A.
Abbaye of Longchamp, the great operatic vocalists engaged at the, ii. 49.
Academiciens, of the Paris opera, ii. 47.
Académie Royale de Musique, of Paris, numerous works produced at the, i. 13, 14;
its institution, 15;
its system of conscription, 77;
privileges of its members, 77;
its state of morality, 81, 82;
its absurd privileges, 86, 87;
its chief singers, 223;
operatic disturbances at the, ii. 36-38;
destroyed by fire, 41;
management and proceedings of the, 55;
prices for private boxes, 56;
effect of the French Revolution on the, 56 et seq;
its changes of name, 57, 194 note;
Opera National substituted, 59. (See OPERA).
Academy of Music (See Royal Academy of Music).
"Actor's Remonstrance," a tract, i. 81.
Actresses, their prodigality under the French regency, i. 82, 83.
Addison, Joseph, on the Italian Opera in England, i. 53-58;
the justness of his views on operatic representations, 62;
his satirical remarks on the French Opera, 66;
on the Italian Opera, 113;
his critique on Nicolini and the lion, 118-122;
his humorous critique on "Rinaldo" and the operatic sparrows, 123-126;
his unfavourable opinion of Opera, 127;
his critique on Milton, 128.
Aguiari, Lucrezia, the vocalist, i. 188.
Albert, the French dancer, ii. 111, 112.
Alboni, Madame, the Italian vocalist, ii. 162.
Algarotti's work on the Opera, i. 2.
Almahide, opera of, i. 117.
Ambleto, opera of, i. 127, 128.
Ambrogetti, the celebrated baritone, ii. 108;
the first performer of Giovanni in London, 108.
Anna Bolena, of Donizetti, ii. 232;
the author's master-piece, 233.
Antiochus, opera of, i. 127.
Antoine de Baif, privileged to establish an Academy of Music, i. 15.
Antony à Wood, on the operatic drama, i. 37.
Arbuthnot, Dr., on the failure of Italian operas, i. 148.
Archilei, the celebrated singer, i. 8.
Arnauld, Abbé, his passionate exclamation, i. 64.
Arnaud, Abbe, an admirer of Gluck, i. 287, 288.
Arnould, Sophie, the celebrated singer, i. 223;
biographical notices of, 226 et seq.;
her talents, wit, and beauty, 226-230;
her death, 231;
anecdote of, ii. 35;
accused of aristocratic sympathies, 70;
pensioned by Fouché, 79.
Arsinoe, opera of, played by Mrs. Tofts, i. 107;
critique on the play, 108, 109.
Atto, the Italian tenor, i. 183, 184.
Auber, his opera of Masaniello, i. 14;
the follower of Rossini, ii. 202;
his Gustave III., 219.
Authors, regulations for their admission to the opera of Paris, i. 79, 80.

B.
B flat, of Rubini, ii. 267, 268.
Badiali, Signor, his curious performance with a drinking glass, ii. 278, 279.
Balfe's libretti, founded on French pieces, i. 214.
Ball, Hughes, marries Mercandotti, ii. 120.
Ballet, introduction and progress of the, i. 70 et seq.;
Lulli's great attention to the, 72;
propriety of its following the Opera, 251;
great attention paid to it by the Italians, 251.
Ballet d'Action, invented by the Duchess du Maine, i. 77;
soon afterwards imported into England, 77;
never naturalised in this country, 77.
Ballet-dancers, important persons in France previous to the Revolution, ii. 53.
Ballets, origin of, i. 18;
the most brilliant part of the Open at Paris, 258.
Balon, the ballet-dancer, i. 78.
Banti Mdlle., the celebrated vocalist, ii. 10;
biographical notices of, 10-12.
Barber of Seville, by Rossini, ii. 144 et seq.
Bardi, G., Count of Vernio, musical assemblies of, i. 5.
Baroni, the celebrated singer, i. 8.
Barwick, Ann, her arrest for creating a disturbance, i. 105.
Bassi, the baritone singer, ii. 105.
Bastille, taking of the, ii. 54.
Beatrice di Tenda, of Bellini, ii. 252.
Beaujoyeux's Ballet Comique de la Royne, i. 71.
Beaumarchais, the musical composer, his bon-mot on operatic music, i. 53;
refuses letters of nobility, 221;
the court music-master, 291;
music-master to the daughters of Louis XV., ii. 39;
anecdote of, 39.
Beaupré, the comic dancer, ii. 68.
Beethoven, the German composer, i. 221, ii. 285, 286;
accepts fifty ducats in preference to the cross of some order, i. 221;
his Fidelio, ii. 286;
his three styles, 286;
critiques on his works, 286, 287;
his advice to Weber, 299.
Beggar's Opera, the touchstone of English taste, i. 148.
Belissent, M. de, anecdote of, i. 262.
Bellini, the musical composer, i. 212;
his Sonnambula grounded upon Le Philtre and La Somnambule, 212;
biographical notices of, ii. 247 et seq.;
his various productions, 249-253;
I Puritani his last opera, 253;
his death, 254;
sorrow caused thereby, 255;
letter from his father on his lamented death, 256;
compared with Donizetti, 257;
his singers, 259.
Beneditti, Signor, performer at the Opera in 1720, i. 159;
his capricious temper, 160.
Benini, Madame, the altra prima donna, goes to Paris, ii. 3;
her exquisite voice, 3.
Beranger, on the decline of the drama, i. 65.
Bergamo, theatre at, ii. 265.
Berlioz's version of Der Freischütz, ii. 296;
his opinion of Hoffmann's music, 306.
Bernacchi, Signor, the Italian singer, i. 163.
Bernadotte, at Udine, ii. 91.
Bernard, S., the court banker of Paris, i. 92;
his munificence to actresses, 92.
Bernardi. (See SENESINO.)
Bernier, the musical composer, anecdote of, i. 85.
Bernino, the scenic painter and decorator, i. 179.
Berri, duke de, assassinated, ii. 190.
Bertatti's Matrimonio Segretto, ii. 97.
Bertin, E., the French critic, ii. 158.
Bertoldi, Signora, the Italian singer and actress, i. 163.
Berton, manager of the Paris Opera, i. 291.
Bianca e Fernando of Bellini, ii. 249.
Bias, the French dancer, ii. 112.
Bigottini, the French dancer, ii. 111, 112.
Bilboquet, humorous anecdote of, i. 188, 190.
Billington, Mrs., the operatic singer, ii. 12;
her performance, 13;
among the first class of singers, 28.
Blaze, M. Castil, historian of the French Opera, i. 301;
on the removal of the Opera near the National Library, ii. 71;
his published description of Mddle. Sallé's performances, 93-96, 99;
his adaptation of Weber's Der Freischütz, 297.
Bohemian Girl, not original, i. 213;
sources whence taken, 213.
Boisgerard, M., ballet-master and negociator of the King's Theatre, ii. 110, 111;
his daring exploit in liberating Sir Sidney Smith from the Temple, 117, 118.
Bolton, Duke of, marries Miss Lavinia Fenton, i. 138.
Bonaparte, Napoleon, introduced to Mddle. Montansier, ii. 74;
grants her an indemnity, 75;
natural effect of his campaigns in Italy to create a taste for Italian music, 79;
his prompt engagement and liberal offers to Madame Paer and M. Brizzi, 80, 81;
rewards Paisiello, 82;
plots for assassinating, 179, 182;
a good friend to the Opera, 193.
Bontempi's account of Masocci's school of singing, i. 184.
Borrowed Themes, ii. 289.
Bouillon, Duke de, his great expenditure, ii. 51.
Bourdon, Leonard, the republican dramatist, ii. 67.
Braham, the distinguished operatic singer, ii. 14.
Brambilla, Mdlle., biographical notices of, ii. 173.
Brevets, granted by the French court for admission to the Opera, ii. 48;
evils resulting therefrom, 48;
not required of the fishwomen and charcoal-men of Paris, who were always present at the Opera on certain fetes, 49.
Brizzi, M., the vocalist, ii. 80;
engaged by Bonaparte, 80, 81.
Broschi, Carlo. (See FARINELLI.)
Brydone's anecdote of Gabrielli, the vocalist, i. 195, 197.
Bull, Dr. J., the national anthem attributed to, i. 165, 166.
Buononcini, the musical composer, i. 109;
his first opera produced in 1720, 145;
his Griselda in 1722, 146;
his last opera of Astyanax, 146;
his piracy and disgrace, 146;
his continental career and death, 147.
Buret, Mddle., execution of, ii. 76.
Burlington, Countess, patroness of the vocalist Faustina, i. 153.
Burney, Dr., at Vienna, i. 198;
at Berlin, 199.

C.
Caccini, the Italian musician, i. 5;
composer of the music to Dafne, 7.
Caccini, Francesca, daughter of the composer Caccini, i. 8.
Caffarelli, the singer, biographical notices of, i. 191;
his quarrel with Metastasio, 192.
Caldus, his unfortunate speculation in the Pantheon, ii. 125.
Calsabigi, the librettist, i. 212.
Camargo, Mdlle., the celebrated French danseuse, i. 89;
her exquisite skill, 90.
Cambert, his French opera, i. 15;
driven to London, 16;
his arrival in London, 28;
his favourable reception, 28;
English version of his Ariadne, 28;
his death and character, 28.
Cambronne, General, anecdote of, i. 17, note.
Camilla, music of, i. 109;
critique on the opera of, 109, 110.
Campanello di Notte, of Donizetti, ii. 233.
Campion, Miss, the vocalist, i. 139;
the Duke of Devonshire's inscription to her memory, i. 139.
Campistron, one of Lulli's librettists, i. 22.
Camporese, Madame, the Italian vocalist, ii. 160.
Campra, J., orchestral conductor of the Marseilles opera, i. 87;
anecdote of, 88.
Capuletti ed i Montecchi, of Bellini, ii. 250, 257.
Caradori, the vocalist, ii. 264.
Carestini, the Italian singer, i. 164.
Carey, H., the national anthem attributed to, i. 166.
Carpentras school of music, i. 6.
Catalani, the vocal queen of the age, ii. 16;
her extraordinary powers, 17, 19;
biographical notices of, 18-20;
Napoleon's munificent offer to, 18;
draft of a contract between her and Mr. Ebers of the King's Theatre, 23-25;
her retirement and death, 26;
enormous sums paid to, 132.
Caterina Comaro of Donizetti, ii. 243.
Catherine the Great of Russia, her interview with the vocalist Gabrielli, i. 198;
introduces the Italian Opera into St. Petersburgh, 199.
Cavaliere, Emilio del, a musician of Rome, i. 5.
Chambers, the banker, mortgagee of the King's Theatre, ii. 128, 130.
Chamfort, the republican, commits suicide, ii. 76.
Chantilly, Mdlle. (See FAVART).
Chapel-Masters, their strange readings, i. 44.
Chappell, W., on the origin of the national anthem, i. 166.
Charbonniers of Paris, present at the Opera on certain fetes, ii. 49.
Charles II., his patronage of operatic music, i. 33.
Charles VI. of Germany, his musical taste, i. 182.
Charles VII. of Germany, a musician, and the great patron of the opera at Vienna, i. 181.
Charles Edward, the young Pretender, arrested at the Académie Musique, and expelled from France, i. 234.
Chasse, the, baritone singer, i. 223;
biographical notices of, 223-5.
Chaumette, the sanguinary republican, ii. 73.
Cheron, the celebrated French bass, ii. 279;
the vibratory force of his voice, 279.
Cherubini's "Abencerrages," ii. 189.
Chorus of opera, i. 47;
French invention imported into England, 77;
introduction of the, 180.
Cimarosa, the operatic composer, ii. 29-31;
invited to St. Petersburgh, 87;
his Nozze di Figaro, 96;
his Matrimonio Segretto produced at the request of Leopold II., 96.
Clayton, the musical composer, and author of Arsinoe, i. 108;
his spleen against Handel, 129, 132, 133.
Clement IX., the author of seven libretti, i. 3.
Colasse, Lafontaine's composer, i. 22.
Colbran, Mdlle., the singer, ii. 95, 96;
married to Rossini, 166;
biographical notices of, 167.
Coleman, Mrs., the actress, i. 30, 31.
Comic opera of France, i. 236, 237.
Consulate, state of the French opera under the, ii. 178 et seq.;
operatic plots under the, 179, 180;
the arts did not flourish under the, 183.
Convention, state of the opera under the, ii. 75;
its receipts confiscated by the, 75;
its sanguinary proceedings, 75, 76.
"Conversion of St. Paul," played in music at Rome, i. 3.
Copyright, Victor Hugo's claims to against the Italian librettists, ii. 234, 235;
principles of, 235;
rights of authors, 237.
Coqueau, musician and writer, guillotined, ii. 76.
Corbetta, F., the musical teacher of Louis XIV., i. 75.
Corsi, Giascomi, i. 5.
Costume, ludicrous dispute respecting, i. 161, 162;
of visitors to the London Opera, ii. 136, 137;
letter respecting, 138.
Coulon, the French dancer, ii. 112.
Country dances introduced into England, i. 78;
fondness for, 78.
Covent Garden Theatre, performances at, i. 101.
"Credo," strange readings of the by two chapel masters, i. 44.
Crescentini, the singer, his capricious temper, i. 161, 162.
Crociato in Egitto, of Meyerbeer, ii. 206, 207;
Lord Edgcumbe's description of the music, 208;
the principal part played by Velluti, 209.
Croix, Abbé de la, i. 86.
Cromwell, his patronage of music, i. 32;
anecdotes of, 32, 33.
Cruvelli, Mdlle., her admirable performance in Fidelio, ii. 286.
Curiosity, wonderful instance of, i. 39.
Cuzzoni, the vocalist, her exquisite qualifications, i. 151, 152;
memoir of, 152;
her partizans, 153;
leaves England, 154;
returns to London, 155;
her melancholy end, 155.

D.
Dafne, the first complete opera, i. 5, 7;
new music composed to the libretto of, 6, 7.
Dame aux Camélias, its representation prohibited, i. 37.
Dancer and the musician, i. 88.
Dancers of the French opera, i. 77, 296;
their position previous to the Revolution, ii. 53;
diplomatic negociations for engaging, 110, 111;
engagements of in London, 112;
further negociations about their return, 115, 116;
treaty respecting their future engagements, 115.
Dancing, at the French court, i. 72;
language of, 250;
the fourth part of the fine arts at the Paris Opera, 259.
(See BALLET).
D'Antin, Duc, appointed manager of the French opera, i. 79.
Dauberval, the dancer, i. 300.
Davenant, Sir Wm., opens a theatre, i. 30, 36;
actors engaged by him, 30, 31.
David, the Conventional painter, ii. 72.
Davide, the operatic actor of Venice, ii. 158;
enthusiasm excited by, 159.
Decorations of the stage, i. 63.
De Lauragais, anecdote of, i. 277, 278.
Delany, Lady, her account of Anastasia Robinson afterwards Lady Peterborough, i. 134-138.
Delawar, Countess, patroness of the vocalist Faustina, i. 153.
D'Entraigues, Count, married to Madame Huberti, ii. 94;
murder of, 95.
Der Freischütz, of Weber, represented at the French Opera, ii. 198;
compared with Robert le Diable, 213;
remarks on, 291 et seq.;
compared with Don Giovanni, 293;
its complete success, 294;
remodelled by M. Blaze, and entitled Robin des Bois, 295.
Deschamps, Mdlle., the French figurante, i. 83;
her prodigality, 83.
Desmatins, Mdlle., the actress, i. 24, 25.
Despreaux, the violinist, commits suicide, ii. 76.
Devin du Village, of Rousseau, i. 261;
music presumed to be the production of Granet, i. 262, 263;
anecdotes of the, 262.
De Vismes, of the Paris Opera, i. 291;
ii. 38.
Devonshire, Wm., duke of, his inscription to the memory of Miss Campion, i. 139.
D'Hennin, Prince, his rupture with Gluck, i. 275, 276;
a favourite butt for witticism, 276.
Divertissements, propriety of their accompanying operatic performances, i. 25.
"Di tanti Palpiti," originally a Roman Catholic hymn, ii. 289.
Dinorah, of Meyerbeer, ii. 296, 297.
Don Giovanni, of Mozart, ii. 100-109;
its original cast at Prague, 104;
the performers of the character in London, 108;
general cast of characters in the opera, 108, 109;
compared with Der Freischütz, 293.
Don Pasquale, of Donizetti, ii. 241;
libretto of, 242.
Don Sebastien, of Donizetti, ii. 241.
Donizetti, the musical composer, i. 112;
his Elizir d'Amore, grounded upon Le Philtre and La Somnambule, 112;
his Lucrezia, founded on Lucrece Borgia, 213;
anecdotes of, ii. 226 et seq.;
his early admiration of Rossini's works, 230;
biographical notices of, 232;
his various works, 232 et seq., 239 et seq.;
his rapidity of composition, 240;
his last opera, Catarina Comaro, 243;
the author of sixty-three operas, 243;
critique on his works, 243, 244;
his illness and death, 245, 246;
his numerous compositions, 246;
compared with Bellini, 257.
Drama, Beranger on the decline of the, i. 65.