How to Listen to Music, 7th ed. / Hints and Suggestions to Untaught Lovers of the Art

by Henry Edward Krehbiel

Romantic operas.

Of course the Grosse Oper of the Germans is the French Grand Opéra and the English grand opera—but all the English terms are ambiguous, and everything that is done in Covent Garden in London or the Metropolitan Opera House in New York is set down as "grand opera," just as the vilest imitations of the French vaudevilles or English farces with music are called "comic operas." In its best estate, say in the delightful works of Gilbert and Sullivan, what is designated as comic opera ought to be called operetta, which is a piece in which the forms of grand opera are imitated, or travestied, the dialogue is spoken, and the purpose of the play is to satirize a popular folly. Only in method, agencies, and scope does such an operetta (the examples of Gilbert and Sullivan are in mind) differ from comedy in its best conception, as a dramatic composition which aims to "chastise manners with a smile" ("Ridendo castigat mores"). Its present degeneracy, as illustrated in the Opéra bouffe of the French and the concoctions of the would-be imitators of Gilbert and Sullivan, exemplifies little else than a pursuit far into the depths of the method suggested by a friend to one of Lully's imitators who had expressed a fear that a ballet written, but not yet performed, would fail. "You must lengthen the dances and shorten the ladies' skirts," he said. The Germans make another distinction based on the subject chosen for the story. Spohr's "Jessonda," Weber's "Freischütz," "Oberon," and "Euryanthe," Marschner's "Vampyr," "Templer und Jüdin," and "Hans Heiling" are "Romantic" operas. The significance of this classification in operatic literature may be learned from an effort which I have made in [another chapter] to discuss the terms Classic and Romantic as applied to music. Briefly stated, the operas mentioned are put in a class by themselves (and their imitations with them) because their plots were drawn from the romantic legends of the Middle Ages, in which the institutions of chivalry, fairy lore, and supernaturalism play a large part.

Modern designations.

German opera and Wagner.

These distinctions we meet in reading about music. As I have intimated, we do not concern ourselves much with them now. In New York and London the people speak of Italian, English, and German opera, referring generally to the language employed in the performance. But there is also in the use of the terms an underlying recognition of differences in ideals of performance. As all operas sung in the regular seasons at Covent Garden and the Metropolitan Opera House are popularly spoken of as Italian operas, so German opera popularly means Wagner's lyric dramas, in the first instance, and a style of performance which grew out of Wagner's influence in the second. As compared with Italian opera, in which the principal singers are all and the ensemble nothing, it means, mayhap, inferior vocalists but better actors in the principal parts, a superior orchestra and chorus, and a more conscientious effort on the part of conductor, stage manager, and artists, from first to last, to lift the general effect above the conventional level which has prevailed for centuries in the Italian opera houses.

Wagner's "Musikdrama."

Modern Italian terminology.

In terminology, as well as in artistic aim, Wagner's lyric dramas round out a cycle that began with the works of the Florentine reformers of the sixteenth century. Wagner called his later operas Musikdramen, wherefore he was soundly abused and ridiculed by his critics. When the Italian opera first appeared it was called Dramma per musica, or Melodramma, or Tragedia per musica, all of which terms stand in Italian for the conception that Musikdrama stands for in German. The new thing had been in existence for half a century, and was already on the road to the degraded level on which we shall find it when we come to the subject of operatic singing, before it came to be called Opera in musica, of which "opera" is an abbreviation. Now it is to be observed that the composers of all countries, having been taught to believe that the dramatic contents of an opera have some significance, are abandoning the vague term "opera" and following Wagner in his adoption of the principles underlying the original terminology. Verdi called his "Aïda" an Opera in quattro atti, but his "Otello" he designated a lyric drama (Dramma lirico), his "Falstaff" a lyric comedy (Commedia lirica), and his example is followed by the younger Italian composers, such as Mascagni, Leoncavallo, and Puccini.

Recitative.

In the majority of the operas of the current list the vocal element illustrates an amalgamation of the archaic recitative and aria. The dry form of recitative is met with now only in a few of the operas which date back to the last century or the early years of the present. "Le Nozze di Figaro," "Don Giovanni," and "Il Barbiere di Siviglia" are the most familiar works in which it is employed, and in the second of these it is used only by the bearers of the comedy element. The dissolute Don chatters glibly in it with Zerlina, but when Donna Anna and Don Ottavio converse, it is in the recitativo stromentato.