Yet though French opera embodied the
finest thought and aspiration of the day, it is only just to observe
that the impetus which impelled her composers upon new paths of progress
came largely from external sources. It is curious to note how large a
share foreigners have had in building up the fabric of French opera.
Lulli, Gluck, and Cherubini in turn devoted their genius to its service.
They were followed by Spontini (1774-1851), who in spite of chauvinistic
prejudice, became, on the production of 'La Vestale' in 1807, the most
popular composer of the day. Spontini's training was Neapolitan, but his
first visit to Paris showed him that there was no place upon the French
stage for the trivialities which still delighted Italian audiences. He
devoted himself to careful study, and his one-act opera 'Milton,' the
first-fruits of his musicianship, showed a remarkable advance upon his
youthful efforts. Spontini professed an adoration for Mozart which
bordered upon idolatry, but his music shows rather the influence of
Gluck. He is the last of what may be called the classical school of
operatic composers, and he shows little trace of the romanticism which
was beginning to lay its hand upon music. He was accused during his
lifetime of overloading his operas with orchestration, and of writing
music which it was impossible to sing--accusations which sound strangely
familiar to those who are old enough to remember the reception of Wagner
in the seventies and eighties.
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