The Operatic Problem
Opera has, since its origin, been considered the highest form of theatrical pastime. The very appellation "opera" indicates that in the land of its birth it was looked upon as the "work" par excellence, and to this day it is the form of Art which is invariably honoured by exalted patronage, and one that people pay the most to enjoy. It is hardly necessary to advance documentary evidence in support of this assertion; moreover, it is beyond the scope of this book to marshal all the historical facts. My chief consideration will be to deal with the prospect of National Opera in England, and to take the existing state of things as the basis for future action. But some retrospect showing that the originators of opera understood its importance, and knew admirably how to define its scope, may prove interesting.
The following extract from the preface to Vitali's Aretusa, the score of which is in the Barberini Library, performed in Rome on the 8th of February 1620, is worth quoting in corroboration of the statement:—
"This style of work (opera) is a new style, born a few years ago at Florence, of the noble intelligence of Messer Ottavio Rinuccini, who, dearly beloved by the Muses and gifted with especial talent for the expression of passions, would have it that the power of music allied to poetry, tended rather to gather fresh strength from the combination, than to suffer diminution in consequence. He spoke of it to Signor Jacopo Corsi, Mæcenas of every merit and most enlightened amateur of music, proving that the mission of music united to poetry should be not to smother words with noises, but to help those words to a more eloquent expression of passion. Signor Corsi sent for Signor Jacopo Perri and Signor Giulio Caccini, eminent professors of singing and counterpoint, and after having discussed the subject, they came to the conclusion that they had found the means for reaching the desired goal. Nor were they mistaken. It is in this new musical style, the fable of Dafne to the poem of Signor Ottavio Rinuccini, was composed and performed in Florence at Signor Jacopo Corsi's, in the presence of the illustrious Cardinal del Monte, a Montalto, and their most serene Highnesses the Grand Duke and Grand Duchess of Tuscany. The work pleased them so much that they were absolutely bewildered (attonitidi stupore). This style of music acquired a still greater number of fresh beauties in Euridice, a work by the same authors, and then in Ariadne, by Signor Claudio Monteverdi, to-day Maestro di Capella at Venice."
Your modern theorist could hardly express his operatic creed with greater felicity than the Florentine noble, Ottavio Rinuccini, and the whole quotation breathes in its quaint phraseology, the spirit of love for all that is new and beautiful in Art, which gave Italy her hegemony amongst other nations.
The operatic spectacle, when first imported into France, was a Court entertainment for the privileged few, but it soon tempted private enterprise, and here, again, its importance, as an attraction, was not underrated, for the first impressario, one Pierre Perrin, took good care to obtain a monopoly for the new style of performances, whilst the royal privilège (letters-patent), granted to him, sets out their advantages in unmistakable terms.[1]
Therein "Louis par la grace de Dieu," etc., concedes to his "ame et feal Pierre Perrin" the exclusive rights of operatic performances throughout France, not only that they should contribute to his own recreation, or that of the public in general, but chiefly in the hope that his subjects, "getting accustomed to the taste of music, would be led all but unconsciously to perfect themselves in this the most noble of liberal arts." (Que nos sujets s'accoustumant au goust de la musique, se porteroient insensiblement a se perfectionner en cet art, l'un des plus nobles de liberaux.) These Royal letters-patent were dated 1669, demonstrating that two hundred and thirty-two years ago France recognised the educational mission of the art of music, and its accessibility by the means of opera.
The taste for this new entertainment grew and spread throughout Europe, and it is a matter of common knowledge that everywhere the encouragement and support came from the highest quarters, always having for its object the benefit of the masses.