Summary

Franz Gehring A Dictionary of Music and Musicians (1900)

We are here brought face to face with the main distinction between Opera and Singspiel; the latter by no means excludes occasional recitative in place of the spoken dialogue, but the moment the music helps to develope the dramatic denoument we have to do with Opera, and not with Singspiel. It is worth noting that no other nation possesses a form identical with the German Singspiel
Source: Wikisource

Franz Gehring A Dictionary of Music and Musicians (1900)

In time speech gave way at intervals not only to singing, but to singing by several voices at once. Later, when the spoken dialogue had been brought into entire subjection to music, as was the case in Italy after the revolution effected in the whole nature of dramatic representation by the rise of opera, not only concerted vocal pieces were introduced into the German Singspiel, but instrumental music and its protégé monody as well. We find the earliest traces of the Singspiel in the German miracle-plays, which were gradually developed outside the churches from the Passions given inside them.
Source: Wikisource

Franz Gehring A Dictionary of Music and Musicians (1900)

No two voices ever sing at the same time, and the instruments have short symphonies to themselves. The only regular stage at that time was the Italian opera-house of each capital (that of Vienna being built in 1651, and that of Dresden in 1667) and of Nuremberg and other Imperial cities. The German Singspiel found a home in Hamburg in the theatre built in 1678, but soon encountered a formidable rival in German opera, founded by Reinhard Keiser. After this, half a century went by before the Singspiel is heard of again.
Source: Wikisource

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