History of the Opera from its Origin in Italy to the present Time / With Anecdotes of the Most Celebrated Composers and Vocalists of Europe

by H. Sutherland Edwards

M. Berlioz has said of Hoffmann's music, adding, however, that he had not heard a note of it, that it was "de la musique de littérateur." M. Fétis, having heard about as much of it, has said a great deal more; but, after what has been written concerning Hoffmann's principal opera by such a master and judge as Karl Maria von Weber, neither the opinion of M. Fétis, nor of M. Berlioz, can be of any value on the subject. The merit of Hoffmann's music has probably been denied, because the world is not inclined to believe that the same man can be a great writer and also a great musician. Perhaps it is this perversity of human nature that makes us disposed to hold M. Berlioz in so little esteem as an author; and I have no doubt that there are many who would be equally unwilling to allow M. Fétis any tolerable rank as a composer.

INDEX,
HISTORICAL AND BIOGRAPHICAL.

[A], [B], [C], [D], [E], [F], [G], [H], [I], [J], [K], [L], [M], [N], [O], [P], [Q], [R], [S], [T], [U], [V], [W], [Z]

A.
Abbaye of Longchamp, the great operatic vocalists engaged at the, ii. [49].
Academiciens, of the Paris opera, ii. [47].
Académie Royale de Musique, of Paris, numerous works produced at the, i. [13], [14];
its institution, [15];
its system of conscription, [77];
privileges of its members, [77];
its state of morality, [81], [82];
its absurd privileges, [86], [87];
its chief singers, [223];
operatic disturbances at the, ii. [36-38];
destroyed by fire, [41];
management and proceedings of the, [55];
prices for private boxes, [56];
effect of the French Revolution on the, [56] et seq;
its changes of name, [57], 194 note;
Opera National substituted, [59]. (See OPERA).
Academy of Music (See Royal Academy of Music).
"Actor's Remonstrance," a tract, i. [81].
Actresses, their prodigality under the French regency, i. [82], [83].
Addison, Joseph, on the Italian Opera in England, i. [53-58];
the justness of his views on operatic representations, [62];
his satirical remarks on the French Opera, [66];
on the Italian Opera, [113];
his critique on Nicolini and the lion, [118-122];
his humorous critique on "Rinaldo" and the operatic sparrows, [123-126];
his unfavourable opinion of Opera, [127];
his critique on Milton, [128].
Aguiari, Lucrezia, the vocalist, i. [188].
Albert, the French dancer, ii. [111], [112].
Alboni, Madame, the Italian vocalist, ii. [162].
Algarotti's work on the Opera, i. [2].
Almahide, opera of, i. [117].
Ambleto, opera of, i. [127], [128].
Ambrogetti, the celebrated baritone, ii. [108];
the first performer of Giovanni in London, [108].
Anna Bolena, of Donizetti, ii. [232];
the author's master-piece, [233].
Antiochus, opera of, i. [127].
Antoine de Baif, privileged to establish an Academy of Music, i. [15].
Antony à Wood, on the operatic drama, i. [37].
Arbuthnot, Dr., on the failure of Italian operas, i. [148].
Archilei, the celebrated singer, i. [8].
Arnauld, Abbé, his passionate exclamation, i. [64].
Arnaud, Abbe, an admirer of Gluck, i. [287], [288].
Arnould, Sophie, the celebrated singer, i. [223];
biographical notices of, [226] et seq.;
her talents, wit, and beauty, [226-230];
her death, [231];
anecdote of, ii. [35];
accused of aristocratic sympathies, [70];
pensioned by Fouché, [79].
Arsinoe, opera of, played by Mrs. Tofts, i. [107];
critique on the play, [108], [109].
Atto, the Italian tenor, i. [183], [184].
Auber, his opera of Masaniello, i. [14];
the follower of Rossini, ii. [202];
his Gustave III., [219].
Authors, regulations for their admission to the opera of Paris, i. [79], [80].
B.
B flat, of Rubini, ii. [267], [268].
Badiali, Signor, his curious performance with a drinking glass, ii. [278], [279].
Balfe's libretti, founded on French pieces, i. [214].
Ball, Hughes, marries Mercandotti, ii. [120].
Ballet, introduction and progress of the, i. [70] et seq.;
Lulli's great attention to the, [72];
propriety of its following the Opera, [251];
great attention paid to it by the Italians, [251].
Ballet d'Action, invented by the Duchess du Maine, i. [77];
soon afterwards imported into England, [77];
never naturalised in this country, [77].
Ballet-dancers, important persons in France previous to the Revolution, ii. [53].
Ballets, origin of, i. [18];
the most brilliant part of the Open at Paris, [258].
Balon, the ballet-dancer, i. [78].
Banti Mdlle., the celebrated vocalist, ii. [10];
biographical notices of, [10-12].
Barber of Seville, by Rossini, ii. [144] et seq.
Bardi, G., Count of Vernio, musical assemblies of, i. [5].
Baroni, the celebrated singer, i. [8].
Barwick, Ann, her arrest for creating a disturbance, i. [105].
Bassi, the baritone singer, ii. [105].
Bastille, taking of the, ii. [54].
Beatrice di Tenda, of Bellini, ii. [252].
Beaujoyeux's Ballet Comique de la Royne, i. [71].
Beaumarchais, the musical composer, his bon-mot on operatic music, i. [53];
refuses letters of nobility, [221];
the court music-master, [291];
music-master to the daughters of Louis XV., ii. [39];
anecdote of, [39].
Beaupré, the comic dancer, ii. [68].
Beethoven, the German composer, i. [221], ii. [285], [286];
accepts fifty ducats in preference to the cross of some order, i. [221];
his Fidelio, ii. [286];
his three styles, [286];
critiques on his works, [286], [287];
his advice to Weber, [299].
Beggar's Opera, the touchstone of English taste, i. [148].
Belissent, M. de, anecdote of, i. [262].
Bellini, the musical composer, i. [212];
his Sonnambula grounded upon Le Philtre and La Somnambule, [212];
biographical notices of, ii. [247] et seq.;
his various productions, [249-253];
I Puritani his last opera, [253];
his death, [254];
sorrow caused thereby, [255];
letter from his father on his lamented death, [256];
compared with Donizetti, [257];
his singers, [259].
Beneditti, Signor, performer at the Opera in 1720, i. [159];
his capricious temper, [160].
Benini, Madame, the altra prima donna, goes to Paris, ii. [3];
her exquisite voice, [3].
Beranger, on the decline of the drama, i. [65].
Bergamo, theatre at, ii. [265].
Berlioz's version of Der Freischütz, ii. [296];
his opinion of Hoffmann's music, [306].
Bernacchi, Signor, the Italian singer, i. [163].
Bernadotte, at Udine, ii. [91].
Bernard, S., the court banker of Paris, i. [92];
his munificence to actresses, [92].
Bernardi. (See SENESINO.)
Bernier, the musical composer, anecdote of, i. [85].
Bernino, the scenic painter and decorator, i. [179].
Berri, duke de, assassinated, ii. [190].
Bertatti's Matrimonio Segretto, ii. [97].
Bertin, E., the French critic, ii. [158].
Bertoldi, Signora, the Italian singer and actress, i. [163].
Berton, manager of the Paris Opera, i. [291].
Bianca e Fernando of Bellini, ii. [249].
Bias, the French dancer, ii. [112].
Bigottini, the French dancer, ii. [111], [112].
Bilboquet, humorous anecdote of, i. [188], [190].
Billington, Mrs., the operatic singer, ii. [12];
her performance, [13];
among the first class of singers, [28].
Blaze, M. Castil, historian of the French Opera, i. [301];
on the removal of the Opera near the National Library, ii. [71];
his published description of Mddle. Sallé's performances, [93-96], [99];
his adaptation of Weber's Der Freischütz, [297].
Bohemian Girl, not original, i. [213];
sources whence taken, [213].
Boisgerard, M., ballet-master and negociator of the King's Theatre, ii. [110], [111];
his daring exploit in liberating Sir Sidney Smith from the Temple, [117], [118].
Bolton, Duke of, marries Miss Lavinia Fenton, i. [138].
Bonaparte, Napoleon, introduced to Mddle. Montansier, ii. [74];
grants her an indemnity, [75];
natural effect of his campaigns in Italy to create a taste for Italian music, [79];
his prompt engagement and liberal offers to Madame Paer and M. Brizzi, [80], [81];
rewards Paisiello, [82];
plots for assassinating, [179], [182];
a good friend to the Opera, [193].
Bontempi's account of Masocci's school of singing, i. [184].
Borrowed Themes, ii. [289].
Bouillon, Duke de, his great expenditure, ii. [51].
Bourdon, Leonard, the republican dramatist, ii. [67].
Braham, the distinguished operatic singer, ii. [14].
Brambilla, Mdlle., biographical notices of, ii. [173].
Brevets, granted by the French court for admission to the Opera, ii. [48];
evils resulting therefrom, [48];
not required of the fishwomen and charcoal-men of Paris, who were always present at the Opera on certain fetes, [49].
Brizzi, M., the vocalist, ii. [80];
engaged by Bonaparte, [80], [81].
Broschi, Carlo. (See FARINELLI.)
Brydone's anecdote of Gabrielli, the vocalist, i. [195], [197].
Bull, Dr. J., the national anthem attributed to, i. [165], [166].
Buononcini, the musical composer, i. [109];
his first opera produced in 1720, [145];
his Griselda in 1722, [146];
his last opera of Astyanax, [146];
his piracy and disgrace, [146];
his continental career and death, [147].
Buret, Mddle., execution of, ii. [76].
Burlington, Countess, patroness of the vocalist Faustina, i. [153].
Burney, Dr., at Vienna, i. [198];
at Berlin, [199].
C.
Caccini, the Italian musician, i. [5];
composer of the music to Dafne, [7].
Caccini, Francesca, daughter of the composer Caccini, i. [8].
Caffarelli, the singer, biographical notices of, i. [191];
his quarrel with Metastasio, [192].
Caldus, his unfortunate speculation in the Pantheon, ii. [125].
Calsabigi, the librettist, i. [212].
Camargo, Mdlle., the celebrated French danseuse, i. [89];
her exquisite skill, [90].
Cambert, his French opera, i. [15];
driven to London, [16];
his arrival in London, [28];
his favourable reception, [28];
English version of his Ariadne, [28];
his death and character, [28].
Cambronne, General, anecdote of, i. [17], note.
Camilla, music of, i. [109];
critique on the opera of, [109], [110].
Campanello di Notte, of Donizetti, ii. [233].
Campion, Miss, the vocalist, i. [139];
the Duke of Devonshire's inscription to her memory, i. [139].
Campistron, one of Lulli's librettists, i. [22].
Camporese, Madame, the Italian vocalist, ii. [160].
Campra, J., orchestral conductor of the Marseilles opera, i. [87];
anecdote of, [88].
Capuletti ed i Montecchi, of Bellini, ii. [250], [257].
Caradori, the vocalist, ii. [264].
Carestini, the Italian singer, i. [164].
Carey, H., the national anthem attributed to, i. [166].
Carpentras school of music, i. [6].
Catalani, the vocal queen of the age, ii. [16];
her extraordinary powers, [17], [19];
biographical notices of, [18-20];
Napoleon's munificent offer to, [18];
draft of a contract between her and Mr. Ebers of the King's Theatre, [23-25];
her retirement and death, [26];
enormous sums paid to, [132].
Caterina Comaro of Donizetti, ii. [243].
Catherine the Great of Russia, her interview with the vocalist Gabrielli, i. [198];
introduces the Italian Opera into St. Petersburgh, [199].
Cavaliere, Emilio del, a musician of Rome, i. [5].
Chambers, the banker, mortgagee of the King's Theatre, ii. [128], [130].
Chamfort, the republican, commits suicide, ii. [76].
Chantilly, Mdlle. (See FAVART).
Chapel-Masters, their strange readings, i. [44].
Chappell, W., on the origin of the national anthem, i. [166].
Charbonniers of Paris, present at the Opera on certain fetes, ii. [49].
Charles II., his patronage of operatic music, i. [33].
Charles VI. of Germany, his musical taste, i. [182].
Charles VII. of Germany, a musician, and the great patron of the opera at Vienna, i. [181].
Charles Edward, the young Pretender, arrested at the Académie Musique, and expelled from France, i. [234].
Chasse, the, baritone singer, i. [223];
biographical notices of, [223-5].
Chaumette, the sanguinary republican, ii. [73].
Cheron, the celebrated French bass, ii. [279];
the vibratory force of his voice, [279].
Cherubini's "Abencerrages," ii. [189].
Chorus of opera, i. [47];
French invention imported into England, [77];
introduction of the, [180].
Cimarosa, the operatic composer, ii. [29-31];
invited to St. Petersburgh, [87];
his Nozze di Figaro, [96];
his Matrimonio Segretto produced at the request of Leopold II., [96].
Clayton, the musical composer, and author of Arsinoe, i. [108];
his spleen against Handel, [129], [132], [133].
Clement IX., the author of seven libretti, i. [3].
Colasse, Lafontaine's composer, i. [22].
Colbran, Mdlle., the singer, ii. [95], [96];
married to Rossini, [166];
biographical notices of, [167].
Coleman, Mrs., the actress, i. [30], [31].
Comic opera of France, i. [236], [237].
Consulate, state of the French opera under the, ii. [178] et seq.;
operatic plots under the, [179], [180];
the arts did not flourish under the, [183].
Convention, state of the opera under the, ii. [75];
its receipts confiscated by the, [75];
its sanguinary proceedings, [75], [76].
"Conversion of St. Paul," played in music at Rome, i. [3].
Copyright, Victor Hugo's claims to against the Italian librettists, ii. [234], [235];
principles of, [235];
rights of authors, [237].
Coqueau, musician and writer, guillotined, ii. [76].
Corbetta, F., the musical teacher of Louis XIV., i. [75].
Corsi, Giascomi, i. [5].
Costume, ludicrous dispute respecting, i. [161], [162];
of visitors to the London Opera, ii. [136], [137];
letter respecting, [138].
Coulon, the French dancer, ii. [112].
Country dances introduced into England, i. [78];
fondness for, [78].
Covent Garden Theatre, performances at, i. [101].
"Credo," strange readings of the by two chapel masters, i. [44].
Crescentini, the singer, his capricious temper, i. [161], [162].
Crociato in Egitto, of Meyerbeer, ii. [206], [207];
Lord Edgcumbe's description of the music, [208];
the principal part played by Velluti, [209].
Croix, Abbé de la, i. [86].
Cromwell, his patronage of music, i. [32];
anecdotes of, [32], [33].
Cruvelli, Mdlle., her admirable performance in Fidelio, ii. [286].
Curiosity, wonderful instance of, i. [39].
Cuzzoni, the vocalist, her exquisite qualifications, i. [151], [152];
memoir of, [152];
her partizans, [153];
leaves England, [154];
returns to London, [155];
her melancholy end, [155].
D.
Dafne, the first complete opera, i. [5], [7];
new music composed to the libretto of, [6], [7].
Dame aux Camélias, its representation prohibited, i. [37].
Dancer and the musician, i. [88].
Dancers of the French opera, i. [77], [296];
their position previous to the Revolution, ii. [53];
diplomatic negociations for engaging, [110], [111];
engagements of in London, [112];
further negociations about their return, [115], [116];
treaty respecting their future engagements, [115].
Dancing, at the French court, i. [72];
language of, [250];
the fourth part of the fine arts at the Paris Opera, [259].
(See BALLET).
D'Antin, Duc, appointed manager of the French opera, i. [79].
Dauberval, the dancer, i. [300].
Davenant, Sir Wm., opens a theatre, i. [30], [36];
actors engaged by him, [30], [31].
David, the Conventional painter, ii. [72].
Davide, the operatic actor of Venice, ii. [158];
enthusiasm excited by, [159].
Decorations of the stage, i. [63].
De Lauragais, anecdote of, i. [277], [278].
Delany, Lady, her account of Anastasia Robinson afterwards Lady Peterborough, i. [134-138].
Delawar, Countess, patroness of the vocalist Faustina, i. [153].
D'Entraigues, Count, married to Madame Huberti, ii. [94];
murder of, [95].
Der Freischütz, of Weber, represented at the French Opera, ii. [198];
compared with Robert le Diable, [213];
remarks on, [291] et seq.;
compared with Don Giovanni, [293];
its complete success, [294];
remodelled by M. Blaze, and entitled Robin des Bois, [295].
Deschamps, Mdlle., the French figurante, i. [83];
her prodigality, [83].
Desmatins, Mdlle., the actress, i. [24], [25].
Despreaux, the violinist, commits suicide, ii. [76].
Devin du Village, of Rousseau, i. [261];
music presumed to be the production of Granet, i. [262], [263];
anecdotes of the, [262].
De Vismes, of the Paris Opera, i. [291];
ii. [38].
Devonshire, Wm., duke of, his inscription to the memory of Miss Campion, i. [139].
D'Hennin, Prince, his rupture with Gluck, i. [275], [276];
a favourite butt for witticism, [276].
Divertissements, propriety of their accompanying operatic performances, i. [25].
"Di tanti Palpiti," originally a Roman Catholic hymn, ii. [289].
Dinorah, of Meyerbeer, ii. [296], [297].
Don Giovanni, of Mozart, ii. [100-109];
its original cast at Prague, [104];
the performers of the character in London, [108];
general cast of characters in the opera, [108], [109];
compared with Der Freischütz, [293].
Don Pasquale, of Donizetti, ii. [241];
libretto of, [242].
Don Sebastien, of Donizetti, ii. [241].
Donizetti, the musical composer, i. [112];
his Elizir d'Amore, grounded upon Le Philtre and La Somnambule, [112];
his Lucrezia, founded on Lucrece Borgia, [213];
anecdotes of, ii. [226] et seq.;
his early admiration of Rossini's works, [230];
biographical notices of, [232];
his various works, [232] et seq., [239] et seq.;
his rapidity of composition, [240];
his last opera, Catarina Comaro, [243];
the author of sixty-three operas, [243];
critique on his works, [243], [244];
his illness and death, [245], [246];
his numerous compositions, [246];
compared with Bellini, [257].
Drama, Beranger on the decline of the, i. [65].

Dramatic ballet. (See BALLET).
Dresden, theatre of, the first opera in Europe, and the best vocalists engaged from them, i. [172], [173];
ii. [80], [81], [87].
Dryden, his political opera of Albion and Albanius, i. [29];
his character of Grabut, [29].
Du Barry, Madame, her opposition to Gluck, and support of Piccinni, i. [279], [280];
mistress of Louis XV., ii. [48].
Dubuisson, the librettist, guillotined, ii. [75].
Duc d'Albe, of Donizetti, ii. [243].
Duelling, i. [107];
among women, [225], et note.
Dumenil, the tenor, i. [24].
Duparc, Eliz., the soprano singer, nicknamed "La Francesina," i. [187].
Dupre, the violinist, exchanges the violin for the ballet, i. [88], [89], [91].
Durastanti, Madame, the celebrated vocalist, i. [158], [159].
E.
Ebers, Mr., of the King's Theatre, ii. [22];
draft of a contract between him and Madame Catalani, [23-25];
is opinions on the state of the opera, [109];
his negociation respecting the Paris dancers, [115];
takes the management of the King's Theatre, [129];
his selection of operas and singers, [129];
his losses, [129], [130];
his retirement, [130].
Eclecticism, the present age of, i. [286].
Edelman, the musician, executed, ii. [76].
Edgar, Sir John, his attack on a company of French actors, i. [159], [160].
Eglantine, Fabre d', the librettist, guillotined, ii. [76].
Elisir d'Amore, of Donizetti, ii. [233].
Empire, state of the French opera under the, ii. [178] et seq.;
the arts did not flourish under the, [183].
England, Italian opera introduced into, i. [9], [104] et seq.;
state of the opera at the end of the eighteenth and beginning of the nineteenth century, ii. [1] et seq.;
the chief opera houses of Paris and Italy inseparably connected with the history of opera in, [224].
English, the Italians have a genius for music superior to, i. [56];
have a genius for other performances of a much higher nature, [56].
English opera, account of, i. [9];
its failures, [10];
services rendered by Handel to, [215];
has no history, [215].
"Enraged Musicians," letters from, i. [129], [133].
Enrico di Borgogna, of Donizetti, ii. [232].
Euridice, opera of, i. [5], [6].
Euryanthe of Weber, ii. [292], [298];
its great success, [299].
F.
Fabri, Signor, the Italian singer, i. [163].
Fabris, death of, from overstrained singing, ii. [270].
Farinelli, Carlo Boschi, the Italian singer, i. [159];
the magic and commanding powers of his voice, [164], [189];
biographical notices of, [185], [186], [188-191];
his single note, [189].
Farnesino, theatre at Paris, i. [177].
Faustina, the vocalist, i. 150:
her exquisite qualifications, [151], [152];
memoir of, [152];
her artizans, [153];
returns to Italy, [155];
married to Hasse, the musical composer, [155], [156];
her successful career at the Dresden Opera, [156];
her death, [158].
Faustina and Cuzzoni, disputes respecting, i. [149] et seq.;
their respective merits, [150], [151].
Favart, his satirical description of the French Opera, i. [65].
Favart, Madame, of the Opera Comique, i. [231];
her love for Marshal Saxe, [232], [233].
Favorite, by Donizetti, ii. [239].
Fel, Mdlle, a singer of the Academie, i. [223].
Female singers, the most celebrated, i. [8].
Fénélon, Chev. de, accidentally killed, i. [81].
Fenton, Lavinia, married to the Duke of Bolton, i. [138];
her accomplishments, [138].
Ferri, Balthazar, the most distinguished singer of his day, i. [174].
Ferriere, Chev. de, anecdotes of, ii. [77], [78].
Feuds, among musicians and actors, i. [149] et seq.
Fiddles, of the seventeenth century, i. [23].
Fidelio, of Beethoven, [286].
Fille du Regiment, by Donizetti, ii. [239].
Finales, Piccinni the originator, ii. [32];
time usually occupied by them, [32], [33].
First Consul of France, plots for assassinating, ii. [179], [182].
Fodor, Madame, the celebrated cantatrice, ii. [92];
anecdote of [93];
biographical notices of, [160].
Fontenelle, author of "Thetis and Pelee," revisits the Academie, i. [235].
Forst, the singer, refuses letters of nobility, i. [221].
France, Italian Opera introduced into, i. [8];
but rejected, [9], [11];
introduction of the Opera into England, [12] et seq.;
French Opera not founded by Lulli, [13], [14];
nobles of, invited to stage performances by Louis XIV., [75];
morality of the stage, [81], [82];
her dramatic music dates from 1774, [216];
history of the Opera in, abounds in excellent anecdotes, [232];
state of the Opera after the departure of Gluck, ii. [84] et seq.;
after the Revolution, [46] et seq.;
under the Consulate, the Empire, and the Restoration, [178] et seq.;
the arts did not flourish under the Consulate and the Empire, [183];
has party songs, but no national air, [201].
Frangipani, Cornelio, drama by, i. [4].
Frederick the Great introduces the Italian Opera into Berlin, i. [199];
his favourite composers, [199];
officiated as conductor of the orchestra, [199].
French actors, company of, in London, in 1720, i. [159].
French Court, ballets at the, i. [70], [71].
French Opera, Favart's satirical description of the, i. [65];
from the time of Lulli to the death of Rameau, i. [217];
the various pieces produced at the, ii. [195] et seq.
(See FRANCE).
French Society at its very worst during the reign of Louis XVI., ii. [48];
operatic and religious fetes, [49].
Fronsac, duke de, his depravity, i. [76].
G.
Gabrielli, Catarina, the vocalist, i. [188];
biographical notices of, [195] et seq.
Gabrielli, Francesca, the vocalist, i. [188].
Gagliano composes the music to the opera of Dafne, i. [6].
Galileo, Vincent, inventor of recitative, i. [5].
Galuppi, musical composer, i. [170], [171];
musical director at the Russian Court, [198].
Garcia, the tenor performer of "Don Giovanni," in London, ii. [108];
anecdote of, [144], [145].
Garcia, Mademoiselle, (See MALIBRAN.)
Gardel, the ballet-master, ii. [75].
Garrick, his opinion of Sophie Arnould at Paris, i. [227];
of French descent, 227 note.
Gazza Ladra, by Rossini, ii. [160].
German Opera, the forms of, perfected by Keiser, i. [6];
originated from Mozart, ii. [99] et seq.;
its celebrated composers, [106].
Germans, music of the, i. [268], [269].
Germany, Italian Opera introduced into, i. [10];
her opera during the republican and Napoleonic wars, ii. [86];
has sent us few singers as compared with Italy, [224];
state of her opera, [225];
the land of scientific music, [285].
Giovanni, of Mozart, i. [13].
Glass, broken to pieces by the vibratory force of particular notes, ii. [279].
Glinka, the Russian composer, ii. [290].
Gluck, the musical composer, i. [12];
works of, [13];
the estimation in which his works were held, [181];
merits of, as compared with Piccinni, [267];
biographical and anecdotal notices of, [270] et seq.;
his Alcestis and Orpheus, [272];
his Iphigenia in Aulis, acted at Paris with immense success, [273];
success of his Orpheus, [278];
his Alcestis, [279];
his death, [295];
state of the Opera in France after his departure, ii. [34];
anecdote of, [39];
benefitted French opera in different ways, [40].
Gluck and Piccinni, contests respecting, in Paris, i. [150].
"God save the king," origin of the anthem, i. [165], [166].
Goddess of Reason, personated by the actresses of the Opera, ii. [67].
Grabut, the musical composer, i. [28], [29];
Dryden's character of him, [29].
Grammont, count de, extract from his memoirs, i. [73].
Granet, the musical composer, i. [261];
author of the music to Rousseau's Devin du Village, [262];
his death, [265].
Grassini, the singer, ii. [14].
Greek Plays, first specimens of operas, [3].
Greek Theatre, i. [240];
music of the, [241].
Greeks, their language and accent, i. [241];
their lyric style, 241:
their music a real recitative, [241];
absurdities of their dramas, [244].
Grisi, Giulia, the accomplished vocalist, ii. [280], [281];
her family connexions, [280];
her vocal powers, [281];
"Norma" her best character, [281].
Grossi, the vocalist, i. [188].
Guadigni, the vocalist, biographical notices of, i. [194].
Guéméné, prince de, his insolvency, ii. [51];
feeling letter of the operatic vocalists to, [51].
Guglielmi, the operatic composer, ii. [29];
his success at Naples, [30].
Guillaume Tell, its first performance at the French Opera, ii. [198];
cut down from three to five acts, [198];
Rossini's last opera, [201].
Guimard, Madeline, the celebrated danseuse, i. [288], [296];
accident to, [296];
biographical and anecdotal notices of, [297] et seq.;
anecdotes of, ii. [34], [35];
her narrow escape from being burnt to death, [41];
her reappearance at the Opera, [77].
Guinguenée, the French librettist, i. [293].
Gustave III. of Auber, ii. [219].
H.
Hamlet, set to music, i. [127];
its absurdity, [128].
Handel, G. F., at Paris, i. [86];
in London, [97], [100-3];
his Pastor Fido played at the Haymarket Theatre, i. [102];
his great improvement of the Italian Opera, [108];
success of his Rinaldo, [116];
his arrival in England, [122];
brings out his Rinaldo and Armide, [123];
Clayton's spleen against, [129], [132], [133];
the Italian operas under his direction, [140] et seq.;
his career as an operatic composer and director, [140];
wrote his last opera, Deidamia, [141];
biographical account of, [141] et seq.;
his duel with Mattheson of the Hamburgh Theatre, [142];
his Rinaldo, Pastor Fido, and Amadigi, [142];
direction of the Royal Academy of Music confided to him, [144];
his first opera at the Royal Academy was Radamisto, [144];
his next opera, Muzio Scevola, [145];
his various operatic pieces played at the Royal Academy of Music, [146];
his services to English Opera, [215];
appointed to the management of the King's Theatre, [163];
names of the Italian performers engaged by him, [163];
his rival Porpora, and the difficulties with which he had to contend, [167];
abandons dramatic music after having written thirty-five Italian operas, [168];
his operas now become obsolete, and unadapted to modern times, [168], [169];
success of the operatic airs, which he introduced into his oratorios, [169];
position of the Italian Opera under his presidency, [170], [171];
his great musical genius, and the grandeur of his oratorios, [172].
Harmony, preferable to simple declamation, i. [45], [46].
Hasse, the musical composer, i. [155];
marries the vocalist Faustina, [156];
appointed director of the Dresden Opera, [156];
his death, [158];
a librettist, [212].
Hauteroche, humour of exhausted, i. [49].
Haydn, his opinion of Mozart's work, ii. [102].
Haymarket Theatre, Handel's Pastor Fido played at, i. [102].
Hébert, the sanguinary republican, ii. [68], [73].
Heidegger, appointed manager of the King's Theatre, i. [163];
his "puff direct," [163].
Henriot, the sanguinary republican, ii. [62], [72].
Hingston, the musician, patronised by Cromwell, i. [32].
Hoffman, the musical composer, ii. [301];
his Undine, [301-305];
Berlioz's opinion of his music, [305].
Huberti, Madame, the singer, ii. [43], [94];
her marriage and horrible death, [94].
Hugo, Victor, his dramas made the groundwork of Italian librettists, i. [213];
his actions against them for violation of copyright, ii. [234], [235].
Huguenots, of Meyerbeer, ii. [216].
Hydaspes, opera of, i. [117];
Addison's critique on, [118], [119].
I.
Il Pirato, of Bellini, ii. [249].
Insanity, Steele's remarks on, i. [111], [112].
Interludes, banished from the operas, i. [250].
Iphigenia in Aulis, by Gluck, i. [273];
its introduction on the Paris stage, and immense success, [273], [274].
Iphigenia in Tauris, a rival opera, composed by Piccinni, i. [291], [292].
Italian librettists, Victor Hugo's actions against for copyright, ii. [234], [235].
Italian opera, introduced into France under the auspices of Cardinal Mazarin, i. [8];
rejected by the French, [9], [11];
introduced into England, [9], [11];
into Germany, [10];
into all parts of Europe, [10];
introduced into England at the beginning of the eighteenth century, [54];
Addison's critical remarks on, [55-8];
attempts to engage the company of London at the French Academie, 26:
raised to excellence by Handel in London, [103];
history of its introduction into England, [104] et seq.;
Steele's hatred to, [113];
a complete failure in London, [147-149];
its position under Handel, and subsequently, [170], [171];
various operas produced, [170], [171];
established at Berlin and St. Petersburgh, [199];
its weak points during the eighteenth century exhibited in Marcello's satire, "Teatro a la Modo," [204-12];
the company performing alternately in London and in Paris, ii. [2];
its position during the Republican and Napoleonic wars, [86].
Italian plays, of the earliest period, called by the general name of "Opera," i. [2].
Italian singers, establish themselves everywhere but in France, i. [173];
company of engaged by Mdlle. Montansier, ii. [79];
unsuccessful, [79].
Italians, their genius for music above that of the English, i. [56];
music of the, [268], [269].
Italy, modern, earliest musical dramas of, i. [3], [6], [7].
J.
Jeliotte, the tenor singer, i. [223].
Jesuits' church at Paris, the great operatic vocalists engaged at the, ii. [49];
their theatre near the, [50].
Jomelli, anecdote related by, i. [44];
director of the Stutgardt opera, [178];
sets Didone to music, [212].
K.
Kalkbrenner, a pasticcio by, unsuccessful, ii. [85];
his Don Giovanni, [184].
Keiser, the operatic composer;
author of Ismene and Basilius, i. [6], [141].
Kelly, Michael, the singer, ii. [128].
Kind, Frederick, ii. [293];
Weber's introduction to, [293].
King's Theatre, performances at, and assemblies, i. [101];
opened under Heidegger, [163];
celebrated vocalists at the, ii. [4];
destroyed by fire, [6];
rebuilt and re-opened, [8];
its negociations with the Parisian operatists, [110], [111];
Mr. Taylor the proprietor, [121];
the theatre closed, [125];
quarrels of the proprietors, [126];
re-opened under Waters, [127];
again closed, [129];
Mr. Eber's management, [129];
selection of operas and singers for the, [129];
management of Messrs. Laporte and Laurent, [130];
its position and character in 1789, [131];
enormous prices paid for private boxes and admission, [132], [133];
sale of the tickets at reduced prices, [133], [134];
costume of visitors, [136], [137].
L.
Labitte, death of, from overstrained singing, ii. [270].
Lablache, the basso singer, the "Leporello" of Don Giovanni, ii. [108], [109];
biographical notices of, [274-278];
his versatile powers, [277], [278];
his great whistling accomplishments, [279];
his characters of "Bartolo" and "Figaro," [275].
Lachnick, the musician, ii. [183], [184].
Lacombe, the French dancer, ii. [112].
La Cenerentola, opera of, ii. [162].
La Fare, Marq. de, author of the Panthée, i. [85].
Lafontaine, his want of success as a librettist, i. [21];
anecdote of, [21].
Lafontaine, Mdlle., the celebrated ballerina at the French Opera, i. [72].
Laguerre, Mdlle., the vocalist, i. [281];
the actress, i. [294].
Lainez, the poet, i. [27];
the singer, ii. [69].
"La Marseillaise," borrowed from Germany, ii. [201].
Lamartine, M. de, his faultiness in history, ii. [61], note.
Lamb, Charles, anecdote of, i. [21].
Laniere, musical composer and engraver, i. [30].
"La Parisienne," of Nourrit, ii. [201].
Laporte and Laurent, Messieurs, managers of the London opera house, ii. [130].
Larrivée, the vocalist, i. [223], [274].
La Straniera, of Bellini, ii. [249].
Lauragais, Count de, anecdotes of, i. [229], [230];
ii. [77], [78];
his great expenditure, ii. [51].
La Vestale, of Spontini, ii. [186], [187].
Law, M., introduces wax into the candelabra of the French Opera, i. [84];
breaking up of his financial schemes, [84];
favoured by the Duke of Orleans, [84].
Lays, a furious democrat, and chief manager of the French Opera, ii. [66];
treated with public indignation, [77].
Leclair, exchanges the ballet for the violin, i. [88], [89].
Lefevre, the republican singer, hissed off the stage, ii. [70].
Legal disputes among musicians, i. [87], [88].
Legroscino, the musical composer, ii. [32].
Lemaure, Mdlle., the actress, i. [92].
Lenoir, the architect of the Paris Opera, ii. [43].
Lenz, the biographer of Beethoven, ii. [287].

Leopold I., Emperor of Germany, his devotedness to music, i. [174].
Leopold II., of Germany, his liberality to Cimarosa, ii. [96];
his public approbation of Il Matrimonio Segretto, [97].
Lettres de Cachet, issued, to command certain persons to join the Opera, i. [76].
Libretti of English writers, i. [213];
of the French, [214].
Librettists of the eighteenth century, i. [212] et seq.
Libretto, no opera intelligible without one, i. [40];
the words should be good, and yet need not of necessity be heard, [41].
Limeuil, Madame, death of, i. [23].
Lincoln's Inn Theatre, under the direction of Porpora, i. [164].
Lind, Jenny, the hangman's admiration of, ii. [64].
Linda di Chamouni, of Donizetti, ii. [241].
Lion, Nicolini's contest with the, at the Haymarket, i. [118];
Addison's satirical critique on the, [119-122].
Lipparini, Madame, the prima donna at Palermo, ii. [271], [272].
Lise, Mddle., anecdote of, ii. [36].
Lock, the musical composer, i. [28].
London Opera, manners and customs of the, half a century ago, ii. [122] et seq.
(See King's Theatre.)
Lorenzo da Ponte, ii. [293].
Lotti, the Venetian composer, i. [146].
Louis XIV., a great actor, i. [73];
in the habit of singing and dancing in the court ballets, [74];
retires from the stage, [74];
returns to it, [75];
the various characters assumed by him, [75].
Louis XV., his heartless conduct at the theatre, i. [81];
his meanness to his daughter's music-masters, ii. [39];
French society at the very worst during his reign, [48].
Louis XVI., his flight from Paris, ii. [57];
his death, and state of the Opera at the time of, [61].
Lucia di Lammermoor, of Donizetti, ii. [233].
Lucrezia Borgia, of Donizetti, ii. [234], [237];
Victor Hugo's action against the author for breach of copyright, [234].
Lulli, French Opera not founded by, i. [13], [14];
his intrigues, [16];
his Cadmus and Hermione, [16];
originally a scullion in the service of Madame de Montpensier, [16];
his disgrace, [17];
his elevation by Louis XIV., [17], [18];
intrusted with them music of the ballets, [18];
a buffoon, [18];
various mistakes of, [18] et seq.;
his intemperate habits, [24];
his great attention to the ballet, [72];
tumult at the representation of his Aloeste, [85];
history of French Opera dates from the time of, [217];
his singular death, [217];
his operas, [217], [218].
Lyric drama, remarks on the, i. [236], [237];
Rousseau's critique on, [243].
M.
M. de Pourceaugnac, performance of, i. [19].
Machinery of the Opera at Paris, i. [255].
Maillard, Mdlle., the prima donna, of the Paris Opera, ii. [66];
requested to personate the Goddess of Reason, [67];
compelled to sing republican songs, [69];
suspected by the republicans, [69].
Mailly's Akébar, Roi de Mogol, i. [15].
Maine, Duchess du, her passion for theatrical and musical performances, i. [77];
her lotteries, [78].
Malibran, Madame, the vocalist, ii. [69];
biographical notices of, [174], [175];
her triumphal progress through Italy, [260], [261];
characteristic anecdotes of, [261-264];
her activity and great acquirements, [262];
her death, [264].
Mara, Madame, the celebrated vocalist, i. [200];
biographical notices of, [200-3];
appointed prima donna of the Berlin theatre, [201];
at the King's Theatre, ii. [4];
her distinguished performances, [5];
biographical notices of, [5-9];
among the first class of singers, [28].
Mara and Todi, Mesdames, quarrels between the admirers of, i. [150], [203].
Marcello's satire, Teatro a la Modo, i. [204-12].
Margarita de l'Epine, the Italian vocalist, i. [104];
at Drury Lane, [108].
Maria di Rohan, of Donizetti, ii. [242].
Marie Antoinette, the enthusiastic patroness of Gluck, i. [275];
patronizes Piccinni, [290];
her visit to the Académie and Opera Comique, ii. [58], [59];
popular cries against, [59];
obliged to fly, [59];
her execution, [61].
Mariette, Mdlle., the Parisian danseuse, i, [82].
Marino Faliero, of Donizetti, ii. [233].
Mario, the actor, in the character of the Duke of Mantua, i. [39];
a performer of Don Giovanni in London, ii. [108].
Marmontel, the librettist, i. [287], [289];
the admirer of Piccinni, [289].
Marre, Abbé de la, defends Mdlle. Petit, i. [82].
Marsolier, of the Opera Comique, ii. [235].
Martinella, Catarina, the celebrated singer, i. [8].
Martini's Cosa Rara, ii. [102].
Martiri, of Donizetti, ii. [239].
Masaniello, market scene in, i. [47];
effects of its representation in Paris, ii. [200].
Matrimonio Segretto, comic opera of, ii. [96-100];
its successful performance before Leopold II., [97].
Mattheson, the musical composer and conductor of the orchestra at the Hamburgh theatre, i. [141], [142];
his duel with Handel, [142].
Maupin, Mdlle., the operatic actress, i. [26];
the Lola Montes of her day, [26].
Mayer, the musical composer, ii. [32].
Mazarin, Cardinal, introduces Italian Opera into France, i. [8];
into Paris, [14].
Maze, Mdlle., the danseuse, her melancholy suicide, &c., i. [84].
Mazocci's school of singing at Rome, i. [184].
Melun, Count de, his depravity, i. [76].
Menestrier, on the origin of the Italian Opera, i. [3].
Mengozzi, the tenor singer, visits Paris, ii. [3].
Mercadante, the musical composer, ii. [247], [248].
Mercandotti, Maria, the charming Spanish danseuse, ii. [119];
married to Mr. Hughes Ball, [120].
Merighi, Signora, the Italian singer, i. [163].
Merulo, Claudio, the musical composer, i. [4].
Metastasio, the poet and librettist, i. [175], [212];
his quarrel with Caffarelli, i. [191].
Meyerbeer, the successor of Rossini at the Académie, ii. [202];
a composer who defies classification, [206];
his different productions, [206];
biographical notices of, [206], [207];
his Robert le Diable, [207], [211] et seq.;
his Huguenots, [216];
his Prophete, [218].
Mililotti, the Neapolitan buffo, ii. [274], [275].
Mingotti, the celebrated vocalist of the Dresden opera, i. [156];
her opinion of the London public, [197].
Minuet, introduced into England, i. [73].
Moliere, the friend of Lulli, i. [19];
his disagreement with him, [20];
his Amants Magnifiques, [65].
Montagu, Lady Wortley, her description of the Vienna theatre, i. [175].
Montansier, Mdlle., [71], [72];
denounced by the republicans for building a theatre, [73];
imprisoned, [73];
her nocturnal assemblies, [73];
Napoleon introduced to her, [74];
her marriage, [74];
receives indemnity for her losses, [75];
engaged by Napoleon to form an Italian operatic company, [79];
is unsuccessful, [79].
Montessu, the French dancer, ii. [112].
Monteverde, the musical composer, i. [7];
his improvements in orchestral music, [7];
the score of his Orfeo, [7], [23];
produces his Arianna at Venice, [8];
his great popularity, [8].
Moreau, the musical composer, i. [27].
Morel, the librettist, ii. [183].
Morelli, the bass-singer, visits Paris, ii. [3].
Mormoro, Madame, personates the Goddess of Reason, ii. [67].
Mosé in Egitto, by Rossini, ii. [163].
Mount Edgcumbe, Lord, author of "Musical Reminiscences," i. [299], [300];
his notices of celebrated vocalists, ii. [5], [6], [8], [11], et passim;
his description of the King's Theatre in 1789, [131].
Mouret, the musical composer, i. [78].
Mozart, the musical composer, i. [12];
works of, [13];
reception of his Nozze di Figaro, ii. [98];
his Seraglio, [99];
founder of the German operatic school at Vienna, [99] et seq.;
his Don Giovanni, [100-109];
its original cast at Prague, [104];
Salieri his great rival, [101], [102];
his genius fully acknowledged, but his music not at first appreciated, [107];
Musette de Portici, the first important work to which the French Opera owes its celebrity, [195];
translated and played with great success in England, [197], [198];
his fortunes affected by the revolutionary character of the plot, [200].
Music of the operatic works of the sixteenth century, i. [4], [5];
Woolfenbuttel school of, [6];
Carpentras school of, [6];
of the drama, its importance, [45], [46];
the language of the masses, [46];
its powerful effects in dramatic representations, [47];
its powers as an art, [59], [60];
capabilities of, [169];
Marcello's satirical advice respecting, [204-12];
of the Greeks, [241];
a real recitative, [241];
an imitative art, [245], [248];
of the Italians and the Germans, [268], [269];
on expression in, ii. [83];
did not flourish under the French Republic or Empire, [84];
different schools of, [284].
Musical composers, who adorned the end of the eighteenth and the beginning of the nineteenth century, ii. [31], [32];
their peculiar characteristics, [141].
Musical compositions, different adaptations of, ii. [83], [84].
Musical instruments of the seventeenth century, i. [23].
Musical pieces, danger of performing under the Republican regime, ii. [67].
Musical plays of the fifteenth century, i. [2].
Musical valets of the seventeenth century, i. [23], [24].
Musician, his contest with the dancer, i. [88];
his task of imitation greater than that of the painter, [249].
Musicians of the French Opera, privileges of the, i. [77];
of Italy, nicknames given to, [86-8];
the "three enraged" ones, [129], [133].
Muzio Scevola, produced at the Royal Academy of Music, i. [145].
Mysteres d'Isis, opera of the, ii. [183].
N.
Napoleon, his munificent offers to Catalani, ii. [18].
Napoleons, both of them good friends to the Opera, ii. [193], [194].
Nasolini, the musical composer, ii. [12].
National anthem, story respecting the, i. [165];
on the origin of the, [166].
National styles, i. [214], [215].
Nicknames given to celebrated musicians, singers, and painters of Italy, i. [186-8].
Nicolini, a great actor, i. [61];
a sopranist, [117];
Addison's critique on his combat with a lion at the Haymarket, [118-122].
Nobles of France, operatic actors, i. [76];
abuses arising from the system, [76].
Noblet, Mdlle., the French danseuse, ii. [111-13];
negociations respecting her benefit, [113], [114].
Norma, of Bellini, ii. [250], [252], [257].
Nose-pulling, i. [106].
Nourrit, Adolphe, the celebrated tenor, a performer of "Don Giovanni" in London, ii. [108];
makes his appearance at Paris, [195];
his La Parisienne, [201];
his professional engagements, [221], [222];
his melancholy death, [223], [224].
Noverre, the celebrated ballet master, i. [178].
Nozze de Figaro, of Mozart, ii. [98-103].
Nuits de Sceaux, or Nuits Blanches, of the Duchess du Maine, i. [77], [78].
O.
Oberon of Weber, ii. [299], [301].
Olivieri, primo basso at Udine, ii. [89].
OPERA, history of the, i. [1] et seq.;
meaning and character of, [1], [2];
Wagner's definition, [1], et note;
the earliest Italian plays, called by the general name of, [2];
the title afterwards applied to lyrical dramas, [2];
proceeds from the sacred musical plays of the sixteenth century, [2];
first specimens of in the Greek plays, [3];
operatic composers and singers, [4-8];
its success promoted by the musical genius of Monteverde, [8];
taken under the patronage of the most illustrious nobles, [8];
the most celebrated female singers connected with, [8];
Italian opera introduced into France under the auspices of Cardinal Mazarin, [8];
into England at the commencement of the eighteenth century, [9], [54];
into Germany, [10];
flourishing state of during the eighteenth century, [10];
history of its introduction into France and England, [12] et seq.;
not founded by Lulli, [13], [14];
the first English opera ten years later than the first French one, [31];
the leading actors, [31];
the nature of and its merits as compared with other forms of the drama, [36] et seq.;
unintelligibility of, [37];
music in a dramatic form, [38];
the words ought to be good, and yet need not of necessity be heard, [41];
unnaturalness of, [45];
chorus of, [47];
Addison's articles on, [53-58];
and the drama, [61];
Beranger on the decline of the, [65];
Panard's remarks on the, [67];
his song on what may be seen at the, [67];
Louis XIV. and the nobles of France actors in, [73-78];
lettres de cachet issued, commanding certain persons to join the, [76], [77];
privileges of singers, dancers, and musicians belonging to the, [77];
state of, under the regency of the Duke of Orleans, [79];
the scene of frequent disturbances, [80];
etiquette respecting the visits of young ladies to the, [92], [93];
introduction of the Italian Opera into England, [104] et seq.;
under Handel, [140];
its position under Handel, and subsequently, [170], [171];
general view of in Europe in the eighteenth century, until the appearance of Gluck, [172];
its appearance at Vienna, [175], [181];
its weak points during the eighteenth century exhibited in Marcello's celebrated satire "Teatro a la Modo," [204-12];
history of French opera from Lulli to the death of Rameau, [217] et seq.;
history of, in France, during the eighteenth century, abounds in excellent anecdotes, [232] et seq.;
different kinds of, [236], [237];
Rousseau's definition, and critical remarks on, [239] et seq.;
of the Greeks, [243] et seq.;
early periods of, [245];
subjects of, [247];
Rousseau's description of, at Paris, [251] et seq.;
ludicrous caricature of, [252-260];
its monstrous scenery, machinery, and decorations, [255];
audience of the, [257];
history of, in England, at the end of the eighteenth century, and beginning of the nineteenth, ii. [1] et seq.;
at Versailles, [3];
King's Theatre, [4], [5];
notices of the most celebrated singers, [3-33];
the Pantheon enterprise, [6], [7];
state of in France after the departure of Gluck, [35] et seq.;
at Paris, frequently burnt down and rebuilt, [42];
of the "Romantic" school, [45];
its condition before and after the Revolution, [46] et seq.;
strange customs connected therewith, [49];
great singers of the, at the Jesuits' church and theatre at Paris, [50];
dangerous to write anything about in Paris previous to the Revolution, [54];
its decline after the Revolution commenced, [56] et seq.;
the National Opera of Paris, [62];
history of, under the Republic of France, [62] et seq.;
state of the, under the Convention, [75];
its receipts confiscated, and its artists guillotined, [75], [76];
under Napoleon, [79];
state of in Italy, Germany, and Russia, during the Republican and Napoleonic wars, [87] et seq.;
its difficulties arising from the continued wars, [109];
diplomatists and dancers, [111];
Terpsichorean treaty, [115];
manners and customs of, half a century ago, [121] et seq.;
Mr. Ebers's management in 1821, [129];
the King's Theatre in 1789, [131], et seq.;
costume of, in 1861, [137];
Rossini and his period, [143];
his Barber of Seville, and other operatic pieces, [144-163].
(See ROSSINI).
Madame Pasta, [170]; Madame Pisaroni, [172];
Madlle. Sontag, [175];
its position in France under the Consulate, Empire, and Restoration, [178] et seq.;
plots for assassinating the First Consul at the, [179], [182];
assassination of the Duke de Berri at the, [190];
its temporary suspension, [193];
the Napoleons good friends to the, [193], [194];
the different pieces produced at Paris, [195], [196];
Rossini's Guillaume Tell, [201];
rehearsals, [207];
Nourrit, [221];
the chief opera houses of Paris and Italy inseparably connected with the history of opera in England, [224];
Donizetti and Bellini, [226], et seq., [257];
author's rights, [237];
different schools of, [284].
Opera Comique, of France, i. [236], [237].
Opera, French, Favart's satirical description of, i. [65].
Opera National, substituted for that of the Academie Royale, ii. [59];
programme issued by the directors, [62];
change of site, [71].
Opera singers, badly paid in the 17th century, i. [25].
Operatic feuds, i. [105].
Operatic incongruity at Paris, i. [253].
Opitz, translator of the opera of Dafne, i. [6].
Orchestra, instrumental music being deficient in the 17th century, i. [7];
Monteverde's improvements, [7].
Orfeo, of Monteverde, music of, produced at Rome in 1440, i. [3], [13].
Orleans, duke of, state of the Opera under his regency, i. [79];
his sincere love of music and literature, [85], [86];
his death, [86].
Otello, by Rossini, ii. [157].
Oulibicheff, M., his notices of Mozart, ii. [101];
the biographer of Beethoven, [287];
Lenz's attack on, [287].
Oxenford's Robin Hood, i. [214].
P.
Pacchierotti, the celebrated male soprano, ii. [7].
Pacini's

Talismano, ii. [267], [268].
Paer, the musical composer, ii. [32];
plays the part of basso, [90], [91];
success of his Laodicea, [98].
Paer, Madame, the vocalist, ii. [80];
engaged by Bonaparte, [80], [81], [88];
anecdote of, [89].
Painters of Italy, nicknames given to, i. [186-8].
Paisiello, the operatic composer, ii. [2], [29], [30], [31], [82];
his interview with Bonaparte, [82];
liberally rewarded, [82], [83];
at St. Petersburgh, [87].
Panard, his satirical remarks on the Opera, i. [67];
song on what he had seen at the Opera, [67].
Pantheon of London converted to the use of the Opera, ii. [6], [7];
its company, [7];
burnt down, [8];
opening of the, [125];
an unfortunate speculation, [125].
Paris, absurd regulations of the Theatres at, i. [86], [87];
Rousseau's descriptions of the Opera at, [251], [252-260];
contests in, respecting the merits of Gluck and Piccinni, [267];
its operatic company towards the end of the 18th century, ii. [3];
the opera burnt down at different times, [42];
National Library of, proposed to be burnt, [71], [72];
the various operatic pieces produced at, [195] et seq.
Parisian public manners and customs of the time of Louis XIV., i. [75] et seq.;
the turbulent and dissipated habits, [80].
Pasta, Madame, the celebrated singer, ii. [168];
her representation of Rossini's Semiramide, [168], [169];
biographical notices of, [170].
Pelissier, Mdlle., the prima donna of Paris, i. [82];
her prodigality, [83].
Pembroke, Countess of, the leader of a party against the vocalist Faustina, i. [153].
Pergolese, the musical composer, i. [9], [170];
his Serva Padrona hissed from the stage, [9];
at St. Petersburgh, ii. [88].
Peri, the Italian musician, i. [5];
composer of the music to Dafne, [7].
Perrin, French Operas of, i. [15].
Peruzzi, Balthazar, his wonderful skill in scenic decoration, i. [3], [4].
Peter the Great, his visit to the French Opera, i. [81].
Peterborough, lord, account of his marriage with Miss Anastasia Robinson, i. [134-138].
Petit, Mdlle., the Parisian danseuse, i. [82].
Petits Violins du Roi, a band formed by Lulli, i. [17].
Phillips, Ambrose, the plagiarist, i. [115].
Piccinni, the musical composer, i. [212];
merits of, as compared with Gluck, [267];
biographical and anecdotal notices of, [280] et seq.;
his natural genius for music, [284];
success of his Donne Dispetose and other operatic pieces, [285] et seq.;
his arrival at Paris, [287];
his contests with the Gluckists, [288] et seq.;
his Orlando, [289];
his rival opera of Iphigenia in Tauris, [291], [292];
ruined by the French Revolution, [295];
his death, [295];
the originator of the popular musical finales, ii. [32].
Pietra del Paragone, of Rossini, ii. [151].
Pinotti, Teresa, the celebrated comedian, ii. [274].
Pisaroni, Madame, biographical notices of, ii. [172].
Pleasantries of the drama exploded, i. [49];
their antiquity and harmlessness, [49].
Poissardes of Paris, present at the Opera on certain fetes, ii. [49].
Pomone, the first French Opera heard in Paris, i. [15].
Ponceau, Seigneur de, (See CHASSE).
Porpora, the musical composer, i. [44], [100];
his perversion of the "Credo", [44];
director of the Lincoln's Inn Theatre, [164];
singers engaged by him, [167].
Porte St. Martin Theatre at Paris, ii. [42].
Preciosa, of Weber, ii. [298].
Prevost, Mdlle. the ballet dancer, i. [78], [89];
her jealousy of Mdlle. de Camargo, [90].
Prima donnas, Marcello's satirical instructions respecting, i. [211].
Prophete, of Meyerbeer, ii. [218].
Purcell, the writer of English operas, i. [9];
his King Arthur, [14];
his dramatic music, [29];
his operatic compositions, [33];
his death, [34];
his talents, [34].
Pygmalion, of Mdlle. Sallé, [93], [94].
Pyrrhus and Demetrius, Scarlatti's opera of, i. [117].
Q.
Quantz, the celebrated flute player, i. [151];
his account of the Faustina and Cuzzoni contests, [151], [153].
Quin, James, the musician, anecdote of, i. [32].
Quinault, one of Lulli's librettists, i. [22].
R.
Racine, merits of, i. [115], [116].
Rameau, J. P., the great French composer, i. [13], [212];
opinions of Dr. Burney and Grimm on his compositions, [213];
memoirs of, [213] et seq.;
letters of nobility granted to him, [220];
his music, [222];
his death and funeral, [222], [223].
Ranz des Vaches, ii. [289], [290].
Recitative, on the use of, in opera, ii. [296].
Rehearsals at the French opera, ii. [207];
in London, [208].
Reign of Terror, a fearful time for artists and art, ii. [71];
its numerous victims, [76], [77].
Republic of France, changes effected, in the Opera by the, ii. [64], [65].
Republican celebrities, their direction of the Opera National, ii. [62], [63], [74];
changes effected by, in operatic pieces, [64], [65].
Revolution in France, state of the Opera at the period, ii. [34] et seq. [55];
its effect on the Academie, [56] et seq.;
musicians and singers who fell victims to its fury, [76], [77].
Rey, the musical composer, and conductor of the Paris orchestra, ii. [41].
Righini, the operatic composer, ii. [104].
Rigoletto, operatic music of, i. [47], [48].
Rinaldo and Armida, by Handel, i. [123];
operatic sparrows of, [123-126].
Rinuccini, Ottavio, the Italian poet, i. [5];
author of the libretto to Dafne, [7].
Robert le Diable, of Meyerbeer, new version of a chorus in, i. [42];
remarks on, ii. [202], [211] et seq.;
compared with Der Freischutz, [213];
brought out at the King's Theatre, [214].
Robespierre, fall of, ii. [76].
Robin des Bois, an adaptation of Weber's Der Freischutz, ii. [295-297].
Robinson, Anastasia, the celebrated vocalist, i. [134];
privately married to the Earl of Peterborough, [134];
Lady Delany's account of, [134-138].
Robinson, Mr., father of Lady Peterborough, i. [135];
death of, [136].
Rochois, Martha le, the vocalist, i. [25].
"Romantic School" of the opera, ii. [284].
Rossi, the Italian librettist, i. [128].
Rossini, the operatic composer. ii. [31];
history of his period, [140] et seq.;
the greatest of Italian composers, [142];
his biographers, [143];
his Barber of Seville, [144];
historical anecdotes of, [144] et seq.;>
comparison of, with Mozart and Beaumarchais, [149];
his Pietra del Paragone, [151];
his innovations, [153], [155]; Tancredi and Otello, [156], [157];
his Gazza Ladra, [160];
his Mosé in Egitto, [163];
married to Mdlle. Colbran, [166];
his Semiramide played by Madame Pasta and others, [168], [169];
his Siege de Corinth, [189];
his Viaggio a Reims, [195];
Guillaume Tell his last opera, [201];
succeeded by Meyerbeer at the Academie, [202];
his followers, [203], [204];
his retirement, [205];
Donizetti's early admiration of, [226];
Sigismondi's horror of his works, and his adverse criticisms, [228] et seq.;
his musical genius and powers, [282];
his William Tell, [283];
the most modern of operatic composers, [283];
the alpha and the omega of our operatic period, [283].
Rouslan e Loudmila, of Glinka, ii. [290].
Rousseau, J. J., a critic and a composer of music, i. [238] et seq.;
his "Dictionnaire de Musique," [239];
his definition of Opera, [239];
his critical dissertation on the Opera in France during the eighteenth century, [239-250];
his opinions on dancing and the ballet, [250];
author of the Devin du Village, [261],
but Granet the musical composer, [262], [263];
his advice to Mdlle. Theodore, [300].
Rousseau, Pierre, anecdote of, i. [262];
accuses Jean J. Rousseau of fraud, [265].
Royal Academy of Music formed in London, i. [142];
liberally patronized, [143];
confided to Handel, [144];
the various operas produced at, [144], [145];
involved in difficulties, [145];
finally closed, [146];
a complete failure, [147].
Rubini, the celebrated tenor singer, ii. [249], [264], [265];
the fellow-student of Bellini, [249];
biographical notices of, [265], [266];
his great emoluments, [266];
his B flat, [267], [268];
his broken clavicle, [269].
Rue Richelieu, opera in closed after the assassination of the Duc de Berri, ii. [193].
Russia, opera in, during the republican and Napoleonic wars, ii. [87].
S.
Sacchini, the musical composer, i. [212]; ii. [2], [31], [40];
works of, [40];
his Chimène played at the Paris Opera, [43];
his Œdipe à Colosse, [44].
Sacred musical plays of the fifteenth century, i. [2].
Saggio sopra l'Opera in musica, of Algarotte, i. [2];
St. Evremond's comedy of Les Operas, i. [50].
St. Leger, Mdlles. de, executed for playing the piano, ii. [69].
St. Montant, M. de, a musical enthusiast, i. [87].
St. Petersburg, opera at, ii. [87], [88].
Salieri, the operatic composer, ii. [2], [32], [40], [100];
brings out his Danaides, [44];
the rival of Mozart, [101];
his Assur, [101], [102].
Sallé, Mdlle., the celebrated danseuse, i. [91];
her proposed reforms in stage costume, [91];
noticed by Voltaire, Fontenelle, and others, [92];
her first appearance in London, [93];
her alterations in stage costume, [93];
performance of her Pygmalion, and her great success, [98] et seq.;
enthusiasm at her benefit in London, [98], [99];
announcement of her first arrival in England, [101].
Saxe, Marshal, the great favourite of the ladies, i. [232], [233];
his love for Madame Favart, [233], [234].
Scarlatti's opera of Pyrrhus and Demetrius, i. [117].
Scenery, the great attraction in operatic representations, i. [3];
the art carried to great perfection at Rome, [3], [4];
of the opera of Paris, [252].
Schœlcher, M. Victor, biographer of Handel, i. [97];
on the origin of "God save the king," [165].
Schindler, the biographer of Beethoven, ii. [287].
Schmaling, Mdlle. (See MARA).
Schools, the different ones, ii. [284].
Schrœder-Devrient, Madame, the vocalist, ii. [299].
Schutz, the musical composer, i. [6].
Scribe, M., the librettist, i. [212], ii. [250];
his comic operas, i. [212].
Scudo, the critic, ii. [293].
Semiramide, of Rossini, ii. [168];
represented by Madame Pasta and others, [168], [169].
Senesino, Signor, the sopranist, i. [158], [159];
quarrels with Handel, and joins the Lincoln's Inn Theatre, [164].
Serva Padrona, opera of, hissed from the French stage, i. [9].
Servandoni, of the Tuileries theatre, i. [63];
his scenic decorations, [177], [179].
Shakspeare's dramas, i. [61].
Siege de Corinthe, produced at the French Opera, ii. [195].
Siege of Thionville, its gratuitous performance for the amusement of the sans culottes, ii. [66].
Sigismondi, the librarian of the Neapolitan Conservatory, ii. [226];
his pious horror of Rossini's works, and his adverse criticisms, [228], [229].
Singers of the seventeenth and eighteenth centuries, i. [8], [182], [183] et seq.;
their capricious tempers, [161];
Lord Mount Edgcumbe's "Reminiscences" of, ii. [28];
divided into two classes, [28];
exposed to the threats of the Republicans, [69].
Singers of Italy, found in all parts of Europe, i. [10], [172] et seq.;
nicknames given to, [186-8].
Singers of the French Opera, privileges of the, i. [77].
Singing in dramatic representations, its powerful effects, i. [47];
humorous satire on, [50], [51];
Mazocci's school of, [184];
Marcello's satirical advice respecting, [204-12];
deaths caused by, ii. [270].
Smith, J., the husband of Mrs. Tofts, i. [111].
Smith, Sir Sidney, his liberation from the French prison by Boisgerard, ii. [117], [118].
Sobriquets, applied to celebrated musicians, singers, and painters of Italy, i. [186-8].
Song, difficulty of writing to declamation in modern languages, i. [240].
Song of Solomon, considered the earliest opera on record, i. [3].
Sonnambula, of Bellini, ii. [250], [251], [257].
Sontag, Mdlle., biographical notices of, ii. [174].
Soubise, Prince de, i. [299];
his great expenditure, ii. [51].
Sounds, art of combining agreeably, i. [239];
of a speaking voice, [240].
Sparrows, operatic, at the Haymarket, i. [123-126].
Spectator. (See ADDISON).
Spitting, i. [107].
Spohr, the celebrated German composer, ii. [285].
Spontini, the musical composer, ii. [183];
his Finta Filosofa, [185];
his La Vestale, and Fernand Cortez, [186], [187];
his animosity towards Meyerbeer, [188].
Stage of France, its state of morality, i. [81], [82].
Stage costume, Mdlles. Sallé's proposed reforms in, i. [93];
her alterations in, [93].
Stage decoration, i. [63], [178], [179], [180].
Stage plays, ordinances for the suppression of, i. [31].
Steele, on insanity, i. [111], [112];
his hatred of the Italian Opera, [113];
his chagrin at the success of Handel's Rinaldo, [116];
his insults to operatic singers, [117];
on the operatic sparrows and chaffinches at the Haymarket, [126];
his unfavourable opinion of opera, [126], [127].
Stockholm, opera at, ii. [87].
Storace, Mrs., the prima donna of the King's Theatre, ii. [3];
biographical notices of, [4].
Storace, Stephen, musical director of the King's Theatre, ii. [4].
Strada, Signora, the Italian singer, i. [163].
Stradella, the vocalist and operatic composer, i. [183].
Strozzi, Pietro, i. [5].
Stutgardt, magnificence of the theatres at, i. [178].
Styx, how to cross the, i. [85].
Subligny, Mdlle., the celebrated danseuse, i. [92].
Swift, his celebrated epigram on Buononcini and Handel, i. [64].
T.
Talismano, of Pacini, ii. [267], [268].
Talmont, princess de, letter from, [235].
Tamburini, the singer, performer of "Don Giovanni" in London, ii. [108];
biographical notices of, [271-4];
his grotesque personation of the absent prima donna, [272-274];
his versatile powers, [273].
Tancredi, by Rossini, ii. [152], [156], [157].
Taylor, Mr., proprietor and manager of the King's Theatre, ii. [121];
humorous anecdotes of, [122] et seq.;
his quarrel with Mr. Waters, [126];
driven from the theatre, [126];
ends his days in prison, [127];
his anonymous letter respecting Waters, [128].
Teatro a la Modo, Marcello's satire of i. [204-12].
Terence, the first production of his Eunuchus, ii. [90].
Terpsichorean treaty, ii. [115].
Theatre, at Stutgardt, i. [178];
at Venice, [180]; at Vienna, [181];
of the jesuits, at Paris, ii. [50].
Théâtre des Arts, of Paris, ii. [194];
its frequent changes of name, [194], n.
Théâtre d'Opéra, of Paris, ii. [193].
Theatres in the open air, i. [176], [177];
of immense size, [177] et seq.;
scenic decorations of, [178], [179];
at Venice, [180];
number of in Paris during the Reign of Terror, ii. [71].
Théodore, Mdlle., the accomplished danseuse, i. [300];
imprisoned, ii. [54].
Thévanard, the operatic singer, i. [79].
Thillon, Madame, ii. [239].
Tintoretto, the musical composer, refuses the honour of knighthood, i. [221].
Tofts, Mrs. the vocalist, and rival of Margarita de l'Epine, i. [105];
letter from, [105];
plays "Arsinoe" at Drury Lane, [107];
her insanity, [110], [111].
Tosi, Signor, his observations on Mesdames Faustina and Cuzzoni, i. [151].
Trial, the comic tenor, death of, ii. [76].
Tribou, the French harmonist, i. [83];
his versatile talents, [83].
Triomphe de Trajan, opera of, ii. [189].
Tuileries, the last concert spirituel at the theatre of the, ii. [57].
U.
Undine, of Hoffman, ii. [301-305].
V.
Valabrèque, M., the husband of Catalani, ii. [20];
draft of a contract between him and Mr. Ebers, [23-25];
anecdote of his stupidity, [26], [27].
Valentini, Regina, the celebrated vocalist, i. [156];
married to Mingotti, [156].
Varennes, Mdlle., the French danseuse, ii. [112].
Velluti, a tenor singer of great powers, ii. [209];
played the principal part in Il Crociato, [209];
biographical notices of, [210];
his first debut and performance in London, [211].
Venice, the opera of, and its scenic decorations, i.

[180].
Verdi, Signor, the musical composer, i. [213], [268]; ii. [99], note;
his Ernani and Rigoletto founded on Hernani and Le Roi s'amuse, i. [213];
his Ernani prohibited the stage, ii. [235].
Versailles, ballets at, i. [70], [71];
the London Italian company perform at, ii. [3].
Vestris, Gaetan, the dancer, anecdotes of, i. [278]; ii. [37];
founder of the family, i. [301].
Vestris, Auguste, son of Gaetan the dancer, i. [301];
anecdotes of, ii. [35], [37];
his extravagant expenditure, [53].
Vestris, the prince of Guéméné, compelled to dance as a sans culotte, ii. [69].
Vestrises, biographical notices of the family, i. [302].
Viaggio a Reims, by Rossini, written for the coronation of Charles X., ii. [195].
Victor Hugo, his copyright action against Donizetti, ii. [284], [285].
Vienna, establishment of the Italian opera in, i. [174];
its great writers and composers, [175];
Lady Wortley Montagu's description of its magnificent theatre, [175];
opera at, a first-rate musical theatre, [181];
great patronage of the imperial family, [181].
Viagnoni, the singer, ii. [14].
Violins of the seventeenth century, i. [23].
Virtuosi of the seventeenth century, i. [183].
Vivien, the horn player, i. [184].
Vocalists of Paris, their generous letter to Prince de Guéméné, ii. [51].
(See SINGERS.)
Voice, speaking, sounds of a, i. [240].
W.
Wagner's definition of the word "Opera," i. [1] et note.
Wallace, V., the eminent composer, i. [42];
critique on a passage in his Maritana, i. [42], [43];
his Maritana and Lurline founded on the French, [214].
Warsaw, the opera of closed, ii. [54].
Warton, Dr. J., his character of the Duchess of Bolton, i. [138].
Waters, Mr., joint proprietor of the King's Theatre, ii. [109], [125];
quarrels with Taylor, his partner, [126];
re-opens the Opera, [127];
makes a purchase of it, [127];
his retirement, [129].
Weber, Karl Maria Von, a romantic composer, ii. [285];
belongs to the same class as Beethoven and Spohr, [285];
his influence on the Opera, [288];
his fondness for particular instruments, [290];
characteristics of his music, [291];
his resemblance to Meyerbeer, [292];
his Der Freischutz, and its great success, [292] et seq.;
his various operas, [298] et seq.;
his Oberon, [301].
William Tell, of Rossini, no subsequent opera to be ranked with, ii. [283].
Williams, Sir Charles, anecdote of, i. [157].
Wolfenbuttel school of music, i. [6].
Women, duelling among, i. [225] et note.
Wurtemburg, Duke, brilliancy of his court, i. [178].
Z.
Zaira, of Bellini, ii. [250].
Zelmira, of Rossini, ii. [165];
its music, [167].
Zeno, Apostolo, the operatic writer, i. [175];
a librettist, [212].
Zingarelli, the musical composer, ii. [32].

FINIS.

The following typographical errors were corrected by the etext transcriber:
La Dame aux Camelias was to have been played=>La Dame aux Camélias was to have been played
J'ai vu le soliel et la lune=>J'ai vu le soleil et la lune
of an Italian, who, adandoning=>of an Italian, who, abandoning
old newspapers before before me=>old newspapers before me
One the contrary, it gives=>On the contrary, it gives
the banquet with the apparation of the murdered=>the banquet with the apparition of the murdered
DUCAL CONNAISSEURS=>DUCAL CONNOISSEURS
Hamburg theatre, where operas had been perfomed=>Hamburgh theatre, where operas had been performed
Woffenbüttel caused the directors of the Hamburgh=>Wolfenbüttel caused the directors of the Hamburgh
retirement, operas by Galuppi, Pergolesi, Jomelli,=>retirement, operas by Galuppi, Pergolese, Jomelli,
Guingueneé, at Piccinni's request=>Guinguenée, at Piccinni's request
"If," said Gaetan, on another occasion, "le diou de la danse=>"If," said Gaetan, on another occasion, "le dieu de la danse
works, had to perform in the Clemenzo di Tito=>works, had to perform in the Clemenza di Tito
Gluck benefitted French opera in two ways=>Gluck benefited French opera in two ways
Bernadotte wore he would have Paer, and no one else=>Bernadotte swore he would have Paer, and no one else
by lord Fife—a keen-eyed connoisseur=>by Lord Fife—a keen-eyed connoisseur
For the one hundred and eighty pound boxas=>For the one hundred and eighty pound boxes
meanwhile Mr. Chambers had bought up Water's=>meanwhile Mr. Chambers had bought up Waters's
prima uomo=>primo uomo
Madeimoselle=>Mademoiselle
Hadyn=>Haydn
LA MUETTE DE PARTICI=>LA MUETTE DE PORTICI {2}
La Muette di Portici=>La Muette de Portici
threw himself out of window, at five in the morning=>threw himself out of a window, at five in the morning
the opera perfomed, and the theatre saved=>the opera performed, and the theatre saved
so that the cast, to be efficient=>so that the caste, to be efficient
The young gentlemen of Burgamo=>The young gentlemen of Bergamo
Il Puritani=>I Puritani
general enthusiam=>general enthusiasm
Schindler's book is the course of nearly=>Schindler's book is the sourse of nearly
Berlioz's version of Der Freischutz=>Berlioz's version of Der Freischütz
Dame aux Camelias=>Dame aux Camélias
Der Freischutz, of Weber=>Der Freischütz, of Weber
Mailly's Akebar=>Mailly's Akébar
Marre, Abbé de la, defends Mddlle. Petit=>Marre, Abbé de la, defends Mdlle. Petit
Singers of the seventeenth and eightteenth centuries=>Singers of the seventeenth and eighteenth centuries
Fenelon, Chev. de, accidentally killed, i. 81.=>Fénélon, Chev. de, accidentally killed, i. 81.
of Cimarosa, Paesiello, Anfossi=>of Cimarosa, Paisiello, Anfossi
where are Hoffman's licentious novels=>where are Hoffmann's licentious novels
his opinion of Hoffman's music, 306.=>his opinion of Hoffmann's music, 306.