_That the Italian Operas consist of effeminate Musick._
Though it must be acknowledged that the Language of Italy is smooth and
flowing, and therefore very much adapted to musical Sounds, and though
those Songs which are picked out of Operas, and sung by Ladies at Home, are
generally the Love Songs in the Opera, being such as best suit the Tastes
and Geniussses of such amiable Performers; yet, it is equally an Error to
say that Operas are effeminate, or that all the Songs in them are Love
Songs. No one will say that Quilici with his Bass Voice, in the Character
of Athridates, acted an effeminate Part; he was one of the principal
Characters, and acted the Part of a Tyrant, to which the Music was
excellently adapted, which was greatly set off by his deep Voice and the
proper Carriage of his Person: So when Mattei orders her General to be
disarmed, the Majesty of a Queen is admirably supported. Operas are like
other Performances of Entertainment; they consist of the sublime, the
cruel, the tender, the distressed, the amorous; in short, they must have
Variety of Scenes and Incidents in order to make them please the Audience,
and are like other Dramatic Pieces, not to be taxed with any particular
Style or Mode of Acting, but consist of such Scenes, Plots, Music, and
Decorations, as are most likely to give Entertainment to an Audience.
We by no Means defend the Impropriety of a Squeaking Hero, and think that
it is a Pity it cannot be altered; however, that Imperfection is generally
palliated, by Propriety of Action, treading the Stage well; Greatness of
Performance, and many other Excellencies, which those who are much used to
hear musical Entertainments will easily discern.
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