Grand opera

“ If you can bring into focus, simultaneously, a good revue and a production of grand opera at the Metropolitan Opera House, the superiority of the lesser art is striking. Like the revue, grand opera is composed of elements drawn from many sources; like the revue, success depends on the fusion of these elements into a new unit, through the highest skill in production. And this sort of perfection the Metropolitan not only never achieves—it is actually absolved in advance from the necessity of attempting it. ”

“ The keenest enjoyment of Grand Opera music, or for that matter, any other kind of music, comes to those who listen to it with some sort of definite conception as to what it is all about and the methods employed by the composer and the artists in telling the story.
Grand Opera is drama done in music instead of spoken words. In a novel the author makes his characters do their own talking ”

“ Indeed, some of the wretched, slipshod performances that have been given under the name of grand opera in America, would be hissed from the stage in London, Paris, or Italy. In operatic performances in America, we have the parts of two or three principals well done, but all else slipshod and imperfect, and the effect of the opera itself too frequently marred by the outrageous cuttings, transpositions, and alterations made by managers to adapt it to their resources. ”

“ The prelude to this homely opera is like the blessing before a meal. It is peaceful and soothing, and might be called a pastorale.
As the curtain rises we are greeted with the chatter and laughter of childish voices: two innovations at one stroke, for real children and real laughter have never before held a place in grand opera. This first scene of "Werther" forms a pleasing summer picture. We see the garden and terrace of a simple country house, whose owner, the town bailiff, is seated upon the veranda surrounded by his six children, to whom he is teaching a Christmas carol. ”

“ Without being more curious than my neighbors, there are several social mysteries that I should like to fathom, among others, the real reasons that induce the different classes of people one sees at the opera to attend that form of entertainment.
A taste for the theatre is natural enough. It is also easy to understand why people who are fond of sport and animals enjoy races and dog shows. But the continued vogue of grand opera, and more especially of Wagner’s long-drawn-out compositions, among our restless, unmusical compatriots, remains unexplained. ”

“ The third act is largely choral, the introductory Christmas carolling and [63] dance rhythms being especially effective, but it contains one of the best solo numbers in the work, the dainty song with chorus, “Under the Mistletoe Bough.” The music throughout is dramatic, strong, and well written. While the opera has not been as popular as its predecessor, yet the music is of a higher order, and occasionally approaches grand opera in its breadth and earnestness. ”

“ A sympathetic and genuinely tender theme announces this character's approach. Always listen to the orchestra if you would know the real nature of these people of the play. In grand opera, as in real life, words very often conceal thought; but by the power of music the listener is endowed with a temporary sense of omniscience; he can read the hearts and motives of the creatures he observes.
It being still early, Pinkerton and the Consul seat themselves while the hero explains this marriage he is entering upon. ”

“ It was not alone the official title of the French institution, popularly spoken of as the Grand Opéra, which was in the minds of the promoters of the New York enterprise—the new opera house was to be a veritable academy of music, an educational institution. Not only was fashionable society to have a place in which to display and disport itself, but popular taste and popular knowledge were to be cultivated. ”

“ No singers and musicians read better than those of the French Académie, and it is a terrible mistake to suppose that so much time is required at that theatre for the production of a grand opera on account of any difficulty in making the artistes acquainted with their parts. Guillaume Tell was many months in rehearsal, but the orchestra played the overture at first sight in a manner which astonished and delighted Rossini. ”

“ What a grand thought is that which represents him at the theatre, mechanically performing his part, while all the time his soul is thinking of his beloved opera, so that often, unconsciously to himself, he bursts out into its weird and startling music! ”

“ The term—fast becoming obsolete—is French and purely conventional, and denotes a lyric drama in which spoken dialogue is excluded, and the business is carried on in melody or recitative throughout. It may contain any number of acts, any ballets or divertissements, but if spoken dialogue is introduced it becomes a 'comic' opera.
Grand opera, though till lately all but exclusively written for the French stage, has from its origin to the present time been contributed to by the musicians of every musical country but our own ”

“ During Passion week and Easter, the Opera was shut, but the great operatic vocalists could be heard elsewhere, either at the Jesuits' church or at the Abbaye of Longchamp, to which latter establishment it is generally imagined that the Parisian public used to be attracted by the singing of the nuns. What is far more extraordinary is, that the Parisians always laboured under that delusion themselves. "The Parisians," says M. Castil Blaze, in his "History of the Grand Opera," "always such fine connoisseurs in music, never penetrated the mystery of this incognito. ”

“ Grand opera is the simultaneous presentation of most, perhaps all, of the six arts. There is no reason in nature against any conceivable combination; it is for the creative p. 229artist to direct and for the performing artists to execute the combination so that it shall please and convince the public. ”

“ It is a significant fact, and one which goes far to prove how closely the foundation of opéra comique was connected with a revolt against the boredom of grand opera, that the most successful composers in the new genre were those who were actually innocent of any musical training whatsoever. ”

“ Far more important than language, however, is it that opera be sung by great artists. For these assimilate music-3- and give it forth in all its essence of truth and beauty. Were great artists to sing opera in Choctaw, it would still be welcome as compared with opera rendered by inferior interpreters, no matter in what language.
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Opera Before Gluck
GLUCK'S "Orfeo ed Euridice" (Orpheus and Eurydice) , produced in 1762, is the oldest opera in the repertoire of the modern opera house. But when you are told that the Grand Opéra, Paris, was founded by Lully, an Italian composer, in 1672 ”

“ In how many lives does Love really play a dominant part? The average taxpayer is no more capable of a "grand passion" than of a grand opera. ”

“ Handel appears to me to have done far greater service to English Opera than Arne or any of our English and pseudo-English operatic composers whose works are now utterly forgotten, except by musical antiquaries; for Handel established Italian Opera among us on a grand artistic scale, and since then, at Her Majesty's Theatre, and subsequently at the comparatively new Royal Italian Opera, all the finest works, whether of the Italian, the German, or the French school, have been brought out as fast as they have been produced abroad, and, on the whole, in very excellent style. ”

“ The choir had been singing O Salutaris, Hostia! at the conclusion of which everybody was startled by a senile cheer from the stalls. The duke had dosed off into a dream of the opera, and had awakened suddenly, under the impression that a wooden image of the Blessed Virgin opposite had just completed a lovely solo, and was unexpectedly following it up by an audacious pas seul.
"Aren't our ancestors like us?" Diavolo whispered to Angelica enthusiastically. But Angelica dampened his ardent admiration of the coup by refusing to believe that the diminutive duke had "done it on purpose." ”

“ Hence the origin of airs, choruses, symphonies, and of that enchanting melody which often embellishes modern music at the expense of its poetic accompaniment.
"At the birth of the Opera, its inventors, to elude that which seemed unnatural, as an imitation of human life, in the union of music with speech, transferred their scenes from earth to heaven, and to hell. Not knowing how to make men speak, they made gods and devils, instead of heroes and shepherds, sing. Thus magic and marvels became speedily the stock in trade of the lyrical theatre. ”

“ No one will dispute but that understanding Italian would render our entertainment at an opera more rational and more complete; but without that advantage, let it be remembered by the lovers of Music, that an opera is the completest concert to which they can go; with this advantage over those in still life, that to the most perfect singing, and effects of a powerful and well-disciplined band, are frequently added excellent acting, splendid scenes and decorations, with such dancing as a playhouse, from its inferior prices, is seldom able to furnish. ”

“ Dingy scenery, shabby and anachronistic costumes, an inefficient chorus, and a scanty orchestra had aided a small constellation of eminent singers to maintain Italian Opera at the King’s Theatre for the entertainment of a clique, not for the pleasure of a public. This was to be changed. The new undertaking promised perfection in every thing. Art was to be considered as well as the artist—the composer as well as the singer. ”

“ Up to this time the Opera had been constituted as it alone could be; for what better use, at the theatre, could be made of a kind of music which could paint nothing than by employing it in the representation of things which could not exist? But as soon as music learnt to paint and to speak the charms of sentiment, it brought into contempt those of the Wand; the theatre was purged of its garden of mythology, interest was substituted for astonishment; the machines of poets and of carpenters were destroyed; and the lyric drama assumed a more noble and less gigantic character. ”

“ This in itself is not much to boast of, for the entertainment of the ballet is independent of language to a still greater extent; and La Gitana or Esmeralda can be as well understood by an Englishman at the Opera House of Berlin or of Moscow as at Her Majesty's Theatre in London; while perhaps the most universally intelligible drama ever performed is that of Punch, even when the brief dialogue which adorns its pantomime is inaudible.
Opera is music in a dramatic form; and people go to the theatre and listen to it as if it were so much prose. ”

“ Thus it happens, that if the musician has more art than the poet, he effaces him; and the actor, seeing the spectator sacrifice the words to the music, sacrifices in his turn theatrical gesture and action to song and brilliancy of voice, which transforms a dramatic entertainment into a mere concert....
"Such are the defects which the absolute perfection of music, and its defective application to language, may introduce into the Opera. ”

“ After all, in an opera, the poetry must be the handmaid of the music. Why do Italian comic operas always please, in spite of their wretched librettos—even in Paris, as I was witness myself? Because the music is supreme, and everything else is forgotten. All the more then will an opera be likely to please in which the plan of the piece is well carried out, and the words are written simply to suit the music; not turned and twisted so as to ruin the composition for the sake of a miserable rhyme, which God knows does far more harm than good in a dramatic representation. ”

“ This anarchy of the arts, where music, dancing, and decoration endeavour to surpass each other by the most profuse display of dazzling charms, constitutes the very essence of the Opera. What sort of opera music would it be, where the words should receive a mere rhythmical accompaniment of the simplest modulations? The fantastic magic of the Opera consists altogether in the luxurious competition of the different means, and in the perplexity of an overflowing superfluity. ”

“ Thus it has become; and as such, it has a range as ample as that of human life, as deep as human passions, as versatile as the human fancy and the human will. Hence we have the opera. The opera is that form which the drama assumed among a people musically organized—among a people whose love of music was, therefore, intense, constitutional and expansive. But no art remains within the limits of its native space, and the opera is now as extensive as civilization ”

“ Under the accepted operatic form, however, it has relative truth, as the main musical purpose of opera seems, hitherto, to have been less to furnish expression for exalted emotions and thoughts, or exquisite sentiments, than to grant the vocal virtuoso opportunity to display phenomenal qualities of voice and execution. But all opera, however it may stray from the fundamental idea, suggests this dramatic element in music, just as mere lyricism in the poetic art is the blossom from which is unfolded the full-blown perfection of the word-drama, the highest form of all poetry. ”

“ The words of an opera ought to be good, and yet need not of necessity be heard. They should be poetical that they may inspire first the composer and afterwards the singer; and they should be ryhthmical and sonorous in order that the latter may be able to sing them with due effect. Above all they ought not to be ridiculous, lest the public should hear them and laugh at the music, just where it was intended that it should affect them to tears. Everything ought to be good at the opera down to the rosin of the fiddlers, and including the words of the libretto. ”