CHAPTER X.

ENGLISH OPERA OF THE EIGHTEENTH AND PART OF THE NINETEENTH CENTURY.

_The Beggar’s Opera_—Arne—Bishop—Balfe—Wallace—Goring Thomas—Sullivan—Living writers.

We have not much to boast of, so far as English operatic music is concerned, from the death of Purcell to about the middle of the nineteenth century. Purcell’s work, in its limited field, was excellent, but Handel’s powerful personality attracted so much attention to the Italian methods of composition that no other style found real favour for many years.

[Sidenote: =The “Beggar’s Opera”=]

Opera, of course, existed in England, but it was of the Italian order: indeed, there was so much said against the unfortunate English language as a medium of vocal expression, that native talent had little or no chance of distinguishing itself. The only work that stands out during this period as being essentially English was a curious medley of songs and airs called the _Beggar’s Opera_ produced in 1728, but even this was arranged by Dr. Pepusch (a German)! The old genuine English tunes were, however, used in this, and its one or two successors, but the music is not of a serious type. The airs are simple and simply harmonized, and make no comparison with the Handel or Buononcini operas. Moreover, they are so short that we may quote the whole of one as an example.

Song from “The Beggar’s Opera,” arranged by Dr. Pepusch.

[Music]

Pretty Polly say, When I was away, Did your fancy never stray to some newer lover? Without disguise; Heaving sighs; Doating eyes; My constant heart discovers, Fondly let me tell, Fondly let me tell! O pretty, pretty Poll.

[Sidenote: =Arne, 1710-78=]

One of the first Englishmen to write Opera on the prevalent Italian model was Thomas Arne, whose chief work was _Artaxerxes_; he also wrote many masques or plays with incidental music. To us of to-day he is best known as the reputed author of “Rule Britannia,” and of the popular and tuneful setting of Shakespeare’s words, “Where the Bee sucks.”

The English style of composition of this period, which is in the main vigorous, manly, and bold, was not at all suited to the taste of the fashionable public, who were led to believe that the florid and effeminate Italian airs were the only tune method of operatic composition; consequently we are not surprised that native talent was overlooked and ignored, and that we have nothing to show that will compare with what was going on in Italy, Germany, and France at a corresponding period.

Arne’s name is still remembered and his tunes sung, but the same can hardly be said of his followers and successors, Shield, Storace, Kelly and others. Although these men attempted dramatic composition in the style of Arne, they had no very definite model upon which to work, and they were more successful in the glee and madrigal than in stage work. We hear some of their songs now and then, but their influence on national opera was very slight indeed.

[Sidenote: =Bishop, 1786-1855=]

The eighteenth century is indeed a period of blank in English operatic history, and in spite of the work of Henry Bishop, who wrote effective concerted numbers, the earlier part of the nineteenth century has but little more to show. Bishop was content to leave the English “Ballad Opera” where he found it, although he had the ability to found a natural school of opera had he had the requisite energy and initiative.

[Sidenote: =Balfe, 1808-1870=]

The first English composer after Arne to produce anything attaining to real popularity, and to really deserve the name of opera, was Balfe, who, following an example set by John Barnett in his opera _The Mountain Sylph_, produced in 1835 _The Siege of Rochelle_, and eight years later the well-known _Bohemian Girl_. That these operas are not of a particularly exalted type must be admitted; the airs are tuneful and mostly commonplace. There can be no comparison, for example, between the _Bohemian Girl_ and _Faust_, because although both make a ready and immediate appeal, the artistic standard is much lower in the English than in the French work. But still the work of Balfe was an immense advance on the poorly constructed ballad opera that had hitherto found acceptance, and it helped to pave the way to higher ideals and better methods.

Type of Balfe’s melody “The Bohemian Girl.”

[Music]

When other lips and other hearts Their tale of love shall tell,

[Sidenote: =Wallace, 1814-65=]

On about the same plane is Wallace, whose most popular work is _Maritana_—even more trying to listen to (for the cultured hearer) than the _Bohemian Girl_. These works, although poor and of no interest to the musician, yet play a part in the education of the people. Those quite unenlightened in the forms of opera can make a good start by at first listening to works of this type; and as their experience grows, so their taste will undoubtedly improve, and ripen to an appreciation of better things. The admiration of the crowd for such works as these, although now less than formerly, is not to be altogether condemned, seeing that it may in some cases be the means of raising the masses to an appreciation of something better and more musically satisfactory.

As musical education in England gradually improved, so we find our composers more artistic in their outlook and more solid in their work. The operas of Benedict (1804-85) and Macfarren (1813-87), although seldom performed now, are the output of talented and cultured musicians, who possessed, moreover, gifts of melody and dramatic characterization which must not be overlooked. Benedict’s best opera was _The Lily of Killarney_, produced in 1862.

[Sidenote: =Goring Thomas, 1851-92=]

Greater heights still were reached by Goring Thomas, who wrote _Esmeralda_ and _Nadeshda_, both works of merit, and from which excerpts are frequently given in our concert rooms.

[Sidenote: =Sullivan, 1842-1900=]

Last amongst deceased English composers of opera may be named Arthur Sullivan, who wrote one serious opera, _Ivanhoe_ (1891), and a host of delightful works of slighter scope to which it is hard to give a class-name. They are not quite of the opera comique type, nor do they partake of the farcical nature of “Opera Bouffe.” Perhaps a nondescript term such as “Light Opera” answers as well as any other to the charming, harmonious, graceful class of “Singspiel” which found such favour not only in England, but in the case of some works (such as _The Mikado_), also on the Continent. Their popularity, immense some twenty years ago, now appears to be somewhat on the wane; but they are still models of refinement and of good sound musicianship.

[Sidenote: =Living Writers=]

[Illustration]

More serious attention has, however, been paid to opera in English by composers still living than by any named in this chapter. To these some consideration must be given, after we have noticed to some extent the Wagner operas and their influence.