Nicola Logroscino (d. 1763) was also one of Durante's pupils, but nothing
is known of him until 1738, when the series of his over 20 operas, all comedies
except one (1750), began. In 1747 he went to Palermo as a teacher of counterpoint,
but later returned. His special contribution to the advancing opera
buffa was the climacteric ensemble at the close of the acts, which was later
introduced into serious opera. Among his best works were Il Governatore
(1747) and Il vecchio marito. He preferred subjects that were farcically
humorous, and wrote almost exclusively in the Neapolitan dialect. His works
retained their vogue till displaced by those of Piccinni.
Giovanni Alberto Ristori (d. 1753), born at Bologna, made his entire career outside of Italy, being engaged from 1715 at Dresden. He was an accomplished player on the organ and harpsichord, besides writing freely in secular and sacred forms. Among his 15 or more dramatic works, the comic operas Calandro (1716) and Don Chiscotte (1727) are notable.
Baldassare Galuppi (d. 1785), born near Venice, was from 1722 a pupil of Lotti and the organist of various churches. He was also a clavier-virtuoso. His first opera (1722, Vicenza) failed, but showed his gifts as a buffo writer. In 1729, however, Dorinda made a hit at Venice, and further works were extremely popular. From 1741 he was in London, where airs from his works were in demand. Except for two sojourns in Russia (1743-8, 1765-8), the rest of his life was spent at Venice, where from 1748 he was second choirmaster at St. Mark's and in 1762-5 chief. His 115 operas had a great vogue. About one-third of them were comic (mostly after 1750), and their verve and jollity won for him the name of 'the father of the opera buffa.' He also wrote church music and some interesting instrumental pieces (see sec. 148).
127. The Opera in France.—No special progress took place in French opera during the first third of the century. The works of Lully continued to be regarded as typical, with some additions by Destouches and especially Campra. But popular interest in the serious opera was constantly hindered by the craving for scenic divertissements of an ephemeral sort. The styles in vogue varied from the 'ballet' or dance-spectacle, with its accent upon studied alternations of movements set to brilliant orchestral accompaniments, or the 'intermède' and 'vaudeville,' which were often analogous to the German singspiel or the English ballad-opera, up to the later 'opéra comique,' in which genuine dramatic interest was developed by the essential humor of the plot or the text, often treated to some extent through spoken dialogue. The glitter of costuming and staging, the sensuous charm of dancing evolutions and the catchy lilt of light song were far more prized than noble or impassioned declamation, sustained arias, well-considered scenes or dramatic force and unity in the whole. What gains there were lay in increased skill with accompaniments and in a more piquant
