Opera in Italy, after its initial stages, as represented by the works of Peri and Caccini, fell under the commanding sway of Monteverde, of whose influence we have already said much in the chapter upon the “Reformers of Opera.” An example of his melodious, although, of course, somewhat crude style, may be seen in the “Moresca” which we append:— [Music: Fragment of a “Moresca” (Dance) from Monteverde’s “Orfeo” (1609).] Monteverde was followed by his pupil Cavalli, who worked in Venice, and who improved the recitative; in his operas, male sopranos (Castrati) were first employed on the stage, a practice in vogue for many years subsequently. Cavalli also foreshadowed the aria, or set melody, soon to become so prominent a feature of Italian opera. Among other prominent composers of this period are Cesti and Legrenzi, Caldara and Vivaldi. [Sidenote: =Scarlatti, 1649-1725=] These men, however, stand completely overshadowed by that Colossus of early opera, Alessandro Scarlatti. Naples was the scene of his activity, and here he wrote, amongst countless other compositions, over one hundred operas, most of which made their mark. In Scarlatti we have the turning-point between antiquity and modernity in stage music. Of course his operas sound old-fashioned to us, but it would be quite possible to listen to them, whereas those of a former date could only have antiquarian interest if produced now. His great genius for melody caused him to modify very considerably the stiff, though dramatically correct, recitative of earlier composers, and to substitute beautiful, and sometimes inappropriate, airs in its place. In this dangerous method of exalting the music at the expense of the other arts employed in music drama he was followed by almost all composers for very many years—until, in fact, the recognition by Gluck of the falseness of the situation. Opera writers there were by the hundred: the names of most of these are now forgotten—many remembered; Rossi, Caldara, Lotti, Buononcini, all had their successes, and contributed in various degrees to the development of early Italian opera. [Sidenote: =Cambert, 1628-77=] But before this, Opera had found its way to France; the world-renowned _Euridice_ had been performed in Paris as early as 1647, and its influence was quickly felt. Masques and ballets had been staged before this time, but Robert Cambert was the first French writer to produce opera. At first successful, Cambert was ousted from his deservedly high position as the founder of French opera by the unscrupulous and brilliant Lully. [Sidenote: =Lully, 1633-87=]