Index.
Reading edition
Adam, 85, 189, 207
Ambroise Thomas’s Hamlet, Mignon, 90
Arensky, 124
Aria from Gluck’s Orfeo, 50-51
—— Verdi’s Aïda, 73-74
Ariosti, 190
Arne, 93-94
Arne’s Artaxerxes, 93
Arrieta, 129
Arsani, 208
Auber, 87-88, 175, 207
Auber’s Masaniello, 87;
Fra Diavolo, 88
Bach, 61
Balfe, 94-95
Balfe’s The Siege of Rochelle, 95;
Bohemian Girl, 95, 187
Ballad Opera, 15, 94, 186
Ballet, 188-189
Bardi, Count, 33
Barnett’s The Mountain Sylph, 94
Bayreuth, 179, 180-183
—— Wagner’s theatre at, 103
Beethoven, 13, 14, 24, 27, 44, 55, 61, 76, 77, 99
Beethoven’s Fidelio, 55, 70, 84, 170, 177, 185
Beggar’s Opera, 91-93, 186
Bellini, 15, 72, 173
Bellini’s La Sonnambula, Norma, 72
Benda, 51
Benedict, 96
Benedict’s The Lily of Killarney, 96
Berlin, 178
Berlioz, 87, 175, 209
Bishop, Henry, 94, 157
Bizet, 89
Bizet’s Carmen, 89
Boieldieu, 85, 207
Boieldieu’s La Dame Blanche, 85
Boito, 130-132, 141
Boito’s Nero and Orestiade, 131;
Mefistofele, 131, 173, 195
Borodin, 124, 125
Borodin’s Prince Igor, 125
Bruneau, 141, 143
Bruneau’s L’Attaque du Moulin, L’Outragan,
La Rêve, Messidor, 143
Budapest, 178
Bunning, Herbert, 148
Bunning’s Princess Osra, 145, 148
Buononcini, 42, 45-46, 64, 154, 190
Caccini, 37, 39
Caldara, 41, 42, 207
Cambert, Robert, 42
Campion, 187
“Canzone” by Mozart, 52
Carl Rosa Opera Company, 159
Caruso, 204
Catalani, 204
Cavalli, 10, 40
Cavos, 123
César-Cui, 124, 125
César-Cui’s Angelo, Ratcliff, The Flibustier, 125
Cesti, 41
Charpentier, 144
Cherubini, 14, 63, 66, 84, 168, 175, 199
Cherubini’s Ali Baba, Les Abencerages, Les deux Journées, 84;
Water Carrier, 159, 200
Chorale from Meyerbeer’s Les Huguenots, 86
Cilea, 134
Cilea’s Adriana Lecouvreur, 134, 188
Cimarosa, 51, 65, 207
Cimarosa’s The Secret Marriage, 65
Companies, opera, 154;
travelling, 158
Composers, stories of, 209-211
Concerted Finale, Invention of, 12, 64
Contest, a notable, 65
Coperario, 187
Corder, 147
Corder’s Nordisa, 147
Cornelius, 79
Cornelius’ The Barber of Bagdad, 80
Covent Garden opera, 154, 157
Cowen, 147
Cowen’s Harold, Signa, The Lady of Lyons, 147;
Thorgrim, 147, 159;
Pauline, 159
Curiosities of opera, 189-198
Da Capo Aria, Birth of, 11;
weakness of, 21;
reform of, 22
Dargomijsky, 124
Dargomijsky’s The Stone Guest, The Water-Sprite, 124
Debussy, 144
Debussy’s Pelleas et Melisande, 144
De Lara, 148
De Lara’s Amy Robsart, Messaline, The Light of Asia, 148
Délibes, Léo, 90
Délibes’ Coppélia, Lakmé, Le Roi l’a dit, 90
D’Indy, Vincent, 144
Donizetti, 15, 72, 173, 207
Donizetti’s La Favorita, La Fille du Régiment,
L’Elisir d’Amore, 72;
Lucretia Borgia, 72, 173;
Lucia di Lammermoor, 174
Dresden, 179
Dubois, 144
Dvŏrák, 126, 128, 178
Dvŏrák’s Demetrius, Der Bauer ein Schelm, King and Collier, Rusalka, Wanda, 128;
Armida, 128, 178
Early Russian composers, 123
Elgar’s Apostles, 117
Empiricism, Musical, 12
English Opera, 44-47, 91
Enterprise, Operatic, in England, 150
Farinelli, 203, 204
Fibich, 127, 178
Flotow, 79
Flotow’s Martha, 79
Franchetti, 134
French Opera, 42-43
French School, the, 81-90
Gade, 129
Galuppi, 64
German, Edward, 148
German Opera, 43-44
German School, the, 76-80
Giordano, 134
Giordano’s Andrea Chenier, 134
Glinka, 123, 127
Glinka’s A Life for the Czar, Russia and Ludmilla, 123
Gluck, 13-15, 20, 22-24, 31, 42, 48-51, 61, 63,
64-65, 71, 76, 83, 87, 98, 143, 175, 190, 207
Gluck’s Armida, Iphigenia in Aulide, Paris and Helen, 49;
Alceste, 23, 49;
Orfeo, 49, 177;
Iphigenia in Tauride, 49, 65
Goetz, 80
Goetz’s The Taming of the Shrew, 80
Goldmark, 137
Goldmark’s Cricket on the Hearth, The Queen of Sheba, 137
Goring Thomas’s Esmeralda, Nadeshda, 97
Gounod, 88, 141
Gounod’s Mireille, Romeo and Juliet, The Mock Doctor, 88;
Philémon and Baucis, 88, 196;
Faust, 88, 95, 141, 170
Grand Opera, definition of, 70;
in England, 156-162
—— French, 43, 63, 176
Graun, 77, 207
Grétry, 51, 82
Grieg, 129
Grisi, 208
Halèvy, 85, 207
Handel, 11, 43, 44-47, 64, 76, 154, 190, 191, 195, 202, 203, 207
Handel’s Deidamia, 45;
Rinaldo, 45, 202
Harris, Sir Augustus, 157
Hasse, 43, 77, 207
Haydn, 61, 207
Hérold, 85, 175, 207
Hérold’s Zampa, 85
Hiller, 77, 78
Hiller’s Der Dorfbarbier, Die Jagel, 77
Humperdinck, 137
Humperdinck’s Die Heirat wider Willen, 139;
Hansel and Gretel, 137, 138, 141
Innovations, musical, 20
Isouard, 85, 206
Italian Opera, 15, 39-42
Italian School, the, 63-75
Jenny Lind, 203
Jomelli, 64, 207
Jomelli’s Armida, 209
Keiser, 43, 76
Kelly, 94
Kreutzer, 79
Lablache, 204, 208
Lago, Señor, 157
Lalo, 90
Lalo’s Le Roi d’Ys, 90
Legrenzi, 41
Leipzig, 179
Leit-motif, the, 27, 28, 105, 107, 116, 135
Leoi, Franco, 148
Leoncavallo, 130, 133
Leoncavallo’s I Pagliacci, 133, 195;
Roland of Berlin, 133
Librettists, 206
Lindpaintner, 78, 79
Liszt, 102, 103
Lock, 187
Logroscino, 12, 64
Lortzing, 78, 79
Lortzing’s Peter the Shipwright, 79
Lotti, 42
Ludvig II., King of Bavaria, 102, 103
Lully, 11, 42-43, 81, 98, 175, 176, 188, 199
MacCunn, Hamish, 147
MacCunn’s Diarmid, 148;
Jeanie Deans, 148, 159
Macfarren, 96
Mackenzie, 145, 147
Mackenzie’s The Cricket on the Hearth, The Troubadour, 147
Malibran, 204
Manners, Charles, 160, 161
Marschner, 14, 60, 78, 79
Marschner’s Der Vampyr, Hans Heiling,
The Templar and the Jewess, 79
Mascagni, 130, 131-132
Mascagni’s Cavalleria Rusticana, 132, 170, 206;
L’Amico Fritz, I Rantzau, Iris,
William Ratcliff, 133
Masque, the, 187
Massé, Victor, 90
Massé’s Paul et Virginie, 90
Massenet, 141, 142
Massenet’s Esclarmonde, Hérodiade, Le Cid,
La Jongleur de Notre Dame, La Navarraise,
Le Roi de Lahore, Manon, Thaïs,
Werther, 142
McLean, Alick, 148
Méhul, 83
Méhul’s Joseph, Uthal, 83
Melody, Adoption of, 10
Melos, 16, 26, 30, 116;
Modern, 117
Mendelssohn, 59, 60, 61
Mendelssohn’s Lorelei, The Wedding of Camacho, 60
Mercadante, 72
Merimée, 210
Messager André, 144
Metastasio, 207
Meyerbeer, 60, 85-87, 98, 101, 169, 173, 175, 176, 194, 207
Meyerbeer’s Dinorah, L’Africaine, Le Huguenots,
Le Prophète, 87
Michael’s Utal, 195
Mixed language singing, 190
Monodic style, 38
Monsigny, 82
Monteverde, 9, 19, 20, 31, 39, 48, 71
Moody, Madame Fanny, 160
Moody-Manners Company, 158, 160
“Moresca” from Monteverde’s Orfeo, 39-40
Moussorgsky’s Judith, 125
Mozart, 13, 14, 24, 27, 44, 51-55, 61, 62, 63,
65, 66, 70, 76, 77, 78, 168, 205, 207
Mozart’s Die Entfurhrung aus dem Serail, Idomeneo, 54;
Don Juan, 54, 205;
Magic Flute, 54, 195;
The Marriage of Figaro, 54, 177;
Cosi fan Tutte, 177;
Zauberflöte, 177, 196;
Don Giovanni, 124, 170, 178, 195
Munich, 179
Musical comedy, 186
Musical empiricism, 12
Music, Emotional effect of, 34;
an accessory, 5;
polyphonic, 33
Muzio Scevola, 190
Napoleon I., 199, 200
Naumann, 84
Naylor, Dr. Edward, 161
Neapolitan school, the, 64
Nepravnik, 127
Nessler, 140
Nessler’s The Trumpeter of Sákkingen, 140
Nicolai, 78, 79
Nicolai’s Merry Wives of Windsor, 79
Offenbach, 89
Offenbach’s Orphée aux enfers, 89;
Les Contes d’Hoffmann, 90
Opera and politics, 199
“Opera Buffa,” 12, 64
“Opera Comique,” 15, 82, 83, 185
Opera House, Attempts to provide London with, 158;
Covent Garden, 172;
“La Scala,” Milan, 173;
“San Carlo,” Naples, 173;
“Académie Nationale de Musique,” Paris, 175;
Vienna, 177;
Hungarian, Budapest, 178;
National Theatre, Prague, 178;
Berlin, 178;
Dresden, 179;
Court Theatre, Munich, 179;
Bayreuth, 180
Opera houses, the chief, 172-184
“Opera in Musica,” 1, 5
“Opero Seria,” 12
Operetta, 185
Opera, What is it? 1;
derivation of term, 1;
an artificial product, 2-3;
hybrid, 4;
defined, 5;
growth of, 8;
reformers of, 18;
beginnings of, 42;
logical commencement of, 37;
early Italian, 39-42;
early French, 42-43;
early German, 43-44;
early English, 44-47;
small influence of great composers on, 61;
Italian school of, 63-75;
German school, 76-80;
French school, 81-90;
English, of eighteenth and part of nineteenth centuries, 91-97;
chief modern composers of, 120;
subsidized, 150;
an educative
quantity, 151;
objections to subsidized, 151;
English, 152;
Covent Garden, 154;
how to listen to and enjoy it, 163-171;
in Russia, 183;
in other European countries, 183;
in Egypt and America, 184
Orchestra, use of, 10;
definite shaping of, 14
Pacini, 72, 202
Paderewski, 127
Paisiello, 64
Paladihle, 144
Palazzo Bardi enthusiasts, 19, 33, 34
Paris, 175
Parry, Sir H., 145
“Pasticcio,” 190
Patti, Madame, 204
Pepusch, Dr., 92
Pergolesi, 12, 64
Pergolesi’s La Serva Padrona, 64
Peri, 34, 37, 39
Peri’s Daphne, 34;
Euridice, 34, 35, 36, 42
Philidor, 82
Philip V. of Spain, 203
Piccini, 51, 64-65
Polish opera, 127
Ponchielli’s La Gioconda, 173
Porpora, 207
Prague, 178
Prima Donna, the, 207-208
Prime donne, 15, 72, 207
Puccini, 130, 135
Puccini’s La Bohème, La Tosca, Manon Lescaut, 135;
Madama Butterfly, 135, 157
Purcell, 11, 44, 91
Purcell’s Dido and Æneas, King Arthur, 44
Rameau, 81-82, 175
Recitative, 69-71
Recitativo Stromentato, 71
Richter (Wagnerian conductor), 157
Ricordi, Messrs., 161
Rimsky-Korsakoff, 124, 125
Rimsky-Korsakoff’s Pskowitjanka, The May Night, 125
Romantic opera, 24, 56
Rome, 174
“Rose Softly Blooming” (song), 79
Rossi, 42
Rossini, 15, 25, 66-69' 71, 80, 173, 202, 206
Rossini’s La Cenerentola, William Tell, 71;
La Gazza Ladra, 71, 173;
Otello, 69, 71;
Tancredi, 66, 174;
Semiramide, Mosè in Egitto, Zelmira, 174;
The Barber of Seville, 66, 174, 202, 211
“Rossinian Crescendo,” example of, 67-69
Rousseau, Jean Jaques, 82
Rousseau’s Le Devin du Village, 82, 209
Royal Opera Syndicate, 154, 155, 156, 157, 158, 161
Royalties, 206
Rubini, 208
Rubinstein, 123
Sacchini, 51, 64
Saint-Saëns, 141-142
Saint-Saëns’ Ascanio, Henry VIII., L’Ancètre,
Les Barbares, Proserpine, and Phryne, 142
Scarlatti, Alessandro, 10, 12, 21, 27, 41, 43, 70, 118
Schillings, Max, 140
Schubert, 13, 59, 60, 61
Schubert’s Alfonso and Estella, Fierabras, 60
Schumann, 59, 60, 61
Schumann’s Genoveva, 60
Scribe, 207
Senesino, 202
Serov, 124
Shield, 94
Sinding, 129
Singers, Abuses by, 15;
stories of, 207-208
Singspiel, 4, 5, 70, 77, 83, 97, 185
Slavonic opera, 122-128
Smetana, 127, 178
Smetana’s Dalibor, Der Kuss, Libusa, 128;
Bartered Bride, 128, 178
Smith, Miss Emily, 148
Smith’s (Miss Emily) Der Wald, The Wreckers, 148
Somerville, 148
Spinelli, 134
Spinelli’s A Basso Porto, 134
Spohr, 14, 24, 78
Spohr’s Faust, 78;
Der Alchymist, Der Berggeist, Jessonda, 79
Spontini, 14, 60, 63, 66, 84, 98, 169, 175,
176, 194, 196, 200, 205, 210
Spontini’s Fernand Cortez, Olympia, 85;
La Petite Maison, 210;
La Vestale, 85, 200, 210
Stage pieces, Progress in mounting of, 7
Stanford, 145, 146, 153
Stanford’s Canterbury Pilgrims, Savonarola,
Shamus O’Brien, The Veiled Prophet of Khorassan, 146;
Much Ado about Nothing, 147
Stereotyped casts, 191
Storace, 94
Strauss, 139, 179
Strauss’s Feursnot, Guntram, 139;
Elektra, Salome, 139, 179
Sullivan, 97, 119, 158, 189
Sullivan’s The Mikado, 97;
Ivanhoe, 97, 158
Sussmäyr, 70
Tamburini, 208
Tchaïkovsky, 124, 126, 189, 195
Tchaïkovsky’s Eugene Oniegin, Joan of Arc,
Mazeppa, The Enchantress,
The Oprichnik, 126
Thomas, Ambroise, 90, 119, 141
Thomas, Goring, 96
Titov, 123
Tomaschek, 127
Tonality, 9
Venice, 174
Verdi, 72-75, 80, 98, 119, 173, 207
Verdi’s Ernani, Rigoletto, Il Trovatore,
La Traviata, 72;
Un Ballo in Maschera, Aïda, 73;
Otello, Falstaff, 74;
I Lombardi, 173
Vienna, 177
Vivaldi, 41
Volkov, 123
Wagner, 15, 26, 73, 79, 85, 89, 98-115, 143,
157, 176, 179, 180, 189, 192;
Influence of, 116-120;
use of orchestra, 118;
his harmony, 118;
supernatural requirements, 194
Wagner’s The Fairies, 100;
Das Liebesverbot, 100, 101;
Rienzi, 101, 105;
Flying Dutchman, 79, 102, 105, 159;
Parsifal, 104, 113-115;
Tannhäuser, 102, 106-107, 189, 209;
Lohengrin, 102, 107-108, 159, 170, 200, 209;
The Ring, 102, 103, 112-113, 157, 170, 202;
Die Meistersinger, 102, 110-112, 157, 170, 202;
Tristan and Isolde, 189, 170
Wagner, Siegfried, 140
Wallace, 96
Wallace’s Maritana, 96, 187
Weber, 13, 14, 24, 44, 56-59, 61, 66, 77,
78, 84, 89, 99, 157, 168, 179, 205
Weber’s Der Freischütz, 56, 70, 78, 84, 178, 185, 205;
fragment from, 57-59;
Oberon, 59, 157;
Euryanthe, 59, 195
Weingartner, 140
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Footnotes: