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

Автор: Edwards Henry Sutherland

Издательство: Public Domain

Жанр: Зарубежная классика

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СКАЧАТЬ story of the cat, who, at the petition of her lover, was changed into a fine woman, is pretty well known, notwithstanding which alteration, we find that upon the appearance of a mouse, she could not resist the temptation of springing out of her husband's arms to pursue it, though it was on the very wedding night. Our English audience have been for some time returning to their cattish nature, of which some particular sounds from the gallery have given us sufficient warning. And since they have so openly declared themselves, I must only desire that they will not think they can put on the fine woman again just when they please, but content themselves with their skill in caterwauling. For my own part, I cannot think it would be any loss to real lovers of music, if all those false friends who have made pretensions to it only in compliance with the fashion, would separate themselves from them; provided our Italian Opera could be brought under such regulations as to go on without them. We might then be able to sit and enjoy an entertainment of this sort, free from those disturbances which are frequent in English theatres, without any regard, not only to performers, but even to the presence of Majesty itself. In short, my comfort is, that though so great a desertion may force us so to contract the expenses of our operas, as would put an end to our having them in as great perfection as at present, yet we shall be able at least to hear them without interruption."

      The Faustina and Cuzzoni disputes, to which Arbuthnot alludes, where he speaks of "those disturbances which are frequent in English theatres," appear to have been quite as violent as those with which the names of Handel and Buononcini are associated. Most of this musical party-warfare (of which the most notorious examples are those just mentioned, the Gluck and Piccinni contests in Paris, and the quarrels between the admirers of Madame Mara and Madame Todi in the same city) has been confined to England and France, though a very pretty quarrel was once got up at the Dresden Theatre, between the followers of Faustina, at that time the wife of Hasse the composer, and Mingotti. The Italians have shown themselves changeable and capricious, and have often hissed one night those whom they have applauded the night afterwards; but, in the Italian Theatres, we find no instances of systematic partisanship maintained obstinately and stolidly for years, and I fancy that it is only among unmusical nations, or in an unmusical age, that anything of the kind takes place. The ardour and duration of such disputes are naturally in proportion to the ignorance and folly of the disputants. In science, or even in art, where the principles of art are well understood, they are next to impossible. Self-styled connoisseurs, however, with neither taste nor knowledge can go on squabbling about composers and singers, especially if they never listen to them, to all eternity.

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      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 dr

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 СКАЧАТЬ