Page:A Dictionary of Music and Musicians vol 2.djvu/535

OPERA. works, the action of which is serious, or even gloomy, throughout. Since the beginning of the present century, the best French Composers have desired nothing better than to succeed in the style which was so signally adorned by their immediate predecessors. Monsigny, Berton, Isouard, Lesueur, and Catel, all cultivated it with more or leas success; as did, at a later period, Clapisson, Adam, Herold, Halevy, and Auber. The last two Composers also attained great celebrity in Grand Opera, concerning the development of which we shall have occasion to speak more particularly in a later section of the present Article; for the present, it is enough to say that their lighter works have been received little less cordially in England and Germany than at the Parisian theatres for which they were originally composed.

As Germany boasted its Romantic Opera, and France its Opéra comique, so England gave birth to a style of Opera peculiar to itself, and differing in so many important points from all other known forms, that we shall find it convenient to place it in a class by itself, and speak of it as the creation of a.

In describing the dramatic works of Purcell (see p. 507a), we stated our belief that English Opera owed its origin to the Masque. Now, the Music of the Masque was wholly incidental—that is to say, it formed no essential element of the piece, but was introduced, either for the purpose of adding to the effect of certain Scenes, of affording opportunities for certain Actors to display their vocal powers, or, of amusing or interesting the audience in any way that might be thought most desirable. The only purpose for which it was not used was that of developing the action of the Drama, which was carried on entirely in spoken dialogue: declamatory Music, therefore, was quite foreign to its character, and all that was demanded of the Composer was a succession of Songs, Dances, and tuneful Choruses. Purcell rebelled against this state of things, and introduced a decidedly dramatic feeling into much of his best Music; but he died early, and his work was not successfully followed up. The history of our Eighth Period shows how completely the Italian Opera banished native Art from the Stage, during the greater part of the 18th century. Attempts were indeed made to bring it forward, from time to time, sometimes successfully, but often with very discouraging results. Several English Operas were sung at the 'Little Theatre in the Haymarket,' while Handel's splendid works were rapidly succeeding each other at the King's Theatre across the street; and, more than once, English Operas were advertised to be performed 'after the Italian manner,'—that is to say, with Recitatives in place of dialogue, and measured Melody for the Airs. None of these, however, produced any real effect; and no success worth recording was attained until the year 1728, when Gay wrote, and Dr. Pepusch adapted Music to, the 'Beggar's Opera.' This was an embodiment of English Art, pure and simple. The plot was laid in an English Prison; the dialogues were spoken, as in an ordinary Play; and the Music consisted of the loveliest English and Scottish Melodies that could be collected, either from the inexhaustible treasury of National Song, or the most popular Ballad Music of the day. The success of this venture was quite unprecedented, and led to the production of a sequel to the story, similarly treated, and made ready for performance, in 1729, though not presented to the public until 1777, when it was played, for the first time, under the name of 'Polly.' [See .]

No English Opera composed 'after the Italian manner' was ever so cordially welcomed as the 'Beggar's Opera.' Nevertheless, attempts were still made in that style. In 1733, Dr. Arne produced a piece called (after Fielding's 'Tragedy of Tragedies') 'Tom Thumb, The Opera of Operas,' in which his little brother, then known as Master Arne, sang the part of the hero with great success; and Lampe was still happier, in 1737, with his famous Burlesque 'The Dragon of Wantley.' Arne, however, aimed at higher things than these. His great ambition was the formation of a School of English Opera, based upon the then fashionable Italian model; and, with this end in view, he translated and set to Music the text of Metastasio's 'Artaserse,' and produced it, under the name of 'Artaxerxes,' in 1762. Its reception was extremely encouraging, and deservedly so, for it contained much excellent Music, and was performed by a very strong company; but its success was rendered almost nugatory, so far as its effect upon the future was concerned, by the interference of a certain class of critics—men, for the most part, with some amount of literary ability, but utterly ignorant of the first principles of Art, and therefore knowing nothing whatever of the merits of the question they pretended to decide—who, having come to the conclusion that the English language was unfitted for Recitative, reiterated this opinion until they persuaded a large section of the public to agree with them. But for this, it is quite possible that the idea, had it been conscientiously developed, might have led to results of real importance. As it was, no farther attempt was made to sing an English Opera, throughout, though no objection was raised against the introduction of any amount of Recitative, Accompanied or Unaccompanied, into an Oratorio. Arne's project, therefore,