Summary

Scrici Physiology of the Opera

In your admiration of the dogged perseverance of the old drummer, you take part in favour of the instruments, and when you hear that sudden and awful clash of the cymbals, which causes you to start till you dig your elbow into an elderly gentleman on one side, and tread on some corny toes on the other, you felicitate yourself upon the victory of parchment and brass over throats; but the next moment your pleasure is extinguished, for the tenor and soprano give their voices an extra lift, and away they go up like rockets, far aloft above the din of horns, cymbals and kettle drums.
Source: Gutenberg

Scrici Physiology of the Opera

The bride elect rushes up to him, and so they both step down to the foot-lights. The outlaw gentleman passes his right hand round the waist of the lady, and clasps in his left both of her's, elevating them to a line with the breast. They remain stationary for a moment, whilst the orchestra is playing the symphony, looking as fondly into each other's eyes as a pair of dear little turtle doves, and smiling as sweetly as every gentleman and lady have a right to smile under such pleasant circumstances.
Source: Gutenberg

Scrici Physiology of the Opera

THE Primo Basso is to the primo tenore what the draught horse is to the racer; drawing along the heavy business of an opera, whilst the other goes capering and curvetting through whole pages of chromatics, and runs bounding with unerring precision over the most fearful musical intervals. The basso, consequently, to uphold the vast superstructure of song, must be a man furnished with a strong supporting and sustaining voice.
Source: Gutenberg

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