Of course an innovation, and coming from a foreign source, roused the insular prejudices of John Bull. It was un-English. As Dennis, the critic, wrote[469]: 'And yet tho' the Reformation and Liberty and the Drama were establish'd among us together, and have flourish'd among us together, and have still been like to have fall'n together, notwithstanding all this, at this present Juncture, when Liberty and the Reformation are in the utmost Danger, we are going very bravely to oppress the Drama, in order to establish the luxurious Diversions of those very Nations, from whose Attempts and Designs, both Liberty and the Reformation are in the utmost Danger.'
With far greater sense and show of reason he says: 'If that is truly the most Gothick, which is the most oppos'd to Antick, nothing can be more Gothick than an Opera, since nothing can be more oppos'd to the ancient Tragedy, than the modern Tragedy in Musick, because the one is reasonable, the other ridiculous; the one is artful, the other absurd; the one beneficial, the other pernicious; in short, the one natural, and the other monstrous. And the modern Tragedy in Musick, is as much oppos'd to the Chorus, which is the Musical part of the Ancient Tragedy, as it is in the Episodique; because, in the Chorus, the Musick is always great and solemn, in the Opera 'tis often most trifling and most effeminate; in the Chorus the Music is only for the sake of the Sense, in the Opera the Sense is most apparently for the sake of the Music.'
This mongrel style of performance, half Italian, half English, lasted till 1710. 'Pyrrhus and Demetrius' (a translation of 'Pirro e Demetrio' of Adriano Morselli) was the last opera thus played. On Jan. 3, 1709, the prices of admission were considerably reduced: stage boxes from 15s. to 8s., first gallery from 5s. to 2s. 6d., and upper gallery from 2s. to 1s. 6d., and the pit was 5s.
Steele laughingly criticises[470] the performance of 'Pyrrhus and Demetrius.' 'That the understanding has no part in the pleasure is evident, from what these letters very positively assert, to wit, that a great part of the performance was done in Italian; and a great Critic fell into fits in the Gallery, at seeing not only Time and Place, but Languages and Nations confused in the most incorrigible manner.'
The opera of 'Almahide' (composer unknown, supposed to be Buononcini) was brought out at the Hay market on Jan. 10, 1710, and was the first opera ever played entirely in Italian and by Italian singers. These were Nicolini, Valentini, Cassani, Margarita, and Isabella Girardeau. Still John Bull must assert himself, and between the acts intermezzi were sung in English by Dogget, Mrs. Lindsey, and Mrs. Cross.
Another opera was that of 'Hydaspes' (by Francesco Mancini), which Addison[471] made terrible fun of, especially of a fight that took place between Nicolini and a lion. He had previously[472] unmercifully ridiculed 'Nicolini exposed to a Tempest in Robes of Ermine, and sailing in an Open Boat upon a Sea of Pasteboard,' 'the painted Dragons Spitting Wildfire, enchanted Chariots drawn by Flanders Mares, and real Cascades in artificial Landskips;' but then he might have been sore at the fate of his own opera, 'Rosamond,' which was not a success.
Towards the end of 1710 Handel, who was then twenty-seven years of age, came over to England upon the invitation of several noblemen, whose acquaintance he had made at the Court of Hanover; and here he wrote, for Aaron Hill, who then managed the Haymarket Theatre, his opera of 'Rinaldo,' the first advertisement of which contains a silly blunder as to dates. 'By Subscription. At the Queen's Theatre in the Hay Market, this present Saturday being the 24th day of February, will be perform'd a new Opera, call'd Rinaldo. Tickets and Books will be delivered out at Mr. White's Chocolate House in St. James's Street, to Morrow and Saturday next.'[473] In 1712 appeared another of Handel's operas, 'Il Pastor Fido,' which was only performed four times.
On Jan. 21, 1713, was performed his opera of 'Theseus,' about which performance, however, there seems to have been some hitch, for we read[474]: 'Advertisement from the Queen's Theatre in the Hay Market.—This present Saturday the 24th of January, the Opera of Theseus composed by Mr. Hendel will be represented in its Perfection, that is to say with all the Scenes, Decorations, Flights and Machines. The Performers are much concerned that they did not give the Nobility and Gentry all the Satisfaction they could have wished, when they represented it on Wednesday last, having been hindered by some unforeseen Accidents, at that time insurmountable. The Boxes on the Stage Half a Guinea, the other Boxes 8s. The Pit 5s., the first Gallery 2s. 6d.' On Handel's first visit, in 1710, the Queen gave him a most flattering reception, and would fain have him remain here, offering him a pension; but he excused himself, as being already engaged to the Elector George of Hanover.
A few short notes about the singers will be interesting. Very early in Anne's reign mention is made of a singer of whom the only record I can find, is in the following advertisement, and some few others: 'To all the Nobility and Gentry, Whereas Mr. Abel, having been Honoured with the Commands of the Nobility and Gentry, to sing in Drury Lane 4 times; this is to give notice that the said Mr. Abel has not engaged to sing in any other Consort, till that Noble Performance be ended.'[475]
Hughes was a favourite concert singer, with a good countertenor voice; and, when opera first came in, he always played the best parts, until Valentini came over, after which he either died, or left the stage, for no more is heard of him.