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old régime the arrogance and conceit of singers were proverbial. The general employment of 'evirati' for female parts was demoralizing.

The work of the singing-master naturally became of the utmost importance, and many notable composers were equally famous as trainers. The greatest teacher of the century was undoubtedly Porpora (d. 1766).

The above description applies to the traditional ''dramma per musica'' or 'opera seria'—the serious or tragic opera. Gradually, as will be seen, there branched off from this another form, the 'opera buffa' or comic opera, which was a revolt from the mechanical plan and the sentimental monotony of the opera seria. In the opera buffa many of the old rules were deliberately set aside, and thus the way made easier for the reconstruction of the serious opera that occurred after 1750.

Many light works were often written, often in one act and for but two or three soloists, in which all sorts of deviations from rules were practised. Common names for such works were 'serenata, 'festa teatrale,' etc. In Germany the singspiel was not abandoned, while in France the ballet was decidedly popular, as was the masque in England. In England, too, the 'ballad-opera' had a sudden vogue. All these implied some degree of dissatisfaction with the fixed form of the typical Italian opera.

Furthermore, what is here said applies strictly only to that form of opera which was essentially Italian, especially that which during the first half of the 18th century emanated from Naples or was under the sway of its school. The Neapolitan opera was the direct descendant of the Venetian, and the latter continued in active existence, though not so impressive in its personnel as it had been. With these two Italian centres Vienna was closely associated. Operas written in Italian were also produced abundantly at several points in northern and western Europe, notably at Dresden, Hamburg, Paris and London. In many cases these were similar to those produced in Italy. But there was an evident tendency to modify the Italian type in directions determined by other ideas, so that German, French and English writers should be regarded somewhat by themselves, especially as operas in the languages of these countries now began to be numerous.

125. The Rise of the Neapolitan School.—The brilliance of the operatic development at Naples from about 1700 was due to the genius of a series of masters, of whom Alessandro Scarlatti was the first and one of the ablest. But behind this