III—THE CLASSICAL SCHOOL
After the death of Lulli the French school followed him with little originality until, in the eighteenth century, Rameau gave opera more rhythm and melody, and added to the orchestration. Then Gluck appeared, studying first in Italy, where opera had degenerated; he wrote Piramo e Tisbe, which failed; later he brought out Orfeo ed Euridice, which at once made him famous. The music is appropriate to the lofty and sad classical theme, but is relieved with exquisite reproductions of bird and water music. The whole is one of the great operas. The great song is Che farò senza Euridice.
Mozart, though a German by birth, was trained under Italian influence. His first opera was written when he was twelve years old, and given in his native town. His greatest work was Don Giovanni, though his last, The Magic Flute, is best known. But it was his influence over other musicians, like that of Rameau, which was even more important than his own music. Mozart is one of the most delightful topics for club study. His charming personality, his friendships, and his life-story are full of interest.
Cherubini's work, at first cold and formal, developed into dignity and even grandeur. His finest opera is Médée, although his one light opera, The Water Carriers, is also well known.
Beethoven gave one famous opera to Germany at this time, his Fidelio. The music shows strongly the influence of Mozart, but it is original in form and beautiful in execution. The Fateful Moment is a good selection to give.
IV—THE ROMANTIC SCHOOL
Weber, a German, was the first to turn from the conventional type of opera-writing to the romantic. To his solid foundation he added an exquisite, imaginative glow. After years of struggle he achieved success in his Der Freischütz. Oberon, his last work, full of fairylike and charming music, did not succeed. In fact, Weber's greatest accomplishment was the inspiration he gave others, like Mozart and Rameau. The overtures to both operas should be given.
Flotow, a German by birth, wrote distinctly Italian music. His one well-known opera, Martha, still has a certain vogue, though it is remembered more for its tuneful airs than for any real merit. The Spinning-Wheel Song and the Last Rose of Summer are familiar.
Nicolai began his work by imitating Italian music, but later he became distinctly original and wrote a really excellent comic opera, the Merry Wives of Windsor, which stands in the first rank.
Schubert wrote many light operas of slight musical value, and Schumann one of more or less worth, called Genoveva.