"Old friends are best."—SELDEN. "I love everything that's old,—old friends, old times, old manners, old books, old wine."—GOLDSMITH. "Old wood to burn! Old wine to drink! Old friends to trust! Old authors to read!"—MELCHIOR. First performance of Italian opera in the United States—Production of Rossini's opera in Rome, London, Paris, and New York—Thomas Phillipps and his English version—Miss Leesugg and Mrs. Holman—Emanuel Garcia and his troupe—Malibran—Early operas in America—Colman's "Spanish B

Beaumarchais wrote a trilogy of Figaro comedies, and if the tastes and methods of a century or so ago had been like those of the present, we might have had also a trilogy of Figaro operas—"Le Barbier de Seville," "Le Mariage de Figaro," and "La Mère coupable." As it is, we have operatic versions of the first two of the comedies, Mozart's "Nozze di Figaro" being a sequel to Rossini's "Il Barbiere," its action beginning at a period not long after the precautions of Dr. Bartolo had been rendered in

Mozart's "Zauberflöte"—"The Magic Flute"—is the oldest German opera holding a place on the American stage, though not quite 118 years old; but so far as my memory and records go, it has had but four performances in the original tongue in New York in a whole generation. There have been a few representations in English within this time and a considerable number in Italian, our operatic institutions being quick, as a rule, to put it upon the stage whenever they have at command a soprano leggiero wi

In the preceding chapter it was remarked that Mozart's "Zauberflöte" was the oldest German opera in the current American repertory. Accepting the lists of the last two decades as a criterion, "Don Giovanni" is the oldest Italian opera, save one. That one is "Le Nozze di Figaro," and it may, therefore, be said that Mozart's operas mark the beginning of the repertory as it exists at the present time in America. Twenty-five years ago it was possible to hear a few performances of Gluck's "Orfeo" in

It was the scalawag Schikaneder who had put together the singular dramatic phantasmagoria known as Mozart's "Magic Flute," and acted the part of the buffoon in it, who, having donned the garb of respectability, commissioned Beethoven to compose the only opera which that supreme master gave to the world. The opera is "Fidelio," and it occupies a unique place in operatic history not only because it is the only work of its kind by the greatest tone-poet that ever lived, but also because of its subj

MM. Michel Carré and Jules Barbier, who made the book for Gounod's opera "Faust," went for their subject to Goethe's dramatic poem. Out of that great work, which had occupied the mind of the German poet for an ordinary lifetime, the French librettists extracted the romance which sufficed them—the story of Gretchen's love for the rejuvenated philosopher, her seduction and death. This romance is wholly the creation of Goethe; it has no place in any of the old legends which are at the bottom of the

There is no reason to question Gounod's statement that it was he who conceived the idea of writing a Faust opera in collaboration with MM. Barbier and Carré. There was nothing novel in the notion. Music was an integral part of the old puppet-plays which dealt with the legend of Dr. Faustus, and Goethe's tragedy calls for musical aid imperatively. A musical pantomime, "Harlequin Faustus," was performed in London as early as 1715, and there were Faust operas long before even the first part of Goet

In an operatic form Berlioz's "Damnation de Faust" had its first representation in New York at the Metropolitan Opera-house on December 7, 1906. Despite its high imagination, its melodic charm, its vivid and varied colors, its frequent flights toward ideal realms, its accents of passion, its splendid picturesqueness, it presented itself as a "thing of shreds and patches." It was, indeed, conceived as such, and though Berlioz tried by various devices to give it entity, he failed. When he gave it

In music the saying that "familiarity breeds contempt," is true only of compositions of a low order. In the case of compositions of the highest order, familiarity generally breeds ever growing admiration. In this category new compositions are slowly received; they make their way to popular appreciation only by repeated performances. It is true that the people like best the songs as well as the symphonies which they know best; but even this rule has its exceptions. It is possible to grow indiffer

Two erroneous impressions concerning Verdi's "Aïda" may as well as not be corrected at the beginning of a study of that opera: it was not written to celebrate the completion of the Suez Canal, nor to open the Italian Opera-house at Cairo, though the completion of the canal and the inauguration of the theatre were practically contemporaneous with the conception of the plan which gave the world one of Verdi's finest and also most popular operas. It is more difficult to recall a season in any of th

A description of Carl Maria von Weber's opera, "Der Freischütz," ought to begin with a study of the overture, since that marvellous composition has lived on and on in the concert-rooms of the world without loss of popularity for nearly a century, while the opera which it introduces has periodically come and gone according to popular whim or the artistic convictions or caprices of managers in all the countries which cultivate opera, except Germany. Why Germany forms an exception to the rule will

Nothing could have demonstrated more perfectly the righteousness of Wagner's claim to the title of poet than his acceptance of the Greek theory that a people's legends and myths are the fittest subjects for dramatic treatment, unless it be the manner in which he has reshaped his material in order to infuse it with that deep ethical principle to which reference has several times been made. In "The Flying Dutchman," "The Nibelung's Ring," and "Tannhäuser" the idea is practically his creation. In t

A vassal is sent to woo a beauteous princess for his lord. While he is bringing her home the two, by accident, drink a love potion, and ever thereafter their hearts are fettered together. In the midday of delirious joy, in the midnight of deepest woe, their thoughts are only of each other, for each other. Meanwhile the princess has become the vassal's queen. Then the wicked love of the pair is discovered, and the knight is obliged to seek safety in a foreign land. There (strange note this to our

A lad, hotfoot in pursuit of a wild swan which one of his arrows has pierced, finds himself in a forest glade on the side of a mountain. There he meets a body of knights and esquires in attendance on a king who is suffering from a wound. The knights are a body of men whose mission it is to succor suffering innocence wherever they may find it. They dwell in a magnificent castle on the summit of the mountain, within whose walls they assemble every day to contemplate and adore a miraculous vessel f

The best definition of the true purpose of comedy which I know is that it is to "chastise manners with a smile" (Ridendo castigat mores); and it has no better exemplification in the literature of opera than Wagner's "Die Meistersinger von Nürnberg." Wagner's mind dwelt much on Greek things, and as he followed a classical principle in choosing mythological and legendary subjects for his tragedies, so also he followed classical precedent in drawing the line between tragedy and comedy. "Tannhäuser,

In the last hundred lines of the last book of his epic poem to which Wagner went for the fundamental incidents, not principles, of his "Parsifal," Wolfram von Eschenbach tells the story of one of the Grail King's sons whom he calls Loherangrin. This son was a lad when Parzival (thus Wolfram spells the name) became King of the Holy Grail and the knights who were in its service. When he had grown to manhood, there lived in Brabant a queen who was equally gifted in beauty, wealth, and gentleness. M

In many respects "Hänsel und Gretel" is the most interesting opera composed since "Parsifal," and, by being an exception, proves the rule to which I directed some remarks in the chapter on "Don Giovanni." For a quarter of a century the minds of musical critics and historians have been occupied at intervals with the question whether or not progress in operatic composition is possible on the lines laid down by Wagner. Of his influence upon all the works composed within a period twice as long there