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At first composers availed themselves largely of traditional or popular tunes in arranging the music which diversified the dialogue of these works, but as time went on they became more ambitious, and the operas of Storace and his contemporaries are for the most entirely original. Meanwhile an attempt had been made by Arne to adapt the mannerisms of the Italian stage to English opera.
In the house Storace had finished the ARIA, and was even now bowing in her classic garb, but in approved eighteenth-century fashion, to the enthusiastic audience, who cheered her to the echo. "Chauvelin," said Marguerite Blakeney at last, quietly, and without that touch of bravado which had characterised her attitude all along, "Chauvelin, my friend, shall we try to understand one another.
Selina Storace had been duly applauded after her grand ARIA by her numerous admirers; Benjamin Incledon, the acknowledged favourite of the ladies, had received special gracious recognition from the royal box; and now the curtain came down after the glorious finale to the second act, and the audience, which had hung spell-bound on the magic strains of the great maestro, seemed collectively to breathe a long sigh of satisfaction, previous to letting loose its hundreds of waggish and frivolous tongues.
As to the principal point it treats of, I had given my answer some days ago, to Mr. Isaac of Worcester. Sheridan will think his honor in some degree concerned in fulfilling it. Mr. Storace, in order to enforce Mr. Isaac's argument, showed me his letter on the same subject to him, which begins with saying, 'We must have Mrs.
COUNTESS ALMAVIVA Signora STORACE. SUSANNA Signora LASCHI. CHERUBINO Signora MANDINI. MARCELLINA Signora BUSSANI. BARBARINA Signora GOTTLIEB. COUNT ALMAVIVA Signor MANDINI. FIGARO Signor BENUCCI. BARTOLO Signor OCCHELEY. BASILIO Signor BUSSANI.
An Italian master named Rauzzini seems to have been of great service to Braham when he was about twenty years of age, and under him he fitted himself for the Italian stage, and secured an opening under Storace, father of the brilliant Nancy Storace, at Drury Lane. His success was so marked that the following season found him reengaged and his professional life well opened to him.
It was a long long time ago: in fact, Sir George Thrum was old enough to remember persons who had been present at Mr. Braham's first appearance, and the old gentleman's days of triumph had been those of Billington and Incledon, Catalani and Madame Storace.
The traditions of the latter were successfully carried on by Storace, a naturalised Italian, Dibdin, Shield, Hook, and many others, many of whose songs are still popular, though the works of which they once formed part have long been forgotten. The ballad operas of these composers were of unimaginable naïveté and depended entirely upon their simple tunefulness for such favour as they won.
"Lud, then," she said with affected merriment, "since 'tis one of your imaginary plots, you'd best go back to your own seat and leave me enjoy the music." And with her hand she began to beat time nervously against the cushion of the box. Selina Storace was singing the "Che faro" to an audience that hung spellbound upon the prima donna's lips.
Towards the winter they went to lodge for a short time with Storace, the intimate friend of Mr. Linley, and in the following year attained that first step of independence, a house to themselves; Mr. Linley having kindly supplied the furniture of their new residence, which was in Orchard-Street, Portman-Square. During the summer of 1774, they passed some time at Mr.
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