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

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