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The opera as a whole is episodical in its dramatic construction, and the music is a mixture of two styles, the Wagnerian and the conventional Italian; but its orchestration is very bold and independent in character, and the voice-parts are very striking in their adaptation to the dramatic requirements. Leo Delibes, the French composer, was born at St.
His score is amazingly elaborate, and his treatment of the guiding themes which compose it is kaleidoscopic in its variety, yet the whole thing flows on as naturally as a ballad. The voice-parts are always suave and melodious, and the orchestral score, however complicated, never loses touch of consummate musical beauty.
We notice that the soprano is the principal part, and that the other voices, while somewhat melodic, tend rather to support and follow the melody than to be independent. If, now, we play a piece of counterpoint like the G-Minor Prelude by Bach, we shall have quite a good piece of counterpoint, as far as separate melodies being combined is concerned. Let us play the voice-parts separately.
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