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

When are we to hear the last of the "ovations" which singers are said to receive when they obtain, or even do not obtain, any very triumphant success? A great many singers in the present day would be quite hurt if a journal were simply to record their "triumph." An "ovation" seems to them much more important; and it cannot be said that this misapprehension is entirely their fault.

101

That is to say, a quarter or a third part of an inch.

102

"What a pity I did not think of this city fifty years ago!" exclaimed Signor Badiali, when he made his first appearance in London, in 1859.

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Joanna Wagner.

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Richard Wagner.

105

Tancredi.

106

Once more, I may mention that the "romantic opera" (in the sense in which the French say "romantic drama,") was founded by Da Ponte and Mozart, the former furnishing the plan, the latter constructing the work – "The Opera of Operas."

107

The gist of M. Lenz's accusations against M. Oulibicheff amounts to this: that the latter, believing Mozart to have attained perfection in music, considered it impossible to go beyond him. "Ou ce caractère d'universalité que Mozart imprime à quelques-un de ses plus grandes chefs-d'œuvre," says M. Oulibicheff. "M'avait paru le progrès immense que la musique attendait pour se constituer définitivement, – pour se constituer, avais-je dit, et non pour ne plus avancer." According to M. Lenz, on the other hand, Mozart's master-pieces (after those which M. Lenz discovers among his latest compositions), are what preparatory studies are to a great work.

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New form of his overtures, national melodies, &c. – (Straker). Love of traditions, melancholy, fanciful, spiritual; also popular. – (Der Freischütz).

109

I will not here enter into the question whether or not Meyerbeer desecrated this hymn by introducing it into an opera. Such was the opinion of Mendelssohn, who thought that but for Meyerbeer and the Huguenots, Luther's hymn might have been befittingly introduced in an oratorio which he intended to compose on the subject of the Reformation.

110

Another proof that this device is not new in the hands of Herr Wagner.