Physiology of The Opera

Excerpt

S an introduction to the dissertation upon which we are about to enter, such an antiquarian view of the subject might be taken as would tend to establish a parallel between the ancient Greek tragedy and the modern sanguinary Italian opera, the strong resemblance therein being displayed of Signor Salvi trilling on the stage, to the immortal Thespis jargoning from a dung-cart. But we shall indulge in no such wearying pedantry. Our intention being merely to "hold the mirror up to nature," in presenting our immaterial reflector to the public, we invite our readers to a view of the present only—a period of time in which they take most interest, since they adorn it with their own presence.

We feel satisfied that few of the ladies who take a peep into this mirror, will find any cause to break it in a fit of petulancy after having looked upon the attractive reflection of their own lovely features. Few young gentlemen will throw down a glass that gives them a just idea of their striking and distingué appearance behind a large moustache and a gilded lorgnette. Old papas, who rule 'change and keep a "stall," cannot be offended with that which teaches them how dignified and creditable is their position, as they sit up proudly and exhibit their family's extravagance and ostentation as an evidence of the stability of their commercial relations. Few mammas will carp at a book which assures them that society does not esteem them less highly because they use an opera box as a sort of matrimonial show window in which they place their beautiful daughters, "got up regardless of expense," as delicate wares in the market of Hymen.

In these our humble efforts to present to our readers an amusing yet faithful picture of the opera, we hope our manner of treating the subject has been to nothing extenuate nor aught set down in malice. This book has not for its end the unlimited censure of foreign opera singers, or native opera goers. We do not therefore, expect to gratify the malignant demands of persons of over-strained morality, who maintain that the opera is a bad school of musical science, or a worse school of morals; and exclaim with the very correct Mr. Coleridge, who was shocked in a—concert room,

"Nor cold nor stern my soul, yet I detest
These scented rooms; where to a gaudy throng,
Heaves the proud harlot her distended breast,
In intricacies of laborious song.

"These feel not music's genuine power, nor deign
To melt at nature's passion-warbled plaint;
But when the long-breath'd singer's up-trilled strain
Bursts in a squall—they gape for wonderment."

Neither do we coincide in sentiment with those who, conceiving that every folly and absurdity sanctioned by fashion, is converted into reason and common sense, believe that "the whole duty of man" consists in spending the day with Max Maretzeck on the occasion of his musical jubilees, and being roasted by gas in the hours of broad day-light. Consequently the reader will find no one line herein written with the intention of flattering the vanity of those who ride to the opera every night in a splendid coach, followed by spotted dogs.

Having thus declared the impartial manner in which it is our purpose to pursue the physiological discussion of our subject, and the various phenomena involved in its consideration, we proceed at once to unveil the operatic existence to the reader, fatigued no doubt by an introductory salaam already protracted beyond the limits of propriety.

CHAPTER I.

"L'Opéra toujours
Fait bruit et merveilles:
On y voit les sourds
Boucher leurs oreilles."
Beranger.

O most of the world (and we say it advisedly,) the opera is a sealed book. We do not mean a bare representation with its accompanying screechings, violinings and bass-drummings....