Leopold I., Emperor of Germany, his devotedness to music, i. 174.
Leopold II., of Germany, his liberality to Cimarosa, ii. 96;
his public approbation of Il Matrimonio Segretto, 97.
Lettres de Cachet, issued, to command certain persons to join the Opera, i. 76.
Libretti of English writers, i. 213;
of the French, 214.
Librettists of the eighteenth century, i. 212 et seq.
Libretto, no opera intelligible without one, i. 40;
the words should be good, and yet need not of necessity be heard, 41.
Limeuil, Madame, death of, i. 23.
Lincoln's Inn Theatre, under the direction of Porpora, i. 164.
Lind, Jenny, the hangman's admiration of, ii. 64.
Linda di Chamouni, of Donizetti, ii. 241.
Lion, Nicolini's contest with the, at the Haymarket, i. 118;
Addison's satirical critique on the, 119-122.
Lipparini, Madame, the prima donna at Palermo, ii. 271, 272.
Lise, Mddle., anecdote of, ii. 36.
Lock, the musical composer, i. 28.
London Opera, manners and customs of the, half a century ago, ii. 122 et seq.
(See King's Theatre.)
Lorenzo da Ponte, ii. 293.
Lotti, the Venetian composer, i. 146.
Louis XIV., a great actor, i. 73;
in the habit of singing and dancing in the court ballets, 74;
retires from the stage, 74;
returns to it, 75;
the various characters assumed by him, 75.
Louis XV., his heartless conduct at the theatre, i. 81;
his meanness to his daughter's music-masters, ii. 39;
French society at the very worst during his reign, 48.
Louis XVI., his flight from Paris, ii. 57;
his death, and state of the Opera at the time of, 61.
Lucia di Lammermoor, of Donizetti, ii. 233.
Lucrezia Borgia, of Donizetti, ii. 234, 237;
Victor Hugo's action against the author for breach of copyright, 234.
Lulli, French Opera not founded by, i. 13, 14;
his intrigues, 16;
his Cadmus and Hermione, 16;
originally a scullion in the service of Madame de Montpensier, 16;
his disgrace, 17;
his elevation by Louis XIV., 17, 18;
intrusted with them music of the ballets, 18;
a buffoon, 18;
various mistakes of, 18 et seq.;
his intemperate habits, 24;
his great attention to the ballet, 72;
tumult at the representation of his Aloeste, 85;
history of French Opera dates from the time of, 217;
his singular death, 217;
his operas, 217, 218.
Lyric drama, remarks on the, i. 236, 237;
Rousseau's critique on, 243.

M.
M. de Pourceaugnac, performance of, i. 19.
Machinery of the Opera at Paris, i. 255.
Maillard, Mdlle., the prima donna, of the Paris Opera, ii. 66;
requested to personate the Goddess of Reason, 67;
compelled to sing republican songs, 69;
suspected by the republicans, 69.
Mailly's Akébar, Roi de Mogol, i. 15.
Maine, Duchess du, her passion for theatrical and musical performances, i. 77;
her lotteries, 78.
Malibran, Madame, the vocalist, ii. 69;
biographical notices of, 174, 175;
her triumphal progress through Italy, 260, 261;
characteristic anecdotes of, 261-264;
her activity and great acquirements, 262;
her death, 264.
Mara, Madame, the celebrated vocalist, i. 200;
biographical notices of, 200-3;
appointed prima donna of the Berlin theatre, 201;
at the King's Theatre, ii. 4;
her distinguished performances, 5;
biographical notices of, 5-9;
among the first class of singers, 28.
Mara and Todi, Mesdames, quarrels between the admirers of, i. 150, 203.
Marcello's satire, Teatro a la Modo, i. 204-12.
Margarita de l'Epine, the Italian vocalist, i. 104;
at Drury Lane, 108.
Maria di Rohan, of Donizetti, ii. 242.
Marie Antoinette, the enthusiastic patroness of Gluck, i. 275;
patronizes Piccinni, 290;
her visit to the Académie and Opera Comique, ii. 58, 59;
popular cries against, 59;
obliged to fly, 59;
her execution, 61.
Mariette, Mdlle., the Parisian danseuse, i, 82.
Marino Faliero, of Donizetti, ii. 233.
Mario, the actor, in the character of the Duke of Mantua, i. 39;
a performer of Don Giovanni in London, ii. 108.
Marmontel, the librettist, i. 287, 289;
the admirer of Piccinni, 289.
Marre, Abbé de la, defends Mdlle. Petit, i. 82.
Marsolier, of the Opera Comique, ii. 235.
Martinella, Catarina, the celebrated singer, i. 8.
Martini's Cosa Rara, ii. 102.
Martiri, of Donizetti, ii. 239.
Masaniello, market scene in, i. 47;
effects of its representation in Paris, ii. 200.
Matrimonio Segretto, comic opera of, ii. 96-100;
its successful performance before Leopold II., 97.
Mattheson, the musical composer and conductor of the orchestra at the Hamburgh theatre, i. 141, 142;
his duel with Handel, 142.
Maupin, Mdlle., the operatic actress, i. 26;
the Lola Montes of her day, 26.
Mayer, the musical composer, ii. 32.
Mazarin, Cardinal, introduces Italian Opera into France, i. 8;
into Paris, 14.
Maze, Mdlle., the danseuse, her melancholy suicide, &c., i. 84.
Mazocci's school of singing at Rome, i. 184.
Melun, Count de, his depravity, i. 76.
Menestrier, on the origin of the Italian Opera, i. 3.
Mengozzi, the tenor singer, visits Paris, ii. 3.
Mercadante, the musical composer, ii. 247, 248.
Mercandotti, Maria, the charming Spanish danseuse, ii. 119;
married to Mr. Hughes Ball, 120.
Merighi, Signora, the Italian singer, i. 163.
Merulo, Claudio, the musical composer, i. 4.
Metastasio, the poet and librettist, i. 175, 212;
his quarrel with Caffarelli, i. 191.
Meyerbeer, the successor of Rossini at the Académie, ii. 202;
a composer who defies classification, 206;
his different productions, 206;
biographical notices of, 206, 207;
his Robert le Diable, 207, 211 et seq.;
his Huguenots, 216;
his Prophete, 218.
Mililotti, the Neapolitan buffo, ii. 274, 275.
Mingotti, the celebrated vocalist of the Dresden opera, i. 156;
her opinion of the London public, 197.
Minuet, introduced into England, i. 73.
Moliere, the friend of Lulli, i. 19;
his disagreement with him, 20;
his Amants Magnifiques, 65.
Montagu, Lady Wortley, her description of the Vienna theatre, i. 175.
Montansier, Mdlle., 71, 72;
denounced by the republicans for building a theatre, 73;
imprisoned, 73;
her nocturnal assemblies, 73;
Napoleon introduced to her, 74;
her marriage, 74;
receives indemnity for her losses, 75;
engaged by Napoleon to form an Italian operatic company, 79;
is unsuccessful, 79.
Montessu, the French dancer, ii. 112.
Monteverde, the musical composer, i. 7;
his improvements in orchestral music, 7;
the score of his Orfeo, 7, 23;
produces his Arianna at Venice, 8;
his great popularity, 8.
Moreau, the musical composer, i. 27.
Morel, the librettist, ii. 183.
Morelli, the bass-singer, visits Paris, ii. 3.
Mormoro, Madame, personates the Goddess of Reason, ii. 67.
Mosé in Egitto, by Rossini, ii. 163.
Mount Edgcumbe, Lord, author of "Musical Reminiscences," i. 299, 300;
his notices of celebrated vocalists, ii. 5, 6, 8, 11, et passim;
his description of the King's Theatre in 1789, 131.
Mouret, the musical composer, i. 78.
Mozart, the musical composer, i. 12;
works of, 13;
reception of his Nozze di Figaro, ii. 98;
his Seraglio, 99;
founder of the German operatic school at Vienna, 99 et seq.;
his Don Giovanni, 100-109;
its original cast at Prague, 104;
Salieri his great rival, 101, 102;
his genius fully acknowledged, but his music not at first appreciated, 107;
Musette de Portici, the first important work to which the French Opera owes its celebrity, 195;
translated and played with great success in England, 197, 198;
his fortunes affected by the revolutionary character of the plot, 200.
Music of the operatic works of the sixteenth century, i. 4, 5;
Woolfenbuttel school of, 6;
Carpentras school of, 6;
of the drama, its importance, 45, 46;
the language of the masses, 46;
its powerful effects in dramatic representations, 47;
its powers as an art, 59, 60;
capabilities of, 169;
Marcello's satirical advice respecting, 204-12;
of the Greeks, 241;
a real recitative, 241;
an imitative art, 245, 248;
of the Italians and the Germans, 268, 269;
on expression in, ii. 83;
did not flourish under the French Republic or Empire, 84;
different schools of, 284.
Musical composers, who adorned the end of the eighteenth and the beginning of the nineteenth century, ii. 31, 32;
their peculiar characteristics, 141.
Musical compositions, different adaptations of, ii. 83, 84.
Musical instruments of the seventeenth century, i. 23.
Musical pieces, danger of performing under the Republican regime, ii. 67.
Musical plays of the fifteenth century, i. 2.
Musical valets of the seventeenth century, i. 23, 24.
Musician, his contest with the dancer, i. 88;
his task of imitation greater than that of the painter, 249.
Musicians of the French Opera, privileges of the, i. 77;
of Italy, nicknames given to, 86-8;
the "three enraged" ones, 129, 133.
Muzio Scevola, produced at the Royal Academy of Music, i. 145.
Mysteres d'Isis, opera of the, ii. 183.

N.
Napoleon, his munificent offers to Catalani, ii. 18.
Napoleons, both of them good friends to the Opera, ii. 193, 194.
Nasolini, the musical composer, ii. 12.
National anthem, story respecting the, i. 165;
on the origin of the, 166.
National styles, i. 214, 215.
Nicknames given to celebrated musicians, singers, and painters of Italy, i. 186-8.
Nicolini, a great actor, i. 61;
a sopranist, 117;
Addison's critique on his combat with a lion at the Haymarket, 118-122.
Nobles of France, operatic actors, i. 76;
abuses arising from the system, 76.
Noblet, Mdlle., the French danseuse, ii. 111-13;
negociations respecting her benefit, 113, 114.
Norma, of Bellini, ii. 250, 252, 257.
Nose-pulling, i. 106.
Nourrit, Adolphe, the celebrated tenor, a performer of "Don Giovanni" in London, ii. 108;
makes his appearance at Paris, 195;
his La Parisienne, 201;
his professional engagements, 221, 222;
his melancholy death, 223, 224.
Noverre, the celebrated ballet master, i. 178.
Nozze de Figaro, of Mozart, ii. 98-103.
Nuits de Sceaux, or Nuits Blanches, of the Duchess du Maine, i. 77, 78.

O.
Oberon of Weber, ii. 299, 301.
Olivieri, primo basso at Udine, ii. 89.
OPERA, history of the, i. 1 et seq.;
meaning and character of, 1, 2;
Wagner's definition, 1, et note;
the earliest Italian plays, called by the general name of, 2;
the title afterwards applied to lyrical dramas, 2;
proceeds from the sacred musical plays of the sixteenth century, 2;
first specimens of in the Greek plays, 3;
operatic composers and singers, 4-8;
its success promoted by the musical genius of Monteverde, 8;
taken under the patronage of the most illustrious nobles, 8;
the most celebrated female singers connected with, 8;
Italian opera introduced into France under the auspices of Cardinal Mazarin, 8;
into England at the commencement of the eighteenth century, 9, 54;
into Germany, 10;
flourishing state of during the eighteenth century, 10;
history of its introduction into France and England, 12 et seq.;
not founded by Lulli, 13, 14;
the first English opera ten years later than the first French one, 31;
the leading actors, 31;
the nature of and its merits as compared with other forms of the drama, 36 et seq.;
unintelligibility of, 37;
music in a dramatic form, 38;
the words ought to be good, and yet need not of necessity be heard, 41;
unnaturalness of, 45;
chorus of, 47;
Addison's articles on, 53-58;
and the drama, 61;
Beranger on the decline of the, 65;
Panard's remarks on the, 67;
his song on what may be seen at the, 67;
Louis XIV. and the nobles of France actors in, 73-78;
lettres de cachet issued, commanding certain persons to join the, 76, 77;
privileges of singers, dancers, and musicians belonging to the, 77;
state of, under the regency of the Duke of Orleans, 79;
the scene of frequent disturbances, 80;
etiquette respecting the visits of young ladies to the, 92, 93;
introduction of the Italian Opera into England, 104 et seq.;
under Handel, 140;
its position under Handel, and subsequently, 170, 171;
general view of in Europe in the eighteenth century, until the appearance of Gluck, 172;
its appearance at Vienna, 175, 181;
its weak points during the eighteenth century exhibited in Marcello's celebrated satire "Teatro a la Modo," 204-12;
history of French opera from Lulli to the death of Rameau, 217 et seq.;
history of, in France, during the eighteenth century, abounds in excellent anecdotes, 232 et seq.;
different kinds of, 236, 237;
Rousseau's definition, and critical remarks on, 239 et seq.;
of the Greeks, 243 et seq.;
early periods of, 245;
subjects of, 247;
Rousseau's description of, at Paris, 251 et seq.;
ludicrous caricature of, 252-260;
its monstrous scenery, machinery, and decorations, 255;
audience of the, 257;
history of, in England, at the end of the eighteenth century, and beginning of the nineteenth, ii. 1 et seq.;
at Versailles, 3;
King's Theatre, 4, 5;
notices of the most celebrated singers, 3-33;
the Pantheon enterprise, 6, 7;
state of in France after the departure of Gluck, 35 et seq.;
at Paris, frequently burnt down and rebuilt, 42;
of the "Romantic" school, 45;
its condition before and after the Revolution, 46 et seq.;
strange customs connected therewith, 49;
great singers of the, at the Jesuits' church and theatre at Paris, 50;
dangerous to write anything about in Paris previous to the Revolution, 54;
its decline after the Revolution commenced, 56 et seq.;
the National Opera of Paris, 62;
history of, under the Republic of France, 62 et seq.;
state of the, under the Convention, 75;
its receipts confiscated, and its artists guillotined, 75, 76;
under Napoleon, 79;
state of in Italy, Germany, and Russia, during the Republican and Napoleonic wars, 87 et seq.;
its difficulties arising from the continued wars, 109;
diplomatists and dancers, 111;
Terpsichorean treaty, 115;
manners and customs of, half a century ago, 121 et seq.;
Mr. Ebers's management in 1821, 129;
the King's Theatre in 1789, 131, et seq.;
costume of, in 1861, 137;
Rossini and his period, 143;
his Barber of Seville, and other operatic pieces, 144-163.
(See ROSSINI).
Madame Pasta, 170; Madame Pisaroni, 172;
Madlle. Sontag, 175;
its position in France under the Consulate, Empire, and Restoration, 178 et seq.;
plots for assassinating the First Consul at the, 179, 182;
assassination of the Duke de Berri at the, 190;
its temporary suspension, 193;
the Napoleons good friends to the, 193, 194;
the different pieces produced at Paris, 195, 196;
Rossini's Guillaume Tell, 201;
rehearsals, 207;
Nourrit, 221;
the chief opera houses of Paris and Italy inseparably connected with the history of opera in England, 224;
Donizetti and Bellini, 226, et seq., 257;
author's rights, 237;
different schools of, 284.
Opera Comique, of France, i. 236, 237.
Opera, French, Favart's satirical description of, i. 65.
Opera National, substituted for that of the Academie Royale, ii. 59;
programme issued by the directors, 62;
change of site, 71.
Opera singers, badly paid in the 17th century, i. 25.
Operatic feuds, i. 105.
Operatic incongruity at Paris, i. 253.
Opitz, translator of the opera of Dafne, i. 6.
Orchestra, instrumental music being deficient in the 17th century, i. 7;
Monteverde's improvements, 7.
Orfeo, of Monteverde, music of, produced at Rome in 1440, i. 3, 13.
Orleans, duke of, state of the Opera under his regency, i. 79;
his sincere love of music and literature, 85, 86;
his death, 86.
Otello, by Rossini, ii. 157.
Oulibicheff, M., his notices of Mozart, ii. 101;
the biographer of Beethoven, 287;
Lenz's attack on, 287.
Oxenford's Robin Hood, i. 214.

P.
Pacchierotti, the celebrated male soprano, ii. 7.
Pacini's