Talismano, ii. 267, 268.
Paer, the musical composer, ii. 32;
plays the part of basso, 90, 91;
success of his Laodicea, 98.
Paer, Madame, the vocalist, ii. 80;
engaged by Bonaparte, 80, 81, 88;
anecdote of, 89.
Painters of Italy, nicknames given to, i. 186-8.
Paisiello, the operatic composer, ii. 2, 29, 30, 31, 82;
his interview with Bonaparte, 82;
liberally rewarded, 82, 83;
at St. Petersburgh, 87.
Panard, his satirical remarks on the Opera, i. 67;
song on what he had seen at the Opera, 67.
Pantheon of London converted to the use of the Opera, ii. 6, 7;
its company, 7;
burnt down, 8;
opening of the, 125;
an unfortunate speculation, 125.
Paris, absurd regulations of the Theatres at, i. 86, 87;
Rousseau's descriptions of the Opera at, 251, 252-260;
contests in, respecting the merits of Gluck and Piccinni, 267;
its operatic company towards the end of the 18th century, ii. 3;
the opera burnt down at different times, 42;
National Library of, proposed to be burnt, 71, 72;
the various operatic pieces produced at, 195 et seq.
Parisian public manners and customs of the time of Louis XIV., i. 75 et seq.;
the turbulent and dissipated habits, 80.
Pasta, Madame, the celebrated singer, ii. 168;
her representation of Rossini's Semiramide, 168, 169;
biographical notices of, 170.
Pelissier, Mdlle., the prima donna of Paris, i. 82;
her prodigality, 83.
Pembroke, Countess of, the leader of a party against the vocalist Faustina, i. 153.
Pergolese, the musical composer, i. 9, 170;
his Serva Padrona hissed from the stage, 9;
at St. Petersburgh, ii. 88.
Peri, the Italian musician, i. 5;
composer of the music to Dafne, 7.
Perrin, French Operas of, i. 15.
Peruzzi, Balthazar, his wonderful skill in scenic decoration, i. 3, 4.
Peter the Great, his visit to the French Opera, i. 81.
Peterborough, lord, account of his marriage with Miss Anastasia Robinson, i. 134-138.
Petit, Mdlle., the Parisian danseuse, i. 82.
Petits Violins du Roi, a band formed by Lulli, i. 17.
Phillips, Ambrose, the plagiarist, i. 115.
Piccinni, the musical composer, i. 212;
merits of, as compared with Gluck, 267;
biographical and anecdotal notices of, 280 et seq.;
his natural genius for music, 284;
success of his Donne Dispetose and other operatic pieces, 285 et seq.;
his arrival at Paris, 287;
his contests with the Gluckists, 288 et seq.;
his Orlando, 289;
his rival opera of Iphigenia in Tauris, 291, 292;
ruined by the French Revolution, 295;
his death, 295;
the originator of the popular musical finales, ii. 32.
Pietra del Paragone, of Rossini, ii. 151.
Pinotti, Teresa, the celebrated comedian, ii. 274.
Pisaroni, Madame, biographical notices of, ii. 172.
Pleasantries of the drama exploded, i. 49;
their antiquity and harmlessness, 49.
Poissardes of Paris, present at the Opera on certain fetes, ii. 49.
Pomone, the first French Opera heard in Paris, i. 15.
Ponceau, Seigneur de, (See CHASSE).
Porpora, the musical composer, i. 44, 100;
his perversion of the "Credo", 44;
director of the Lincoln's Inn Theatre, 164;
singers engaged by him, 167.
Porte St. Martin Theatre at Paris, ii. 42.
Preciosa, of Weber, ii. 298.
Prevost, Mdlle. the ballet dancer, i. 78, 89;
her jealousy of Mdlle. de Camargo, 90.
Prima donnas, Marcello's satirical instructions respecting, i. 211.
Prophete, of Meyerbeer, ii. 218.
Purcell, the writer of English operas, i. 9;
his King Arthur, 14;
his dramatic music, 29;
his operatic compositions, 33;
his death, 34;
his talents, 34.
Pygmalion, of Mdlle. Sallé, 93, 94.
Pyrrhus and Demetrius, Scarlatti's opera of, i. 117.

Q.
Quantz, the celebrated flute player, i. 151;
his account of the Faustina and Cuzzoni contests, 151, 153.
Quin, James, the musician, anecdote of, i. 32.
Quinault, one of Lulli's librettists, i. 22.

R.
Racine, merits of, i. 115, 116.
Rameau, J. P., the great French composer, i. 13, 212;
opinions of Dr. Burney and Grimm on his compositions, 213;
memoirs of, 213 et seq.;
letters of nobility granted to him, 220;
his music, 222;
his death and funeral, 222, 223.
Ranz des Vaches, ii. 289, 290.
Recitative, on the use of, in opera, ii. 296.
Rehearsals at the French opera, ii. 207;
in London, 208.
Reign of Terror, a fearful time for artists and art, ii. 71;
its numerous victims, 76, 77.
Republic of France, changes effected, in the Opera by the, ii. 64, 65.
Republican celebrities, their direction of the Opera National, ii. 62, 63, 74;
changes effected by, in operatic pieces, 64, 65.
Revolution in France, state of the Opera at the period, ii. 34 et seq. 55;
its effect on the Academie, 56 et seq.;
musicians and singers who fell victims to its fury, 76, 77.
Rey, the musical composer, and conductor of the Paris orchestra, ii. 41.
Righini, the operatic composer, ii. 104.
Rigoletto, operatic music of, i. 47, 48.
Rinaldo and Armida, by Handel, i. 123;
operatic sparrows of, 123-126.
Rinuccini, Ottavio, the Italian poet, i. 5;
author of the libretto to Dafne, 7.
Robert le Diable, of Meyerbeer, new version of a chorus in, i. 42;
remarks on, ii. 202, 211 et seq.;
compared with Der Freischutz, 213;
brought out at the King's Theatre, 214.
Robespierre, fall of, ii. 76.
Robin des Bois, an adaptation of Weber's Der Freischutz, ii. 295-297.
Robinson, Anastasia, the celebrated vocalist, i. 134;
privately married to the Earl of Peterborough, 134;
Lady Delany's account of, 134-138.
Robinson, Mr., father of Lady Peterborough, i. 135;
death of, 136.
Rochois, Martha le, the vocalist, i. 25.
"Romantic School" of the opera, ii. 284.
Rossi, the Italian librettist, i. 128.
Rossini, the operatic composer. ii. 31;
history of his period, 140 et seq.;
the greatest of Italian composers, 142;
his biographers, 143;
his Barber of Seville, 144;
historical anecdotes of, 144 et seq.;>
comparison of, with Mozart and Beaumarchais, 149;
his Pietra del Paragone, 151;
his innovations, 153, 155; Tancredi and Otello, 156, 157;
his Gazza Ladra, 160;
his Mosé in Egitto, 163;
married to Mdlle. Colbran, 166;
his Semiramide played by Madame Pasta and others, 168, 169;
his Siege de Corinth, 189;
his Viaggio a Reims, 195;
Guillaume Tell his last opera, 201;
succeeded by Meyerbeer at the Academie, 202;
his followers, 203, 204;
his retirement, 205;
Donizetti's early admiration of, 226;
Sigismondi's horror of his works, and his adverse criticisms, 228 et seq.;
his musical genius and powers, 282;
his William Tell, 283;
the most modern of operatic composers, 283;
the alpha and the omega of our operatic period, 283.
Rouslan e Loudmila, of Glinka, ii. 290.
Rousseau, J. J., a critic and a composer of music, i. 238 et seq.;
his "Dictionnaire de Musique," 239;
his definition of Opera, 239;
his critical dissertation on the Opera in France during the eighteenth century, 239-250;
his opinions on dancing and the ballet, 250;
author of the Devin du Village, 261,
but Granet the musical composer, 262, 263;
his advice to Mdlle. Theodore, 300.
Rousseau, Pierre, anecdote of, i. 262;
accuses Jean J. Rousseau of fraud, 265.
Royal Academy of Music formed in London, i. 142;
liberally patronized, 143;
confided to Handel, 144;
the various operas produced at, 144, 145;
involved in difficulties, 145;
finally closed, 146;
a complete failure, 147.
Rubini, the celebrated tenor singer, ii. 249, 264, 265;
the fellow-student of Bellini, 249;
biographical notices of, 265, 266;
his great emoluments, 266;
his B flat, 267, 268;
his broken clavicle, 269.
Rue Richelieu, opera in closed after the assassination of the Duc de Berri, ii. 193.
Russia, opera in, during the republican and Napoleonic wars, ii. 87.

S.
Sacchini, the musical composer, i. 212; ii. 2, 31, 40;
works of, 40;
his Chimène played at the Paris Opera, 43;
his Œdipe à Colosse, 44.
Sacred musical plays of the fifteenth century, i. 2.
Saggio sopra l'Opera in musica, of Algarotte, i. 2;
St. Evremond's comedy of Les Operas, i. 50.
St. Leger, Mdlles. de, executed for playing the piano, ii. 69.
St. Montant, M. de, a musical enthusiast, i. 87.
St. Petersburg, opera at, ii. 87, 88.
Salieri, the operatic composer, ii. 2, 32, 40, 100;
brings out his Danaides, 44;
the rival of Mozart, 101;
his Assur, 101, 102.
Sallé, Mdlle., the celebrated danseuse, i. 91;
her proposed reforms in stage costume, 91;
noticed by Voltaire, Fontenelle, and others, 92;
her first appearance in London, 93;
her alterations in stage costume, 93;
performance of her Pygmalion, and her great success, 98 et seq.;
enthusiasm at her benefit in London, 98, 99;
announcement of her first arrival in England, 101.
Saxe, Marshal, the great favourite of the ladies, i. 232, 233;
his love for Madame Favart, 233, 234.
Scarlatti's opera of Pyrrhus and Demetrius, i. 117.
Scenery, the great attraction in operatic representations, i. 3;
the art carried to great perfection at Rome, 3, 4;
of the opera of Paris, 252.
Schœlcher, M. Victor, biographer of Handel, i. 97;
on the origin of "God save the king," 165.
Schindler, the biographer of Beethoven, ii. 287.
Schmaling, Mdlle. (See MARA).
Schools, the different ones, ii. 284.
Schrœder-Devrient, Madame, the vocalist, ii. 299.
Schutz, the musical composer, i. 6.
Scribe, M., the librettist, i. 212, ii. 250;
his comic operas, i. 212.
Scudo, the critic, ii. 293.
Semiramide, of Rossini, ii. 168;
represented by Madame Pasta and others, 168, 169.
Senesino, Signor, the sopranist, i. 158, 159;
quarrels with Handel, and joins the Lincoln's Inn Theatre, 164.
Serva Padrona, opera of, hissed from the French stage, i. 9.
Servandoni, of the Tuileries theatre, i. 63;
his scenic decorations, 177, 179.
Shakspeare's dramas, i. 61.
Siege de Corinthe, produced at the French Opera, ii. 195.
Siege of Thionville, its gratuitous performance for the amusement of the sans culottes, ii. 66.
Sigismondi, the librarian of the Neapolitan Conservatory, ii. 226;
his pious horror of Rossini's works, and his adverse criticisms, 228, 229.
Singers of the seventeenth and eighteenth centuries, i. 8, 182, 183 et seq.;
their capricious tempers, 161;
Lord Mount Edgcumbe's "Reminiscences" of, ii. 28;
divided into two classes, 28;
exposed to the threats of the Republicans, 69.
Singers of Italy, found in all parts of Europe, i. 10, 172 et seq.;
nicknames given to, 186-8.
Singers of the French Opera, privileges of the, i. 77.
Singing in dramatic representations, its powerful effects, i. 47;
humorous satire on, 50, 51;
Mazocci's school of, 184;
Marcello's satirical advice respecting, 204-12;
deaths caused by, ii. 270.
Smith, J., the husband of Mrs. Tofts, i. 111.
Smith, Sir Sidney, his liberation from the French prison by Boisgerard, ii. 117, 118.
Sobriquets, applied to celebrated musicians, singers, and painters of Italy, i. 186-8.
Song, difficulty of writing to declamation in modern languages, i. 240.
Song of Solomon, considered the earliest opera on record, i. 3.
Sonnambula, of Bellini, ii. 250, 251, 257.
Sontag, Mdlle., biographical notices of, ii. 174.
Soubise, Prince de, i. 299;
his great expenditure, ii. 51.
Sounds, art of combining agreeably, i. 239;
of a speaking voice, 240.
Sparrows, operatic, at the Haymarket, i. 123-126.
Spectator. (See ADDISON).
Spitting, i. 107.
Spohr, the celebrated German composer, ii. 285.
Spontini, the musical composer, ii. 183;
his Finta Filosofa, 185;
his La Vestale, and Fernand Cortez, 186, 187;
his animosity towards Meyerbeer, 188.
Stage of France, its state of morality, i. 81, 82.
Stage costume, Mdlles. Sallé's proposed reforms in, i. 93;
her alterations in, 93.
Stage decoration, i. 63, 178, 179, 180.
Stage plays, ordinances for the suppression of, i. 31.
Steele, on insanity, i. 111, 112;
his hatred of the Italian Opera, 113;
his chagrin at the success of Handel's Rinaldo, 116;
his insults to operatic singers, 117;
on the operatic sparrows and chaffinches at the Haymarket, 126;
his unfavourable opinion of opera, 126, 127.
Stockholm, opera at, ii. 87.
Storace, Mrs., the prima donna of the King's Theatre, ii. 3;
biographical notices of, 4.
Storace, Stephen, musical director of the King's Theatre, ii. 4.
Strada, Signora, the Italian singer, i. 163.
Stradella, the vocalist and operatic composer, i. 183.
Strozzi, Pietro, i. 5.
Stutgardt, magnificence of the theatres at, i. 178.
Styx, how to cross the, i. 85.
Subligny, Mdlle., the celebrated danseuse, i. 92.
Swift, his celebrated epigram on Buononcini and Handel, i. 64.

T.
Talismano, of Pacini, ii. 267, 268.
Talmont, princess de, letter from, 235.
Tamburini, the singer, performer of "Don Giovanni" in London, ii. 108;
biographical notices of, 271-4;
his grotesque personation of the absent prima donna, 272-274;
his versatile powers, 273.
Tancredi, by Rossini, ii. 152, 156, 157.
Taylor, Mr., proprietor and manager of the King's Theatre, ii. 121;
humorous anecdotes of, 122 et seq.;
his quarrel with Mr. Waters, 126;
driven from the theatre, 126;
ends his days in prison, 127;
his anonymous letter respecting Waters, 128.
Teatro a la Modo, Marcello's satire of i. 204-12.
Terence, the first production of his Eunuchus, ii. 90.
Terpsichorean treaty, ii. 115.
Theatre, at Stutgardt, i. 178;
at Venice, 180; at Vienna, 181;
of the jesuits, at Paris, ii. 50.
Théâtre des Arts, of Paris, ii. 194;
its frequent changes of name, 194, n.
Théâtre d'Opéra, of Paris, ii. 193.
Theatres in the open air, i. 176, 177;
of immense size, 177 et seq.;
scenic decorations of, 178, 179;
at Venice, 180;
number of in Paris during the Reign of Terror, ii. 71.
Théodore, Mdlle., the accomplished danseuse, i. 300;
imprisoned, ii. 54.
Thévanard, the operatic singer, i. 79.
Thillon, Madame, ii. 239.
Tintoretto, the musical composer, refuses the honour of knighthood, i. 221.
Tofts, Mrs. the vocalist, and rival of Margarita de l'Epine, i. 105;
letter from, 105;
plays "Arsinoe" at Drury Lane, 107;
her insanity, 110, 111.
Tosi, Signor, his observations on Mesdames Faustina and Cuzzoni, i. 151.
Trial, the comic tenor, death of, ii. 76.
Tribou, the French harmonist, i. 83;
his versatile talents, 83.
Triomphe de Trajan, opera of, ii. 189.
Tuileries, the last concert spirituel at the theatre of the, ii. 57.

U.
Undine, of Hoffman, ii. 301-305.

V.
Valabrèque, M., the husband of Catalani, ii. 20;
draft of a contract between him and Mr. Ebers, 23-25;
anecdote of his stupidity, 26, 27.
Valentini, Regina, the celebrated vocalist, i. 156;
married to Mingotti, 156.
Varennes, Mdlle., the French danseuse, ii. 112.
Velluti, a tenor singer of great powers, ii. 209;
played the principal part in Il Crociato, 209;
biographical notices of, 210;
his first debut and performance in London, 211.
Venice, the opera of, and its scenic decorations, i.