[29] See Moliére Musicien, by Castil Blaze; t. ii, p. 26.
[30] Choruses were introduced in the earliest Italian Operas, but they do not appear to have formed essential parts of the dramas represented.
[31] With the important exception, however, of Don Giovanni, written for, and performed for the first time, at Prague.
[32] Vocal agility, not gymnastics.
[33] Of Faustina and Cuzzoni, whose histories are so intimately connected with that of the Royal Academy of Music, I have spoken in the preceding chapter on "The Italian Opera under Handel."
[34] The copious title of this work is given by M. Castil Blaze, in his "Histoire de l'Opéra Italien." I cannot obtain the book itself, but Mr. Hogarth, in his "Memoirs of the Opera," gives a very full account of it, from which I extract a few pages.
[35] F. Halévy, Origines de l'Opéra en France (in the volume entitled "Souvenirs et Portraits: Etudes sur les beaux Arts").
[36] By M. Castil Blaze, "Histoire de l'Académie Royale de Musique," vol. i. p. 116.
[37] For a copy of his Mass, No. 2.
[38] It was precisely because persons joining the Opera did not thereby lose their nobility, that M. de Camargo consented to allow his daughter to appear there. See page 89 of this volume.