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    Physiology of The Opera
    Physiology of The Opera
    Physiology of The Opera
    Ebook113 pages1 hour

    Physiology of The Opera

    By John H. Swaby

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    LanguageEnglish
    PublisherArchive Classics
    Release dateNov 26, 2013

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      Book preview

      Physiology of The Opera - John H. Swaby

      Project Gutenberg's Physiology of The Opera, by John H. Swaby (AKA Scrici)

      This eBook is for the use of anyone anywhere at no cost and with

      almost no restrictions whatsoever. You may copy it, give it away or

      re-use it under the terms of the Project Gutenberg License included

      with this eBook or online at www.gutenberg.org

      Title: Physiology of The Opera

      Author: John H. Swaby (AKA Scrici)

      Release Date: April 4, 2010 [EBook #31880]

      Language: English

      *** START OF THIS PROJECT GUTENBERG EBOOK PHYSIOLOGY OF THE OPERA ***

      Produced by Chuck Greif and the Online Distributed

      Proofreading Team at http://www.pgdp.net (This book was

      produced from scanned images of public domain material

      from the Google Print project.)

      "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."

      Connoisseur. No. 130.

      "I see, Sir—you

      Have got a travell'd air, which shows you one

      To whom the opera is by no means new."

      Byron.

      PHYSIOLOGY

      OF

      THE OPERA.

      \/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/

      BY SCRICI.

      \/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/

      PHILADELPHIA.

      WILLIS P. HAZARD, 178 CHESNUT ST.

      1852.

      COPYRIGHT SECURED ACCORDING TO LAW.

      \/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/

      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.

      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. Everybody has seen that—But the race of beings who constitute that remarkable combination; their feelings, positions, social habits; their relation to one another; what they say and eat; [a] whether the tenor ever notices as they (the world) do, the fine legs of the contralto in man's dress, and whether the basso drinks pale ale or porter; all these things have been hitherto wrapped in an inscrutable mystery. In regard to mere actors, not singers, this feeling is confined to children; but the operators of an opera are essentially esoteric. They are enclosed by a curtain more impenetrable than the Chinese wall. You may walk all around them; nay, you may even know an inferior artiste, but there is a line beyond which even the fast men, with all their impetuosity, are restrained from invading.

      [a] We actually knew a man who, when a tenor was spoken of, as having gone through his role, thought that that worthy had been eating his breakfast.

      You walk in the street with a young female, on whom you flatter yourself you are making an impression; suddenly she cries out, Oh, there's Bawlini; do look! dear creature, isn't he? You may as well turn round and go home immediately; the rest of your walk won't be worth half the dream you had the

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