Farnill ar Letters Music In Amerlca-The


Opera I'm EurOpe-Erance.-NO.I ".
{"character_count": 5560, "word_count": 938, "ccnet_language_score": [0.946399986743927], "ccnet_perplexity": [1242.800048828125], "fasttext_language": ["en"]}
Opera In Europe-France.--No. ".


II theOpera is not quite SO popular in France as


IN ltaly-lhat isnot quite SO much ecessity 10 the
people at large-it is on the other side, if not
much purer and legitimate, at least in more
elevated position than In the land OF song par
cenence. Complete legitimacy. will be looked for


Ia vain In France, whether in the regning dynasty,
literature, plastic arts or anything else legtemacy
of any shape being at discount since the Jnly
Revolution. Here the Opera is more independant-
it is not courtezan, like in Italy, at the mercy of


apl.s Of it's isse@al,housh il has On that account
not few geccadila to attone fOr-but good
orchestra, efficient chorusses, appropriate scenic
arrangements, and above all, interesting hbret-
to, are more or less required, according to the
character OF the music and the theatre for which
it is composed.


Amongst the many things insupporable to a


Frenchman,, the most insupportable is enmui, an
expression that cannot be translated into English.
byron says, If they have not got the word, they


have got the thing) Music alone, whether il


dons the garb OF quadrille air. Of meyerberean
romantic sublimity so much en- vogue at present.
will never induce Ffenchman to change his Cafe


diUGn and the double Elk, against the prospect of


tattou concert before the street door, and fine of


hive sous to be paid oens uolens to his pipeet for
coming home after midnight ; he wants the
additional attraction OF stirring ibretto, which he
analyzes and crticzes during two columns, re-
serving nn petit corn to the music. In his exacons
hensible indulgence, and Of ridiculous severity
on the other. He cannot bear blank verses
rhymes he must have; if correct ones are not to
be had, he puts up with incorrect ones amour
and jour, Je neNrs and bonhelr are particular la


vorlIes with him. He sings them to the air OF the
last trenis the road 10 his quarter In case of
necessity, he is satisfied with annie and pie, deiices


and srpplice; He is very particular about unex-.
pected Incidents, and does not trouble himself
very much about Uraisemblaace. Every day stua-
tions violently turned into exceptional episodes
are his delight nor does he despise supernatural
agencies andan out OF the commonway deus ernachi-
therefore rau up pp ia


ed to be the Eidorado OF good llbretto writer's at


whose doors even Victor Hugo and Delavigne did


no. despse to knock, but without being able to


penetrate further than the c0nL0er. Librettss are


entitled to half Of the droit d'autew paid TO the
composer, and furnished them by the dozen,
whereas Meyerbeer wants ten years to write an
opera-ten years to find tenor with an ut de la


poitrine, and ten more to bring it out. This i'm
portance given to the libretto is very useful,


since 1t exercises notable influence on the inspi-


ration of the composer What pity that some Of
Aote, and Robert le Diable, are set to such in
sipid words, which impediment indeed. Weber,
a Mozart, or a Meyerbeer only could overcome !!
Many good plot has saved bad opera for the
time being, and many q good opera has been
ruined on the stage through bad plot


The opera music in France is at Tresent without
a rival. OF course, do not mean to ascribe this


superiority to French native talent, respectable as


undoubtedly is, since II is indebted for greatest


success to Germans and Italians from Lulli down


TO Meyerbeer But adhue SUB jsdice lis est, whe.
ther Germany can claim the author of the Hugue-
nots, or Italy the author OF GuIIlaume Tell These


operas were composed on French text--were
first performed in France, and were written with
due respect to French taste, and according TO the


style OF the French school, although considerably


modified through the perceptible influence OF the
character OF the German and Italian music But of
this shall speak in one OF my next letters on
opera composers, and return now TO my original


object the physiology Of the opera in France.


The taste OF the French people for opera music


is of very recent date Louis the Fourteenth, with


the nagnifcence which is identified with his reign,


vas the first who introduced regular operas in


France under the auspices Of Lulll. But il was


rlveged amusement of the Court. lis popul rily


made considerable progresses under Giuck, owing


perhaps more 10 the iar-famed quarrel between the


Checklists and Piceinlsts, than TO the intrinsic value


OF the music, which was 80 much above the capa-


city OF the then existing generation, and that TOO,


was confined TO Paris. But now France possesses


many operatic establishments, although they are


cities, as Bordeau, Marseiles, have permanent conf


panies, Of respectable, it not great merit. The


singers are principally recruited amongst the sue


ceesfu Eteres OF the c0nserDdt0ir royale in Paris,


prime dome on the wrong side ct thirty, tenors;


losing voices they never had, barytone oil great


promise, who have been hissed al their debut,


md in general prensisvs sngsts who ere too


good for small provincial towns, and too bad Tor


Paris Ia those cities Meyerbeer and Ha evy,


,refer them to Auber and Adam, but because


hey want to play " at grand OPERA" after The


fas hion OF their prototypes, the ParisIans and like


70 be sent TO sleep by Haevys Iongneurs, tilf they
are restored 10 consciousness by a Meyerbeerian


instrumental storm. The comic opera, which s
the genuine French opera has, Notwithstanding,
numerous partisans, although they do not muster