History of the Opera from its Origin in Italy to the present Time. Edwards Henry Sutherland

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СКАЧАТЬ and never fight.

      I've seen a naiad drinking beer;

      I've seen a goddess fined a crown;

      And pirate bands, who knew no fear,

      By the stage manager put down;

      Seen angels in an awful rage,

      And slaves receive more court than queens,

      And huntresses upon the stage

      Themselves pursued behind the scenes.

      I've seen a maid despond in A,

      Fly the perfidious one in B,

      Come back to see her wedding day,

      And perish in a minor key.

      I've seen the realm of bliss eternal,

      (The songs accompanied by harps);

      I've seen the land of pains infernal,

      With demons shouting in six sharps!

PANARD AT THE OPERA

      CHAPTER IV.

      INTRODUCTION AND PROGRESS OF THE BALLET

      The Ballets of Versailles. – Louis XIV. astonished at his own importance. – Louis retires from the stage; congratulations addressed to him on the subject; he re-appears. – Privileges of Opera dancers and singers. – Manners and customs of the Parisian public. – The Opera under the regency. – Four ways of presenting a petition. – Law and the financial scheme. – Charon and paper money. – The Duke of Orleans as a composer. – An orchestra in a court of justice. – Handel in Paris. – Madame Sallé; her reform in the Ballet, and her first appearance in London.

A CORPS OF NOBLES

      AFTER the Opera comes the Ballet. Indeed, the two are so intimately mixed together that it would be impossible in giving the history of the one to omit all mention of the other. The Ballet, as the name sufficiently denotes, comes to us from the French, and in the sense of an entertainment exclusively in dancing, dates from the foundation of the Académie Royale de Musique, or soon afterwards. During the first half of the 17th century, and even earlier, ballets were performed at the French court, under the direction of an Italian, who, abandoning his real name of Baltasarini, had adopted that of Beaujoyeux. He it was who in 1581 produced the "Ballet Comique de la Royne," to celebrate the marriage of the Duc de Joyeuse. This piece, which was magnificently appointed, and of which the representation is said to have cost 3,600,000 francs, was an entertainment consisting of songs, dances, and spoken dialogue, and appears to have been the model of the masques which were afterwards until the middle of the 17th century represented in England, and of most of the ballets performed in France until about the same period. There were dancers engaged at the French Opera from its very commencement, but it was difficult to obtain them in any numbers, and, worst of all, there were no female dancers to be found. The company of vocalists could easily be recruited from the numerous cathedral choirs; for the Ballet there were only the dancing-masters of the capital to select from, the profession of dancing-mistress not having yet been invented. Nymphs, dryads, and shepherdesses were for some time represented by young boys, who, like the fauns, satyrs, and all the rest of the dancing troop wore masks. At last, however, in 1681, Terpsichore was worthily represented by dancers of her own sex, and an aristocratic corps de ballet was formed, with Madame la Dauphine, the Princess de Conti, and Mdlle. de Nantes as principal dancers, supported by the Dauphin, the Prince de Conti and the Duke de Vermandois. They appeared in the Triomphe de l'Amour, and the astounding exhibition was fully appreciated. Previously, the ladies of the court, when they appeared in ballets, had confined themselves to reciting verses, which sometimes, moreover, were said for them by an orator engaged for the purpose. To see a court lady dancing on the stage was quite a novelty; hence, no doubt, the success of that spectacle.

QUADRILLES AND COUNTRY DANCES

      The first celebrated ballerina at the French Opera was Mademoiselle La Fontaine, styled la reine de la danse– a title of which the value was somewhat diminished by the fact that there were only three other professional danseuses in Paris. Lulli, however, paid great attention to the ballet, and under his direction it soon gained importance. To Lulli, who occasionally officiated as ballet-master, is due the introduction of rapid style of dancing, which must have contrasted strongly with the stately solemn steps that were alone in favour at the Court during the early days of Louis XIV's reign. The minuet-loving Louis had notoriously an aversion for gay brilliant music. Thus he failed altogether to appreciate the talent of "little Baptiste" not Lulli, but Anet, a pupil of Corelli, who is said to have played the sonatas of his master very gracefully, and with an "agility" which at that time was considered prodigious. The Great Monarch preferred the heavy monotonous strains of his own Baptiste, the director of the Opera. It may here be not out of place to mention that Lulli's introduction of a lively mode of dancing into France (it was only in his purely operatic music that he was so lugubriously serious) took place simultaneously with the importation from England of the country-dance – and corrupted into contre-danse, which is now the French for quadrille. Moreover, when the French took our country-dance, a name which some etymologists would curiously enough derive from its meaningless corruption – we adopted their minuet which was first executed in England by the Marquis de Flamarens, at the Court of Charles II. The passion of our English noblemen for country-dances is recorded as follows in the memoirs of the Count de Grammont: – "Russel was one of the most vigorous dancers in England, I mean for country-dances (contre-danses). He had a collection of two or three hundred arranged in tables, which he danced from the book; and to prove that he was not old, he sometimes danced till he was exhausted. His dancing was a good deal like his clothes; it had been out of fashion twenty years."

      Every one knows that Louis XIV. was a great actor; and even his mother, Anne of Austria, appeared on the stage at the Court of Madrid to the astonishment and indignation of the Spaniards, who said that she was lost for them, and that it was not as Infanta of Spain, but as Queen of France, that she had performed.

      On the occasion of Louis XIV.'s marriage with Marie Therèse, the celebrated expression Il n'y plus de Pyrenées was illustrated by a ballet, in which a French nymph and a Spanish nymph sang a duet while half the dancers were dressed in the French and half in the Spanish costume.

      Like other illustrious stars, Louis XIV. took his farewell of the stage more than once before he finally left it. His Histrionic Majesty was in the habit both of singing and dancing in the court ballets, and took great pleasure in reciting such graceful compliments to himself as the following: —

      "Plus brilliant et mieux fait que tous les dieux ensemble

      La terre ni le ciel n'ont rien qui me ressemble."

(Thétis et Pélée.– Benserade. 1654),

      "Il n'est rien de si grand dans toute la nature

       Selon l'âme et le cœur au point où je me vois;

       De la terre et de moi qui prendra la mesure

       Trouvera que la terre est moins grande que moi."

(L'Impatience.– Benserade. 1661).

      On the 15th February, 1669, Louis XIV. sustained his favourite character of the Sun, in Flora, the eighteenth ballet in which he had played a part – and the next day solemnly announced that his dancing days were over, and that he would exhibit himself no more. The king had not only given his royal word, but for nine months had kept it, when Racine produced his Britannicus, in which the following lines are spoken by "Narcisse" in reference to Nero's performances in the amphitheatre.

      Pour toute ambition pour vertu singulière

      Il excelle à conduire un char dans la carrière;

      A disputer des prix indignes des ses mains,

      A se donner lui-même en spectacle aux Romains,

      A venir prodiguer sa voix sur un théâtre

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