[N] In its infancy Italian comic opera formed the _intermezzo_ between
the acts of a serious opera, and--similar to the Greek sylvan drama
which followed the tragic trilogy--was frequently a parody on the
piece which preceded it; though more frequently still (as in
Pergolesi's "Serva Padrona") it was not a satire on any particular
subject, but designed to heighten the ideal artistic effect of the
serious opera by broad comedy. Having acquired a complete form on the
boards of the small theatres, it was transferred to the larger stage.
Though it lacked the external splendour and consummate vocalisation of
the elder sister, its simpler forms endowed it with a more
characteristic rendering of actual life.
[O] See article on "Gluck," in _The Great German Composers_ (the first
part of this work), in which his connection with French music is
discussed.