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This is Cervantes's description of the national stage in the time of his immediate predecessor, Lope de Rueda. The Spanish zarzuela appears to have been the forerunner and origin of all musical farce and "opera comique," only naturalised in our country during the present generation.
His works were played at concerts: and he had had an opera accepted by the Opera Comique. The sympathies of some person unknown were enlisted on his behalf. The mysterious friend, who had more than once helped him, was still forwarding his claims.
The dates of the production of these works show us that they were not as old as the movement toward real monodic song, and it is certain that in France, at any rate, the Italian Balthazarini had already brought out in 1581 a ballet-opera, "Le Ballet Comique de la Reine," which contained real vocal solos.
So the process will go on and on, with bloodshed and slaughter every time, the British army enforcing the demands of rebels, against loyalists who sing 'God save the Queen, Quite in the opera bouffe style of Gilbert and Sullivan, isn't it? Can't you get Gilbert to do a Home Rule opera comique? The absurdities of the situation are already there. No invention required. Immense hit.
I suggested. "There are three hundred real soldiers in it, and they fire real cannon." "Not I! I have been to the Porte St. Martin, over and over again. Emile knew one of the scene-painter's assistants, and used to get tickets two or three times a month." "Then it shall be the Opera Comique," said I, with a sigh. "And on Tuesday evening next." "On Tuesday evening next."
"The Requiem" was composed in 1836, "Benvenuto Cellini" in 1837, "Roméo" in 1839. In 1840 Berlioz made his first journey to Brussels; in 1842-43 he toured Germany. The "Carnaval Romain" was performed in 1844. In 1845-46 Berlioz gave numerous concerts in France, and toured Austria and Hungary. In December of the latter year "La Damnation de Faust" failed at the Opéra Comique.
There had been a kind of opéra comique in France for many years, a species of musical pantomime which was very popular at the fairs of St. Laurent and St. Gervais. This form of entertainment scarcely came within the province of art, but it served as a starting-point for the history of opéra comique, which was afterwards so brilliant. The success of the Italian company which performed the comic operas of Pergolesi, Jomelli, and others, fired the French composers to emulation, and in 1753 the first French opéra comique, in the strict sense of the word, 'Le Devin du Village, by the great Rousseau, was performed at the Académie de Musique. Musically the work is feeble and characterless, but the contrast which it offered to the stiff and serious works of the tragic composers made it popular. Whatever its faults may be, it is simple and natural, and its tender little melodies fell pleasantly upon ears too well accustomed to the pomposities of Rameau and his school. At first lovers of opéra comique in Paris had to subsist chiefly upon translations from the Italian; but in 1755 'Ninette
You are almost English, you know; soon you will be the wife of an Englishman, and there is no place like London." "True," she answered. "There is no place like London. We'll go. The Opéra Comique will manage without me. And I will accept no more engagements for a very, very long time. Money doesn't matter. You have enough, and I oh, Carl, I've got stacks and piles of it.
By critics who pretend to advanced views he has been greeted as the rightful successor of Wagner, while the conservative party in music have not hesitated to stigmatise him as a wearisome impostor. 'Kérim' , his first work, passed almost unnoticed. 'Le Rêve, an adaptation of Zola's novel, was produced in 1891 at the Opéra Comique, and in the same year was performed in London.
He does not tell us this in his autobiography, but neither does he tell us that he had chosen Mme. Ugalde for the part of Marguerite, and that he yielded to M. Carvalho in giving it to the director's wife because Mme. The difficulty about the tenor role was overcome by the enlistment of M. Barbot, an artist who had been a companion of Carvalho's when he sang small parts at the Opera Comique.
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