The Mentor: Makers of Modern Opera, Vol. 1, Num. 47, Serial No. 47

By H. E. KREHBIEL
Author and Music Critic
WAGNER
VERDI
THE MENTOR
SERIAL No. 47
DEPARTMENT OF FINE ARTS
MENTOR GRAVURES
VERDI · MASSENET · PUCCINI · STRAUSS · GOUNOD · HUMPERDINCK
The form of entertainment called opera had its origin a little more than three centuries ago in an effort made by a company of scholars and musical amateurs in Florence to rescue music from the artificiality into which the composers, who were all churchmen, had forced it.
The Florentine group had convinced themselves by study that music had been effectively linked with poetry and action in the Greek stage-plays, and in striving to imitate these they created the art-form which in time came to be called “opera”—though at first it was known by names all more or less closely connected with the terms which the composers of today use to describe their dramatic works,—lyric dramas, musical dramas, and so forth. The new style quickly spread over Europe, and inasmuch as Italy was the home of music, it retained for a time the Italian language and the style of musical composition evolved by its creators. Soon other nations, impelled by a desire to hear the new lyric plays, began to translate the Italian books into their own languages. This brought with it a recognition of the incongruity between Italian music and the French, German, and English languages, and the dramatic poets and musicians of these countries began to seek more satisfactory idioms in which to express their ideals. Thus there came into existence the three great schools of operatic composers whose latterday representatives are here considered.
GAETANO DONIZETTI