Musico-Dramatic Criticism of English Comic Opera 1750-1800

Abstract

traction of the ballad opera was the writing of new words to already popular tunes, the comic opera, in its better productions at least, was in a greater or lesser degree new-composed. That is, the comic opera featured original music by an individual composer, music that was composed specifically for the libretto in question, even though it more often than not sported many well-known songs. The habit of compiling, arranging, and adapting melodies from an infinite variety of sources-Continental works, folk songs, patriotic songs, airs from operas, oratorios, and the like-has caused this period in English musical history to be called a pasticcio age-a hodgepodge of music and a hodgepodge of plot. The general outlines of comic opera in England have hitherto been sketched frequently, whether accurately or inaccurately. But one feature, one aspect of this type of musical drama has been totally neglected-the reaction of John Bull to this form of entertainment, the voiced opinion of the members of the audience, the printed opinion of the members of the press. In midI8th-century England one could generally expect to find the final seat of critical authority not within the walls of a newspaper office, as perhaps it is today, but within the confines of the theater itself. Thus it was felt that the admission fee en-