Chapter XIX: A Chapter of Chatter (2)

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1822. =Luigi Arditi= (Crescentino). Although he
composed a few operas, is more widely remembered
as a conductor, he having wielded the bâton during
many operatic seasons both in England and abroad.

1822. =César Franck= (Liége). His merits seem only
now beginning to be recognized as a composer;
wrote a small number of operas, of which the music
appears to have been heard only in the concert
room.

1822. =F. M. V. Massé= (Lorient). Wrote some
operas in the style of Auber with very great
success. A number of later works, some of which
have been produced at Covent Garden, have been
less favourably received.

1823. =Edouard Lalo= (Lille). The writer of some
excellent violin music; includes among his
writings one work, _Le Roi d’ Ys_, which is
often to be heard.

1823. =L. E. E. Reyer= (Marseilles). Is yet another
French composer of opera, chiefly known by his
_Sigurd_, produced in 1884.

1823. =Marietta Alboni= (Cesena). Was a
world-renowned contralto, who created a furore
in London. She was set up as a sort of rival
attraction to Jenny Lind, who was performing at
another theatre, and was powerful enough to hold
her own.

1824. =Peter Cornelius= (Mainz). Wrote a number
of operas, of which _The Barber of Bagdad_
seems to have been a kind of forerunner of _Die
Meistersinger_, and is enormously in favour in
Germany.

1824. =Friedrich Smetana= (Leitomischl). Is the
father of Bohemian opera, and his work, _The
Bartered Bride_, paved the way for a series
of national operas which are dear indeed to the
hearts of the Bohemians. He is important, also, as
the model upon which Dvŏràk framed much of his work.

1825. =F. R. Hervé= (Houdain). Wrote a very large
number of French operettas of a very light trend,
which are hardly likely to go down to posterity.

1826. =Mathilde Marchesi= (Frankfort). An eminent
soprano vocalist, whose influence has been
widely felt in the operatic world, not only by
her performances, but also by her teaching. Her
_Ecole de Chant_ and vocal exercises are
world known.

1826. =Ivar Hallström= (Stockholm). A Swedish
composer of operas; has produced works of a
distinctly national impress.

1827. =Marie Carvalho= (Marseilles). A French
vocalist; was at one time in the first rank of
artists of the grand opera and the opera comique.
She specially excelled in her interpretations of
the soprano characters of the Gounod operas.

1828. =Antonio Cagnoni= (Godiasco). Wrote a
number of Italian operas of moderate quality; his
attentions were mostly confined to opera buffa.

1828. =Ferdinand Poise= (Nîmes). Wrote a number of
charming light works, somewhat in the style of his
master Adam. Paris was the scene of his labours.

1829. =Anton Rubinstein= (Wechwotynecz). Bears a
name well known in many musical fields: in opera
he was hardly great, his music being non-dramatic
in character. He wrote _The Demon_ and a few
“sacred operas.”

1829. =Ciro Pinsuti= (Siena). Is indeed popular as
a writer of songs; it is not so well known that he
includes amongst his larger works operas that have
been produced at La Scala, Milan, and elsewhere.

1830. =Karl Goldmark= (Keszthely). The most
famous opera by this composer is _The Queen
of Sheba_, produced at Vienna in 1875;
subsequent and less successful productions include
_Merlin_ (1886) and _The Cricket on the
Hearth_ (1896).

1830. =Edouard Lassen= (Copenhagen). Another
writer of melodious songs; produced three
successful operas. He also succeeded Liszt as
conductor at Weimar.

1830. =Edmund Kretschmer= (Ostritz). Had at one
period a reputation as a composer of opera, which
recent years have failed to maintain.

1831. =T. C. J. Tietjens= (Hamburg). One of the
most brilliant and successful _prime donne_
of the nineteenth century; she excelled alike in
light opera and grand opera, in secular music and
in sacred. Her early death in 1877 was lamented
by all who had heard her beautiful and artistic
interpretations of the masterpieces of opera and
of oratorio.

1832. =A. C. Lecocq= (Paris). A prolific composer
of light French pieces in the manner of Offenbach.
Not to be reckoned with as serious music, his
compositions are notable for their sprightliness,
vivacity, and verve.

1834. =Pierre L. L. Benoit= (Harlebeke). Is a
Flemish composer and an apostle of a Flemish
school of composition which he endeavours to form.
Among his many works are operas and dramatic
pieces.

1834. =A. P. V. Borodine= (S. Petersburg). Is
well known as a chemist and an opera writer. His
music, national in character, is best study from
an operatic point of view in _Prince Igor_.
Borodine’s music is also well known in the concert
hall. He died in 1887.

1834. =A. Ponchielli= (Paderno). Although he died
as long ago as 1886, must be classed as a composer
of the young Italian school. His chef d’œuvre,
_La Gioconda_, often obtains a hearing.

1834. =Charles Santley= (Liverpool). Famous alike
on the stage and in the concert hall; while
his attentions have been latterly confined to
oratorio. His was a familiar figure on the Covent
Garden stage some forty years ago.

1835. =Filippo Marchetti= (Bologna). A member
of the Italian school of composers. Wrote many
operas, _Ruy Blas_ achieving great success.

1835. =César A. Cui= (Vilna). Has built up a
reputation for himself amongst Russian composers
for his works of every description, and he has an
important place amongst those who have developed
opera in Russia. _William Ratcliff_ and _Le
Flibustier_ deserve special mention.

1835. =C. C. Saint-Saëns= (Paris). One of the most
versatile and gifted of modern French composers;
has enriched the world by a few operas and by
the sacred drama _Samson et Dalila_, which
is often heard in English concert rooms. More
recent efforts include _Henry VIII._ and
_Phryne_.

1836. =Emil Hartmann= (Copenhagen). Is one of the
few operatic composers of Denmark. His music is
not heard in England.

1837. =Ernest Guiraud= (New Orleans). A
contemporary and co-worker of Délibes; wrote
_Piccolino_ and other pieces.

1837. =F. C. T. Dubois= (Rosney). The famous
French organist; has also achieved certain success
with his operas and ballets.

1837. =Joseph Huber= (Sigmaringen). A disciple of
the German school. Wrote two operas, popular in
their day.

1838. =Georges Bizet= (Paris). Is never likely to
be forgotten so long as _Carmen_ attains to a
tithe of its present popularity. This bright and
sparkling work is deservedly in the front rank of
favourite operas. Bizet wrote several unimportant
operas before _Carmen_, but his early death
prevented his giving to the world any successor to
that famous opera.

1838. =Zelia Trebelli= (Paris). A
_prima donna_ of high rank. She made her
début at Madrid, and was successful in Germany and
in London, where her appearances in Italian opera
were very frequent.

1838. =Frederic Clay= (Paris). The composer of the
popular “I’ll sing thee songs of Araby.” Wrote
several light operas for Covent Garden and other
English houses.

1839. =C. P. L. Délibes= (St. Germain du Val).
Wrote bright and sparkling music, and was most
successful in the ballet. Everyone is familiar
with his _Sylvia_, and among his operas are
_Lakmé_ and _Le Roi l’a dit_.

1839. =Carlos Gomez= (Compinos). Was a Brazilian
composer, whose opera _Il Guarany_ was
performed at Covent Garden.

1839. =V. de Goncieres= (Paris). Has produced
several grand operas, none of which have met with
continued success.

1839. =Edward Napravnik= (Königgratz). Was for a
time the conductor of opera in Petersburg, and
also wrote many national operas and songs.

1839. =Joseph Rheinberger= (Vaduz). Famous as a
writer of organ music, and of achievements in
almost all branches of composition; ventured also
into the operatic field with his work _Die
Sieben Raben_.

1840. =Hermann Goetz= (Königsberg). Was a
short-lived composer, whose opera, _The Taming
of the Shrew_, showed the possession of
extraordinary gifts.

1840. =P. Tchaïkovsky= (Votinsk). This gifted
and versatile composer is known in England only
by his _Eugene Oniegin_, so far as opera is
concerned.

1841. =Antonin Dvŏrák= (Kralup). The Bohemian
composer’s operas are hardly as successful as his
chamber music and his symphonies.

1841. =Victor Nessler= (Baldenheim). Wrote popular
operas for Germany. Their music is not of high rank,
but such works as _Der Trumpeter von Säkkingen_
enjoy great popularity.

1841. =Franco Faccio= (Verona). Is an obscure
composer of Italian opera, whose compositions
display no particular originality.

1841. =Pauline Lucca= (Vienna). A soprano vocalist
who appeared in operas of Meyerbeer and others.
Alike in Germany, Russia, and England, she
seems to have aroused the keenest interest and
excitement. Her voice was one of extended compass
and of a sympathetic quality.

1841. =Emmanuel Chabrier= (Ambert). Wrote some
operas, the best of which was _Le Roi malgré
lui_.

1842. =Carl Millōcker= (Vienna). Composer of
Singspiel.

1842. =Heinrich Hofmann= (Berlin). Wrote music
dramas and operas, and sought to compose light
works on the grand opera plan, omitting all
dialogue.

1842. =Jules F. E. Massenet= (Montand). Is one of
the most famous living composers of French opera,
many of whose works may be heard in this country.
_Hérodiade_, _Manon_, _Le Cid_,
_Esclamonde_, _Werther_, and other works
testify to his ability and industry, and he is a
factor to be reckoned with in the development of
opera in France.

1842. =Arrigo Boito= (Padua). Is the composer of
_Mefistofele_ and of the unheard _Nero_.

1842. =Edmund Audran= (Lyons). Was a famous
composer of comic opera, producing many light
works in Paris and in London.

1842. =A. S. Sullivan= (London). Composed the
opera _Ivanhoe_. He was also practically the
originator of a charming form of comedy opera. He
died in 1900.

1843. =Christine Nilsson= (Wexio). A Swedish
soprano, and yet another of that brilliant band of
gifted singers who delighted the habitués of the
opera a few decades back.

1843. =Adelina Patti= (Madrid). First appeared in
England in opera in 1861. Her successes were all
made in Italian opera, with music of the florid
type. Her appearances before the public are still
frequent.

1843. =Hans Richter= (Raab). Is one of the
greatest of conductors, and the greatest living
authority upon Wagner, whose pupil and friend he
was. Dr. Richter conducts the German performances
at Covent Garden, and was responsible for the
first production of the _Ring_ at Bayreuth in
1876.

1844. =F. Cellier= (London). Wrote light operas
after the style of Sullivan, whose manner he
successfully caught.

1844. =Rimsky-Korsakoff= (Tichwin). In the van of
modern Russian musicians. In opera he created some
successes, notably in _The May Night_. His
last opera (the 15th) is entitled _The Golden
Cock_.

1844. =Emile Paladilhe= (Montpellier). A member of
the younger French school; chiefly known by his
_Patrie_.

1846. =H. C. A. G. Serpette= (Nantes). Has also
written French operas, but of a lighter style,
pertaining to the Buffo character.

1846. =Ignaz Brüll= (Prossnitz). Has written a
very large number of operas, the best known of
which, _The Golden Cross_, has been produced
in England by the Carl Rosa Company. His operas
are of the German school.

1847. =Augusta Holmes= (Paris). Is one of the few
women writers of opera.

1847. =Alexander Mackenzie= (Edinburgh). Has
produced operas with the Carl Rosa Company, and
has also unheard works in his desk awaiting a
favourable opportunity for production.

1847. =Amalie Materna= (St. Georgen). A famous
soprano of German opera, and a great Wagnerian
singer, her impersonations of Brünnhilde being
specially fine.

1847. =Joseph Maas= (Dartford). Was a good tenor
vocalist, and an indifferent actor. Although often
heard upon the stage, he was more appreciated in
concert work.

1848. =Luigi Mancinelli= (Orvieto). Is the popular
conductor of Italian opera at Covent Garden. As a
composer he is also known, both of opera and of
oratorio.

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

1850. =Albani= (Chambly). Whose real name is Marie
Lajeunesse, is familiar to all concert goers of
the present day. Her operatic successes during the
two last decades of the nineteenth century were
many, and she sang well such parts as “Isolde” and
“Elsa.”

1850. =Zdenko Fibich= (Bohemian). Has written
operas of the type popularized in his country by
Smetana.

1850. =Robert Planquette= (Paris). Composed the
evergreen _Cloches de Corneville_, so dear
to the heart of the Frenchman. His operettas are
bright and sparkling.

1850. =Anton Siedl= (Pesth). A Wagnerian conductor
of power. He has conducted on the Continent, in
England, and in America.

1851. =A. Goring Thomas= (Ratton). This composer
of so many favourite songs, wrote the operas
_Esmeralda_ and _Nadeshda_, from which
excerpts are frequently heard.

1851. =Vincent d’Indy= (Paris). Is a prominent
modern French composer; his _Fervaal_ is a
fine dramatic work.

1851. =Tamagno= (Turin). A celebrated operatic
tenor, whose fees of £400 per night in America are
said to have created a record for male vocalists.
Tamagno died in 1905.

1851. =Jan Blockx= (Belgian composer). Is the
director of the Flemish School of Music in
Antwerp; he has written several operas, of which
mention may be made of _Princesse d’Auberge_.

1852. =Frederick Cowen= (Jamaica). The well-known
song-writer and conductor has made several essays
on opera with more or less success.

1852. =C. V. Stanford= (Dublin). Is one of the
strongest hopes of the English school of opera
composition; his various efforts, although hardly
crowned with unqualified success, are almost all
noteworthy and distinctly great in achievement.

1852. =Frederick Corder= (London). Composed
_Nordisa_ for the Carl Rosa Company.

1852. =Jean de Reszke= (Warsaw). One of the
greatest of operatic tenors, whose interpretations
of the Wagner rôles has seldom been equalled.

1852. =Barton McGuckin= (Dublin). Tenor vocalist
of repute.

1854. =Engelbert Hamperdinck= (Siegburg). The
composer of the popular _Hansel and Gretel_.

1855. =E. de Reszke= (Warsaw). Brother of the
famous tenor, and an almost equally great
baritone; excels in such parts as “Sachs”
(_Meistersinger_), etc.

1857. =Alfred Bruneau= (Paris). An extremely
modern French composer, whose striking works
create much discussion.

1858. =Giacomo Puccini= (Lucca). Is an Italian
composer whose works are now enjoying very
great popularity, quite a number of them being
constantly before the public.

1858. =R. Leoncavallo= (Naples). Is another
member of the Italian school, and the composer of
_Pagliacci_.

1859. =T. J. Paderewski= (Podolia). The
world-renowned pianist; has also composed a fairly
successful opera.

1860. =Gustave Charpentier= (French school). Has
written _Louise_, a familiar and popular work
across the Channel.

1864. =Richard Strauss= (Munich). The modern
writer of symphonic poems; has produced operas. He
is a conductor of the Royal Berlin Opera House.

1864. =Pietro Mascagni= (Leghorn). Is the composer
of the tuneful _Cavalleria Rusticana_ and
other works.

Among other contemporary composers and singers of opera may be mentioned:—

_Composers._

Eugene d’Albert
H. Bunning
Cilea
Coronaro
Hamish McCunn
A. Catalani
Delius
G. Dupont
C. Debussy
Dupais
Enna
F. d’Erlanger
Filasi
Ernest Ford
Franchetti
Glazounow
Gilson
Giordano
Galli
Edward German
J. Holbrooke
Kienzl
F. Leoi
I. de Lara
Laparra
Leroux
A. Messager
McAlpin
McLean
Edward Naylor
Orefice
Reznicika
E. Solomon
Max Schillings
Miss E. Smyth
Somerville
W. Stenhammer
Spinelli
Tasca
Tinel
Siegfried Wagner
Amherst Webber
F. Weingartner

_Conductors._

Signor Campanini
Herr Lohse
Mottl
Mahler
Frigara
Eckhold
Signor Mugnone
A. Messager
E. Goosens
W. van Norden
Nikisch
Panizza
Percy Pitt
T. Beecham

_Singers._

M. Alvarez
M. Ancona
Suzanne Adams
Signor Anselmi
Fraulein Alten
L. Arens
Signor Ballisini
Marie Brema
A. Black
Mdlle. Bauermeister
Madame Eames
Olive Fremstad
Madame Frease Green
M. Gilibert
Madame Giachetti
McHinckley
M. Hérold
Walter Hyde
M. Journet
Alice Nielsen
Agnes Nicholls
Madame Nordica
Mdlle. Olitzka
Plancon
Van Rooy
Reinl
Herr Reiss
Russ
Madame Sembrich
Herr Burrian
David Bispham
Signor Caruso
Madame Calvé
John Coates
M. Cotreuil
Herr Cornelius
Madamede Cisneros
Fraulein Destinn
Van Dyck
Dani
Mdlle. Donalda
Fraulein Delsarta
M. Dufriche
Signor Dalmorés
Knupfer-Egli
Selma Kurz
Kirkby Lunn
Zelie de Lussan
M. Lafitte
M. Maurel
Marian McKenzie
John McCormack
Madame Melba
Charles Manners
Fanny Moody
Joseph O’Mara
Blanche Marchesi
Thomas Meux
Madame Norelli
Signor Sammarco
Salignac
Scotti
M. Saleza
Madame Sobrino
M. Seveilhac
Madame Saltzmann-Stevens
M. Slezak
Fraulein Ternina
Edna Thornton
Madame Tettrazini
Vignas
Madame Wittich
C. Whitehill
Gleeson White

Appendix B.

Financial Aid Granted to Operatic Schemes from State or Municipal Funds.

(Drawn from the Government return made in pursuance of the Address of the House of Commons of March 2nd, 1903.)

NOTE.—As a grant, when made, is often given
both for the drama and for operatic purposes, and sometimes
for the support of musical functions generally, such as
concerts and band performances, it is difficult to arrive
at the actual figures for opera alone. But the above
quotations will afford a general idea as to the conditions
obtaining with regard to subsidies in the various countries
to which reference is made.

Appendix C.

Glossary of Terms mainly used in Opera.

=Act.= The larger sub-divisions into which operas
are divided. Older operas were usually in five acts,
modern ones more often in three; some, as Wagner’s
_Rheingold_, in one only.

=Act Tune= or =Curtain Tune=. An old form of
instrumental intermezzo, composed for performance
between the acts. They were written for operas from
about 1650 to 1750, by such composers as Locke and
Purcell.

=Air= or =Aria=. An operatic scene for a single
voice; they were of many kinds, with titles defining the
class to which they belonged in the operas of Handel’s
day. Among these titles may be mentioned the “Aria all
Unisono,” “Aria Cantabile,” “Aria Concertante,” “Aria da
Capo,” “Aria di Bravura,” “Aria d’Imitazione,” “Aria di
Mezzo Carattere,” “Aria di Portamento,” “Aria Grande,”
“Aria Parlante.”

=Arietta.= A short aria, of less pretension than any
of the foregoing.

=Ballad Opera.= A form of English opera in which old
and well-known songs were used instead of new music;
there was little concerted music. The best example is
the _Beggar’s Opera_.

=Ballet.= An entertainment of dancing, always
a constituent feature of operas of a certain period.

=Bolero.= A Spanish dance, often introduced into the
ballet.

=Cadenza.= Vocal flourishes very common in the operas
of the Bellini, Rossini, and early Verdi school.

=Castrati.= Male sopranos, the breaking of whose voices
was prevented by artificial means.

=Cavatina.= A melodious air. Faust’s solo, “Salve
dimora,” is so named.

=Chitarrone.= A long-stringed, double-necked lute, used
by Monteverde in _Orfeo_.

=Choragos.= The leader of the chorus in Greek drama.

=Chorale.= A German hymn-tune. Effective use is made
of chorales in Meyerbeer’s _Huguenots_.

=Coloratura.= Highly ornamented vocal music, used in
such places as the “Aria Concertante.”

=Comic Opera.= Opera of a light nature, with a humorous
story. Not to be confounded with Opera Comique.

=Concerted Numbers.= The Finales and other parts of
operas of the older school. When several characters are
upon the stage, and the music describes a series of
events or some development of the story.

=Curtain Tune.= See Act Tune.

=Da Capo.= A form of Aria much used by Scarlatti,
in which the second part of the air was followed by
a repetition of the first.

=Divertissement.= A short ballet, or an instrumental
intermezzo.

=Ensemble.= A collection of most or all of the
principal characters in an opera upon the stage at
the same time.

=Entree.= See Overture.

=Entr’acte.= Music composed for performance between
the acts.

=Entrepreneur= (Fr.). The organizer or director of
a series of performances.

=Falsetto.= A false, artificial use of the voice,
employed by men mostly for singing alto parts.

=Fanfare.= A flourish of trumpets used in many operas
(_Fidelio_, _Tannhäuser_, etc.).

=Finale.= The conclusion of an opera, or of an act
thereof; in early operas often a duet or trio, but later
on a concerted number, often of very great dignity. It
was first largely used by Logroscino, and has since
become an important feature of many operas.

=Glockenspiel.= A small set of bells played from a
keyboard; used by Mozart in _Zauberflöte_ and by
Wagner in the _Walküre_.

=Gong=, or =Tam-Tam=. A bronze plate struck with
a stick; used by Meyerbeer.

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

=Harpsichord.= One of the forerunners of the
pianoforte, and the accompanying instrument used in
the earliest operas.

=Imbroglio.= A confused passage, where conflicting
things are going on at the same time, as in the street
scene of _Die Meistersingers_.

=Impresario= (Italian). Has the same meaning as
Entrepreneur.

=Intermezzo.= A short, light musical play, originally
introduced between the acts of Grand Opera. The term
is now usually applied to an instrumental interlude.

=Leit-motif=, or guiding-theme. The distinctive piece
of melody, harmony, or scoring associated with one
character upon the stage, or with a definite idea. Its
use was perfected by Wagner.

=Libretto.= The “book,” or words of an opera.

=Lied.= German for air.

=Liederspiel.= Play of songs. This corresponds with the
English ballad opera.

=Masque.= An early form of opera which made much of
dancing and of scenic effects.

=Opera Buffa= (French, Opera Bouffe). A light opera of
very little dignity, but full of humour and comicality. It
corresponds somewhat with the English term, “Comic opera.”

=Opera Comique.= A stage play, often of serious
character, mainly set to music, but in which there is
spoken dialogue. Beethoven’s _Fidelio_ and Weber’s
_Der Frischütz_ are in this class.

=Operetta.= A short opera, generally of a light character.

=Overture.= The preliminary orchestral introduction
to an opera. It varies much in character, length, and
importance; according to its character and construction
it is not only called overture, but introduction
(intrada), entrée, Vorspiel, prelude.

=Pasticcio= (a pie). A collection of songs, duets,
etc., from various sources, woven together to form
a pleasing entertainment.

=Potp-ourri.= A collection of the favourite airs
of an opera worked up into a piece for a solo
instrument—generally the pianoforte.

=Recitative.= The less melodious and less definitely
rhythmic vocal portions of an opera. A kind of musical
declamation.

=Recitativo Secco.= Simple recitation supported only
by slight chords. (Much used by Mozart.)

=Recitativo Stromentato.= Accompanied recitative, the
orchestral part having individual interest and importance.

=Ritornello.= An instrumental interlude between scenes,
or during the course of a scene.

=Romantic Opera.= A class of opera dealing with legendary
or supernatural subjects rather than classic themes. Its
application is chiefly to operas of the Weber-Marschner school.

=Scena.= A long and important operatic solo, often in
several movements, for a solo voice. It may consist of
recitative or of aria portions, or both, but should be
dramatic in its construction.

=Scenario.= A synopsis of the plot and scenes of the
libretto of an opera.

=Secco.= (_See_ Recitative.)

=Singspiel.= The German form of opera comique, with
both music and spoken dialogue.

=Tessitura.= The _range_ of a vocal
composition—_i.e._, as to whether it lies high
or low in the compass of the voice.

=Transcription.= The more modern name for Pot-pourri.

=Tremolo.= A rapid reiteration of the same note; much
used on the stringed instruments for dramatic purposes.

=Vaudeville.= A short operetta (French), usually of
a frivolous nature.

=Vorspiel= (German). _See_ Overture.

=Zwickenspiel= (German). An intermezzo or interlude.

Appendix D.

List of Instruments used in the Orchestras of Composers
of different periods of Opera.

1. The first real Italian opera, _Euridice_, by Peri (1600)—

1 Chitarone
1 Lira Grande
1 Viol di Gamba
1 Theorbo
3 Flutes

2. Monteverde’s _Orfeo_ (1608)—

2 Gravicembali (Clavicembali)
2 Contrabassi da Viola
10 Viole di Brazzo
1 Arpa Doppia
2 Violini Piccioli alla Francese
2 Chitarroni
2 Organo di Legno
1 Regal
3 Bassi da Gamba
4 Tromboni
2 Cornetti
1 Flautino (Flageolet)
1 Clarino (Soprano Trumpet)
3 Trombe Sordini (Muted Trumpets)

Except for the smaller number of strings this orchestra is pretty well as large as a modern full operatic orchestra, but its constitution and effect are absolutely different, and of course in the present day hardly producible. The gambas were used to accompany Orpheus, the violas Euridice, the guitars Charon, the organs Apollo, and the trombones Plato.

3. Gluck’s _Alceste_ (1767)—

2 Flauti Traversi
2 Oboe
2 Corni
3 Tromboni
2 Fagotti
2 Trombe
Strings

This, of course, is an approximation to the modern orchestra, but we must notice the absence of clarionets and percussion instruments.

4. Mozart’s _Figaro_ (1786)—

2 Flutes
2 Oboes
2 Clarionets
2 Bassoons
2 Horns
2 Trumpets
Tympani
Strings

This is the ordinary orchestra of the “classical period” of music.

5. Weber’s _Oberon_ (1826)—

The same orchestra as Mozart’s, with the addition
of anotherp air of horns and of three trombones.

6. Rossini’s _William Tell_ (Overture), 1829—

1 Piccolo
2 Flutes
2 Oboes (Cor Anglais)
2 Clarionets
4 Horns
2 Bassoons
2 Trumpets
3 Trombones
Timpani
Cymbals
Triangle
Big Drum
Strings (with 5 solo Celli)

7. Meyerbeer, _Les Huguenots_ (1836)—

2 Flutes (Piccolos)
2 Oboes
Cor Anglais
2 Clarionets
2 Bassoons
4 Horns
3 Trombones
Ophicleide
2 Cornets
2 Trumpets
Drums
Bell
Harp
Bass Drum and Cymbals
Strings

8. Wagner, _Tannhäuser_ (1845)—

3 Flutes (one changing to Piccolo)
2 Oboes
2 Clarionets
1 Bass Clarionet
2 Bassoons
2 Ventil Horns
2 Hand Horns
3 Trumpets
3 Trombones
1 Tuba
1 Pair Tympani
Triangle
Cymbals
Tambourine
Grosse Trommel
Harp
Strings

And in addition, upon the stage—
1 Cor Anglais
2 Piccolos
4 Flutes
4 Oboes
6 Clarionets
6 Bassoons
12 Horns
12 Trumpets
4 Trombones
Triangle
Cymbals
Tambourine

9. Wagner, _Walküre_ (1856), performed 1870—

16 First Violins
16 Second Violins
12 Violas
12 Violoncellos
8 Double Basses
3 Flutes
1 Piccolo
3 Oboes
1 Cor Anglais
3 Clarionets
1 Bass Clarionet
3 Bassoons
8 Horns
2 Tenor Tubas
2 Bass Tubas
1 Contra Bass Tuba
3 Trumpets
1 Bass Trumpet
3 Trombones
1 Contra Bass Trombone
2 Pairs Drums
1 Triangle
1 Pair Cymbals
1 Rührtrommel
1 Glockenspiel
6 Harps

10. Wagner, _Parsifal_ (Prelude), 1882—

3 Flutes
3 Oboes
Cor Anglais
3 Clarionets
1 Bass Clarionet
3 Bassoons
1 Double Bassoon
4 Horns
3 Trumpets
3 Trombones
1 Bass Tuba
Drums
Strings

Appendix E.

Bibliography of Opera.

The following are the chief works upon opera in the English language:—

=Edwards, H. S.=—The Lyrical Drama.
=Matthew, J. E.=—Popular History of Opera.
=Chesney.=—Stories of the Operas.
=Edwards.=—The Prima Donna.
=Louis, Alexander.=—The Opera Glass, or a view of 100 Operas.
=Upton.=—Standard Operas.
=Barker.=—The Opera Guide.
=Spier.=—Stories of the Operas.
=Guerber.=—Stories of Famous Operas.
=Annesley.=—The Standard Opera Glass.
=Sachs and Woodrow.=—Modern Opera houses and Theatres.
=Mapleson.=—Mapleson Memoirs.
=Arditi.=—My Reminiscences.
=Fitzgerald.=—The Savoy Opera.
=Apthorp.=—The Opera, Past and Present.
=Elson.=—Critical History of Opera.
=Lahee.=—Grand Opera in America.
=Galloway.=—The Operatic Problem.
=Lawrence Gilman.=—Aspects of Modern Opera.
=Streatfield.=—The Opera.
=Nights at the Opera.=—(Delamore Press.)
=Opera.=—(Grove’s Dictionary.)

There is also a perfect mass of Wagner literature, including biographies (such as Mr. Ashton Ellis’ colossal work), essays, articles, books on the _Ring_ and other operas, books explanatory of the music, etc., etc.

Index.

Adam, 85, 189, 207
Ambroise Thomas’s _Hamlet_, _Mignon_, 90
Arensky, 124
Aria from Gluck’s _Orfeo_, 50-51
—— Verdi’s _Aïda_, 73-74
Ariosti, 190
Arne, 93-94
Arne’s _Artaxerxes_, 93
Arrieta, 129
Arsani, 208
Auber, 87-88, 175, 207
Auber’s _Masaniello_, 87;
_Fra Diavolo_, 88

Bach, 61
Balfe, 94-95
Balfe’s _The Siege of Rochelle_, 95;
_Bohemian Girl_, 95, 187
Ballad Opera, 15, 94, 186
Ballet, 188-189
Bardi, Count, 33
Barnett’s _The Mountain Sylph_, 94
Bayreuth, 179, 180-183
—— Wagner’s theatre at, 103
Beethoven, 13, 14, 24, 27, 44, 55, 61, 76, 77, 99
Beethoven’s _Fidelio_, 55, 70, 84, 170, 177, 185
_Beggar’s Opera_, 91-93, 186
Bellini, 15, 72, 173
Bellini’s _La Sonnambula_, _Norma_, 72
Benda, 51
Benedict, 96
Benedict’s _The Lily of Killarney_, 96
Berlin, 178
Berlioz, 87, 175, 209
Bishop, Henry, 94, 157
Bizet, 89
Bizet’s _Carmen_, 89
Boieldieu, 85, 207
Boieldieu’s _La Dame Blanche_, 85
Boito, 130-132, 141
Boito’s _Nero and Orestiade_, 131;
_Mefistofele_, 131, 173, 195
Borodin, 124, 125
Borodin’s _Prince Igor_, 125
Bruneau, 141, 143
Bruneau’s _L’Attaque du Moulin_, _L’Outragan_,
_La Rêve_, _Messidor_, 143
Budapest, 178
Bunning, Herbert, 148
Bunning’s _Princess Osra_, 145, 148
Buononcini, 42, 45-46, 64, 154, 190

Caccini, 37, 39
Caldara, 41, 42, 207
Cambert, Robert, 42
Campion, 187
“Canzone” by Mozart, 52
Carl Rosa Opera Company, 159
Caruso, 204
Catalani, 204
Cavalli, 10, 40
Cavos, 123
César-Cui, 124, 125
César-Cui’s _Angelo_, _Ratcliff_, _The Flibustier_, 125
Cesti, 41
Charpentier, 144
Cherubini, 14, 63, 66, 84, 168, 175, 199
Cherubini’s _Ali Baba_, _Les Abencerages_,
_Les deux Journées_, 84;
_Water Carrier_, 159, 200
Chorale from Meyerbeer’s _Les Huguenots_, 86
Cilea, 134
Cilea’s _Adriana Lecouvreur_, 134, 188
Cimarosa, 51, 65, 207
Cimarosa’s _The Secret Marriage_, 65
Companies, opera, 154;
travelling, 158
Composers, stories of, 209-211
Concerted Finale, Invention of, 12, 64
Contest, a notable, 65
Coperario, 187
Corder, 147
Corder’s Nordisa, 147
Cornelius, 79
Cornelius’ _The Barber of Bagdad_, 80
Covent Garden opera, 154, 157
Cowen, 147
Cowen’s _Harold_, _Signa_, _The Lady of Lyons_, 147;
_Thorgrim_, 147, 159;
_Pauline_, 159
Curiosities of opera, 189-198

_Da Capo_ Aria, Birth of, 11;
weakness of, 21;
reform of, 22
Dargomijsky, 124
Dargomijsky’s _The Stone Guest_, _The Water-Sprite_, 124
Debussy, 144
Debussy’s _Pelleas et Melisande_, 144
De Lara, 148
De Lara’s _Amy Robsart_, _Messaline_, _The Light of Asia_, 148
Délibes, Léo, 90
Délibes’ _Coppélia_, _Lakmé_, _Le Roi l’a dit_, 90
D’Indy, Vincent, 144
Donizetti, 15, 72, 173, 207
Donizetti’s _La Favorita_, _La Fille du Régiment_,
_L’Elisir d’Amore_, 72;
_Lucretia Borgia_, 72, 173;
_Lucia di Lammermoor_, 174
Dresden, 179
Dubois, 144

Dvŏrák, 126, 128, 178
Dvŏrák’s _Demetrius_, _Der Bauer ein Schelm_, _King and Collier_,
_Rusalka_, _Wanda_, 128;
_Armida_, 128, 178

Early Russian composers, 123
Elgar’s _Apostles_, 117
Empiricism, Musical, 12
English Opera, 44-47, 91
Enterprise, Operatic, in England, 150

Farinelli, 203, 204
Fibich, 127, 178
Flotow, 79
Flotow’s _Martha_, 79
Franchetti, 134
French Opera, 42-43
French School, the, 81-90

Gade, 129
Galuppi, 64
German, Edward, 148
German Opera, 43-44
German School, the, 76-80
Giordano, 134
Giordano’s _Andrea Chenier_, 134
Glinka, 123, 127
Glinka’s _A Life for the Czar_, _Russia and Ludmilla_, 123
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 _Armida_, _Iphigenia in Aulide_, _Paris and Helen_, 49;
_Alceste_, 23, 49;
_Orfeo_, 49, 177;
_Iphigenia in Tauride_, 49, 65
Goetz, 80
Goetz’s _The Taming of the Shrew_, 80
Goldmark, 137
Goldmark’s _Cricket on the Hearth_, _The Queen of Sheba_, 137
Goring Thomas’s _Esmeralda_, _Nadeshda_, 97
Gounod, 88, 141
Gounod’s _Mireille_, _Romeo and Juliet_, _The Mock Doctor_, 88;
_Philémon and Baucis_, 88, 196;
_Faust_, 88, 95, 141, 170
Grand Opera, definition of, 70;
in England, 156-162
—— French, 43, 63, 176
Graun, 77, 207
Grétry, 51, 82
Grieg, 129
Grisi, 208

Halèvy, 85, 207
Handel, 11, 43, 44-47, 64, 76, 154, 190, 191, 195, 202, 203, 207
Handel’s _Deidamia_, 45;
_Rinaldo_, 45, 202
Harris, Sir Augustus, 157
Hasse, 43, 77, 207
Haydn, 61, 207
Hérold, 85, 175, 207
Hérold’s _Zampa_, 85
Hiller, 77, 78
Hiller’s _Der Dorfbarbier_, _Die Jagel_, 77
Humperdinck, 137
Humperdinck’s _Die Heirat wider Willen_, 139;
_Hansel and Gretel_, 137, 138, 141

Innovations, musical, 20
Isouard, 85, 206
Italian Opera, 15, 39-42
Italian School, the, 63-75

Jenny Lind, 203
Jomelli, 64, 207
Jomelli’s _Armida_, 209

Keiser, 43, 76
Kelly, 94
Kreutzer, 79

Lablache, 204, 208
Lago, Señor, 157
Lalo, 90
Lalo’s _Le Roi d’Ys_, 90
Legrenzi, 41
Leipzig, 179
_Leit-motif_, the, 27, 28, 105, 107, 116, 135
Leoi, Franco, 148
Leoncavallo, 130, 133
Leoncavallo’s _I Pagliacci_, 133, 195;
_Roland of Berlin_, 133
Librettists, 206
Lindpaintner, 78, 79
Liszt, 102, 103
Lock, 187
Logroscino, 12, 64
Lortzing, 78, 79
Lortzing’s _Peter the Shipwright_, 79
Lotti, 42
Ludvig II., King of Bavaria, 102, 103
Lully, 11, 42-43, 81, 98, 175, 176, 188, 199

MacCunn, Hamish, 147
MacCunn’s _Diarmid_, 148;
_Jeanie Deans_, 148, 159
Macfarren, 96
Mackenzie, 145, 147
Mackenzie’s _The Cricket on the Hearth_, _The Troubadour_, 147
Malibran, 204
Manners, Charles, 160, 161
Marschner, 14, 60, 78, 79
Marschner’s _Der Vampyr_, _Hans Heiling_,
_The Templar and the Jewess_, 79
Mascagni, 130, 131-132
Mascagni’s _Cavalleria Rusticana_, 132, 170, 206;
_L’Amico Fritz_, _I Rantzau_, _Iris_,
_William Ratcliff_, 133
Masque, the, 187
Massé, Victor, 90
Massé’s _Paul et Virginie_, 90
Massenet, 141, 142
Massenet’s _Esclarmonde_, _Hérodiade_, _Le Cid_,
_La Jongleur de Notre Dame_, _La Navarraise_,
_Le Roi de Lahore_, _Manon_, _Thaïs_,
_Werther_, 142
McLean, Alick, 148
Méhul, 83
Méhul’s _Joseph_, _Uthal_, 83
Melody, Adoption of, 10
Melos, 16, 26, 30, 116;
Modern, 117
Mendelssohn, 59, 60, 61
Mendelssohn’s _Lorelei_, _The Wedding of Camacho_, 60
Mercadante, 72
Merimée, 210
Messager André, 144
Metastasio, 207
Meyerbeer, 60, 85-87, 98, 101, 169, 173, 175, 176, 194, 207
Meyerbeer’s _Dinorah_, _L’Africaine_, _Le Huguenots_,
_Le Prophète_, 87
Michael’s _Utal_, 195
Mixed language singing, 190
Monodic style, 38
Monsigny, 82
Monteverde, 9, 19, 20, 31, 39, 48, 71
Moody, Madame Fanny, 160
Moody-Manners Company, 158, 160
“Moresca” from Monteverde’s _Orfeo_, 39-40
Moussorgsky’s _Judith_, 125
Mozart, 13, 14, 24, 27, 44, 51-55, 61, 62, 63,
65, 66, 70, 76, 77, 78, 168, 205, 207
Mozart’s _Die Entfurhrung aus dem Serail_, _Idomeneo_, 54;
_Don Juan_, 54, 205;
_Magic Flute_, 54, 195;
_The Marriage of Figaro_, 54, 177;
_Cosi fan Tutte_, 177;
_Zauberflöte_, 177, 196;
_Don Giovanni_, 124, 170, 178, 195
Munich, 179
Musical comedy, 186
Musical empiricism, 12
Music, Emotional effect of, 34;
an accessory, 5;
polyphonic, 33
_Muzio Scevola_, 190

Napoleon I., 199, 200
Naumann, 84
Naylor, Dr. Edward, 161
Neapolitan school, the, 64
Nepravnik, 127
Nessler, 140
Nessler’s _The Trumpeter of Sákkingen_, 140
Nicolai, 78, 79
Nicolai’s _Merry Wives of Windsor_, 79

Offenbach, 89
Offenbach’s _Orphée aux enfers_, 89;
_Les Contes d’Hoffmann_, 90
Opera and politics, 199
“Opera Buffa,” 12, 64
“Opera Comique,” 15, 82, 83, 185
Opera House, Attempts to provide London with, 158;
Covent Garden, 172;
“La Scala,” Milan, 173;
“San Carlo,” Naples, 173;
“Académie Nationale de Musique,” Paris, 175;
Vienna, 177;
Hungarian, Budapest, 178;
National Theatre, Prague, 178;
Berlin, 178;
Dresden, 179;
Court Theatre, Munich, 179;
Bayreuth, 180
Opera houses, the chief, 172-184
“Opera in Musica,” 1, 5
“Opero Seria,” 12
Operetta, 185
Opera, What is it? 1;
derivation of term, 1;
an artificial product, 2-3;
hybrid, 4;
defined, 5;
growth of, 8;
reformers of, 18;
beginnings of, 42;
logical commencement of, 37;
early Italian, 39-42;
early French, 42-43;
early German, 43-44;
early English, 44-47;
small influence of great composers on, 61;
Italian school of, 63-75;
German school, 76-80;
French school, 81-90;
English, of eighteenth and part of nineteenth centuries, 91-97;
chief modern composers of, 120;
subsidized, 150;
an educative
quantity, 151;
objections to subsidized, 151;
English, 152;
Covent Garden, 154;
how to listen to and enjoy it, 163-171;
in Russia, 183;
in other European countries, 183;
in Egypt and America, 184
Orchestra, use of, 10;
definite shaping of, 14

Pacini, 72, 202
Paderewski, 127
Paisiello, 64
Paladihle, 144
Palazzo Bardi enthusiasts, 19, 33, 34
Paris, 175
Parry, Sir H., 145
“Pasticcio,” 190
Patti, Madame, 204
Pepusch, Dr., 92
Pergolesi, 12, 64
Pergolesi’s _La Serva Padrona_, 64
Peri, 34, 37, 39
Peri’s _Daphne_, 34;
_Euridice_, 34, 35, 36, 42
Philidor, 82
Philip V. of Spain, 203
Piccini, 51, 64-65
Polish opera, 127
Ponchielli’s _La Gioconda_, 173
Porpora, 207
Prague, 178
Prima Donna, the, 207-208
_Prime donne_, 15, 72, 207
Puccini, 130, 135
Puccini’s _La Bohème_, _La Tosca_, _Manon Lescaut_, 135;
_Madama Butterfly_, 135, 157
Purcell, 11, 44, 91
Purcell’s _Dido and Æneas_, _King Arthur_, 44
Rameau, 81-82, 175
Recitative, 69-71
_Recitativo Stromentato_, 71
Richter (Wagnerian conductor), 157
Ricordi, Messrs., 161
Rimsky-Korsakoff, 124, 125
Rimsky-Korsakoff’s _Pskowitjanka_, _The May Night_, 125
Romantic opera, 24, 56
Rome, 174
“Rose Softly Blooming” (song), 79
Rossi, 42
Rossini, 15, 25, 66-69, 71, 80, 173, 202, 206
Rossini’s _La Cenerentola_, _William Tell_, 71;
_La Gazza Ladra_, 71, 173;
_Otello_, 69, 71;
_Tancredi_, 66, 174;
_Semiramide_, _Mosè in Egitto_, _Zelmira_, 174;
_The Barber of Seville_, 66, 174, 202, 211
“Rossinian Crescendo,” example of, 67-69
Rousseau, Jean Jaques, 82
Rousseau’s _Le Devin du Village_, 82, 209
Royal Opera Syndicate, 154, 155, 156, 157, 158, 161
Royalties, 206
Rubini, 208
Rubinstein, 123

Sacchini, 51, 64
Saint-Saëns, 141-142
Saint-Saëns’ _Ascanio_, _Henry VIII._, _L’Ancètre_,
_Les Barbares_, _Proserpine_, and _Phryne_, 142
Scarlatti, Alessandro, 10, 12, 21, 27, 41, 43, 70, 118
Schillings, Max, 140
Schubert, 13, 59, 60, 61
Schubert’s _Alfonso and Estella_, _Fierabras_, 60
Schumann, 59, 60, 61
Schumann’s _Genoveva_, 60
Scribe, 207
Senesino, 202
Serov, 124
Shield, 94
Sinding, 129
Singers, Abuses by, 15;
stories of, 207-208
Singspiel, 4, 5, 70, 77, 83, 97, 185
Slavonic opera, 122-128
Smetana, 127, 178
Smetana’s _Dalibor_, _Der Kuss_, _Libusa_, 128;
_Bartered Bride_, 128, 178
Smith, Miss Emily, 148
Smith’s (Miss Emily) _Der Wald_, _The Wreckers_, 148
Somerville, 148
Spinelli, 134
Spinelli’s _A Basso Porto_, 134
Spohr, 14, 24, 78
Spohr’s _Faust_, 78;
_Der Alchymist_, _Der Berggeist_, _Jessonda_, 79
Spontini, 14, 60, 63, 66, 84, 98, 169, 175,
176, 194, 196, 200, 205, 210
Spontini’s _Fernand Cortez_, _Olympia_, 85;
_La Petite Maison_, 210;
_La Vestale_, 85, 200, 210
Stage pieces, Progress in mounting of, 7
Stanford, 145, 146, 153
Stanford’s _Canterbury Pilgrims_, _Savonarola_,
_Shamus O’Brien_, _The Veiled Prophet of Khorassan_, 146;
_Much Ado about Nothing_, 147
Stereotyped casts, 191
Storace, 94
Strauss, 139, 179
Strauss’s _Feursnot_, _Guntram_, 139;
_Elektra_, _Salome_, 139, 179
Sullivan, 97, 119, 158, 189
Sullivan’s _The Mikado_, 97;
_Ivanhoe_, 97, 158
Sussmäyr, 70

Tamburini, 208
Tchaïkovsky, 124, 126, 189, 195
Tchaïkovsky’s _Eugene Oniegin_, _Joan of Arc_,
_Mazeppa_, _The Enchantress_,
_The Oprichnik_, 126
Thomas, Ambroise, 90, 119, 141
Thomas, Goring, 96
Titov, 123
Tomaschek, 127
Tonality, 9

Venice, 174
Verdi, 72-75, 80, 98, 119, 173, 207
Verdi’s _Ernani_, _Rigoletto_, _Il Trovatore_,
_La Traviata_, 72;
_Un Ballo in Maschera_, _Aïda_, 73;
_Otello_, _Falstaff_, 74;
_I Lombardi_, 173
Vienna, 177
Vivaldi, 41
Volkov, 123

Wagner, 15, 26, 73, 79, 85, 89, 98-115, 143,
157, 176, 179, 180, 189, 192;
Influence of, 116-120;
use of orchestra, 118;
his harmony, 118;
supernatural requirements, 194
Wagner’s _The Fairies_, 100;
_Das Liebesverbot_, 100, 101;
_Rienzi_, 101, 105;
_Flying Dutchman_, 79, 102, 105, 159;
_Parsifal_, 104, 113-115;
_Tannhäuser_, 102, 106-107, 189, 209;
_Lohengrin_, 102, 107-108, 159, 170, 200, 209;
_The Ring_, 102, 103, 112-113, 157, 170, 202;
_Die Meistersinger_, 102, 110-112, 157, 170, 202;
_Tristan and Isolde_, 189, 170
Wagner, Siegfried, 140
Wallace, 96
Wallace’s _Maritana_, 96, 187
Weber, 13, 14, 24, 44, 56-59, 61, 66, 77,
78, 84, 89, 99, 157, 168, 179, 205
Weber’s _Der Freischütz_, 56, 70, 78, 84, 178, 185, 205;
fragment from, 57-59;
_Oberon_, 59, 157;
_Euryanthe_, 59, 195
Weingartner, 140

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