Opera in Colonial America

Opera performed in America followed the English model called Ballad Opera. This was a comic form started in early 18th century (John Gay’s The Beggar’s Opera, 1728).

· Ballad opera is a play with musical numbers; many of the numbers were familiar tunes; sometimes tunes were borrowed from serious opera, but used as a parody; there were few newly-composed melodies

· The Beggar’s Opera was opera immensely popular in London

· Some similar works performed in America e.g. Flora, or Hob in the Well (1729 London) was produced in Charleston 1735.

· Ballad Opera’s popularity spread quickly to New York, Williamsburg and Boston, although it didn’t last in Boston because of a Blue Law (very strict laws usually banning something perceived as unwholesome or wicked) in 1750

· There were 2 major opera companies in America by 1800: New York (began in Williamsburg and moved) and Philadelphia. Philadelphia built 2,000 seat opera house.

· Repertoire of these companies began as ballad operas imported from London; gradually some American tunes were substituted

· Many composers and performers of ballad opera came to America from England in late 18th century, e.g.

· Alexander Reinagle (1756-1809), born in England, studied with CPE Bach, came to America age 30; composer of ballad operas there and here; also wrote songs and instrumental works

· Benjamin Carr (1769-1831) also from England, came to America 1793. In addition to his publishing business, he was an actor and singer with New American Opera Company in Philadelphia. Prolific (~350 works surviving); Carr did write some operas but was better known for songs and instrumental music.

· Carr combined song melodies and instrumental music, e.g. his Federal Overture includes patriotic songs like Hail Columbia and Yankee Doodle. He also wrote character pieces, e.g. his Six Imitations for piano, which displays song styles from England, Scotland, Ireland, Wales, Spain and Germany. Carr’s imitations of these styles are characteristic of the 19th century conception of music from these regions (a somewhat uninformed and romanticized concept)

· Carr’s music shows that he knew what his audience wanted; it is representative of Early American attitudes. They didn’t distinguish much between different styles, except to note some music was secular and some was sacred. Soon after Carr’s creative period, the public began to distinguish between Populist and Concert Music.

· Populist is music that is part of our everyday existence, e.g. folk music, music learned in childhood. It is so much a part of our consciousness that we don’t have to exert ourselves to understand it.

· Concert music is for an audience viewed as “somewhat select,” according to Ferris. It is believed to require more effort to understand.