228 ON THE PRESENT STATE OF THE OPERA IN LONDON. 



vulgfarity ; but, although his vein of light merriment prevents much 

 depth from entering into the construction of the music which he 

 sings, I am inclined to think that La mia Dorahella, Non state ri- 

 trosi, and E voi ridete, are the best known and most popular parts 

 of this opera. It is altogether a charming production, and one 

 which deserves to be frequently brought before the public. 



The Zauherflote enjoys on the continent a reputation second only 

 to Do?i Giovanni ; it is, perhaps, the most universally and durably 

 popular opera in the German language. In England, on the con- 

 trary, w^hile separate morceaux are general favourites, it does not 

 appear to have been sufficiently appreciated by scientific musicians. 

 Nor is this, taking into consideration the manner in which parts 

 have been adapted and mutilated, much to be wondered at, especi- 

 ally as, until the arrival of the German company, it had not been 

 for many years performed entire in London. The practice of adapt- 

 ing and altering should be discountenanced by all who are desirous 

 of raising the dignity of the art and of preserving the purity of 

 public taste. No practice can prove more fatal to the reputation of 

 a composer than the transformation of an air or duet into a psalm 

 tune, of the subject of a symphony into a song, or an elegant aria 

 into a quadrille. The march for instruments in this opera has fur- 

 nished the subject for a psalm, and the trio Ok car a armonia, ele- 

 gant and appropriate where it occurs, has been adapted to the words 

 " Away with Melancholy/' denuded of instrumental accompani- 

 ments. The conspiracy, indeed, appears to have been general, 

 scarcely an air in the opera but has been seized and mutilated to 

 suit the introductions to the piano forte, flute and violin preceptors, 

 &c. The consequence is that the majority of persons associate the 

 lighter portions with the miseries of their days of pupilage and 

 practice, while with the more serious parts, and the scientific deve- 

 lopment and connection of the whole, they are entirely unacquaint- 

 ed. While conceding that in this country justice has not been ren- 

 dered to its merits, it may form a question whether they have not 

 been too highly estimated by the Germans. Among popular operas 

 it undoubtedly is deserving of the first place ; but, considered scien- 

 tifically and as a whole, the music is deficient in depth, grandeur, 

 and connection. The expectations excited by the overture (decided- 

 ly the finest of the sombre cast ever written) are no where fulfilled. 

 It scarcely admits of doubt that, had Mozart consulted his own feel- 

 ings, instead of conforming to the frivolous taste of his audience, 

 he would have written very differently. Experience, hoAvever, had 

 taught him that he could not commit any error more dangerous to 



