History of the Opera from its Origin in Italy to the present Time: With Anecdotes of the Most Celebrated Composers and Vocalists of EuropeEdwards, H. Sutherland (Henry Sutherland)
History
History of the Opera from its Origin in Italy to the present Time: With Anecdotes of the Most Celebrated Composers and Vocalists of Europe
Edwards, H. Sutherland (Henry Sutherland)
Opera
"This reform was followed by another not less important. The Opera, it
was felt, should represent nothing cold or intellectual--nothing that
the spectator could witness with sufficient tranquillity to reflect on
what he saw. And it is in this especially that the essential difference
between the lyric drama and pure tragedy consists. All political
deliberations, all plots, conspiracies, explanations, recitals,
sententious maxims--in a word, all which speaks to the reason was
banished from the theatre of the heart, with all _jeux d'esprit_,
madrigals, and other pleasant conceits, which suppose some activity of
thought. On the contrary, to depict all the energies of sentiments, all
the violence of the passions, was made the principal object of this
drama: for the illusion which makes its charm is destroyed as soon as
the author and actor leave the spectator a moment to himself. It is on
this principle that the modern Opera is established. Apostolo Zeno, the
Corneille of Italy, and his tender pupil, who is its Racine,
[Metastasio] have opened and carried to its perfection this new career
of the dramatic art. They have brought the heroes of history on a
theatre which seemed only adapted to exhibit the phantoms of fable....
"Having tried and felt her strength, music, able to walk alone, began to
disdain the poetry she had to accompany. To enhance her own value, she
drew from herself beauties of which her companion had hitherto had a
share. She still professes, it is true, to express her ideas and
sentiments; but she assumes, so to speak, an independent language, and
though the object of the poet and of the musician is the same, they are
too much separated in their labours, to produce at once two images,
resembling each other, yet distinct, without mutual injury. 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....
Public-domain text, read in full here on John Shaqi.
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