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 the opéra comique tended to adopt the technical ways of its statelier cousin, so that the merely formal distinctions between the two were diminishing. Notable changes were the replacing of spoken dialogue by some sort of accompanied recitative and the elaboration of ensemble effects at the ends of the acts. These movements resulted on the one hand in giving the opéra comique a stronger individuality and, on the other, in setting up a French type of grand opera with literary characteristics that allied it slightly with the German romantic opera, and musical ones that resembled those of the Italian opera seria, while its spirit and flavor remained essentially French. The influences that combined in the final outcome on both sides were many and complicated, traceable partly to Weber, partly to Rossini, partly to purely French traditions. For purposes of thought, the opéra comique and the grand opera should be discussed separately, but their reactions upon each other were constant and profound.

The 'opéra comique' is essentially entertaining. Its appeal comes from a dexterous union of a piquant plot, laughable situations, a spicy text, clever acting, varied styles of song and sparkling instrumentation. In melody and movement, in dialogue and ensemble, in the blending of vocalism with orchestration, it must be adapted to instant appreciation. Yet the finish of detail must gratify the cultured taste, and the histrionic and musical elements must be thoroughly amalgamated. From the typical opera buffa it is separated by its higher literary quality, by its wit and satire, by its disdain of long-drawn melodies of a sentimental cast, by the dash and glitter of its instrumentation, by its elastic dramatic structure. From the older vaudeville it differed much as the German romantic opera differed from the singspiel, in musical elaboration and unity. From the grand opera it differed at first in the use of some spoken dialogue, but chiefly in its topics, in avoiding tragic or heroic sentiments, and in requiring little sustained effort from the hearer. Ostensibly the opéra comique declined to aspire to the highest and most serious art, and yet afforded scope for extreme artistic finesse. Thus, without setting before itself any urgent program of achievement, it adjusted itself perfectly to the French temperament, becoming, like the non-musical drama of society, a mirror of manners and social ideas, and often a vehicle of delicious satire.

It should be noted that the Italian opera buffa was originally a genuine 'comic opera,' having a subject, characters and situations that were distinctly ridiculous. In the French opéra comique, and in all the other allied forms of the 19th century, the