Operatic Performances in England Before Handel
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Again in 1706 we have Camilla, the second opera in the Italian style. The libretto was the work of Owen Mac Swiney, while the score is ascribed by Hawkins to Bonon- cini, but the authorship of the score has been contested.
The opera was presented first at Drury Lane and after- ward at the Haymarket. Mrs. Tofts interpreted the title role and by her grace, her fine voice and acting she achieved her greatest triumph. Of Mrs. Tofts Gibber says: "She took her first grounds of music here in our own c...ountry, before the Italian taste had so highly prevailed, and was then not an adept in it; yet whatever defects the fashion- ably skillful might find in her manner, she had in the gen- eral sense of her spectators charm that few of the most learned singers ever arrive at. The beauty of her fine proportioned figure and exquisitely sweet, silvery tone of her voice, with that peculiar, rapid swiftness of her throat, were perfections not to be imitated by art or labor." The success of this opera may be attested by the fact that dur- ing the next four years it was presented sixty-four times.
What to read after Operatic Performances in England Before Handel?
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To quickly assess the difficulty of the text, read a short excerpt:
Again in 1706 we have Camilla, the second opera in the Italian style. The libretto was the work of Owen Mac Swiney, while the score is ascribed by Hawkins to Bonon- cini, but the authorship of the score has been contested.
The opera was presented first at Drury Lane and after- ward at the Haymarket. Mrs. Tofts interpreted the title role and by her grace, her fine voice and acting she achieved her greatest triumph. Of Mrs. Tofts Gibber says: "She took her first grounds of music here in our own c...ountry, before the Italian taste had so highly prevailed, and was then not an adept in it; yet whatever defects the fashion- ably skillful might find in her manner, she had in the gen- eral sense of her spectators charm that few of the most learned singers ever arrive at. The beauty of her fine proportioned figure and exquisitely sweet, silvery tone of her voice, with that peculiar, rapid swiftness of her throat, were perfections not to be imitated by art or labor." The success of this opera may be attested by the fact that dur- ing the next four years it was presented sixty-four times.
What to read after Operatic Performances in England Before Handel?
You can find similar books in the "Read Also" column, or choose other free books by A Joseph Armstrong to read onlineMoreLess
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