They are pastoral and
allegorical in subject, and are often merely a vehicle for fulsome
adulation of the 'Roi Soleil.' But in construction they are operas pure
and simple. There is no spoken dialogue, and the music is continuous
from first to last. Cambert's operas were very successful, and in
conjunction with his librettist Perrin he received a charter from the
King in 1669, giving him the sole right of establishing opera-houses in
the kingdom. Quarrels, however, ensued. Cambert and Perrin separated.
The charter was revoked, or rather granted to a new-comer, Giovanni
Battista Lulli, and Cambert, in disgrace, retired to England, where he
died. Lulli (1633-1687) left Italy too young to be much influenced by
the developments of opera in that country, and was besides too good a
man of business to allow his artistic instinct to interfere with his
chance of success. He found Cambert's operas popular in Paris, and
instead of attempting any radical reforms, he adhered to the form which
he found ready made, only developing the orchestra to an extent which
was then unknown, and adding dignity and passion to the airs and
recitatives. Lulli's industry was extraordinary. During the space of
fourteen years he wrote no fewer than twenty operas, conceived upon a
grand scale, and produced with great magnificence. His treatment of
recitative is perhaps his strongest point, for in spite of the beauty of
one or two isolated songs, such as the famous 'Bois epais' in 'Amadis'
and Charon's wonderful air in 'Alceste,' his melodic gift was not great,
and his choral writing is generally of the most unpretentious
description.
Pages:
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33