Page:The Spirit of French Music.djvu/124

 They emasculated opera, took away its vigour, weakened and neglected its essential dramatic qualities, set it on the path that leads to dissolution, at the end of which it becomes nothing but a series of "pieces." They emasculated music itself and lost from view the fundamental condition of unity in such works—style. The realisation of style in music presupposes, apart from a general sense of art, the possession of certain technical resources which their training had not conferred on them, and which they disregarded. Style, any sort of style, that is essentially what is lacking in their works. It is not surprising that they produced them with extraordinary rapidity. The evil reputation of Italian opera is of their making.

Are they therefore to be despised? No indeed. They possess a certain genius. They have a genius for melody, melody of the Italian type, long drawn out. They give birth to some melodies that are intolerable, but they hit upon some that are admirable and will never be forgotten. This is especially so with Bellini of whom Wagner has even said: "He who knows him not, knows not what melody is." Yet they often manage to spoil by turgidity, exaggeration and clamour a melodic beginning that was both happy and delicate.

When we think of the Barber or of William Tell, we recall a work, a subject, characters, types, a musical whole entirely enveloped in a certain colour. When we think of Norma or the Favourite, what do we recall? Just airs, some of which are beautiful and charming. This simple observation is a judgment.