Dramatic ballet. (See BALLET).
Dresden, theatre of, the first opera in Europe, and the best vocalists engaged from them, i. 172, 173;
ii. 80, 81, 87.
Dryden, his political opera of Albion and Albanius, i. 29;
his character of Grabut, 29.
Du Barry, Madame, her opposition to Gluck, and support of Piccinni, i. 279, 280;
mistress of Louis XV., ii. 48.
Dubuisson, the librettist, guillotined, ii. 75.
Duc d'Albe, of Donizetti, ii. 243.
Duelling, i. 107;
among women, 225, et note.
Dumenil, the tenor, i. 24.
Duparc, Eliz., the soprano singer, nicknamed "La Francesina," i. 187.
Dupre, the violinist, exchanges the violin for the ballet, i. 88, 89, 91.
Durastanti, Madame, the celebrated vocalist, i. 158, 159.

E.
Ebers, Mr., of the King's Theatre, ii. 22;
draft of a contract between him and Madame Catalani, 23-25;
is opinions on the state of the opera, 109;
his negociation respecting the Paris dancers, 115;
takes the management of the King's Theatre, 129;
his selection of operas and singers, 129;
his losses, 129, 130;
his retirement, 130.
Eclecticism, the present age of, i. 286.
Edelman, the musician, executed, ii. 76.
Edgar, Sir John, his attack on a company of French actors, i. 159, 160.
Eglantine, Fabre d', the librettist, guillotined, ii. 76.
Elisir d'Amore, of Donizetti, ii. 233.
Empire, state of the French opera under the, ii. 178 et seq.;
the arts did not flourish under the, 183.
England, Italian opera introduced into, i. 9, 104 et seq.;
state of the opera at the end of the eighteenth and beginning of the nineteenth century, ii. 1 et seq.;
the chief opera houses of Paris and Italy inseparably connected with the history of opera in, 224.
English, the Italians have a genius for music superior to, i. 56;
have a genius for other performances of a much higher nature, 56.
English opera, account of, i. 9;
its failures, 10;
services rendered by Handel to, 215;
has no history, 215.
"Enraged Musicians," letters from, i. 129, 133.
Enrico di Borgogna, of Donizetti, ii. 232.
Euridice, opera of, i. 5, 6.
Euryanthe of Weber, ii. 292, 298;
its great success, 299.

F.
Fabri, Signor, the Italian singer, i. 163.
Fabris, death of, from overstrained singing, ii. 270.
Farinelli, Carlo Boschi, the Italian singer, i. 159;
the magic and commanding powers of his voice, 164, 189;
biographical notices of, 185, 186, 188-191;
his single note, 189.
Farnesino, theatre at Paris, i. 177.
Faustina, the vocalist, i. 150:
her exquisite qualifications, 151, 152;
memoir of, 152;
her artizans, 153;
returns to Italy, 155;
married to Hasse, the musical composer, 155, 156;
her successful career at the Dresden Opera, 156;
her death, 158.
Faustina and Cuzzoni, disputes respecting, i. 149 et seq.;
their respective merits, 150, 151.
Favart, his satirical description of the French Opera, i. 65.
Favart, Madame, of the Opera Comique, i. 231;
her love for Marshal Saxe, 232, 233.
Favorite, by Donizetti, ii. 239.
Fel, Mdlle, a singer of the Academie, i. 223.
Female singers, the most celebrated, i. 8.
Fénélon, Chev. de, accidentally killed, i. 81.
Fenton, Lavinia, married to the Duke of Bolton, i. 138;
her accomplishments, 138.
Ferri, Balthazar, the most distinguished singer of his day, i. 174.
Ferriere, Chev. de, anecdotes of, ii. 77, 78.
Feuds, among musicians and actors, i. 149 et seq.
Fiddles, of the seventeenth century, i. 23.
Fidelio, of Beethoven, 286.
Fille du Regiment, by Donizetti, ii. 239.
Finales, Piccinni the originator, ii. 32;
time usually occupied by them, 32, 33.
First Consul of France, plots for assassinating, ii. 179, 182.
Fodor, Madame, the celebrated cantatrice, ii. 92;
anecdote of 93;
biographical notices of, 160.
Fontenelle, author of "Thetis and Pelee," revisits the Academie, i. 235.
Forst, the singer, refuses letters of nobility, i. 221.
France, Italian Opera introduced into, i. 8;
but rejected, 9, 11;
introduction of the Opera into England, 12 et seq.;
French Opera not founded by Lulli, 13, 14;
nobles of, invited to stage performances by Louis XIV., 75;
morality of the stage, 81, 82;
her dramatic music dates from 1774, 216;
history of the Opera in, abounds in excellent anecdotes, 232;
state of the Opera after the departure of Gluck, ii. 84 et seq.;
after the Revolution, 46 et seq.;
under the Consulate, the Empire, and the Restoration, 178 et seq.;
the arts did not flourish under the Consulate and the Empire, 183;
has party songs, but no national air, 201.
Frangipani, Cornelio, drama by, i. 4.
Frederick the Great introduces the Italian Opera into Berlin, i. 199;
his favourite composers, 199;
officiated as conductor of the orchestra, 199.
French actors, company of, in London, in 1720, i. 159.
French Court, ballets at the, i. 70, 71.
French Opera, Favart's satirical description of the, i. 65;
from the time of Lulli to the death of Rameau, i. 217;
the various pieces produced at the, ii. 195 et seq.
(See FRANCE).
French Society at its very worst during the reign of Louis XVI., ii. 48;
operatic and religious fetes, 49.
Fronsac, duke de, his depravity, i. 76.

G.
Gabrielli, Catarina, the vocalist, i. 188;
biographical notices of, 195 et seq.
Gabrielli, Francesca, the vocalist, i. 188.
Gagliano composes the music to the opera of Dafne, i. 6.
Galileo, Vincent, inventor of recitative, i. 5.
Galuppi, musical composer, i. 170, 171;
musical director at the Russian Court, 198.
Garcia, the tenor performer of "Don Giovanni," in London, ii. 108;
anecdote of, 144, 145.
Garcia, Mademoiselle, (See MALIBRAN.)
Gardel, the ballet-master, ii. 75.
Garrick, his opinion of Sophie Arnould at Paris, i. 227;
of French descent, 227 note.
Gazza Ladra, by Rossini, ii. 160.
German Opera, the forms of, perfected by Keiser, i. 6;
originated from Mozart, ii. 99 et seq.;
its celebrated composers, 106.
Germans, music of the, i. 268, 269.
Germany, Italian Opera introduced into, i. 10;
her opera during the republican and Napoleonic wars, ii. 86;
has sent us few singers as compared with Italy, 224;
state of her opera, 225;
the land of scientific music, 285.
Giovanni, of Mozart, i. 13.
Glass, broken to pieces by the vibratory force of particular notes, ii. 279.
Glinka, the Russian composer, ii. 290.
Gluck, the musical composer, i. 12;
works of, 13;
the estimation in which his works were held, 181;
merits of, as compared with Piccinni, 267;
biographical and anecdotal notices of, 270 et seq.;
his Alcestis and Orpheus, 272;
his Iphigenia in Aulis, acted at Paris with immense success, 273;
success of his Orpheus, 278;
his Alcestis, 279;
his death, 295;
state of the Opera in France after his departure, ii. 34;
anecdote of, 39;
benefitted French opera in different ways, 40.
Gluck and Piccinni, contests respecting, in Paris, i. 150.
"God save the king," origin of the anthem, i. 165, 166.
Goddess of Reason, personated by the actresses of the Opera, ii. 67.
Grabut, the musical composer, i. 28, 29;
Dryden's character of him, 29.
Grammont, count de, extract from his memoirs, i. 73.
Granet, the musical composer, i. 261;
author of the music to Rousseau's Devin du Village, 262;
his death, 265.
Grassini, the singer, ii. 14.
Greek Plays, first specimens of operas, 3.
Greek Theatre, i. 240;
music of the, 241.
Greeks, their language and accent, i. 241;
their lyric style, 241:
their music a real recitative, 241;
absurdities of their dramas, 244.
Grisi, Giulia, the accomplished vocalist, ii. 280, 281;
her family connexions, 280;
her vocal powers, 281;
"Norma" her best character, 281.
Grossi, the vocalist, i. 188.
Guadigni, the vocalist, biographical notices of, i. 194.
Guéméné, prince de, his insolvency, ii. 51;
feeling letter of the operatic vocalists to, 51.
Guglielmi, the operatic composer, ii. 29;
his success at Naples, 30.
Guillaume Tell, its first performance at the French Opera, ii. 198;
cut down from three to five acts, 198;
Rossini's last opera, 201.
Guimard, Madeline, the celebrated danseuse, i. 288, 296;
accident to, 296;
biographical and anecdotal notices of, 297 et seq.;
anecdotes of, ii. 34, 35;
her narrow escape from being burnt to death, 41;
her reappearance at the Opera, 77.
Guinguenée, the French librettist, i. 293.
Gustave III. of Auber, ii. 219.

H.
Hamlet, set to music, i. 127;
its absurdity, 128.
Handel, G. F., at Paris, i. 86;
in London, 97, 100-3;
his Pastor Fido played at the Haymarket Theatre, i. 102;
his great improvement of the Italian Opera, 108;
success of his Rinaldo, 116;
his arrival in England, 122;
brings out his Rinaldo and Armide, 123;
Clayton's spleen against, 129, 132, 133;
the Italian operas under his direction, 140 et seq.;
his career as an operatic composer and director, 140;
wrote his last opera, Deidamia, 141;
biographical account of, 141 et seq.;
his duel with Mattheson of the Hamburgh Theatre, 142;
his Rinaldo, Pastor Fido, and Amadigi, 142;
direction of the Royal Academy of Music confided to him, 144;
his first opera at the Royal Academy was Radamisto, 144;
his next opera, Muzio Scevola, 145;
his various operatic pieces played at the Royal Academy of Music, 146;
his services to English Opera, 215;
appointed to the management of the King's Theatre, 163;
names of the Italian performers engaged by him, 163;
his rival Porpora, and the difficulties with which he had to contend, 167;
abandons dramatic music after having written thirty-five Italian operas, 168;
his operas now become obsolete, and unadapted to modern times, 168, 169;
success of the operatic airs, which he introduced into his oratorios, 169;
position of the Italian Opera under his presidency, 170, 171;
his great musical genius, and the grandeur of his oratorios, 172.
Harmony, preferable to simple declamation, i. 45, 46.
Hasse, the musical composer, i. 155;
marries the vocalist Faustina, 156;
appointed director of the Dresden Opera, 156;
his death, 158;
a librettist, 212.
Hauteroche, humour of exhausted, i. 49.
Haydn, his opinion of Mozart's work, ii. 102.
Haymarket Theatre, Handel's Pastor Fido played at, i. 102.
Hébert, the sanguinary republican, ii. 68, 73.
Heidegger, appointed manager of the King's Theatre, i. 163;
his "puff direct," 163.
Henriot, the sanguinary republican, ii. 62, 72.
Hingston, the musician, patronised by Cromwell, i. 32.
Hoffman, the musical composer, ii. 301;
his Undine, 301-305;
Berlioz's opinion of his music, 305.
Huberti, Madame, the singer, ii. 43, 94;
her marriage and horrible death, 94.
Hugo, Victor, his dramas made the groundwork of Italian librettists, i. 213;
his actions against them for violation of copyright, ii. 234, 235.
Huguenots, of Meyerbeer, ii. 216.
Hydaspes, opera of, i. 117;
Addison's critique on, 118, 119.

I.
Il Pirato, of Bellini, ii. 249.
Insanity, Steele's remarks on, i. 111, 112.
Interludes, banished from the operas, i. 250.
Iphigenia in Aulis, by Gluck, i. 273;
its introduction on the Paris stage, and immense success, 273, 274.
Iphigenia in Tauris, a rival opera, composed by Piccinni, i. 291, 292.
Italian librettists, Victor Hugo's actions against for copyright, ii. 234, 235.
Italian opera, introduced into France under the auspices of Cardinal Mazarin, i. 8;
rejected by the French, 9, 11;
introduced into England, 9, 11;
into Germany, 10;
into all parts of Europe, 10;
introduced into England at the beginning of the eighteenth century, 54;
Addison's critical remarks on, 55-8;
attempts to engage the company of London at the French Academie, 26:
raised to excellence by Handel in London, 103;
history of its introduction into England, 104 et seq.;
Steele's hatred to, 113;
a complete failure in London, 147-149;
its position under Handel, and subsequently, 170, 171;
various operas produced, 170, 171;
established at Berlin and St. Petersburgh, 199;
its weak points during the eighteenth century exhibited in Marcello's satire, "Teatro a la Modo," 204-12;
the company performing alternately in London and in Paris, ii. 2;
its position during the Republican and Napoleonic wars, 86.
Italian plays, of the earliest period, called by the general name of "Opera," i. 2.
Italian singers, establish themselves everywhere but in France, i. 173;
company of engaged by Mdlle. Montansier, ii. 79;
unsuccessful, 79.
Italians, their genius for music above that of the English, i. 56;
music of the, 268, 269.
Italy, modern, earliest musical dramas of, i. 3, 6, 7.

J.
Jeliotte, the tenor singer, i. 223.
Jesuits' church at Paris, the great operatic vocalists engaged at the, ii. 49;
their theatre near the, 50.
Jomelli, anecdote related by, i. 44;
director of the Stutgardt opera, 178;
sets Didone to music, 212.

K.
Kalkbrenner, a pasticcio by, unsuccessful, ii. 85;
his Don Giovanni, 184.
Keiser, the operatic composer;
author of Ismene and Basilius, i. 6, 141.
Kelly, Michael, the singer, ii. 128.
Kind, Frederick, ii. 293;
Weber's introduction to, 293.
King's Theatre, performances at, and assemblies, i. 101;
opened under Heidegger, 163;
celebrated vocalists at the, ii. 4;
destroyed by fire, 6;
rebuilt and re-opened, 8;
its negociations with the Parisian operatists, 110, 111;
Mr. Taylor the proprietor, 121;
the theatre closed, 125;
quarrels of the proprietors, 126;
re-opened under Waters, 127;
again closed, 129;
Mr. Eber's management, 129;
selection of operas and singers for the, 129;
management of Messrs. Laporte and Laurent, 130;
its position and character in 1789, 131;
enormous prices paid for private boxes and admission, 132, 133;
sale of the tickets at reduced prices, 133, 134;
costume of visitors, 136, 137.

L.
Labitte, death of, from overstrained singing, ii. 270.
Lablache, the basso singer, the "Leporello" of Don Giovanni, ii. 108, 109;
biographical notices of, 274-278;
his versatile powers, 277, 278;
his great whistling accomplishments, 279;
his characters of "Bartolo" and "Figaro," 275.
Lachnick, the musician, ii. 183, 184.
Lacombe, the French dancer, ii. 112.
La Cenerentola, opera of, ii. 162.
La Fare, Marq. de, author of the Panthée, i. 85.
Lafontaine, his want of success as a librettist, i. 21;
anecdote of, 21.
Lafontaine, Mdlle., the celebrated ballerina at the French Opera, i. 72.
Laguerre, Mdlle., the vocalist, i. 281;
the actress, i. 294.
Lainez, the poet, i. 27;
the singer, ii. 69.
"La Marseillaise," borrowed from Germany, ii. 201.
Lamartine, M. de, his faultiness in history, ii. 61, note.
Lamb, Charles, anecdote of, i. 21.
Laniere, musical composer and engraver, i. 30.
"La Parisienne," of Nourrit, ii. 201.
Laporte and Laurent, Messieurs, managers of the London opera house, ii. 130.
Larrivée, the vocalist, i. 223, 274.
La Straniera, of Bellini, ii. 249.
Lauragais, Count de, anecdotes of, i. 229, 230;
ii. 77, 78;
his great expenditure, ii. 51.
La Vestale, of Spontini, ii. 186, 187.
Law, M., introduces wax into the candelabra of the French Opera, i. 84;
breaking up of his financial schemes, 84;
favoured by the Duke of Orleans, 84.
Lays, a furious democrat, and chief manager of the French Opera, ii. 66;
treated with public indignation, 77.
Leclair, exchanges the ballet for the violin, i. 88, 89.
Lefevre, the republican singer, hissed off the stage, ii. 70.
Legal disputes among musicians, i. 87, 88.
Legroscino, the musical composer, ii. 32.
Lemaure, Mdlle., the actress, i. 92.
Lenoir, the architect of the Paris Opera, ii. 43.
Lenz, the biographer of Beethoven, ii. 287.