Chapter XIX (2)

Farnesino, theatre at Paris, i. 177.

Faustina, the vocalist, i. 150:
her exquisite qualifications, 151, 152;
memoir of, 152;
her artizans, 153;
returns to Italy, 155;
married to Hasse, the musical composer, 155, 156;
her successful career at the Dresden Opera, 156;
her death, 158.

Faustina and Cuzzoni, disputes respecting, i. 149 _et seq._;
their respective merits, 150, 151.

Favart, his satirical description of the French Opera, i. 65.

Favart, Madame, of the Opera Comique, i. 231;
her love for Marshal Saxe, 232, 233.

_Favorite_, by Donizetti, ii. 239.

Fel, Mdlle, a singer of the Academie, i. 223.

Female singers, the most celebrated, i. 8.

Fénélon, Chev. de, accidentally killed, i. 81.

Fenton, Lavinia, married to the Duke of Bolton, i. 138;
her accomplishments, 138.

Ferri, Balthazar, the most distinguished singer of his day, i. 174.

Ferriere, Chev. de, anecdotes of, ii. 77, 78.

Feuds, among musicians and actors, i. 149 _et seq._

Fiddles, of the seventeenth century, i. 23.

_Fidelio_, of Beethoven, 286.

_Fille du Regiment_, by Donizetti, ii. 239.

Finales, Piccinni the originator, ii. 32;
time usually occupied by them, 32, 33.

First Consul of France, plots for assassinating, ii. 179, 182.

Fodor, Madame, the celebrated cantatrice, ii, 92;
anecdote of 93;
biographical notices of, 160.

Fontenelle, author of "Thetis and Pelee," revisits the Academie, i. 235.

Forst, the singer, refuses letters of nobility, i. 221.

France, Italian Opera introduced into, i. 8;
but rejected, 9, 11;
introduction of the Opera into England, 12 _et seq._;
French Opera not founded by Lulli, 13, 14;
nobles of, invited to stage performances by Louis XIV., 75;
morality of the stage, 81, 82;
her dramatic music dates from 1774, 216;
history of the Opera in, abounds in excellent anecdotes, 232;
state of the Opera after the departure of Gluck, ii. 84 _et seq._;
after the Revolution, 46 _et seq._;
under the Consulate, the Empire, and the Restoration, 178 _et seq._;
the arts did not flourish under the Consulate and the Empire, 183;
has party songs, but no national air, 201.

Frangipani, Cornelio, drama by, i. 4.

Frederick the Great introduces the Italian Opera into Berlin, i. 199;
his favourite composers, 199;
officiated as conductor of the orchestra, 199.

French actors, company of, in London, in 1720, i. 159.

French Court, ballets at the, i. 70, 71.

French Opera, Favart's satirical description of the, i. 65;
from the time of Lulli to the death of Rameau, i. 217;
the various pieces produced at the, ii. 195 _et seq._
(See FRANCE).

French Society at its very worst during the reign of Louis XVI., ii. 48;
operatic and religious fetes, 49.

Fronsac, duke de, his depravity, i. 76.

G.

Gabrielli, Catarina, the vocalist, i. 188;
biographical notices of, 195 _et seq._

Gabrielli, Francesca, the vocalist, i. 188.

Gagliano composes the music to the opera of _Dafne_, i. 6.

Galileo, Vincent, inventor of recitative, i. 5.

Galuppi, musical composer, i. 170, 171;
musical director at the Russian Court, 198.

Garcia, the tenor performer of "Don Giovanni," in London, ii. 108;
anecdote of, 144, 145.

Garcia, Mademoiselle, (See MALIBRAN.)

Gardel, the ballet-master, ii. 75.

Garrick, his opinion of Sophie Arnould at Paris, i. 227;
of French descent, 227 _note_.

_Gazza Ladra_, by Rossini, ii. 160.

German Opera, the forms of, perfected by Keiser, i. 6;
originated from Mozart, ii. 99 _et seq._;
its celebrated composers, 106.

Germans, music of the, i. 268, 269.

Germany, Italian Opera introduced into, i. 10;
her opera during the republican and Napoleonic wars, ii. 86;
has sent us few singers as compared with Italy, 224;
state of her opera, 225;
the land of scientific music, 285.

_Giovanni_, of Mozart, i. 13.

Glass, broken to pieces by the vibratory force of particular notes, ii. 279.

Glinka, the Russian composer, ii. 290.

Gluck, the musical composer, i. 12;
works of, 13;
the estimation in which his works were held, 181;
merits of, as compared with Piccinni, 267;
biographical and anecdotal notices of, 270 _et seq._;
his _Alcestis_ and _Orpheus_, 272;
his _Iphigenia in Aulis_, acted at Paris with immense success, 273;
success of his _Orpheus_, 278;
his _Alcestis_, 279;
his death, 295;
state of the Opera in France after his departure, ii. 34;
anecdote of, 39;
benefitted French opera in different ways, 40.

Gluck and Piccinni, contests respecting, in Paris, i. 150.

"God save the king," origin of the anthem, i. 165, 166.

Goddess of Reason, personated by the actresses of the Opera, ii. 67.

Grabut, the musical composer, i. 28, 29;
Dryden's character of him, 29.

Grammont, count de, extract from his memoirs, i. 73.

Granet, the musical composer, i. 261;
author of the music to Rousseau's _Devin du Village_, 262;
his death, 265.

Grassini, the singer, ii. 14.

Greek Plays, first specimens of operas, 3.

Greek Theatre, i. 240;
music of the, 241.

Greeks, their language and accent, i. 241;
their lyric style, 241:
their music a real recitative, 241;
absurdities of their dramas, 244.

Grisi, Giulia, the accomplished vocalist, ii. 280, 281;
her family connexions, 280;
her vocal powers, 281;
"Norma" her best character, 281.

Grossi, the vocalist, i. 188.

Guadigni, the vocalist, biographical notices of, i. 194.

Guéméné, prince de, his insolvency, ii. 51;
feeling letter of the operatic vocalists to, 51.

Guglielmi, the operatic composer, ii. 29;
his success at Naples, 30.

_Guillaume Tell_, its first performance at the French Opera, ii. 198;
cut down from three to five acts, 198;
Rossini's last opera, 201.

Guimard, Madeline, the celebrated danseuse, i. 288, 296;
accident to, 296;
biographical and anecdotal notices of, 297 _et seq._;
anecdotes of, ii. 34, 35;
her narrow escape from being burnt to death, 41;
her reappearance at the Opera, 77.

Guinguenée, the French librettist, i. 293.

_Gustave III._ of Auber, ii. 219.

H.

_Hamlet_, set to music, i. 127;
its absurdity, 128.

Handel, G. F., at Paris, i. 86;
in London, 97, 100-3;
his _Pastor Fido_ played at the Haymarket Theatre, i. 102;
his great improvement of the Italian Opera, 108;
success of his _Rinaldo_, 116;
his arrival in England, 122;
brings out his _Rinaldo and Armide_, 123;
Clayton's spleen against, 129, 132, 133;
the Italian operas under his direction, 140 _et seq._;
his career as an operatic composer and director, 140;
wrote his last opera, _Deidamia_, 141;
biographical account of, 141 _et seq._;
his duel with Mattheson of the Hamburgh Theatre, 142;
his _Rinaldo_, _Pastor Fido_, and _Amadigi_, 142;
direction of the Royal Academy of Music confided to him, 144;
his first opera at the Royal Academy was _Radamisto_, 144;
his next opera, _Muzio Scevola_, 145;
his various operatic pieces played at the Royal Academy of Music, 146;
his services to English Opera, 215;
appointed to the management of the King's Theatre, 163;
names of the Italian performers engaged by him, 163;
his rival Porpora, and the difficulties with which he had to contend, 167;
abandons dramatic music after having written thirty-five Italian operas, 168;
his operas now become obsolete, and unadapted to modern times, 168, 169;
success of the operatic airs, which he introduced into his oratorios, 169;
position of the Italian Opera under his presidency, 170, 171;
his great musical genius, and the grandeur of his oratorios, 172.

Harmony, preferable to simple declamation, i. 45, 46.

Hasse, the musical composer, i. 155;
marries the vocalist Faustina, 156;
appointed director of the Dresden Opera, 156;
his death, 158;
a librettist, 212.

Hauteroche, humour of exhausted, i. 49.

Haydn, his opinion of Mozart's work, ii. 102.

Haymarket Theatre, Handel's _Pastor Fido_ played at, i. 102.

Hébert, the sanguinary republican, ii. 68, 73.

Heidegger, appointed manager of the King's Theatre, i. 163;
his "puff direct," 163.

Henriot, the sanguinary republican, ii. 62, 72.

Hingston, the musician, patronised by Cromwell, i. 32.

Hoffman, the musical composer, ii. 301;
his _Undine_, 301-305;
Berlioz's opinion of his music, 305.

Huberti, Madame, the singer, ii. 43, 94;
her marriage and horrible death, 94.

Hugo, Victor, his dramas made the groundwork of Italian librettists, i. 213;
his actions against them for violation of copyright, ii. 234, 235.

_Huguenots_, of Meyerbeer, ii. 216.

_Hydaspes_, opera of, i. 117;
Addison's critique on, 118, 119.

I.

_Il Pirato_, of Bellini, ii. 249.

Insanity, Steele's remarks on, i. 111, 112.

Interludes, banished from the operas, i. 250.

_Iphigenia in Aulis_, by Gluck, i. 273;
its introduction on the Paris stage, and immense success, 273, 274.

_Iphigenia in Tauris_, a rival opera, composed by Piccinni, i. 291, 292.

Italian librettists, Victor Hugo's actions against for copyright, ii. 234, 235.

Italian opera, introduced into France under the auspices of
Cardinal Mazarin, i. 8;
rejected by the French, 9, 11;
introduced into England, 9, 11;
into Germany, 10;
into all parts of Europe, 10;
introduced into England at the beginning of the eighteenth century, 54;
Addison's critical remarks on, 55-8;
attempts to engage the company of London at the French Academie, 26:
raised to excellence by Handel in London, 103;
history of its introduction into England, 104 _et seq._;
Steele's hatred to, 113;
a complete failure in London, 147-149;
its position under Handel, and subsequently, 170, 171;
various operas produced, 170, 171;
established at Berlin and St. Petersburgh, 199;
its weak points during the eighteenth century exhibited
in Marcello's satire, "Teatro a la Modo," 204-12;
the company performing alternately in London and in Paris, ii. 2;
its position during the Republican and Napoleonic wars, 86.

Italian plays, of the earliest period, called by the
general name of "Opera," i. 2.

Italian singers, establish themselves everywhere but in France, i. 173;
company of engaged by Mdlle. Montansier, ii. 79;
unsuccessful, 79.

Italians, their genius for music above that of the English, i. 56;
music of the, 268, 269.

Italy, modern, earliest musical dramas of, i. 3, 6, 7.

J.

Jeliotte, the tenor singer, i. 223.

Jesuits' church at Paris, the great operatic vocalists engaged at the, ii. 49;
their theatre near the, 50.

Jomelli, anecdote related by, i. 44;
director of the Stutgardt opera, 178;
sets _Didone_ to music, 212.

K.

Kalkbrenner, a pasticcio by, unsuccessful, ii. 85;
his _Don Giovanni_, 184.

Keiser, the operatic composer;
author of _Ismene and Basilius_, i. 6, 141.

Kelly, Michael, the singer, ii. 128.

Kind, Frederick, ii. 293;
Weber's introduction to, 293.

King's Theatre, performances at, and assemblies, i. 101;
opened under Heidegger, 163;
celebrated vocalists at the, ii. 4;
destroyed by fire, 6;
rebuilt and re-opened, 8;
its negociations with the Parisian operatists, 110, 111;
Mr. Taylor the proprietor, 121;
the theatre closed, 125;
quarrels of the proprietors, 126;
re-opened under Waters, 127;
again closed, 129;
Mr. Eber's management, 129;
selection of operas and singers for the, 129;
management of Messrs. Laporte and Laurent, 130;
its position and character in 1789, 131;
enormous prices paid for private boxes and admission, 132, 133;
sale of the tickets at reduced prices, 133, 134;
costume of visitors, 136, 137.

L.

Labitte, death of, from overstrained singing, ii. 270.

Lablache, the basso singer, the "Leporello" of _Don Giovanni_, ii. 108, 109;
biographical notices of, 274-278;
his versatile powers, 277, 278;
his great whistling accomplishments, 279;
his characters of "Bartolo" and "Figaro," 275.

Lachnick, the musician, ii. 183, 184.

Lacombe, the French dancer, ii. 112.

_La Cenerentola_, opera of, ii. 162.

La Fare, Marq. de, author of the _Panthée_, i. 85.

Lafontaine, his want of success as a librettist, i. 21;
anecdote of, 21.

Lafontaine, Mdlle., the celebrated ballerina at the French Opera, i. 72.

Laguerre, Mdlle., the vocalist, i. 281;
the actress, i. 294.

Lainez, the poet, i. 27;
the singer, ii. 69.

"_La Marseillaise_," borrowed from Germany, ii. 201.

Lamartine, M. de, his faultiness in history, ii. 61, _note_.

Lamb, Charles, anecdote of, i. 21.

Laniere, musical composer and engraver, i. 30.

"_La Parisienne_," of Nourrit, ii. 201.

Laporte and Laurent, Messieurs, managers of the London opera house, ii. 130.

Larrivée, the vocalist, i. 223, 274.

_La Straniera_, of Bellini, ii. 249.

Lauragais, Count de, anecdotes of, i. 229, 230;
ii. 77, 78;
his great expenditure, ii. 51.

_La Vestale_, of Spontini, ii. 186, 187.

Law, M., introduces wax into the candelabra of the French Opera, i. 84;
breaking up of his financial schemes, 84;
favoured by the Duke of Orleans, 84.

Lays, a furious democrat, and chief manager of the French Opera, ii. 66;
treated with public indignation, 77.

Leclair, exchanges the ballet for the violin, i. 88, 89.

Lefevre, the republican singer, hissed off the stage, ii. 70.

Legal disputes among musicians, i. 87, 88.

Legroscino, the musical composer, ii. 32.

Lemaure, Mdlle., the actress, i. 92.

Lenoir, the architect of the Paris Opera, ii. 43.

Lenz, the biographer of Beethoven, ii. 287.

Leopold I., Emperor of Germany, his devotedness to music, i. 174.

Leopold II., of Germany, his liberality to Cimarosa, ii. 96;
his public approbation of _Il Matrimonio Segretto_, 97.

Lettres de Cachet, issued, to command certain persons to join the Opera, i. 76.

Libretti of English writers, i. 213;
of the French, 214.

Librettists of the eighteenth century, i. 212 _et seq._

Libretto, no opera intelligible without one, i. 40;
the words should be good, and yet need not of necessity be heard, 41.

Limeuil, Madame, death of, i. 23.

Lincoln's Inn Theatre, under the direction of Porpora, i. 164.

Lind, Jenny, the hangman's admiration of, ii. 64.

_Linda di Chamouni_, of Donizetti, ii. 241.

Lion, Nicolini's contest with the, at the Haymarket, i. 118;
Addison's satirical critique on the, 119-122.

Lipparini, Madame, the _prima donna_ at Palermo, ii. 271, 272.

Lise, Mddle., anecdote of, ii. 36.

Lock, the musical composer, i. 28.

London Opera, manners and customs of the, half a century ago, ii. 122 _et seq._
(See KING'S THEATRE.)

Lorenzo da Ponte, ii. 293.

Lotti, the Venetian composer, i. 146.

Louis XIV., a great actor, i. 73;
in the habit of singing and dancing in the court ballets, 74;
retires from the stage, 74;
returns to it, 75;
the various characters assumed by him, 75.

Louis XV., his heartless conduct at the theatre, i. 81;
his meanness to his daughter's music-masters, ii. 39;
French society at the very worst during his reign, 48.

Louis XVI., his flight from Paris, ii. 57;
his death, and state of the Opera at the time of, 61.

_Lucia di Lammermoor_, of Donizetti, ii. 233.

_Lucrezia Borgia_, of Donizetti, ii. 234, 237;
Victor Hugo's action against the author for breach of copyright, 234.

Lulli, French Opera not founded by, i. 13, 14;
his intrigues, 16;
his _Cadmus and Hermione_, 16;
originally a scullion in the service of Madame de Montpensier, 16;
his disgrace, 17;
his elevation by Louis XIV., 17, 18;
intrusted with them music of the ballets, 18;
a buffoon, 18;
various mistakes of, 18 _et seq._;
his intemperate habits, 24;
his great attention to the ballet, 72;
tumult at the representation of his _Aloeste_, 85;
history of French Opera dates from the time of, 217;
his singular death, 217;
his operas, 217, 218.

Lyric drama, remarks on the, i. 236, 237;
Rousseau's critique on, 243.

M.

_M. de Pourceaugnac_, performance of, i. 19.

Machinery of the Opera at Paris, i. 255.

Maillard, Mdlle., the _prima donna_, of the Paris Opera, ii. 66;
requested to personate the Goddess of Reason, 67;
compelled to sing republican songs, 69;
suspected by the republicans, 69.

Mailly's _Akébar, Roi de Mogol_, i. 15.

Maine, Duchess du, her passion for theatrical and musical performances, i. 77;
her lotteries, 78.

Malibran, Madame, the vocalist, ii. 69;
biographical notices of, 174, 175;
her triumphal progress through Italy, 260, 261;
characteristic anecdotes of, 261-264;
her activity and great acquirements, 262;
her death, 264.

Mara, Madame, the celebrated vocalist, i. 200;
biographical notices of, 200-3;
appointed _prima donna_ of the Berlin theatre, 201;
at the King's Theatre, ii. 4;
her distinguished performances, 5;
biographical notices of, 5-9;
among the first class of singers, 28.

Mara and Todi, Mesdames, quarrels between the admirers of, i. 150, 203.

Marcello's satire, _Teatro a la Modo_, i. 204-12.

Margarita de l'Epine, the Italian vocalist, i. 104;
at Drury Lane, 108.

_Maria di Rohan_, of Donizetti, ii. 242.

Marie Antoinette, the enthusiastic patroness of Gluck, i. 275;
patronizes Piccinni, 290;
her visit to the Académie and Opera Comique, ii. 58, 59;
popular cries against, 59;
obliged to fly, 59;
her execution, 61.

Mariette, Mdlle., the Parisian danseuse, i, 82.

_Marino Faliero_, of Donizetti, ii. 233.

Mario, the actor, in the character of the _Duke of Mantua_, i. 39;
a performer of _Don Giovanni_ in London, ii. 108.

Marmontel, the librettist, i. 287, 289;
the admirer of Piccinni, 289.

Marre, Abbé de la, defends Mdlle. Petit, i. 82.

Marsolier, of the Opera Comique, ii. 235.

Martinella, Catarina, the celebrated singer, i. 8.

Martini's _Cosa Rara_, ii. 102.

_Martiri_, of Donizetti, ii. 239.

_Masaniello_, market scene in, i. 47;
effects of its representation in Paris, ii. 200.

_Matrimonio Segretto_, comic opera of, ii. 96-100;
its successful performance before Leopold II., 97.

Mattheson, the musical composer and conductor of the
orchestra at the Hamburgh theatre, i. 141, 142;
his duel with Handel, 142.

Maupin, Mdlle., the operatic actress, i. 26;
the Lola Montes of her day, 26.

Mayer, the musical composer, ii. 32.

Mazarin, Cardinal, introduces Italian Opera into France, i. 8;
into Paris, 14.

Maze, Mdlle., the danseuse, her melancholy suicide, &c., i. 84.

Mazocci's school of singing at Rome, i. 184.

Melun, Count de, his depravity, i. 76.

Menestrier, on the origin of the Italian Opera, i. 3.

Mengozzi, the tenor singer, visits Paris, ii. 3.

Mercadante, the musical composer, ii. 247, 248.

Mercandotti, Maria, the charming Spanish danseuse, ii. 119;
married to Mr. Hughes Ball, 120.

Merighi, Signora, the Italian singer, i. 163.

Merulo, Claudio, the musical composer, i. 4.

Metastasio, the poet and librettist, i. 175, 212;
his quarrel with Caffarelli, i. 191.

Meyerbeer, the successor of Rossini at the Académie, ii. 202;
a composer who defies classification, 206;
his different productions, 206;
biographical notices of, 206, 207;
his _Robert le Diable_, 207, 211 _et seq._;
his _Huguenots_, 216;
his _Prophete_, 218.

Mililotti, the Neapolitan buffo, ii. 274, 275.

Mingotti, the celebrated vocalist of the Dresden opera, i. 156;
her opinion of the London public, 197.

Minuet, introduced into England, i. 73.

Moliere, the friend of Lulli, i. 19;
his disagreement with him, 20;
his _Amants Magnifiques_, 65.

Montagu, Lady Wortley, her description of the Vienna theatre, i. 175.

Montansier, Mdlle., 71, 72;
denounced by the republicans for building a theatre, 73;
imprisoned, 73;
her nocturnal assemblies, 73;
Napoleon introduced to her, 74;
her marriage, 74;
receives indemnity for her losses, 75;
engaged by Napoleon to form an Italian operatic company, 79;
is unsuccessful, 79.

Montessu, the French dancer, ii. 112.

Monteverde, the musical composer, i. 7;
his improvements in orchestral music, 7;
the score of his _Orfeo_, 7, 23;
produces his _Arianna_ at Venice, 8;
his great popularity, 8.

Moreau, the musical composer, i. 27.

Morel, the librettist, ii. 183.

Morelli, the bass-singer, visits Paris, ii. 3.

Mormoro, Madame, personates the Goddess of Reason, ii. 67.

_Mosé in Egitto_, by Rossini, ii. 163.

Mount Edgcumbe, Lord, author of "Musical Reminiscences," i. 299, 300;
his notices of celebrated vocalists, ii. 5, 6, 8, 11, _et passim_;
his description of the King's Theatre in 1789, 131.

Mouret, the musical composer, i. 78.

Mozart, the musical composer, i. 12;
works of, 13;
reception of his _Nozze di Figaro_, ii. 98;
his _Seraglio_, 99;
founder of the German operatic school at Vienna, 99 _et seq._;
his _Don Giovanni_, 100-109;
its original cast at Prague, 104;
Salieri his great rival, 101, 102;
his genius fully acknowledged, but his music not at first appreciated, 107;
_Musette de Portici_, the first important work to which
the French Opera owes its celebrity, 195;
translated and played with great success in England, 197, 198;
his fortunes affected by the revolutionary character of the plot, 200.

Music of the operatic works of the sixteenth century, i. 4, 5;
Woolfenbuttel school of, 6;
Carpentras school of, 6;
of the drama, its importance, 45, 46;
the language of the masses, 46;
its powerful effects in dramatic representations, 47;
its powers as an art, 59, 60;
capabilities of, 169;
Marcello's satirical advice respecting, 204-12;
of the Greeks, 241;
a real recitative, 241;
an imitative art, 245, 248;
of the Italians and the Germans, 268, 269;
on expression in, ii. 83;
did not flourish under the French Republic or Empire, 84;
different schools of, 284.

Musical composers, who adorned the end of the eighteenth and
the beginning of the nineteenth century, ii. 31, 32;
their peculiar characteristics, 141.

Musical compositions, different adaptations of, ii. 83, 84.

Musical instruments of the seventeenth century, i. 23.

Musical pieces, danger of performing under the Republican regime, ii. 67.

Musical plays of the fifteenth century, i. 2.

Musical valets of the seventeenth century, i. 23, 24.

Musician, his contest with the dancer, i. 88;
his task of imitation greater than that of the painter, 249.

Musicians of the French Opera, privileges of the, i. 77;
of Italy, nicknames given to, 86-8;
the "three enraged" ones, 129, 133.

_Muzio Scevola_, produced at the Royal Academy of Music, i. 145.

_Mysteres d'Isis_, opera of the, ii. 183.

N.

Napoleon, his munificent offers to Catalani, ii. 18.

Napoleons, both of them good friends to the Opera, ii. 193, 194.

Nasolini, the musical composer, ii. 12.

National anthem, story respecting the, i. 165;
on the origin of the, 166.

National styles, i. 214, 215.

Nicknames given to celebrated musicians, singers, and painters
of Italy, i. 186-8.

Nicolini, a great actor, i. 61;
a sopranist, 117;
Addison's critique on his combat with a lion at the Haymarket, 118-122.

Nobles of France, operatic actors, i. 76;
abuses arising from the system, 76.

Noblet, Mdlle., the French danseuse, ii. 111-13;
negociations respecting her benefit, 113, 114.

_Norma_, of Bellini, ii. 250, 252, 257.

Nose-pulling, i. 106.

Nourrit, Adolphe, the celebrated tenor, a performer of
"Don Giovanni" in London, ii. 108;
makes his appearance at Paris, 195;
his _La Parisienne_, 201;
his professional engagements, 221, 222;
his melancholy death, 223, 224.

Noverre, the celebrated ballet master, i. 178.

_Nozze de Figaro_, of Mozart, ii. 98-103.

_Nuits de Sceaux_, or _Nuits Blanches_, of the Duchess du Maine, i. 77, 78.

O.

_Oberon_ of Weber, ii, 299, 301.

Olivieri, primo basso at Udine, ii. 89.

OPERA, history of the, i. 1 _et seq._;
meaning and character of, 1, 2;
Wagner's definition, 1, _et note_;
the earliest Italian plays, called by the general name of, 2;
the title afterwards applied to lyrical dramas, 2;
proceeds from the sacred musical plays of the sixteenth century, 2;
first specimens of in the Greek plays, 3;
operatic composers and singers, 4-8;
its success promoted by the musical genius of Monteverde, 8;
taken under the patronage of the most illustrious nobles, 8;
the most celebrated female singers connected with, 8;
Italian opera introduced into France under the auspices of
Cardinal Mazarin, 8;
into England at the commencement of the eighteenth century, 9, 54;
into Germany, 10;
flourishing state of during the eighteenth century, 10;
history of its introduction into France and England, 12 _et seq._;
not founded by Lulli, 13, 14;
the first English opera ten years later than the first French one, 31;
the leading actors, 31;
the nature of and its merits as compared with other
forms of the drama, 36 _et seq._;
unintelligibility of, 37;
music in a dramatic form, 38;
the words ought to be good, and yet need not of necessity be heard, 41;
unnaturalness of, 45;
chorus of, 47;
Addison's articles on, 53-58;
and the drama, 61;
Beranger on the decline of the, 65;
Panard's remarks on the, 67;
his song on what may be seen at the, 67;
Louis XIV. and the nobles of France actors in, 73-78;
lettres de cachet issued, commanding certain persons to join the, 76, 77;
privileges of singers, dancers, and musicians belonging to the, 77;
state of, under the regency of the Duke of Orleans, 79;
the scene of frequent disturbances, 80;
etiquette respecting the visits of young ladies to the, 92, 93;
introduction of the Italian Opera into England, 104 _et seq._;
under Handel, 140;
its position under Handel, and subsequently, 170, 171;
general view of in Europe in the eighteenth century,
until the appearance of Gluck, 172;
its appearance at Vienna, 175, 181;
its weak points during the eighteenth century exhibited
in Marcello's celebrated satire "Teatro a la Modo," 204-12;
history of French opera from Lulli to the death of Rameau, 217 _et seq._;
history of, in France, during the eighteenth century,
abounds in excellent anecdotes, 232 _et seq._;
different kinds of, 236, 237;
Rousseau's definition, and critical remarks on, 239 _et seq._;
of the Greeks, 243 _et seq._;
early periods of, 245;
subjects of, 247;
Rousseau's description of, at Paris, 251 _et seq._;
ludicrous caricature of, 252-260;
its monstrous scenery, machinery, and decorations, 255;
audience of the, 257;
history of, in England, at the end of the eighteenth century,
and beginning of the nineteenth, ii. 1 _et seq._;
at Versailles, 3;
King's Theatre, 4, 5;
notices of the most celebrated singers, 3-33;
the Pantheon enterprise, 6, 7;
state of in France after the departure of Gluck, 35 _et seq._;
at Paris, frequently burnt down and rebuilt, 42;
of the "Romantic" school, 45;
its condition before and after the Revolution, 46 _et seq._;
strange customs connected therewith, 49;
great singers of the, at the Jesuits' church and theatre at Paris, 50;
dangerous to write anything about in Paris previous to the Revolution, 54;
its decline after the Revolution commenced, 56 _et seq._;
the National Opera of Paris, 62;
history of, under the Republic of France, 62 _et seq._;
state of the, under the Convention, 75;
its receipts confiscated, and its artists guillotined, 75, 76;
under Napoleon, 79;
state of in Italy, Germany, and Russia, during the Republican
and Napoleonic wars, 87 _et seq._;
its difficulties arising from the continued wars, 109;
diplomatists and dancers, 111;
Terpsichorean treaty, 115;
manners and customs of, half a century ago, 121 _et seq._;
Mr. Ebers's management in 1821, 129;
the King's Theatre in 1789, 131, _et seq._;
costume of, in 1861, 137;
Rossini and his period, 143;
his _Barber of Seville_, and other operatic pieces, 144-163.
(See ROSSINI).
Madame Pasta, 170; Madame Pisaroni, 172;
Madlle. Sontag, 175;
its position in France under the Consulate, Empire, and
Restoration, 178 _et seq._;
plots for assassinating the First Consul at the, 179, 182;
assassination of the Duke de Berri at the, 190;
its temporary suspension, 193;
the Napoleons good friends to the, 193, 194;
the different pieces produced at Paris, 195, 196;
Rossini's _Guillaume Tell_, 201;
rehearsals, 207;
Nourrit, 221;
the chief opera houses of Paris and Italy inseparably
connected with the history of opera in England, 224;
Donizetti and Bellini, 226, _et seq._, 257;
author's rights, 237;
different schools of, 284.

Opera Comique, of France, i. 236, 237.

Opera, French, Favart's satirical description of, i. 65.

Opera National, substituted for that of the Academie Royale, ii. 59;
programme issued by the directors, 62;
change of site, 71.

Opera singers, badly paid in the 17th century, i. 25.

Operatic feuds, i. 105.

Operatic incongruity at Paris, i. 253.

Opitz, translator of the opera of Dafne, i. 6.

Orchestra, instrumental music being deficient in the 17th century, i. 7;
Monteverde's improvements, 7.

_Orfeo_, of Monteverde, music of, produced at Rome in 1440, i. 3, 13.

Orleans, duke of, state of the Opera under his regency, i. 79;
his sincere love of music and literature, 85, 86;
his death, 86.

_Otello_, by Rossini, ii. 157.

Oulibicheff, M., his notices of Mozart, ii. 101;
the biographer of Beethoven, 287;
Lenz's attack on, 287.

Oxenford's _Robin Hood_, i. 214.

P.

Pacchierotti, the celebrated male soprano, ii. 7.

Pacini's _Talismano_, ii. 267, 268.

Paer, the musical composer, ii. 32;
plays the part of basso, 90, 91;
success of his Laodicea, 98.

Paer, Madame, the vocalist, ii. 80;
engaged by Bonaparte, 80, 81, 88;
anecdote of, 89.

Painters of Italy, nicknames given to, i. 186-8.

Paisiello, the operatic composer, ii. 2, 29, 30, 31, 82;
his interview with Bonaparte, 82;
liberally rewarded, 82, 83;
at St. Petersburgh, 87.

Panard, his satirical remarks on the Opera, i. 67;
song on what he had seen at the Opera, 67.

Pantheon of London converted to the use of the Opera, ii. 6, 7;
its company, 7;
burnt down, 8;
opening of the, 125;
an unfortunate speculation, 125.

Paris, absurd regulations of the Theatres at, i. 86, 87;
Rousseau's descriptions of the Opera at, 251, 252-260;
contests in, respecting the merits of Gluck and Piccinni, 267;
its operatic company towards the end of the 18th century, ii. 3;
the opera burnt down at different times, 42;
National Library of, proposed to be burnt, 71, 72;
the various operatic pieces produced at, 195 _et seq._

Parisian public manners and customs of the time of Louis XIV., i. 75 _et seq._;
the turbulent and dissipated habits, 80.

Pasta, Madame, the celebrated singer, ii. 168;
her representation of Rossini's _Semiramide_, 168, 169;
biographical notices of, 170.

Pelissier, Mdlle., the prima donna of Paris, i. 82;
her prodigality, 83.

Pembroke, Countess of, the leader of a party against the
vocalist Faustina, i. 153.

Pergolese, the musical composer, i. 9, 170;
his _Serva Padrona_ hissed from the stage, 9;
at St. Petersburgh, ii. 88.

Peri, the Italian musician, i. 5;
composer of the music to _Dafne_, 7.

Perrin, French Operas of, i. 15.

Peruzzi, Balthazar, his wonderful skill in scenic decoration, i. 3, 4.

Peter the Great, his visit to the French Opera, i. 81.

Peterborough, lord, account of his marriage with Miss
Anastasia Robinson, i. 134-138.

Petit, Mdlle., the Parisian danseuse, i. 82.

Petits Violins du Roi, a band formed by Lulli, i. 17.

Phillips, Ambrose, the plagiarist, i. 115.

Piccinni, the musical composer, i. 212;
merits of, as compared with Gluck, 267;
biographical and anecdotal notices of, 280 _et seq._;
his natural genius for music, 284;
success of his _Donne Dispetose_ and other operatic pieces, 285 _et seq._;
his arrival at Paris, 287;
his contests with the Gluckists, 288 _et seq._;
his _Orlando_, 289;
his rival opera of _Iphigenia in Tauris_, 291, 292;
ruined by the French Revolution, 295;
his death, 295;
the originator of the popular musical finales, ii. 32.

_Pietra del Paragone_, of Rossini, ii. 151.

Pinotti, Teresa, the celebrated comedian, ii. 274.

Pisaroni, Madame, biographical notices of, ii. 172.

Pleasantries of the drama exploded, i. 49;
their antiquity and harmlessness, 49.

Poissardes of Paris, present at the Opera on certain fetes, ii. 49.

_Pomone_, the first French Opera heard in Paris, i. 15.

Ponceau, Seigneur de, (See CHASSE).

Porpora, the musical composer, i. 44, 100;
his perversion of the "Credo", 44;
director of the Lincoln's Inn Theatre, 164;
singers engaged by him, 167.

Porte St. Martin Theatre at Paris, ii. 42.

_Preciosa_, of Weber, ii. 298.

Prevost, Mdlle. the ballet dancer, i. 78, 89;
her jealousy of Mdlle. de Camargo, 90.

Prima donnas, Marcello's satirical instructions respecting, i. 211.

_Prophete_, of Meyerbeer, ii. 218.

Purcell, the writer of English operas, i. 9;
his _King Arthur_, 14;
his dramatic music, 29;
his operatic compositions, 33;
his death, 34;
his talents, 34.

_Pygmalion_, of Mdlle. Sallé, 93, 94.

_Pyrrhus and Demetrius_, Scarlatti's opera of, i. 117.

Q.

Quantz, the celebrated flute player, i. 151;
his account of the Faustina and Cuzzoni contests, 151, 153.

Quin, James, the musician, anecdote of, i. 32.

Quinault, one of Lulli's librettists, i. 22.

R.

Racine, merits of, i. 115, 116.

Rameau, J. P., the great French composer, i. 13, 212;
opinions of Dr. Burney and Grimm on his compositions, 213;
memoirs of, 213 _et seq._;
letters of nobility granted to him, 220;
his music, 222;
his death and funeral, 222, 223.

_Ranz des Vaches_, ii. 289, 290.

Recitative, on the use of, in opera, ii. 296.

Rehearsals at the French opera, ii. 207;
in London, 208.

Reign of Terror, a fearful time for artists and art, ii. 71;
its numerous victims, 76, 77.

Republic of France, changes effected, in the Opera by the, ii. 64, 65.

Republican celebrities, their direction of the Opera National, ii. 62, 63, 74;
changes effected by, in operatic pieces, 64, 65.

Revolution in France, state of the Opera at the period, ii. 34 _et seq._ 55;
its effect on the Academie, 56 _et seq._;
musicians and singers who fell victims to its fury, 76, 77.

Rey, the musical composer, and conductor of the Paris orchestra, ii. 41.

Righini, the operatic composer, ii. 104.

_Rigoletto_, operatic music of, i. 47, 48.

_Rinaldo and Armida_, by Handel, i. 123;
operatic sparrows of, 123-126.

Rinuccini, Ottavio, the Italian poet, i. 5;
author of the libretto to _Dafne_, 7.

_Robert le Diable_, of Meyerbeer, new version of a chorus in, i. 42;
remarks on, ii. 202, 211 _et seq._;
compared with _Der Freischutz_, 213;
brought out at the King's Theatre, 214.

Robespierre, fall of, ii. 76.

_Robin des Bois_, an adaptation of Weber's _Der Freischutz_, ii. 295-297.

Robinson, Anastasia, the celebrated vocalist, i. 134;
privately married to the Earl of Peterborough, 134;
Lady Delany's account of, 134-138.

Robinson, Mr., father of Lady Peterborough, i. 135;
death of, 136.

Rochois, Martha le, the vocalist, i. 25.

"Romantic School" of the opera, ii. 284.

Rossi, the Italian librettist, i. 128.

Rossini, the operatic composer. ii. 31;
history of his period, 140 _et seq._;
the greatest of Italian composers, 142;
his biographers, 143;
his _Barber of Seville_, 144;
historical anecdotes of, 144 _et seq._;
comparison of, with Mozart and Beaumarchais, 149;
his _Pietra del Paragone_, 151;
his innovations, 153, 155; _Tancredi_ and _Otello_, 156, 157;
his _Gazza Ladra_, 160;
his _Mosé in Egitto_, 163;
married to Mdlle. Colbran, 166;
his _Semiramide_ played by Madame Pasta and others, 168, 169;
his _Siege de Corinth_, 189;
his _Viaggio a Reims_, 195;
_Guillaume Tell_ his last opera, 201;
succeeded by Meyerbeer at the Academie, 202;
his followers, 203, 204;
his retirement, 205;
Donizetti's early admiration of, 226;
Sigismondi's horror of his works, and his adverse criticisms, 228 _et seq._;
his musical genius and powers, 282;
his _William Tell_, 283;
the most modern of operatic composers, 283;
the alpha and the omega of our operatic period, 283.

_Rouslan e Loudmila_, of Glinka, ii. 290.

Rousseau, J. J., a critic and a composer of music, i. 238 _et seq._;
his "Dictionnaire de Musique," 239;
his definition of Opera, 239;
his critical dissertation on the Opera in France during
the eighteenth century, 239-250;
his opinions on dancing and the ballet, 250;
author of the _Devin du Village_, 261,
but Granet the musical composer, 262, 263;
his advice to Mdlle. Theodore, 300.

Rousseau, Pierre, anecdote of, i. 262;
accuses Jean J. Rousseau of fraud, 265.

Royal Academy of Music formed in London, i. 142;
liberally patronized, 143;
confided to Handel, 144;
the various operas produced at, 144, 145;
involved in difficulties, 145;
finally closed, 146;
a complete failure, 147.

Rubini, the celebrated tenor singer, ii. 249, 264, 265;
the fellow-student of Bellini, 249;
biographical notices of, 265, 266;
his great emoluments, 266;
his B flat, 267, 268;
his broken clavicle, 269.

Rue Richelieu, opera in closed after the assassination of the
Duc de Berri, ii. 193.

Russia, opera in, during the republican and Napoleonic wars, ii. 87.

S.

Sacchini, the musical composer, i. 212; ii. 2, 31, 40;
works of, 40;
his _Chimène_ played at the Paris Opera, 43;
his _Œdipe à Colosse_, 44.

Sacred musical plays of the fifteenth century, i. 2.

_Saggio sopra l'Opera in musica_, of Algarotte, i. 2;
St. Evremond's comedy of _Les Operas_, i. 50.

St. Leger, Mdlles. de, executed for playing the piano, ii. 69.

St. Montant, M. de, a musical enthusiast, i. 87.

St. Petersburg, opera at, ii. 87, 88.

Salieri, the operatic composer, ii. 2, 32, 40, 100;
brings out his _Danaides_, 44;
the rival of Mozart, 101;
his _Assur_, 101, 102.

Sallé, Mdlle., the celebrated danseuse, i. 91;
her proposed reforms in stage costume, 91;
noticed by Voltaire, Fontenelle, and others, 92;
her first appearance in London, 93;
her alterations in stage costume, 93;
performance of her _Pygmalion_, and her great success, 98 _et seq._;
enthusiasm at her benefit in London, 98, 99;
announcement of her first arrival in England, 101.

Saxe, Marshal, the great favourite of the ladies, i. 232, 233;
his love for Madame Favart, 233, 234.

Scarlatti's opera of _Pyrrhus and Demetrius_, i. 117.

Scenery, the great attraction in operatic representations, i. 3;
the art carried to great perfection at Rome, 3, 4;
of the opera of Paris, 252.

Schœlcher, M. Victor, biographer of Handel, i. 97;
on the origin of "God save the king," 165.

Schindler, the biographer of Beethoven, ii. 287.

Schmaling, Mdlle. (See MARA).

Schools, the different ones, ii. 284.

Schrœder-Devrient, Madame, the vocalist, ii. 299.

Schutz, the musical composer, i. 6.

Scribe, M., the librettist, i. 212, ii. 250;
his comic operas, i. 212.

Scudo, the critic, ii. 293.

_Semiramide_, of Rossini, ii. 168;
represented by Madame Pasta and others, 168, 169.

Senesino, Signor, the sopranist, i. 158, 159;
quarrels with Handel, and joins the Lincoln's Inn Theatre, 164.

_Serva Padrona_, opera of, hissed from the French stage, i. 9.

Servandoni, of the Tuileries theatre, i. 63;
his scenic decorations, 177, 179.

Shakspeare's dramas, i. 61.

_Siege de Corinthe_, produced at the French Opera, ii. 195.

_Siege of Thionville_, its gratuitous performance for
the amusement of the _sans culottes_, ii. 66.

Sigismondi, the librarian of the Neapolitan Conservatory, ii. 226;
his pious horror of Rossini's works, and his adverse criticisms, 228, 229.

Singers of the seventeenth and eighteenth centuries, i. 8, 182, 183 _et seq._;
their capricious tempers, 161;
Lord Mount Edgcumbe's "Reminiscences" of, ii. 28;
divided into two classes, 28;
exposed to the threats of the Republicans, 69.

Singers of Italy, found in all parts of Europe, i. 10, 172 _et seq._;
nicknames given to, 186-8.

Singers of the French Opera, privileges of the, i. 77.

Singing in dramatic representations, its powerful effects, i. 47;
humorous satire on, 50, 51;
Mazocci's school of, 184;
Marcello's satirical advice respecting, 204-12;
deaths caused by, ii. 270.

Smith, J., the husband of Mrs. Tofts, i. 111.

Smith, Sir Sidney, his liberation from the French prison
by Boisgerard, ii. 117, 118.

Sobriquets, applied to celebrated musicians, singers, and painters
of Italy, i. 186-8.

Song, difficulty of writing to declamation in modern languages, i. 240.

Song of Solomon, considered the earliest opera on record, i. 3.

_Sonnambula_, of Bellini, ii. 250, 251, 257.

Sontag, Mdlle., biographical notices of, ii. 174.

Soubise, Prince de, i. 299;
his great expenditure, ii. 51.

Sounds, art of combining agreeably, i. 239;
of a speaking voice, 240.

Sparrows, operatic, at the Haymarket, i. 123-126.

Spectator. (See ADDISON).

Spitting, i. 107.

Spohr, the celebrated German composer, ii. 285.

Spontini, the musical composer, ii. 183;
his _Finta Filosofa_, 185;
his _La Vestale_, and _Fernand Cortez_, 186, 187;
his animosity towards Meyerbeer, 188.

Stage of France, its state of morality, i. 81, 82.

Stage costume, Mdlles. Sallé's proposed reforms in, i. 93;
her alterations in, 93.

Stage decoration, i. 63, 178, 179, 180.

Stage plays, ordinances for the suppression of, i. 31.

Steele, on insanity, i. 111, 112;
his hatred of the Italian Opera, 113;
his chagrin at the success of Handel's _Rinaldo_, 116;
his insults to operatic singers, 117;
on the operatic sparrows and chaffinches at the Haymarket, 126;
his unfavourable opinion of opera, 126, 127.

Stockholm, opera at, ii. 87.

Storace, Mrs., the prima donna of the King's Theatre, ii. 3;
biographical notices of, 4.

Storace, Stephen, musical director of the King's Theatre, ii. 4.

Strada, Signora, the Italian singer, i. 163.

Stradella, the vocalist and operatic composer, i. 183.

Strozzi, Pietro, i. 5.

Stutgardt, magnificence of the theatres at, i. 178.

Styx, how to cross the, i. 85.

Subligny, Mdlle., the celebrated danseuse, i. 92.

Swift, his celebrated epigram on Buononcini and Handel, i. 64.

T.

_Talismano_, of Pacini, ii. 267, 268.

Talmont, princess de, letter from, 235.

Tamburini, the singer, performer of "Don Giovanni" in London, ii. 108;
biographical notices of, 271-4;
his grotesque personation of the absent _prima donna_, 272-274;
his versatile powers, 273.

_Tancredi_, by Rossini, ii. 152, 156, 157.

Taylor, Mr., proprietor and manager of the King's Theatre, ii. 121;
humorous anecdotes of, 122 _et seq._;
his quarrel with Mr. Waters, 126;
driven from the theatre, 126;
ends his days in prison, 127;
his anonymous letter respecting Waters, 128.

_Teatro a la Modo_, Marcello's satire of i. 204-12.

Terence, the first production of his _Eunuchus_, ii. 90.

Terpsichorean treaty, ii. 115.

Theatre, at Stutgardt, i. 178;
at Venice, 180; at Vienna, 181;
of the jesuits, at Paris, ii. 50.

Théâtre des Arts, of Paris, ii. 194;
its frequent changes of name, 194, _n._

Théâtre d'Opéra, of Paris, ii. 193.

Theatres in the open air, i. 176, 177;
of immense size, 177 _et seq._;
scenic decorations of, 178, 179;
at Venice, 180;
number of in Paris during the Reign of Terror, ii. 71.

Théodore, Mdlle., the accomplished danseuse, i. 300;
imprisoned, ii. 54.

Thévanard, the operatic singer, i. 79.

Thillon, Madame, ii. 239.

Tintoretto, the musical composer, refuses the honour of knighthood, i. 221.

Tofts, Mrs. the vocalist, and rival of Margarita de l'Epine, i. 105;
letter from, 105;
plays "Arsinoe" at Drury Lane, 107;
her insanity, 110, 111.

Tosi, Signor, his observations on Mesdames Faustina and Cuzzoni, i. 151.

Trial, the comic tenor, death of, ii. 76.

Tribou, the French harmonist, i. 83;
his versatile talents, 83.

_Triomphe de Trajan_, opera of, ii. 189.

Tuileries, the last _concert spirituel_ at the theatre of the, ii. 57.

U

_Undine_, of Hoffman, ii. 301-305.

V

Valabrèque, M., the husband of Catalani, ii. 20;
draft of a contract between him and Mr. Ebers, 23-25;
anecdote of his stupidity, 26, 27.

Valentini, Regina, the celebrated vocalist, i. 156;
married to Mingotti, 156.

Varennes, Mdlle., the French danseuse, ii. 112.

Velluti, a tenor singer of great powers, ii. 209;
played the principal part in _Il Crociato_, 209;
biographical notices of, 210;
his first debut and performance in London, 211.

Venice, the opera of, and its scenic decorations, i. 180.

Verdi, Signor, the musical composer, i. 213, 268; ii. 99, _note_;
his _Ernani_ and _Rigoletto_ founded on _Hernani_ and
_Le Roi s'amuse_, i. 213;
his _Ernani_ prohibited the stage, ii. 235.

Versailles, ballets at, i. 70, 71;
the London Italian company perform at, ii. 3.

Vestris, Gaetan, the dancer, anecdotes of, i. 278; ii. 37;
founder of the family, i. 301.

Vestris, Auguste, son of Gaetan the dancer, i. 301;
anecdotes of, ii. 35, 37;
his extravagant expenditure, 53.

Vestris, the prince of Guéméné, compelled to dance as a sans culotte, ii. 69.

Vestrises, biographical notices of the family, i. 302.

_Viaggio a Reims_, by Rossini, written for the coronation
of Charles X., ii. 195.

Victor Hugo, his copyright action against Donizetti, ii. 284, 285.

Vienna, establishment of the Italian opera in, i. 174;
its great writers and composers, 175;
Lady Wortley Montagu's description of its magnificent theatre, 175;
opera at, a first-rate musical theatre, 181;
great patronage of the imperial family, 181.

Viagnoni, the singer, ii. 14.

Violins of the seventeenth century, i. 23.

Virtuosi of the seventeenth century, i. 183.

Vivien, the horn player, i. 184.

Vocalists of Paris, their generous letter to Prince de Guéméné, ii. 51.
(See SINGERS.)

Voice, speaking, sounds of a, i. 240.

W.

Wagner's definition of the word "Opera," i. 1 _et note_.

Wallace, V., the eminent composer, i. 42;
critique on a passage in his _Maritana_, i. 42, 43;
his _Maritana_ and _Lurline_ founded on the French, 214.

Warsaw, the opera of closed, ii. 54.

Warton, Dr. J., his character of the Duchess of Bolton, i. 138.

Waters, Mr., joint proprietor of the King's Theatre, ii. 109, 125;
quarrels with Taylor, his partner, 126;
re-opens the Opera, 127;
makes a purchase of it, 127;
his retirement, 129.

Weber, Karl Maria Von, a romantic composer, ii. 285;
belongs to the same class as Beethoven and Spohr, 285;
his influence on the Opera, 288;
his fondness for particular instruments, 290;
characteristics of his music, 291;
his resemblance to Meyerbeer, 292;
his _Der Freischutz_, and its great success, 292 _et seq._;
his various operas, 298 _et seq._;
his _Oberon_, 301.

_William Tell_, of Rossini, no subsequent opera to be ranked with, ii. 283.

Williams, Sir Charles, anecdote of, i. 157.

Wolfenbuttel school of music, i. 6.

Women, duelling among, i. 225 _et note_.

Wurtemburg, Duke, brilliancy of his court, i. 178.

Z.

_Zaira_, of Bellini, ii. 250.

_Zelmira_, of Rossini, ii. 165;
its music, 167.

Zeno, Apostolo, the operatic writer, i. 175;
a librettist, 212.

Zingarelli, the musical composer, ii. 32.

FINIS.

* * * * *

The following typographical errors were corrected by the etext transcriber:

_La Dame Camélias_ was to have been played=>_La Dame aux Camélias_ was to have been played

J'ai vu le soliel et la lune=>J'ai vu le soleil et la lune

of an Italian, who, adandoning=>of an Italian, who, abandoning

old newspapers before before me=>old newspapers before me

One the contrary, it gives=>On the contrary, it gives

the banquet with the apparation of the murdered=>the banquet with the apparition of the murdered

DUCAL CONNAISSEURS=>DUCAL CONNOISSEURS

Hamburg theatre, where operas had been performed=>Hamburgh theatre, where operas had been performed

Woffenbüttel caused the directors of the Hamburgh=>Wolfenbüttel caused the directors of the Hamburgh

retirement, operas by Galuppi, Pergolesi, Jomelli,=>retirement, operas by Galuppi, Pergolese, Jomelli,

Guingueneé, at Piccinni's request=>Guinguenée, at Piccinni's request

"If," said Gaetan, on another occasion, "_le dieu de la danse_=>"If," said Gaetan, on another occasion, "_le diou de la danse_

works, had to perform in the _Clemenzo di Tito_=>works, had to perform in the _Clemenza di Tito_

Gluck benefitted French opera in two ways=>Gluck benefited French opera in two ways

Bernadotte wore he would have Paer, and no one else=>Bernadotte swore he would have Paer, and no one else

"The administration of the Theatre of the Royal Academy of music=>"The administration of the Theatre of the Royal Academy of Music

by lord Fife--a keen-eyed connoisseur=>by Lord Fife--a keen-eyed connoisseur

For the one hundred and eighty pound boxas=>For the one hundred and eighty pound boxes

meanwhile Mr. Chambers had bought up Water's=>meanwhile Mr. Chambers had bought up Waters's

prima uomo=>primo uomo

Madeimoselle=>Mademoiselle

Hadyn=>Haydn

LA MUETTE DE PARTICI=>LA MUETTE DE PORTICI {2}

La Muette di Portici=>La Muette de Portici

threw himself out of window, at five in the morning=>threw himself out of a window, at five in the morning

the opera performed, and the theatre saved=>the opera perfomed, and the theatre saved

so that the cast, to be efficient=>so that the caste, to be efficient

The young gentlemen of Burgamo=>The young gentlemen of Bergamo

Il Puritani=>I Puritani

general enthusiam=>general enthusiasm

Schindler's book is the course of nearly=>Schindler's book is the sourse of nearly

Berlioz's version of Der Freischutz=>Berlioz's version of Der Freischütz

Dame aux Camelias=>Dame aux Camélias

Der Freischutz, of Weber=>Der Freischütz, of Weber

Mailly's Akebar=>Mailly's Akébar

Marre, Abbé de la, defends Mddlle. Petit=>Marre, Abbé de la, defends Mdlle. Petit

Singers of the seventeenth and eightteenth centuries=>Singers of the seventeenth and eighteenth centuries

Fenelon, Chev. de, accidentally killed, i. 81.=>Fénélon, Chev. de, accidentally killed, i. 81.

of Cimarosa, Paesiello, Anfossi=>of Cimarosa, Paisiello, Anfossi

where are Hoffman's licentious novels=>where are Hoffmann's licentious novels

his opinion of Hoffman's music, 306.=>his opinion of Hoffmann's music, 306.

* * * * *

FOOTNOTES:

[1] Wagner calls the composer of an opera "the sculptor _or_ upholsterer," (which is complimentary to sculptors,) and the writer of the words "the architect." I would rather say that the writer of the words produces a sketch, on which the composer paints a picture.

Since writing the above I find that the greatest of French poets describes an admirable _libretto_ of his own as "_un canevas d'opéra plus ou moins bien disposé pour que l'œuvre musicale s'y superpose heureusement_;" and again, "_une trame qui ne demande pas mieux que de se dérober sous cette riche et éblouissante broderie qui s'appelle la musique_." (Preface to Victor Hugo's _Esmeralda_.)

[2] Ménestrier, des representations en musique, anciennes et modernes, page 23.

[3] See Vol. II.

[4] Cambronne, by the way is said to have been very much annoyed at the invention of "_La garde meurt et ne se rend pas_;" and with reason, for he didn't die and he _did_ surrender.

[5] "_The battle or defeat of the Swiss on the day of Marignan._"

[6] This was Heine's own joke.

[7] And this, Beaumarchais's.

[8] _La Dame aux Camélias_ was to have been played at the St. James's Theatre last summer, with Madame Doche in the principal part; but its representation was forbidden by the licenser.

[9] _Spectator_, No. 18.

[10] "Life of Handel," by Victor Schœlcher.

[11] I adhere to the custom of calling Margarita de l'Epine by her pretty Christian name, without any complimentary prefix, and of styling her probably more dignified competitor, Mrs. Tofts. Thus in later times it has been the fashion to say, Jenny Lind, and even Giulia Grisi, but not Theresa Titiens or Henrietta Sontag.

[12] _Spectator_, No. 261.

[13] Burnt down in 1789. The present edifice was erected from designs by Michael Novosielski, (who, to judge from his name, must have been a Russian or a Pole), in 1790. Altered and enlarged by Nash and Repton, in 1816--18.

[14] It is to be regretted, however, that in sneering at an Italian librettist who called Handel "The Orpheus of our age," Addison thought fit to speak of the great composer with neither politeness, nor wit, nor even accuracy, as "Mynheer."--_Spectator_, No. V.

[15] The same trenchant critics who attribute Addison's satire of the Opera to the failure of his _Rosamond_, explain Steele's attacks by his position as patentee of Drury Lane Theatre. Here, however, dates come to our assistance. The jocose paper on Mrs. Toft's insanity appeared in the _Tatler_, in 1709. The attacks of the unhappy Clayton on Handel (see following pages) were published under Steele's auspices in the _Spectator_, in 1711-12. Steele did not succeed Collier as manager or patentee of Drury Lane, together with Wilks, Doggett, and Cibber, until 1714.

[16] _Spectator_, 290.

[17] The Queen's gardeners.

[18] _Tatler_, No. 113.

[19] _Spectator_, No. 285.

[20] It is also known that both profited by the study of Scarlatti's works.

[21] See Chapter II.

[22] Quoted by Mr. Hogarth, in his Memoirs of the Opera.

[23] _The Theatre._ From Tuesday, March 8th, to Saturday March 12th, 1720.

[24] See a letter of Dr. Harrington's (referred to by Mr. Chappell), in the _Monthly Magazine_, Vol. XI., page 386.

[25] "Memoirs of the Opera," Vol. I., page 371.

[26] The sopranists--a species of singers which ceased to be "formed" after Pope Clement XIV. sanctioned the introduction of female vocalists into the churches of Rome, and at the same time recommended theatrical directors to have women's parts in their operas performed by women. This was in 1769.

[27] The _Dictionnaire Musicale_ was not published until some years afterwards.

[28] Le Vieux Neuf, par Edouard Fournier, t. ii., p. 293.

[29] See _Moliére Musicien_, by Castil Blaze; t. ii, p. 26.

[30] Choruses were introduced in the earliest Italian Operas, but they do not appear to have formed essential parts of the dramas represented.

[31] With the important exception, however, of _Don Giovanni_, written for, and performed for the first time, at Prague.

[32] Vocal agility, not gymnastics.

[33] Of Faustina and Cuzzoni, whose histories are so intimately connected with that of the Royal Academy of Music, I have spoken in the preceding chapter on "The Italian Opera under Handel."

[34] The copious title of this work is given by M. Castil Blaze, in his "Histoire de l'Opéra Italien." I cannot obtain the book itself, but Mr. Hogarth, in his "Memoirs of the Opera," gives a very full account of it, from which I extract a few pages.

[35] F. Halévy, Origines de l'Opéra en France (in the volume entitled "Souvenirs et Portraits: Etudes sur les beaux Arts").

[36] By M. Castil Blaze, "Histoire de l'Académie Royale de Musique," vol. i. p. 116.

[37] For a copy of his Mass, No. 2.

[38] It was precisely because persons joining the Opera did _not_ thereby lose their nobility, that M. de Camargo consented to allow his daughter to appear there. See page 89 of this volume.

[39] Among other instances of duels between women may be cited a combat with daggers, which took place between the abbess of a convent at Venice, and a lady who claimed the admiration of the Abbé de Pomponne; a combat with swords between Marotte Beaupré and Catherine des Urlis, actresses at the Hotel de Bourgogne, where the duel took place, on the stage (came of quarrel unknown); and a combat on horseback, with pistols, about a greyhound, between two ladies whom the historian Robinet designates under the names of Mélinte and Prélamie, and in which Mélinte was wounded.

[40] Castil Blaze.

[41] It is not so generally known, by the way, as it should be, that Garrick was of French origin. The name of his father, who left France after the revocation of the Edict of Nantes, settled in England and married an Englishwoman, was Carric. (See "the Eighth Commandment," by Charles Reade.) On the other hand we must not forget that one of Molière's (Poquelin's) ancestors in the male line was an archer of the Scottish guard, and that Montaigne was of English descent.

[42] One of Mademoiselle Guimard's principal admirers was de Jarente, Titular Bishop of Orleans, who held "_la feuilles des bénéfices_," and frequently disposed of them in accordance with the suggestions of his young friend.