The Sun.
London, England, 1848-11-30 00:00:00

WHO WAS THE ORIGINATOR OF THE
OPERA?

Opinions differ as to the time when the first attempt
to establish the opera was made. But most incline to
believe that a Florentine poet named Einuncini composed
a kind of serenata or musical pastoral called "Daphne,"
which was performed with so much success, that he
afterwards wrote the opera of .Euridice, which was re-
preseeted at the Teatro Reale di Firenze in the year.
1600, on the occasion of the espousals of Henry the
Fourth of France and Maria de Medici. The music,
which was considered to have contributed mainly to
their fame, was written by a composer by name Jacopo
Peri. An opera entitled L' Orfeo, Favola in Musics
(Orpheus, a table, with music,) was produced in 1607,
and is believed to have been the first that was ever
printed. But how opposite to modern operas was the
construction of this drama. In its representation the
accompaniment of the whole orchestra was very rarely
required, the airs sung by the various performers being
assisted by a few instruments of different kinds assigned
to euch character, so that if one heroine had several airs
to sing, these airs would ull be scored similarly—so
with the rest of the pet-antler. The overture was merely
a brief prelude, about eight or twelve bars, all a breve
time in length, and to this, which was played over thrice
beflire the rising of the curtain, succeeded the prologue,
which, by orthodox regulations, consisted of five dia-
logues in recitativo, which acted a part like the chorus in
the Greek dramas, and explained the argument of the
play, to attract attention arid enjoin silence. The opera
then commenced with a dialogue in recitative, delivered
by a shepherd, which was directly followed by a chorus
in five parts in strict counterpoint, accompanied by all
the instruments, which the singers were directed to
follow. Other, and semi•choruses, were sung, accum-
yanied only by guitars, violins, and flutes. There were
no solo airs, but recitatives, choruses, ritornellas or
symphonies, trios, and duets formed the whole of this
opera, which concluded with a Moresca, or Moorisk
dance, by all the characters.

A STRAIN FROM TIIE SICK MUSICIAN.
Fair Artemis! thy pale, chaste beam is glancing
Into my chamber, through the lattice panes
Its stream of argent light keeps ever dancing,
Like fairy feet upon enchanted planes;
While I, upon my sick couch, fevered, lie,
And feel my fever vanish while thou meet'st mine eye!

Etherially fair art thou!—not glaring
With the red glow that paints the face of day!
But pure and holy art thou, never scaring
Those who thy presence seek, with frowns, away!
But rather smiles ineffable dust shed,
With which the Spirit of the Beautiful is fedi
0! pensive Queen! I gaze upon thy beauty,
And, on nay restless couch, I turn and sigh,
I close mine eyes, their lids fail in their duty;
They WILL NOT slumber when thou'rt shining by.
The wakeful vigil which thou now dost keep
Bath banished from my bed the Angel-form of Sleep!

Yet, do not quit thy path of lucent glory!
I hang upon thy smile, so calm, so bright,
As Mortals on the dreamy Poet's story,
Drinking the Essence of his wondrous Light!
Thou art my Spirit-lore! for thy cold kiss
Woke Passion first within my breast! 0 Artemis!
G. J. 0. A.

MOZ ART.
The musician of Saltsburg was not more undeniably
the possessor of extraordinary and unmistakeable genius
than be was of a firm yet becomingly modest respect for
his own judgment in that divine art in which he so
pre-eminently excelled. So great were every one's ex-
pectations raised in favour of his opera "Die Emporung"
(II Seraglio), that the Emperor Joseph the Second made
point of attending at the theatre on the night of its
first production. At the termination of the performance
the Emperor, commanding the composer a presence, said
to him, " Your opera is a very fine one, my dear Mozart,
but you must confess that it is somewhat overcrowaled
annoefr
what
at to
produced ente h
im is
s eon,
theii.
ta
with notes!" " Exactly as crowded, Sire, as I intended
it should be," replied our composer, at the same t-
mdaeukieneg i
his bow
ownin knowledgesuch am
expression he intended to convey.

HANDEL.
In my Memoranda, No. 2, I related a circumstance
illustrative of Handet's love of good cheer, but I did not
call to mind at that time the following trait in the
character of this wonderfully inspired musician. Pos-
sessing a great appetite, he required uncommonly
frequent and large su[plies of sustenance. Whenever
he dined alone at a tavern he used to bespeak dinner
" for tree!" (three). At the appointed time he would ask,
" Is de tinner reaty?" and on receiving the answer, " As
soou as the company come, Sir," would reply smacking
his lips," Con strepito, den pring up de tinner prestissias,
Ibe de gombany!' How true is the r!fiection—

- .
" Tempora rectantur—"
and, even as Horace discovered its truth a thousand
years agone, so do we now, and that
" Nos mutamur in illis,"

is as veritable a fact as when that Great Satirist flou-
rished. Only pause
for a moment to think if our Mo-
dern Timotheus were to give way, before our young and
beloved Queen and her Court, to the vehemence of that
anger to which, it is said, he frequently did before the
Prince and Princess of Wales. Nevertheless, it is true,
if the Maids of Honour or any other fetnide attendants
talked during the performance of the oratorios at Carl-
ton House, so that their voices reached our composer, he
not only, it is feared, swore, but called names, and yet at
such times the Princess of Wales with her usual benig-
nity would exclaim, " Hush hush I Handel, is la a
passion."