Questions.
What circumstances show that the church singers of the 13th to 16th centuries must have had considerable skill in singing?
What was the influence of the opera on singing?
What was the course of training required of young singers in the 17th century?
What important work on singing dates from the early part of the 18th century? Give some of its principles.
Describe the celebrated singers of this period and their work.
What was the influence of vocal virtuosity on music?
LESSON XXI.
Opera in France and England.
Spread of Italian Opera.—The fame of Italian opera soon spread to other countries. Princes and kings, eager to hear the new style of music, held out golden inducements to Italian composers and singers to come to their courts; it was generally thought that none but an Italian could compose an opera or sing an aria. The consequence was that in almost all countries during the 18th century the prevailing musical influence was Italian; native composers and singers were obliged to study Italian models if they wished to attain to popular favor. In France, however, this influence was only sufficient to modify without obscuring the features of an essentially national school. Independence in matters of art has always been a marked characteristic of the French; they have led rather than followed. The most distinguished names in the history of French opera have been those of foreign birth, but whatever their nationalities, all give evidence of the effect exerted upon them by the definite form, the clearness of dramatic intention demanded by the canons of French taste.
Origin of French Opera.—As the Italian opera was derived from the classical tragedy, so the French opera had its origin in the Ballet, the favorite form of amusement in France. The French Ballet of the 17th century was by no means confined to the dance; it was a heterogeneous mingling of dances and dialogues, songs and choruses, corresponding to the English Masque. Like the early operas in Italy, their spectacular features were on a large and expensive scale, which confined them to occasions of especial festivity at court or among the nobility. The taste for dancing had much to do with the direction taken by the opera in France; it is still characteristic of the French school, as is shown by the prominent place given to the ballet in the Grand Opera.