to them much more important; and it cannot be said that this misapprehension is entirely their fault.

101

That is to say, a quarter or a third part of an inch.

102

"What a pity I did not think of this city fifty years ago!" exclaimed Signor Badiali, when he made his first appearance in London, in 1859.

103

Joanna Wagner.

104

Richard Wagner.

105

Tancredi.

106

Once more, I may mention that the "romantic opera" (in the sense in which the French say "romantic drama,") was founded by Da Ponte and Mozart, the former furnishing the plan, the latter constructing the work – "The Opera of Operas."

107

The gist of M. Lenz's accusations against M. Oulibicheff amounts to this: that the latter, believing Mozart to have attained perfection in music, considered it impossible to go beyond him. "Ou ce caractère d'universalité que Mozart imprime à quelques-un de ses plus grandes chefs-d'œuvre," says M. Oulibicheff. "M'avait paru le progrès immense que la musique attendait pour se constituer définitivement, – pour se constituer, avais-je dit, et non pour ne plus avancer." According to M. Lenz, on the other hand, Mozart's master-pieces (after those which M. Lenz discovers among his latest compositions), are what preparatory studies are to a great work.

108

New form of his overtures, national melodies, &c. – (Straker). Love of traditions, melancholy, fanciful, spiritual; also popular. – (Der Freischütz).

109

I will not here enter into the question whether or not Meyerbeer desecrated this hymn by introducing it into an opera. Such was the opinion of Mendelssohn, who thought that but for Meyerbeer and the Huguenots, Luther's hymn might have been befittingly introduced in an oratorio which he intended to compose on the subject of the Reformation.

110

Another proof that this device is not new in the hands of Herr Wagner.