Présentation de l'éditeur
The Operatic Problem that they were absolutely bewildered (attonitidi stupore). This style of music acquired a still greater number of fresh beauties in Euridice, a work by the same authors, and then in A riadne, by Signer Claudio Manteverde, to-day Maestro di Cape I la at Venice. Your modern theorist could hardly express his operatic creed with greater felicity than the Florentine noble, Ottavio Rinuccini, and the whole quotation breathes in its quaint phraseology, the spirit of love for all that is new and beautiful in A rt, which gave Italy her hegemony amongst other nations. The operatic spectacle, when first imported into France, was a Court entertainment for the privileged few, but it soon tempted private enterprise, and here, again, its importance, as an attraction, was not underrated, for the first impressario, one Pierre Perrin, took good care to obtain a monopoly for the new style of performances, whilst the royal privilege (letters -patent), granted to him, sets out their advantages in unmistakable terms. Here is an extract of this privilege :N ous avons au dit Perrin, accorde et octroye ,accordans et octroyons par les pre sentes signers de notre main la permission detablir en notre bonne ville de Paris et autres de nostrec Royaume, des Academies composers de tel nombre et qualite de personnes qu il avisera, pour yrepre senter et chanter en public des opdra et representations en musique eten vers franqais, pareilles et semblables a celles dltalie.
(Typographical errors above are due to OCR software and don't occur in the book.)
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