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 hen first published in
7, A Short History of
immediately achieved
international status as a classic in the field.
Now, more than five decades later, this
thoroughly revised and expanded fourth
edition informs and entertains opera
lovers just as its predecessors have.

The fourth edition incorporates new

scholarship that traces the most important
developments in the evolution of musical
drama. After surveying anticipations of
the operatic form in the lyric theater of
the Greeks, medieval dramatic music,
and other forerunners, the book reveals
the genre’s beginnings in the seventeenth
century and follows its progress to the
present day.

A Short History of Opera examines not

only the standard performance repertoire,
but also works considered important for
the genre’s development. Its expanded
scope investigates opera from Eastern
European countries and Finland. The
section on twentieth-century opera has
been reorganized around national oper¬
atic traditions, including a chapter devoted
solely to opera in the United States that
incorporates material on the American
musical and ties between classical opera
and popular musical theater. A separate
section on Chinese opera is also included.

continued on the back flap

A Short History of Opera
Donald Jay Orout 8c Hermlne Weigel Will lams
 A Skort History of
-.3T

Columbia University Press / New

Columbia University Fress
Publishers Since i8gj

New York Chichester, West Sussex

© 2003 Columbia University Press

All rights reserved

Library of Congress Cataloging-in-Publication Data

Grout, Donald Jay.

A short history of opera / Donald Jay Grout and Hermine Weigel Williams.—4th ed.
p. cm.
t Includes bibliographical references (p. ) and index.
ISBN 978-0-231-11958-0(alk.paper)
1. Opera. I. Williams, Hermine Weigel, II.Tide.

ML1700.G83 2003
782. T09—dc2i

2002041470

Columbia University Press books are printed

on permanent and durable acid-free paper.
Printed in the United States of America
c 10 9 8 7
In memory of Donald Jay Grout and AAargaret Dunn
Contents

List of Illustrations ix
Preface to the Fourth Edition xi

Introduction i

PART i AAusic and Drama to the End of the Sixteenth Century

1 The Lyric Theater of the Greeks 9

2 Medieval Dramatic Music 13

3 The Immediate Forerunners of Opera 21

PART 2 The Seventeenth Century

4 The Beginnings: Opera in Florence and Mantua 41

5 Other Early Seventeenth-Century Italian Court Operas, Including

the First Comic Operas in Florence and Rome 60
6 Italian Opera in the Later Seventeenth Century in Italy 83

7 Seventeenth-Century Italian Opera in German-Speaking

Lands 107
Early German Opera 121

9 Opera in France from Lully to Charpentier 132

10 Opera in England 147

PART 3 The Eisht eenth Century

11 Masters of the Early Eighteenth Century 165

12 Opera Seria: General Characteristics 203

13 Opera Seria: The Composers 225

14 The Operas of Gluck 253

viii Contents

15 The Comic Opera of the Eighteenth Century 272

16 The Operas of Mozart and His Viennese Contemporaries 305

PART 4 The Nineteenth Century

17 The Turn of the Century 335

18 Grand Opera 353
19 Opera Comique, Operetta, and Lyric Opera 369
20 Italian Opera of the Primo Ottocento: Rossini, Donizetti,Verdi, and
Their Contemporaries 383
21 The Romantic Opera in Germany 417
22 The Operas of Wagner 436
23 The Later Nineteenth Century: Lrance, Italy, Germany,
and Austria 473

PART 5 Oth er National Traditions of Opera from the Seventeenth to

the Efarly Twentieth Centuries

24 National Traditions of Opera 507

PART 6 The Twentieth Century

25 Introduction / Opera in France and Italy 577

26 Opera in the German-Speaking Countries 611
27 National Opera in Russia and Neighboring Countries; Central and
Eastern Europe; Greece and Turkey; the Netherlands, Denmark,
Sweden, and Finland; Spain, Portugal, and Latin America 662
28 Opera in the British Isles, Canada, Australia, and New Zealand 708
29 Opera in the United States 729

Appendix: Chinese Opera (Xiqu) 787

List of Abbreviations 795

Bibliography 797
Sources and Translations of Musical Examples 897
Index 911
Illustrations

Scene from Sant’Alessio 65

Scene from Ilfuoco eterno 112

Scene from II trionfo dell’onore 167

Scene from Tamerlano 196

Teatro San Bartolomeo, Naples 226

Scene from The Beggar’s Opera 294

Scene from Love in a Village 295

Riot protesting increased prices for Artaxerxes 297

Stage mechanism for L’Africaine 360

Scene from Macbeth 405

Two scene designs for Die Walkure 448—49

Scene from The Golden Cockerel 523

Scene from Francesca da Rimini 602

Two scene sketches for Wozzeck 635-36

Scene from Kullervo 700

Scene from The Mother of Us All 736

Scene from Lizzie Borden 759

Scene from Of Mice and Men 763

Scene from Central Park: Strawberry Fields 779

Scene from Europeras 1 & 2 783

Ireface to tke K?urtk Ebdition

early in the 1940S, Donald Grout recognized the need for a book that
had “for its purpose to offer a comprehensive report on the present state of
our knowledge about the history of opera.”’ He filled that need with the
1947 publication of A Short History of Opera. A second, revised and expanded,
edition was published in 1965.1 2
After retiring from Cornell University as Given Foundation Professor of
Musicology Emeritus, Grout prepared several more editions of his History of
Western Music and edited for publication a representative sample of Alessandro
Scarlatti’s operas. He also kept alive a deep desire to bring forth a third edi¬
tion of his opera history. Unfortunately ill health prevented him from un¬
dertaking that project, and although his name appears along with mine as a
signature to the preface of the third edition of the opera history, the respon¬
sibility for the writing of that 1988 edition was mine alone. Grout did not live
to see the third edition in print; he died in March 1987.
The present volume has been greatly revised and expanded in light of
scholarly research of the past fifteen years. PartVI has been reorganized to con¬
form to the pattern established for the other sections of the book, with its five
chapters devoted to particular geographical regions as viewed from a perspec¬
tive of the entire twentieth century. Greater emphasis has been placed on ma¬
terial related to national traditions other than those of France, Germany, and
Italy, and an entire chapter is devoted to opera in the United States.The section
on Chinese opera previously included in PartV is now in the appendix.
To preserve a degree of continuity between the third and fourth editions,

1. Grout, “Preface to the First Edition,” reprinted in A Short History of Opera (1988 edition), xvii.
2. The 1947 and 1965 editions were issued in both a two-volume format with illustrations and a
one-volume format without illustrations. They also appeared in several foreign language editions.
xii Preface to the fourth Petition

musical examples of the former have, for the most part, been retained; sever¬
al new examples have also been added. Dates of operas refer to first perfor¬
mances unless otherwise specified. Places of performances are indicated spar¬
ingly. With few exceptions, translations of French, Italian, and German opera
titles have been omitted from the text; they now appear only in the index.
Opera titles in other languages, however, are translated in the text and are in¬
cluded in the index as well.3
The bibliography is limited to works mentioned in the footnotes. Books
that cover more than one chronological period are listed in the general sec¬
tion of the bibliography and in the section where they are cited in the notes.
I am indebted to friends and colleagues for help at various stages in the
preparation of this edition. Particular thanks are due to Dr. Wolf-Dieter Seif-
fert, president of G. Henle Verlag; Ilkka Kalliomaa and the Finnish Consulate
in New York City for information about operas by Finnish composers; Mirja
Kiiveri of the Savonlinna Opera Festival and Hanna Fontana of the Finnish
National Opera for photographs; Michael Willis of Glimmerglass Opera for
providing several photographs of twentieth-century opera productions;
Wendy Hillhouse for a photograph of a 1982 production of Scarlatti’s The Tri¬
umph of Honor; Joan Wolek and the staff of the Hamilton College Library for
securing interlibrary materials; Anne R. Gibbons for her careful editing of
the manuscript; members of the editorial staff at Columbia University Press
for their guidance and encouragement; and my husband, Jay, for his unfailing
support of my musicological endeavors.
Permission to print music examples is acknowledged in the section
“Sources and Translations of Musical Examples.” Special acknowledgment,
however, is made here to the following publishers for permission to use
copyrighted material for new examples in this edition: G. Henle Verlag, Mu¬
nich (Ex. 16.1), Warner Bros. Publications (Ex. 20.2), and European American
Music Distributors LLC (Ex. 26.8a). Grateful acknowledgment is also made
to the following for permission to use copyrighted material for the illustra¬
tions: Ron Scherl; George Mott and Glimmerglass Opera; Mara Eggert and
the John Cage Trust; Kari Hakli and the Finnish National Opera; and Kuva-
suomi Ky Matti Kolho and the Savonlinna Opera Festival.

Hermine Weigel Williams

Clinton, New York
January 2002

3. There are, however, a number of tides for which a suitable translation could not be provided, giv¬
en the idiomatic nature of the original.
That day the sky was cloudless; the wind blew softly where we sat. Above

us stretched in its hugeness the vault and compass of the World; around us

crowded in green newness the myriad tribes of Spring. Here chimed around

us every music that can soothe the ear; was spread before us every color that

can delight the eye.Yet we were sad. For it is so with all men: a little while

(some by the fireside talking of homely matters with their friends, others by

wild ecstasies of mystic thought swept far beyond the boundaries of carnal

life) they may be easy and forget their doom. But soon their fancy strays;

they grow dull and listless, for they are fallen to thinking that all these

things which so mightily pleased them will in the space of a nod be old

things of yesterday.
WANG XI-CHI (353 C.E.)
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