Table V shows the percentage of recitative and its distribution to the various voices.
Table VI shows the percentage of ensemble work and the various kinds.
Table VII shows the percentage of the chorus work and its distribution as to mixed choruses and those sung by the men and women alone.
"Rappresentatione de Anima" by Cavalieri is generally classed as an oratorio but many authorities consider it an opera, as he was one of Peri's contemporaries, and worked with the little band of Florentine nobles, and this was the first work which resulted from their meetings. However, whether it is an opera or an oratorio, the forms in those days were very vague, hence, the component factors are interesting as compared to the later operas, and inasmuch as no score could be obtained earlier than 1675, it will suffice as a type of that time. In studying the operas from Wagner on, the solos have been very difficult to distinguish from the recitative, and consequently any stretch of solo singing over twenty or twenty-five measures in length, with any sort of tune, has been considered as a solo.
I. THE BEGINNINGS OF OPERA TO GLUCK.
Before beginning the survey of modern operas and before tracing the development of the different tendencies, it will be interesting to consider briefly the historic source of the opera, and the part that music played in the various dramas, madrigals, ballets, church services, etc.
It is an acknowledged fact that Peri and his little band of Florentine reformers went back to the old Greek dramas for their models and forms. However, it is not to be supposed that opera was developed spontaneously among these reformers. Like every other world wide movement, it was the culmination of tendencies and customs from various sources. We have no reason to accept the Greek dramas as the only models which served, although they were considered seriously by the first opera writers.
The Egyptians sang jubilations to their Gods. These consisted of florid cadences on prolonged vowel sounds. In the old Greek dramas, music played an important part. The Greek tragedy and comedy developed from the hymns, choral dances and chants sung by a chorus of singers disguised as satyrs, at the festivals of Bacchus. The chorus often addressed the audience on topical subjects. The various actors intoned or chanted their words, and were often accompanied by a lyre and other instruments of the day. The chorus chanted their parts. This would not be termed music by us today, but was more of a recitative. Later the chorus chanted while the principals sang, forming a sort of background accompaniment. The slow developement of the music in the mass must not be forgotten, but there is nothing which definitely resembles opera until the thirteenth century. "Noel" was supposed to be a song which the angels sang, and is found in many festivals. Perhaps this may be termed one of the sources of Wagner's ideas, the association of a particular song with one group of people. In the "Three Maries" the chorus sang words in Latin, Gabriel and the three virgins sang, but the words of the Savior had no music. The "Fete of the Ass" was quite an elaborate festival and here the various characters sang quite definitely, and the congregation was urged at stated intervals to join in the singing. Part of the words and music were symbolical, especially those imitating the braying of the ass. "The Passion", in 1264, enacted by the Fraternity of the Gonfalone, lasted for several days, and contained scenes which were sung, choruses and a trio.