master of Modena cathedral; and two years later received the same post in the court, in which capacity he had not only to act as music-master to the ducal family, but also to furnish all sorts of music for solemn and festival occasions, grand mascarades, etc. Through this connexion his reputation extended widely. He was summoned at one time to the court of the Emperor Rudolf II.; at another he was requested to compose some particular music for the King of Poland. In 1604 he was supplanted in his office by the intrigue of a pupil, Geminiano Capi-Lupi; and within a year, Sept. 19 [App. p.808 "Feb."], 1605, he died, it is said, of mortification at his ill-treatment.
Among Orazio's writings the work which calls for special notice, and which gives him an important place in the history of music, is his 'Amfiparnasso, commedia harmonica,' which was produced at Modena in 1594 and published at Venice three years later. The 'Amfiparnasso' has been claimed as the first example of a real opera, but on insufficient grounds. It marks, it is true, a distinct step towards the creation of the idea; but it is not itself an opera. It is a simple series of five-part madrigals sung by a choir, while the dramatis personæ appear in masks on the stage and act in dumb show, or at most sing but co-ordinate parts in the madrigal.[1] At the same time, the character of the work is highly original and dramatic. The composer, in spite of his clerical standing, is entirely secular in his general treatment of the comedy. He has a strong sense of humour and of dramatic effect; and if he uses his powers in a somewhat perverse and eccentric manner, there is always imagination present in his work, and he lets us see that the madrigal style is breaking down under the weight of the declamatory and dramatic impression which it is now called upon to bear.
Orazio's other works belong to the older Venetian school, which in the 'Amfiparnasso' he was setting the example of forsaking. They fall under the following heads:—(1) Canzonette a 4 voci (four books, 1580–1590, afterwards collected with some additions by Phalesius, 1611), a 6 voci (1587), and a 3 voci (1597, 1599, the former volume in part by Capi-Lupi); (2) Madrigali a 5 e 6 voci (1589–1591, altogether five parts); (3) Lamentations (1587); (4) Motets, and Sacrse Cantiones (1590, 1597, and 1604); (5) Hymns and Canticles; (6) Masses (published in 1607); (7) Dialogues; (8) 'Convito musicale'; (9) 'Le Veglie de Siena, ovvera I varij humori della musica moderna, a 3–6 voci' (1604).[2]
VEILED PROPHET OF KHORASSAN, THE. An opera in 3 acts; words by W. Barclay Squire, after Moore; music by C. V. Stanford. Produced at the Court Theatre, Hanover, as 'Der verschleierte Prophet' (German version by Frank, Feb. 6, 1881). The opera has not been produced in London, but the overture and other portions have been given at the Crystal Palace, etc., and the PF. score is published by Boosey & Co.
VEILED VOICE (Voce velata). A voice is said to be veiled when it is not clear, but sounding as if it passed through some interposed medium. The definition found in some-dictionaries, namely 'a husky voice,' is incorrect. Huskiness is produced by an obstruction somewhere along the line of the vocal cords, a small quantity of thick mucus which obstinately adheres to them, or an abrasion of the delicate-membrane which lines them, from cold or over-exertion. But the veil is due to a special condition, temporary or permanent, of the entire surface of the vocal cords, which affects the tone itself without producing a separate accompanying sound. There are two distinct kinds of veil—that which is natural, proceeding from the special aforesaid condition of the vocal cords in a healthy state, and that which proceeds from a defective position of the vocal organs (bad production), over-work, or disease. Almost every fine dramatic voice has a very slight veil upon it, scarcely recognisable as such, but imparting to it a certain richness and pathos often wanting in voices of crystal-line clearness. It is in idea like atmosphere in a picture. The veil is therefore not a defect in every degree. Some great singers have had it to a considerable extent. Amongst these, Pasta, one of the first who united classic acting to fine singing, could never overcome a veil that was sufficient at times to be very much in the way, counterbalanced, however, by her other great qualities; and Dorus-Gras, a French soprano who flourished about forty-five years ago, was a remarkable instance of the possession of large powers with a veil upon the voice, that would in most cases have been a serious impediment to vocal display. She, however, made the most brilliant singing pierce the impediment, like the sun shining through a mist. The slight veil on the voice of Jenny Lind (Madame Goldschmidt) gave it volume and consistency, and the same may be said of Salvini the actor, who has, perhaps, the finest speaking voice that ever was heard.
Let no student of singing endeavour to cultivate a veil because some great singers have had it naturally. A superinduced veil means a ruined voice.
VELLUTI, Giovanni-Battista, born at Monterone (Ancona) in 1781, was the last of the great male soprani of Italy. At the age of fourteen he was taken up by the Abbate Calpi, who received him into his house and instructed him in music. After the traditional six years of solfeggi, he made his début, in the autumn of 1800, at Forli; and for the next two or three years continued to sing at the little theatres of the Romagna. In 1805, appearing at Rome, he earned a great success in Nicolini's 'Selvaggia'; and two years later, in the same city, he sang the 'Trajano' of the same composer, by which he established his position as the first singer of the day. With no less éclat he appeared in 1807 at the San Carlo in Naples, and at the Scala in Milan, during the Carnival of 1809, in 'Coriolano,' by Nicolini, and 'Ifigenia in Aulide,' by Federici. After singing at Turin,
