Physiology of The Opera
9781465545268
pages
Library of Alexandria
Overview
I both compose and perform Sir: and though I say it, perhaps few even of the profession possess the contra-punto and the chromatic better. I see, Sir—you Have got a travell'd air, which shows you one To whom the opera is by no means new. 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
