Opera-writing now became so popular everywhere that it is necessary to take it up in its different homes, and to divide the work into that done in the earlier and later years. The first is:
V—THE EARLIER ITALIAN SCHOOL
Rossini, born at the end of the eighteenth century, knew little of technical methods, so he followed his native genius. His first great opera was Tancredi, and this was followed by others in a lighter vein, notably the Barber of Seville, bright and amusing, and later William Tell, his finest work, dignified and beautiful. The overture to the last is one of his familiar melodies.
Donizetti, born in the same decade with Rossini, wrote sixty-five operas; one of the best-known is Lucia di Lammermoor, with its famous sextet. Lucrezia Borgia, probably his best work, is but seldom given to-day, but La Fille du Régiment, a gay, charming little opera, is often presented.
Bellini, who comes a few years later than the last two composers, wrote operas famous in their day. I Puritani, La Sonnambula, and Norma, are all well known. The solo, Hear Me, Norma, is especially familiar.
VI—THE EARLIER FRENCH SCHOOL
Meyerbeer, born in 1791, though of German birth, spent most of his life in Paris. He wrote many excellent operas, even though they were marred by sensationalism. Robert le Diable, L'Africaine, Les Huguenots, and Le Prophète have all been often given by great singers. Les Huguenots is considered Meyerbeer's best work, and the duet in the fourth act is of immense dramatic force.
In contrast with this composer stands Berlioz, born in 1803. His work is serious, with romantic and delicate touches. He wrote The Damnation of Faust and Benvenuto Cellini, but his great opera is Les Troyens, though it is scarcely known to the public.
Halévy belongs with Meyerbeer, for one reflected the other. La Juive appeared before Les Huguenots, and the music of both has much in common.
Just at this time light opera, or opéra comique, found in Auber its greatest composer. He began to write late in life, and his last opera, The Dream of Love, was produced when he was eighty-eight. His music was full of gaiety and brightness. Fra Diavolo and Masaniello are familiar, and the part of Fenella in the latter has been taken by many famous dancers. Auber has many followers to-day, notably Offenbach, whose Tales of Hoffman is well known.