THE OPERA
INTRODUCTORY
It is part of a liberal education to be more or less acquainted with the
lives of our great composers and the operas they wrote; and the subject
is quite as interesting and practical for the women remote from musical
centers as for those near them. There are two books any club can own
which are invaluable; one is called The Opera, by R. A. Streatfield,
which gives a sketch of each composer and an estimate of his work; the
other, Two Hundred Opera Plots, by Gladys Davidson tells the story of
each opera. In addition to these (and of course whatever is to be found
in a good encyclopedia) the score of any opera can be bought at a music
store, and a pianist can illustrate a talk with leading airs; or, if
practicable, one of the modern musical machines can reproduce the voices
of famous singers in their great parts.
I--RISE OF OPERA IN ITALY
The year's work should begin by one or more meetings on the Rise of
Opera in Italy in the latter part of the sixteenth century. Three little
operas were written, attempting to give the old Greek dramas in a
musical setting. The first public performance of opera as we know it,
however, was given by Peri, in Florence, with his Euridice, to honor the
marriage of Maria de' Medici and Henry IV. of France; this was a sort of
recitative, set to the music of a violin, a guitar, and harpsichord.
Peri was followed by Monteverde, but the latter's production of Orfeo
far surpassed the former's work on the same theme. His orchestra had
thirty-nine instruments, and the effect of the whole was to open a new
world of music. At once opera-writing became the fashion, and in fifty
years all great Italian cities had their schools of opera, and France
had adopted the same ideas. The subjects of all were classical,
allegorical, and pastoral, and to the recitative, alone, were added
songs and arias, and the overture was developed. Some clubs might take
for a year's work the subject of Italy of this period, adding the study
of art and literature to that of music. A good book to use is Morton
Latham's Renaissance of Music.
II--THREE GREAT COMPOSERS
At this point the history of opera divides, and three great composers
are to be noted. Clubs should have a paper on each, the material drawn
from the encyclopedia.
1. Lulli, though born in Italy, lived in Paris; he wrote twenty operas,
all of which were splendidly produced. He used largely the form of
recitative, but developed the overture, dividing it into a prelude, a
fugue, and a dance.
2. Humphreys, an English composer, was sent by Charles II. to France to
study; on his return he had for his pupil Henry Purcell, still
considered the greatest musical genius England has produced. His Dido
and AEneas is the first English opera.
3. The third great man of the time was Handel, who produced in Hamburg
the opera Almira, a mixture of German and Italian ideas, but made
beautiful by the charming dance music scattered through it. Later he
wrote Rinaldo, and it was brought out with overwhelming success.
Clubs should give an entire meeting to Handel. Many of his well-known
oratorios have selections which are more familiar than any passages from
his operas, however, notably the Messiah and Elijah.
III--THE CLASSICAL SCHOOL
After the death of Lulli the French school followed him with little
originality until, in the eighteenth century, Rameau gave opera more
rhythm and melody, and added to the orchestration. Then Gluck appeared,
studying first in Italy, where opera had degenerated; he wrote Piramo e
Tisbe, which failed; later he brought out Orfeo ed Euridice, which at
once made him famous. The music is appropriate to the lofty and sad
classical theme, but is relieved with exquisite reproductions of bird
and water music. The whole is one of the great operas. The great song is
Che faro senza Euridice.
Mozart, though a German by birth, was trained under Italian influence.
His first opera was written when he was twelve years old, and given in
his native town. His greatest work was Don Giovanni, though his last,
The Magic Flute, is best known. But it was his influence over other
musicians, like that of Rameau, which was even more important than his
own music. Mozart is one of the most delightful topics for club study.
His charming personality, his friendships, and his life-story are full
of interest.
Cherubini's work, at first cold and formal, developed into dignity and
even grandeur. His finest opera is Medee, although his one light opera,
The Water Carriers, is also well known.
Beethoven gave one famous opera to Germany at this time, his Fidelio.
The music shows strongly the influence of Mozart, but it is original in
form and beautiful in execution. The Fateful Moment is a good selection
to give.
IV--THE ROMANTIC SCHOOL
Weber, a German, was the first to turn from the conventional type of
opera-writing to the romantic. To his solid foundation he added an
exquisite, imaginative glow. After years of struggle he achieved success
in his Der Freischuetz. Oberon, his last work, full of fairylike and
charming music, did not succeed. In fact, Weber's greatest
accomplishment was the inspiration he gave others, like Mozart and
Rameau. The overtures to both operas should be given.
Flotow, a German by birth, wrote distinctly Italian music. His one
well-known opera, Martha, still has a certain vogue, though it is
remembered more for its tuneful airs than for any real merit. The
Spinning-Wheel Song and the Last Rose of Summer are familiar.
Nicolai began his work by imitating Italian music, but later he became
distinctly original and wrote a really excellent comic opera, the Merry
Wives of Windsor, which stands in the first rank.
Schubert wrote many light operas of slight musical value, and Schumann
one of more or less worth, called Genoveva.
Opera-writing now became so popular everywhere that it is necessary to
take it up in its different homes, and to divide the work into that done
in the earlier and later years. The first is:
V--THE EARLIER ITALIAN SCHOOL
Rossini, born at the end of the eighteenth century, knew little of
technical methods, so he followed his native genius. His first great
opera was Tancredi, and this was followed by others in a lighter vein,
notably the Barber of Seville, bright and amusing, and later William
Tell, his finest work, dignified and beautiful. The overture to the last
is one of his familiar melodies.
Donizetti, born in the same decade with Rossini, wrote sixty-five
operas; one of the best-known is Lucia di Lammermoor, with its famous
sextet. Lucrezia Borgia, probably his best work, is but seldom given
to-day, but La Fille du Regiment, a gay, charming little opera, is often
presented.
Bellini, who comes a few years later than the last two composers, wrote
operas famous in their day. I Puritani, La Sonnambula, and Norma, are
all well known. The solo, Hear Me, Norma, is especially familiar.
VI--THE EARLIER FRENCH SCHOOL
Meyerbeer, born in 1791, though of German birth, spent most of his life
in Paris. He wrote many excellent operas, even though they were marred
by sensationalism. Robert le Diable, L'Africaine, Les Huguenots, and Le
Prophete have all been often given by great singers. Les Huguenots is
considered Meyerbeer's best work, and the duet in the fourth act is of
immense dramatic force.
In contrast with this composer stands Berlioz, born in 1803. His work is
serious, with romantic and delicate touches. He wrote The Damnation of
Faust and Benvenuto Cellini, but his great opera is Les Troyens, though
it is scarcely known to the public.
Halevy belongs with Meyerbeer, for one reflected the other. La Juive
appeared before Les Huguenots, and the music of both has much in common.
Just at this time light opera, or _opera comique_, found in Auber its
greatest composer. He began to write late in life, and his last opera,
The Dream of Love, was produced when he was eighty-eight. His music was
full of gaiety and brightness. Fra Diavolo and Masaniello are familiar,
and the part of _Fenella_ in the latter has been taken by many famous
dancers. Auber has many followers to-day, notably Offenbach, whose Tales
of Hoffman is well known.
VII--WAGNER AND HIS SCHOOL
Richard Wagner, born in 1813, is by far the most imposing and most
interesting of all writers of opera. His life and work deserve more than
a passing paper, and clubs are urged to make an entire year's study of
them. At twenty he wrote his first opera, Die Feen, rather a simple
affair; this was distinctly in the Italian manner. Next he tried the
French method, and wrote Rienzi, with an excellent libretto but showy
music. Later, in poverty in Paris, he wrote The Flying Dutchman, a
picturesque piece of music with beautiful chorus work. After this came
the first of his great operas, Tannhauser, the story of the struggle of
a soul between good and evil. This contains two famous passages, the
Pilgrims' Chorus and the exquisite song to the Evening Star. It is in
this opera that there first appears Wagner's distinctive method, the use
of the _Leit-motif_, or guiding-theme, which associates one strain or
one set of instruments with one character. This idea had been slightly
used by Gluck, but Wagner developed it.
Five years later came Lohengrin, not as strong a piece of work as its
predecessor, though the prelude is acknowledged to be one of his most
poetic conceptions. None of Wagner's work was successful, however; and
after this point he relinquished the hope of popularity, and determined
to write only what seemed to him great music. In this lofty spirit he
planned Der Ring des Nibelungen. His subject was taken from the old
Norse mythology, the myths altered to suit his purpose. The whole work
is in five parts: the Ring, the Rheingold, the Walkuere, Siegfried, and
the Twilight of the Gods. The plots of these should be read, and such
music heard as can be obtained.
Then came Tristan and Isolde, called the Romeo and Juliet of music, and
after it, strangely enough, followed a light opera, Die Meistersinger,
at once a success; and last, what is considered his greatest work,
Parsifal, which he called a Sacred Festival Drama rather than an opera.
In this he returns to the theme he used in Lohengrin--the Holy Grail.
The wonderful and touching mystical music must be heard to be
appreciated. For years it has been given at Bayreuth, and musicians from
all over the world have gathered to hear it. It is only of late that it
has been produced elsewhere.
Wagner's life-work was to alter the whole course of modern opera and
give it new dignity and power.
VIII--THE FRENCH SCHOOL OF TO-DAY
Gounod, born in 1818, is the greatest composer of French opera of modern
times. His masterpiece is Faust, with its familiar Jewel Song; his
second best work is Romeo and Juliet.
Thomas, the writer of Mignon, full of melody, and Hamlet, with its
brilliant and powerful music, is distinctly a follower of Gounod.
Bizet shows in his Carmen the influence of Wagner; the Toreador strain
is its guiding-theme. His work was to raise light opera to almost the
dignity of grand.
Saint-Saens has one well-known work, Samson and Delilah, somewhat
suggestive of oratorio.
Massenet, who died but lately, was full of originality. His operas, The
Cid, Le Jongleur de Notre-Dame, Manon, and Thais, are all to be seen on
the modern stage.
Charpentier in Louise has also struck an original note, and his
orchestration is considered unique.
Debussy has written Pelleas and Melisande, a new opera of great
interest.
Delibes has one charming opera, Lakme, founded on the love of a Hindu
girl for an English officer.
IX--THE LATER ITALIAN SCHOOL
Verdi, born in 1839 and dying only recently, is the master of the modern
Italian composers. Ernani is typical of his first style, and was
immensely popular. Later he wrote La Traviata, Rigoletto, Il Trovatore,
and Aida. When Verdi was an old man he wrote Otello, called his
greatest work. This was followed by Falstaff, full of bright fun.
Verdi's genius inspired many other musicians. Of them all Ponchielli
owed him most; his best opera is La Gioconda.
Puccini, a living composer, also owes much to Verdi; his Manon Lescaut,
La Boheme, Madame Butterfly, and The Girl of the Golden West prove his
great promise.
Mascagni is associated with one opera only, the Cavalleria Rusticana,
with its intermezzo which gave it popularity. His later work is
distinctly second rate.
Leoncavallo has followed Mascagni somewhat. His I Pagliacci is his
best-known opera.
X--COMPOSERS OF MODERN GERMANY AND NORTHERN EUROPE
Almost all Germans follow Wagner to-day, but Goldmark in his Queen of
Sheba shows independence, especially in his orchestration. Humperdinck's
lovely Hansel and Gretel has given him a place of importance.
The Bohemian, Smetana, who wrote The Bartered Bride cleverly used his
national airs, and this and his other operas are typical of his
country.
Glinka, born in 1808, founded the Russian school; his fine opera A Life
for the Czar is well known.
Richard Strauss, a follower of Wagner, is the composer of Salome and
Elektra; the music is rich and complicated, and his talent unquestioned.
In England, Balfe, born in 1808, wrote several operas, the best known
the Bohemian Girl, with its familiar airs. Since his day there has been
little serious work done, but light opera, notably Sullivan's Pinafore,
the Mikado, and others have had great success.
In America we have Horatio Parker, with his recent Mona, a production
full of originality, if one not yet popular; Reginald De Koven, who
wrote the excellent Robin Hood, and Victor Herbert, the author of
lighter works.
* * * * *
In addition to using this resume of opera, clubs should make out
programs on popular topics; or there may be one topic used to close each
program.
Subsidizing the opera: shall this be done by the state, as in Germany;
or by individuals, as in New York?
Cheap opera: is it possible for us to-day? How is it managed in Germany
and Italy? What is the expense of opera in New York, in great salaries,
scenery, costumes, etc.?
Give an idea of some famous opera-houses in Paris, St. Petersburg,
Berlin, Milan, Buenos Ayres, and elsewhere, illustrating with
photographs. Tell of great opera-singers and their careers; mention
Patti, Christine Nilsson, Calve, the De Reszkes, Caruso, and others;
have records of such voices, if possible. Discuss the opera music of
to-day: Is it on the whole melodious, or is there a tendency to return
to the old style recitative? Are the airs as marked as those of a decade
ago?