EVOLUTION OF OPERA.

Shannon News, 7 June 1927, Page 1

EVOLUTION OF OPERA.

ITALIAN, ENGLISH AND GERMAN

The third of the lectures by Mr Ern-

est Dennis, A.E.C.M., on "The Appreciation of Music,'' was given in the Concert Hall on Monday evening, when he introduced the subject of the operas and their development. The operatic style's of three countries were contrasted—Germany, with its seriousness of purpose; Italy, with its brilliant melodies; and France, with its great orchestral support. The lecturer mentioned that the Metropolitan Opera House in New York had four compan- ' ies each giving operas in their own language—English, German, French and Italian. He remarked that any speaker wishing to get applause could obtain it by saying that English was the best I language to sing in and that all operas i should be written in English. HowI ever, an Italian opera was written to suit the Italian language, and that was one reason why it was better to sing it in that language. Some of the translations were atrocities in this sense. English was a good language to sing in; but English translations were a diffeient question. - , Tracing the genesis of opera, Mr Dennis stated that it originated in Florence in the 16th century; in 1597 a small opera called "Daphne" was performed. At that time opera was practically a declamatory - recitative from beginning to end. Syncopation was introduced by early composers, like Beethoven, who obtained wonderful effects from it. Scarlatti was responsible for the ritomella, and he was regarded as the founder of what was called to-day the Italian opera, the chief characteristics of which were melody and accompaniment. Grand opera at that period, was not performed publicly, but for the entertainment of princes or those who could afford the expense of the dressing. At a laterj period a cart was drawji about in the carnival, and five masked performers jicted in it. Cayallj, who introduced „so much melody into opera, realised the effect of repetition and brought in the da capo sign. He composed about 60 operas. Gluck was the earliest composer whose repertoire was represented in the modern opera house; and the city of Hamburg was practically the cradle of the,German opera. Handc4 hi ,1705-6 operas. His wonderful ability waff quickly '"'|>r6/' claimed by all, and his strpdng triumph j -wa's-'< t 'ltinald&y- ? - , ■ This was 'probably one of '".the 'finest operas placed on any stage in any country. "Laschio chio pianga" was jone of the' melodies that would live for ever. • •.'■

s Mr Dennis gave a resume of the story from which "Rinaldb" was composed, and he sang with much expression the melody to which he had referred. In England the first that was known ;of operas was probably in connection with the mystery and miracle plays produced in Warwick and Chester about 1650. In 1688 Henry Pureell produced j"Dido and Aeneas," and in 1690 he j-e-wrote "The Tempest." Pureell was a wonderful man, who was looked on as the father of the English ope/a. Practically all the English operas were baljad operas, and sometimes a.story was ivritten round a popular meiody.' The ])est known of the old English works was "The Beggars' Opera," first performed in 1728. Gluck was the oldest composer of operas whose work was at present being performed by any of the operatic companies. He was born near Neumarkt, in Germany, and lived from 1740 to 1787. Three of his operas had survived, but the only one of any importance now was "Orfeo et Eurydice," which had h\S it the immortal melody, "Che faro." The solo- was sung by Mr Dennis.

The lecturer said he had heard both the solos which he sang that evening, handled with the wrong spirit, singers forgetting the necessity for having the voice flowing, besides "painting the wrong picture" by their demeanour. When a ballad was sung at competitions, the vocalist might do as he or she thought fit —but not when giving excerpts from opera or oratorio. Mozart, who followed Gluck, was a man who probably composed more in his sho,rt existence than anyone else ever did; he died when he was 35, in 1791. The operas of Mozart, while they did not supplant Gluck's, wrested from" them the sceptre of supremacy. Mozart's subjects were more modern — even contemporary. As had been said by a biographer, "Mozart's music breeds warm-hearted, laughter-loving artists." " The Marriage ,of Figaro'' was regarded as a model of comic grand opera. This composer practically died a pauper; yet he contributed more to the evolution of grand opera than any other composer.

Mr Dennis stated that in his, next weekly talk he would continue the review of grand opera. The accompaniments were sympathetically played by Miss Middlemiss, L.A.B. , . .