The orchestral accompaniments to _Dafne_ consisted of a harpsichord, _chittarone_--which was a sort of guitar--a lyre, and a lute. This meant a scanty orchestra compared with the vast instrumental resources adopted by Meyerbeer, Wagner, and by Verdi himself. When the second opera, _Euridice_, was produced--this was at Florence in 1600--it contained, for the first time, all the constituents wanting in opera, viz. recitative, air, chorus, and a hidden orchestra.
Opera proper was, therefore, purely an Italian product, which, with all its defects and inadmissibilities, has held its ground for three centuries. If, too, during this long period it has seemed as little more than a luxurious form of amusement for quality people in England, it must be remembered that the great middle class here have tasted it, while the student and amateur have considered and digested the musical stage-play, and found it invested with a noble influence and character that could scarcely fail to elevate, where the ordinary drama might lower the public taste and morals. In Italy the opera is as much the necessary food of the common people as of the aristocracy.
Monteverde (1566-1650) stamped a second period in opera. He invested recitative with greater strength and freedom, and astonished contemporary purists with his audacious orchestral designs. In his _Orfeo_, produced in 1603, Monteverde incorporated every known instrument, viz. two harpsichords, two lyres, ten violas, three bass violas, two violins, flute, clarions, trombones, guitars or _chittaroni_, and the organ.
It is easy to realise the almost boundless possibilities of music when it comes to be recognised and manipulated as a medium of expression or impression; while many readers will be familiar with the almost superhuman achievements of the great tone-poets in handling the resources of music to this end--the end and aim of all music worthy the name. It was that prince of Italian harmonists, Monteverde, who took opera to the borders of that almost limitless field, where the great melodists and colourists took it up, making a permanent life art-form and a speaking body from the otherwise lifeless art materials.
Scarlatti (1659-1725) impressed the _aria_ or principal song, from which time melody began to receive that attention which led finally to its being the principal constituent in Italian opera. Lotti, Caldara, Gasparini, Jommelli, Porporo, and Buononcini, who followed, all gave prominence to the soloists at the cost of the chorus and other concerted pieces, thus leading steadily up to the great scenas which Verdi created.