The art of music, Vol. 04 (of 14) : $b Music in America
History
The art of music, Vol. 04 (of 14) : $b Music in America
Music -- History and criticism; Musicians
Theatrical activities were naturally curtailed severely during the
war, but with the establishment of peace there was a great revival.
After the Revolution, indeed, the popularity of the theatre became
much greater and more widespread than it ever had been before. And
coincident with the popularity of the theatre came the popularity of
opera. Even in Boston the old prejudice against the theatres began
to disappear, though the blue laws of 1750 were still in force.
Several attempts were made at various times to circumvent these laws
by presenting operas under the guise of concerts, and the resulting
performances must occasionally have been wonderfully concocted. We
find an announcement in 1770 of 'A vocal entertainment of three acts.
The songs (which are numerous) are taken from a new celebrated opera,
call'd "Lionel and Clarissa."' An entry in the diary of John Rowe
during the same year reads: 'In the evening I went to the Concert Hall
to hear Mr. Joan read the Beggar's Opera and sing the songs.' In 1792
Alexander gave in Boston 'a musical entertainment called the Poor
Soldier delivered,' and from that time forward the friends of opera in
Boston met with no opposition, though it was long before Boston became
an operatic city.
In the meantime Maria Storer was winning fame throughout the country as
a ballad opera singer. Such pleasant and innocuous pieces as 'Thomas
and Sally,' 'Dorcas and Squire,' and 'Lionel and Clarissa' were very
popular at the time, and old favorites like the 'Beggar's Opera' and
'The Devil to Pay' held their own with a vitality that was surprising.
The fact is that the American people, exhausted by the labor and
suffering of the war, were in the state of mind now generally ascribed
to 'the tired business man,' and the English ballad opera was just the
sort of light entertainment they needed. English opera retained its
popularity, especially in New York, until well into the nineteenth
century; but from about the year 1790 it was forced to compete with
French and Italian opera introduced by refugees from France and St.
Domingo, and gradually it lost ground until eventually it disappeared
completely.
Public-domain text, read in full here on John Shaqi.
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