‘What means this wild, this allegorick Mask?’: British Anticipations of Romantic Opera c. 1740

Abstract

Although the interdisciplinary art form par excellence, opera often has the air of being the elephant in the Romantic saloon: the one thing most Romanticists will not look at despite their peripheral awareness of its massive historical presence. Literary scholars especially, although they may have invested heavily in certain notions of Romanticism, often (at least in the Anglophone world) have no corresponding interest in the development of music in the Romantic period, however that period is defined, or the union of word with music. Even when opera is discussed, there is often a great hesitation about using the R-word, despite that adjective being freely bandied around in discussions of literature and instrumental music. A 2005 Praxis Series volume, promisingly entitled Romanticism and Opera, is thus principally concerned with showing that Italian opera was important in late Georgian Britain: the matter of Romanticism in opera is barely touched. Gillen D’Arcy Wood’s introduction refers, successively, to ‘the Romantic age’, the ‘Romantic werk’, ‘the romantic period’, ‘Romantic literature’, ‘romantic authors’ and ‘Romantic theater’ as though these are all clearly defined entities.

The Genius of the Musician submits the entire Universe to his Art. He paints every portrait by Sounds; he makes silence itself speak; he renders ideas by feelings, feelings by accents; and the passions he expresses, he arouses them in the bottom of hearts… Do you then want to learn whether this spark of devouring fire animates you? Run, fly to Naples to listen to the masterpieces of Leo, of Durante, of Jomelli, of Pergolesi. If your eyes fill with tears, if you feel your heart beating, if you are seized with trembling, if you are suffocated by oppression amidst your transports, take Metastasio and set to work. (Rousseau, ‘Génie’, Dictionnaire de musique, 1768, 406)