I. MUSIC.
Music finds its highest artistic development in the happy combinations which go to make up the opera. These combinations passed through various historic stages, and ripened into noble maturity by the end of the eighteenth century, under the guiding genius of the Handels, Mozarts, and Glucks of the times. Their legacy passed, in the nineteenth century, to a host of worthy successors, among whom stands, as a central figure, Verdi, the great Italian operatic composer; while Wagner, of Germany, has striven with herculean might to revolutionize the lyrical drama by polemical writing, by twofold authorship of words and notes, and by a new application of principles gathered from antecedent reformers. His efforts produced a commotion in the art world which might be compared to that excited by the rivalry between Buonocini and Handel in London, or Piccini and Gluck in Paris, but for the fact that in each of these instances the contention was between one composer and another, whereas in the case of Wagner it was the opposition of one composer to all others in the world, save the few who, believing in the man, his teachings, and his wonderful powers of application, undertook propagandism as a duty, and endeavored to make proselytes to their faith. He did not live to see the day when his efforts could be called completely successful, and his death in 1883 left judgment quite wide open as to his theoretical and practical merits. The nineteenth century closes with the question still on as to the permanence or evanescence of his many unique, ponderous, and revolutionizing productions.
Verdi, who still lives, surpasses all the composers of his time in the beauty of his melodies and the intensity of his dramatic power.
Rossini, whose “Guillaume Tell,” which was produced in Paris in 1829, was his masterpiece, ruled the operatic world before Verdi, until he died in Paris in 1868.
Meyerbeer, whose principal operas are “Les Huguenots,” “Le Prophète,” and “L’Africaine” (the latter produced in Paris in 1865, the year after its composer’s death), was regarded as a remarkable composer, whose knowledge of effect was unsurpassed, and whose fine intelligence and musical knowledge almost made the world forgive him for frequent lack of inspiration.
Halévy, whose only lasting success was “La Juive,” composed other operas, such as “Charles VI.,” “La Reine de Chypre,” “L’Eclair,” and “Les Mousquetaires de la Reine,” that achieved a certain amount of success in France, which success was interrupted by Halévy’s death at Nice in 1862.
Gounod, in 1859, made his most remarkable success with his greatest opera, “Faust,” which, after the subject had been treated by Spohr, Lindpainter, Schumann, Berlioz, and other distinguished composers, has remained the only completely successful opera on the subject, although Boito’s “Mefistofile” (another version of the subject) achieved a marked success in Italy in 1868, and placed Boito among the remarkable composers of the day. As for Gounod, his other operas never equaled his “Faust.” Next in merit comes “Roméo et Juliette” (produced in Paris in 1867) and then his “Mireille,” which appeared in 1864, and “Philémon et Baucis,” an exquisite little comic opera produced in 1860. His last opera, “Le Tribut de Zamora,” was given at the Grand Opera, Paris, in 1881, and failed.
GIUSEPPE VERDI.
Donizetti, who died in Bergamo in 1848, was for many years one of the most popular operatic composers. He possessed undoubted ability, but wrote carelessly, as the Italians did in that day. But his operas contain much that is beautiful, and often show fine dramatic power. His “Lucia” contains inspired pages, while other portions are inexcusably commonplace. The same remark applies to his “Lucrezia Borgia,” “La Favorita,” and “Maria di Rohan;” while in his comic operas, such as “Don Pasquale” (which was composed in three weeks), his “L’Elisire d’Amore” and “La Fille du Régiment,” Donizetti appears to better advantage. They are melodious and very agreeably written. His fertility may be imagined when you are told that he composed over sixty operas during his career, as well as other compositions.
Bellini, whose career was a short one, as he was born in 1802 and died in 1835, was badly trained and could not be called a well-schooled musician, being rather a musician by instinct. But he possessed remarkable ability, and, perceiving that the persistently florid style of Rossini (which all the composers of that time blindly imitated) was approaching an end, treated his melodies with a simplicity and directness that at once attracted attention and met with approval.
Bellini’s knowledge of instrumentation was childish, but his intimacy with Rubini, the famous tenor, aided him in achieving an admirable treatment of the voice. His operas were very sweet and melodious. The two operas by which he will be remembered are “La Sonnambula” and “Norma,” the latter being, with all its faults, a great opera.
Another talented and prolific operatic composer was Mercadante, whose “Il Giuramento” (produced in 1837) achieved considerable popularity. But Mercadante’s successes were generally confined to Italy. He composed sixty operas, and died in 1870 in Naples.
Ponchielli, who was born in 1834 and died in 1886, will be principally remembered by his remarkably beautiful opera, “La Gioconda” (produced in 1876), which, together with a re-written version of his first opera, “I Promessi Sposi,” gave him great popularity in Italy and spread his reputation to other countries.
BEETHOVEN IN HIS STUDY.
As for Italy’s young composers that profess to represent the modern Italian school of opera, they are led by Puccini, whose “Manon Lescaut” and “La Bohême” are melodious and full of merit.
Mascagni and Leoncavallo, whose “Cavalleria Rusticana” and “I Pagliacci” achieved popularity, have not realized expectations. Nor has Giordano, whose “Andrea Chenier” was well received in Italy.
Bizet, whose “Carmen” is one of the most remarkable of modern operas, died in Paris in 1875. “Carmen” has remained in the repertoire. His other opera, “Les Pécheurs de Perles,” only achieved a moderate success.
GRAND OPERA HOUSE, PARIS.
One of France’s greatest musicians, Hector Berlioz, was born in 1803 and died in 1869. His operas, “Les Troyens,” “Benvenuto Cellini,” his “Damnation de Faust,” his “Roméo et Juliette” symphony, are all great and afforded Wagner a model that he imitated persistently.
In 1871 France lost one of its most talented operatic composers, Auber, whose “Masaniello” and “Fra Diavolo” are two of the most popular operas ever written by a Frenchman. Auber composed comic operas charmingly, and his “Domino Noir,” “Diamants de la Couronne,” “Haydée,” and other works of a similar character, entertained the French people for many years. Auber’s death has left a vacancy that has not been filled.
The modern French composers cannot be called great. Saint-Saens, whose most successful work is “Samson et Dalila” (which is more of an oratorio than an opera, and which was produced in 1877), has composed other operas, such as “Henri VIII.,” “Ascanio,” et cetera, which lack originality and inspiration.
Massenet has composed “Le Roi de Lahore,” “Hérodiade,” “Manon,” “Werther,” et cetera, that have had passing successes.
Both Saint-Saens and Massenet have attempted to follow Wagner in their sonorous orchestration; but their works lack distinction. The French composers of to-day have been demoralized by Wagner’s affectations.
The death of Ambroise Thomas, in 1895, caused France the loss of one of her most successful and accomplished operatic composers, whose “Mignon” will be long admired as a very charming opera comique, while his “Hamlet,” though containing portions that are ably written, has never attained outside France any remarkable success.
METROPOLITAN OPERA HOUSE, NEW YORK.
Reyer, whose “Sigurd” was produced in 1884 with considerable success, is a follower of Meyerbeer. His “Salammbo” was produced in 1890, but did not attract the attention expected outside of France.
German opera of the latter part of the century has been so demoralized by the influence of Wagner that the German composers have become little more than imitators of his pronounced mannerisms.
Weber’s “Der Freischütz” remains the most popular of German operas, just as Verdi’s “Il Trovatore” is the most popular of Italian operas.
Spohr, Lindpainter, and many other German composers of ability have been laid on the shelf.
Marshner, who died in Hanover in 1861, showed in his “Hans Heiling” that he was a follower of Weber, as well as in his “Templar and Jewess.”
WILLIAM RICHARD WAGNER.
Cornelius, who died in Mainz in 1874, made his principal success with his “Barber of Bagdad,” a comic opera in which the manner of Wagner was imitated. In 1864 “The Cid” was produced in Weimar, but it was found depressingly heavy and labored.
Goldmark, a follower of Meyerbeer, made a success in 1875 with his “Queen of Saba” that was not equaled by his “Merlin,” produced in 1886, or his “Prisoner of War,” produced in 1899.
To return to the great leader of opera—Verdi—one may say of him that his operas are divided into three periods. The first included the works written in the old Neapolitan style as he had found it. To this class belong “Nabucco,” “Attila,” et cetera. To the second period, which shows remarkable dramatic color and beautiful melody, belong “Rigoletto,” “Ernani,” and “Ballo in Maschera” (in which Verdi began to pay attention to his instrumentation). To the third period belongs “Aïda,” which is his most characteristic and remarkable opera, in which the melody is wonderfully fresh and beautiful, combined with remarkable science.
EDWIN FORREST.
“Otello” is also a great work, written at a time of life when most composers retire, and broadly dramatic in its treatment of the situations, illuminated by rich and expressive instrumentation.
As for “Falstaff,” the latest opera that Verdi has written, and probably the last he will write, it is the greatest modern comic opera, just as Mozart’s “Nozze di Figaro” is the greatest comic opera of the past. It convinces the world that Verdi’s genius is inexhaustible.
Next to Verdi comes Wagner, the anarchist of music, who began in “Rienzi” and “The Flying Dutchman” by imitating the Italian forms of melody. In “Tannhäuser,” portions are very beautiful and melodious; in “Lohengrin,” portions are fine; but Wagner’s idea of effect was bad and he never knew when to stop, so that many of the scenes are interminable. This fault increased as Wagner composed the “Nibelungen” series for the crazy king of Bavaria. Melody vanished, the singers became secondary to the orchestra, which was persistently noisy. Wagner’s effort was to create a new school of opera, in which everything should be minutely descriptive. He went too far and opened the question of failure. In opera the voices claim the first place, and the orchestra is an accompaniment, so that Wagner’s method was radically wrong.
Independent of this, he attempted to infuse life into the “Nibelungen” series, whereas he adopted a tangled and childish fairy-story that was more absurd than impressive. The later Wagner operas, which the composer calls “music dramas,” are tiresome and monotonous to such a degree that, with all the remarkable talent of Wagner, they may never become popular, and may be eventually laid on the shelf, to be regarded in the future as musical curios.
The musicians of the United States are steadily developing, and for so young a country we have a large number of composers of first-class ability, such as Macdowell, Foote, Lang, Chadwick, Gilchrist, and many others who have produced important compositions.
In opera the American composers have done nothing, for the reason that there are no opportunities for the production of such works. If there were, we should soon have many operatic composers, and should speedily take high rank in the lyric drama.