England’s first opera was performed in 1656. It was entitled the “Siege of Rhodes,” and was composed by five persons in collaboration. Musicians and players were at this time held in low esteem, and were liable to arrest as vagabonds at almost any moment.
England possessed in Henry Purcell (1658-1695) a musician of whom any country might be proud. This composer soon turned his pen to the writing of operas; the music to “The Tempest” was excellent, while his “King Arthur” contains music which is still loved by Englishmen everywhere.
Now that opera was established firmly, the rivalries of the singers at once began.
In 1726 a bitter rivalry sprang up in London between Cuzzoni and Faustina Bordoni, in which the whole town took part. It lasted over two years, and was throughout causeless, as the styles of the two were entirely dissimilar, Bordoni being unapproachable in the lightness and rapidity of her runs and embellishments, and Cuzzoni excelling in the pathetic quality, and breadth of her tones.[288]
But to follow the absurdities which constantly arose in the rivalries of the various composers, singers and performers, would require, not one, but very many volumes by itself; we need only allude to the disputes and rivalries between Gluck and Piccini (in the composition of operas,) the singers Mara and Todi, in France, and Billington and Mara in London.
The names of those who have established a reputation as wonderful operatic singers, also make a formidable list. Among the very greatest may however be mentioned Farinelli (male soprano) Catalani, and Lablache, and among the most successful of operatic writers, Gluck, Mozart, Meyerbeer, Rossini, Verdi, Gounod. Of course many names could be added, but these may stand as representatives.
It is not singular that the great masters, Händel, Beethoven and Mendelssohn failed in this branch of composition. None of them had the ability to stoop to the musical finesses, and coups de theatre, which were necessary to make a successful opera. They might have succeeded, if the pure style of Gluck, with libretti taken from the Greek tragedies, had continued, for these were in their vein. But the public demanded a more spicy operatic diet which they were not able or desirous to finish.
It is well that it was so, for to this fact we owe our grandest oratorios.
Händel had trouble enough with opera, before he finally left it. He had a temper which was simply frightful (and an appetite which was the same), and when he came in contact with the conceited and irascible singers of his day, an explosion was sure to follow.
Cuzzoni (who had the sweetest of voices, and the harshest of tempers), was the hardest of all for him to get along with.