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

"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