Opera, a species of drama in which airs, recitatives, choruses, etc, with orchestral accompaniments and the ordinary stage accessories, supply the place of spoken words. This is the true opera as found on the Italian stage at the present day, and as performed at the academic in Paris; but the term is applied to a class of compositions familiar to the theatres of Germany, France, and England, in which the words are partly spoken, partly sung. The idea of the opera was probably derived from the Greek drama; and it is said to have become a recognized form of dramatic composition as early as the latter half of the 15th century. There is great doubt, however, whether any work entitled to be called an opera was publicly produced previous to the year 1600, when Ottavio Rinuccini's drama of Enridice, set to music by Giacomo Peri, was performed in honor of the nuptials of Henry IV. of France and Maria de' Medici; a conclusion strengthened by Rinuccini's statement in his dedication of the work to the queen, that he had written it "erely to make trial of vocal music in that form." The opera soon became a popular species of musical composition in Italy, and about 1675 was established in the chief cities of the peninsula. Monteverde and Carissimi were among the foremost composers of that day.

In 1645 it was introduced into France by Cardinal Mazarin, but was soon superseded by the national French opera founded by Louis XIV., and which received its impetus from the genius of Lully and Ra-meau. This was the parent of the grand French opera of the present day, which is sung throughout. The establishment of the Italian opera in England may be dated from the arrival of Handel and the production of his Rinaldo in 1711. Before that time operas had been sung partly in English and partly in Italian, according to the nationality of the performers. Bononcini's Almahide was the first opera sung entirely in Italian, and this was brought out in 1720. The opera encountered ridicule and opposition from the wits, from men of letters, and from the people; but it made its way in spite of these obstacles, and from the time when Handel and Porpora composed for the London opera houses to the present day it has maintained itself in England. Great Britain, however, has failed to give to the world any very eminent composer; Balfe and Wallace, both Irishmen, are among the most noted. In Germany it early took root, and to the composers of that nation much of its development is due.

Gluck was the first to introduce extensive reforms, and to compose with a view to musical expression rather than the display of the singer. He wrote mainly for the French stage, where after a long contest he was successful over Piccini and his adherents. Among the composers who since the time of Gluck have done most for the operatic stage are Mozart, Meyerbeer, and Von Weber among the Germans; Cimarosa, Cherubini, Spontini, Rossini, Donizetti, Mercadante, Bellini, and Verdi among the Italians; and Boi'eldieu, Au-ber, Halévy, Gounod, and Thomas among the French. Richard Wagner, both by his writings and his compositions, has done much to modify the theories upon which opera has been constructed heretofore. I How far his influence and teachings will affect the opera of the future is as yet problematic, but that his theories have gained ground rapidly during the past ten years is not to be questioned. - The Italians divide operas into four classes, the sacred, the serious, the semi-serious, and the buffo or comic; the French recognize but two divisions, the grand opera and the opera co-mique, the latter of which is partly spoken; while the Germans subdivide them into grand opera, serious, tragic, heroic, romantic, comic, and other classes. (See Music).