History of the Opera from its Origin in Italy to the present Time. H. Sutherland Edwards
opera Albion and Albanius, which was performed at the Duke's Theatre in 1685, and of which the representations were stopped by the news of Monmouth's invasion. Purcell, who was only fifteen years of age when Ariadne was produced, was now twenty-six, and had written a great deal of admirable dramatic music. Probably the public thought that to him, and not to the Frenchman, might have been confided the task of setting Albion and Albanius, for in the preface to that work Dryden says, as if apologetically, that "during the rehearsal the king had publicly declared more than once, that the composition and choruses were more just and more beautiful than any he had heard in England." Then after a warm commendation of Grabut Dryden adds, "This I say, not to flatter him, but to do him right; because among some English musicians, and their scholars, who are sure to judge after them, the imputation of being a Frenchman is enough to make a party who maliciously endeavour to decry him. But the knowledge of Latin and Italian poets, both of which he possesses, besides his skill in music, and his being acquainted with all the performances of the French operas, adding to these the good sense to which he is born, have raised him to a degree above any man who shall pretend to be his rival on our stage. When any of our countrymen excel him, I shall be glad, for the sake of Old England, to be shown my error: in the meantime, let virtue be commended, though in the person of a stranger."
Neither Grabut nor Cambert was the first composer who produced a complete opera in England. During the Commonwealth, in 1656, Sir William Davenant had obtained permission to open a theatre for the performance of operas, in a large room, at the back of Rutland House, in the upper end of Aldersgate Street; and, long before, the splendid court masques of James I. and Charles I. had given opportunities for the development of recitative, which was first composed in England by an Italian, named Laniere, an eminent musician, painter and engraver. The Opera had been established in Italy since the beginning of the century, and we have seen that in 1607, Monteverde wrote his Orfeo for the court of Mantua. But it was still known in England and France only through the accounts, respectively, of Evelyn and of St. Evrémond.
THE FIRST ENGLISH OPERA.
The first English opera produced at Sir William Davenant's theatre, the year of its opening, was The Siege of Rhodes, "made a representation by the art of perspective in scenes, and the story sung in recitative music." There were five changes of scene, according to the ancient dramatic distinctions made for time, and there were seven performers. The part of "Solyman" was taken by Captain Henry Cook, that of "Ianthe" by Mrs. Coleman, who appears to have been the first actress on the English stage—in the sense in which Heine was the first poet of his century (having been born on the 1st of January, 1800)[6] and Beaumarchais the first poet in Paris (to a person entering the city from the Porte St. Antoine).[7] The remaining five parts were "doubled." That of the "Admiral" was taken by Mr. Peter Rymon, and Matthew Lock, the future composer of the music to Macbeth; that of "Mustapha," by Mr. Thomas Blagrave, and Henry Purcell, the father of the composer of King Arthur, and himself an accomplished musician. The vocal music of the first and fifth "entries" or acts, was composed by Henry Lawes; that of the second and third, by Captain Henry Cook, afterwards master of the children of the Chapel Royal; that of the fourth, by Lock. The instrumental music was by Dr. Charles Coleman and George Hudson, and was performed by an orchestra of six musicians.
The first English opera then was produced, ten years later than the first French opera; but the Siege of Rhodes was performed publicly, whereas, it was not until fifteen years afterwards (1671) that the first public performance of a French opera (Cambert's Pomone) took place. Ordinances for the suppression of stage plays had been in force in England since 1642, and in 1643, a tract was printed under the title of The Actor's Remonstrance, showing to what distress the musicians of the theatre had been already reduced. The writer says, "But musike that was held so delectable and precious that they scorned to come to a tavern under twenty shillings salary for two hours, now wander with their instruments under their cloaks (I mean such as have any) to all houses of good fellowship, saluting every room where there is company with 'will you have any musike, gentlemen.'" In 1648, moreover, a provost-marshal was appointed with power to seize upon all ballad singers, and to suppress stage plays.
Nevertheless, Oliver Cromwell was a great lover of music. He is said to have "entertained the most skilful in that science in his pay and family;" and it is known that he engaged Hingston, a celebrated musician, formerly in the service of Charles, at a salary of one hundred a-year—the Hingston, at whose house Sir Roger l'Estrange was playing, and continued to play when Oliver entered the room, which gained for this virtuoso the title of "Oliver's fiddler." Antony à Wood, also tells a story of Cromwell's love of music. James Quin, one of the senior students of Christ Church, with a bass voice, "very strong and exceeding trouling," had been turned out of his place by the visitors, but, "being well acquainted with some great men of those times that loved music, they introduced him into the company of Oliver Cromwell, the Protector, who loved a good voice and instrumental music well. He heard him sing with great delight, liquored him with sack, and in conclusion, said, 'Mr. Quin, you have done well, what shall I do for you?' To which Quin made answer, 'That your highness would be pleased to restore me to my student's place,' which he did accordingly." But the best proof that can be given of Oliver Cromwell's love for music is the simple fact that, under his government, and with his special permission, the Opera was founded in this country.
CROMWELL'S LOVE OF MUSIC.
We have seen that in Charles II's reign, the court reserved its patronage almost exclusively for French music, or music in the French style. When Cambert arrived in London, our Great Purcell (born, 1659) was still a child. He produced his first opera, Dido and Æneas, the year of Cambert's death (1677); but, although, in the meanwhile, he wrote a quantity of vocal and instrumental music of all kinds, and especially for the stage, it was not until after the death of Charles that he associated himself with Dryden in the production of those musical dramas (not operas in the proper sense of the word) by which he is chiefly known.
In 1690, Purcell composed music for The Tempest, altered and shamefully disfigured by Dryden and Davenant.
PURCELL.
In 1691, King Arthur, which contains Purcell's finest music, was produced with immense success. The war-song of the Britons, Come if you Dare, and the concluding duet and chorus, Britons strike Home, have survived the rest of the work. The former piece in particular is well known to concert-goers of the present day, from the excellent singing of Mr. Sims Reeves. Purcell died at the age of thirty-six, the age at which Mozart and Raphael were lost to the world, and has not yet found a successor. He was not only the most original, and the most dramatic, but also the most thoroughly English of our native composers. In the dedication of the music of the Prophetess to the Duke of Somerset, Purcell himself says, "Music is yet but in its nonage, a forward child, which gives hope of what it may be hereafter in England, when the masters of it shall find more encouragement. 'Tis now learning Italian, which is its best master, and studying a little of the French air to give it somewhat more of gaiety and fashion." Here Purcell spoke in all modesty, for though his style may have been formed in some measure on French models, "there is," says Dr. Burney, "a latent power and force in his expression of English words, whatever be the subject, that will make an unprejudiced native of this island feel more than all the elegance, grace and refinement of modern music, less happily applied, can do; and this pleasure is communicated to us, not by the symmetry or rhythm of modern melody, but by his having tuned to the true accents of our mother tongue, those notes of passion which an inhabitant of this island would breathe in such situations as the words describe. And these indigenous expressions of passion Purcell had the power to enforce by the energy of modulation, which, on some occasions, was bold, affecting and sublime. Handel," he adds, "who flourished in a less barbarous age for his art, has been acknowledged Purcell's superior in many particulars; but in none more than the art and grandeur of his choruses, the harmony and texture of his organ fugues, as well as his great style of concertos; the ingenuity of his accompaniments to his songs and choruses; and even in the general melody of the airs themselves; yet, in the accent, passion and expression of English words, the vocal music of Purcell is, sometimes, to my feelings, as superior to Handel's as an original poem to a translation."
CHAPTER III.