When Catherine de Médicis married King Henry II of France in 1533, she brought from Italy a taste for entertainments in which dancing was prominent. Her encouragement established the court ballet (ballet de cour) as the foundation of classical ballet, the source of a new theatrical identity for music and a precursor of French opera. As a unified blend of poetry, music, and movement, the court ballet dates from the performance of the Ballet comique de la reine at a court wedding in 1581. The form comprised an optional number of scenes in mime and dance, prefaced by explanatory verses that were either spoken or sung; the scenes were accompanied by solo and choral songs with lute, and instrumental ensemble pieces for strings.

In about 1605 a more mannered style of singing had become customary, and by 1620 the court ballet was more a vehicle for display than drama. Unified dramatic plots were restored by the poet Isaac de Benserade in midcentury, and Jean-Baptiste Lully, who entered the service of King Louis XIV in 1652, endowed the music with fresh distinction. He favoured dramatic musical expression with the use of larger choral and orchestral forms and formulated such dances as the minuet, first danced by Louis as “Le Roi soleil” (the sun king), the gavotte, rigaudon, bourrée, passepied, and loure—each with its particular rhythmic metre.

Lully collaborated with the playwright Molière in a famous succession of comedy-ballets, of which Le Bourgeois Gentilhomme (1670) is probably the best known. Thereafter the character of Lully’s work became essentially operatic, and music in the French theatre was left to function in a more subsidiary role. The dramatist Pierre Corneille, for instance, wrote “I have employed music only to satisfy the ear while the eyes are occupied with looking at the machines.” In another category, the pastoral comedies derived from Italian models were liberally embellished with songs loosely strung together and alternating with spoken verses.

The French court ballet exerted an influence on the English masque, which took its name and some of its early character from the medieval Italian mascherate (masquerades) in carnival entertainment. At a time of distinctive English literary achievement, the masque reached a high artistic level, performed mainly as an aristocratic entertainment. It combined instrumental and vocal music, mixed with dancing and acting, in the representation of mythological and allegorical subjects. At the same time, the first public theatres in London came into being. They date from 1576 (61 years before the first public Venetian opera house); the earliest public plays are known to have incorporated some form of music.

Cues for music recur throughout Shakespeare’s plays, usually for simple songs or dances. Music between the acts of public plays was customary by 1600, with the audience often calling for the tunes they wanted played. Instrumental music was employed for supernatural effects and to heighten dramatic tension; it was usually performed behind, at the side of, or even under the stage. After the suppression of playhouses during the Civil War, the restoration of the English monarchy with King Charles II brought an even richer flowering of theatre music, led by Henry Purcell.

Besides those works of Purcell that are nearer to masque than drama, such as the Shakespeare adaptations for The Fairy Queen (1692) and The Tempest (1695), he composed suites of incidental music for more than 40 plays. These generally comprised overtures, “act-tunes” (interludes), dances, and songs. Rather than growing out of the verbal drama, however, they are often so arbitrarily interpolated into it that only the quality of the music can justify most of them. After Purcell’s death, English theatrical music ceased to contribute significantly to the theatre, but Thomas Arne, who wrote numerous masques and ballad operas such as Love in a Village (1762), was very popular in the mid-18th century, and his simplicity of expression has a certain direct appeal.

The flourishing tradition of Spanish Renaissance drama precluded much opera from taking root in Spain, but the music for plays had generally less distinction than the English equivalent. The early zarzuela (not to be confused with the later Romantic version already mentioned) originated in the 17th century as a court entertainment. It was the Spanish counterpart to the court ballet and acquired a strong Italian influence on its musical character. Spanish music and musicians travelled to the Western Hemisphere with the early explorers, and by the late 17th century the Peruvian capital of Lima had become musically important. The composer José Diaz worked there and wrote much incidental music to the plays of Calderón de la Barca.

Renaissance theatre in Italy bred the intermedio, which consisted of songs and instrumental music added before or after the acts of a play. The words of the songs were generally relevant to the action of the drama, and this development—together with more extended musical settings in pastoral plays—became the direct precursor of Italian opera. As a new form of “drama in music” which rapidly acquired serious artistic pretensions, the opera inevitably brought in its train a less aristocratic variety of musical theatre variously termed opera buffa (comic opera), vaudeville, ballad opera, singspiel (literally, song-play), or tonadilla, always performed in the vernacular of its audience and often in dialect.

These depicted current events instead of historical or mythological subjects, involved elements of parody and social satire, and usually depended on modest musical resources for economic reasons. They began as interludes performed between the acts of serious opera and comprise an essential link in the history of musical theatre. By about 1700 the scenes (usually two) had acquired a linked plot, and by 1740 they were performed apart from the opera as a genuinely popular entertainment. Eventually they responded to the demands of the rising middle classes by raising their own standards into the category of comic opera.

Classical developments

The Italian commedia dell’arte entertainment of strolling players in mainly improvised comedy had left its mark on French fairground theatre, although the performers were expelled from France in 1697 for having ventured their satire too close to court topics. Ten years later French satirical comedies were also banned, whereupon the resourceful performers found a new way round by employing monologue, mime, and music. They thereby developed a new form of popular entertainment to contrast with the aristocratic opéra-ballets, which were soon to be dominated by the spectacular productions with Jean-Philippe Rameau as composer, and in 1713 two theatrical managements in Paris were given license to perform “Le nouvel Opéra-comique.”

Opéra-comique was a contraction of opéra rendu comique (“opera made comic”), signifying parody and satire at the expense primarily of serious opera. The entertainment soon came to veer either toward comédie vaudeville, mostly made up of bawdy satire or simply songs of disparaging social comment, or to the alternative comédie à ariette, involving a generally more decorous musical parody at the expense of Italian styles. The Guerre des Bouffons (“war of the comedians”) between partisans of French and Italian theatrical styles was eventually resolved by the emergence of the opéra bouffe (literally, “comic opera”)—the French variety of operetta. It is usually dated to the Paris production in 1753 of Les Troqueurs (“The Barterers”), based on a fable by Jean de La Fontaine and having original music by a court violinist, Antoine Dauvergne.

Ballet was declining about this time from courtly heroics to simple diversion unrelated to any dramatic point. Apart from the opéra-ballets of Rameau, little significant music was composed for the dance until the German composer Christoph Willibald Gluck, who initiated the major reform of serious opera during the century, first turned his attention to a move for balletic reform involving a more dramatic style. In 1761 Gluck composed the music for Don Juan, a ballet by Gasparo Angiolini, the Italian ballet master at Vienna, who maintained that dancing should be self-expressive without recourse to verbal explanations.

Gluck’s vividly descriptive score contains 31 musical pieces, alternating between formal dance and narrative drama. It made the music a foreground element in the ballet instead of a background accompaniment and could have brought about—if its example had been followed up—a revitalization of ballet music almost as significant as the operatic reform Gluck launched in Orfeo ed Euridice a year later. In the ballet, the fight scene near the beginning and the dance of the Furies at the end (itself later incorporated into Orfeo) have a concentrated intensity of musical expression, and the graveyard scene has a degree of imaginative orchestration that is unsurpassed in any other music at that date.

For reasons that belong more properly to the history of ballet, Gluck’s influence on its future course was less fruitful than in opera. Perhaps his example, nevertheless, encouraged the participation of such composers as Mozart with Les Petits Riens (1778; “Sweet Nothings”) and Beethoven in The Creatures of Prometheus (1801). It was, otherwise, an era theatrically dominated by opera of various kinds, so that there was at first little call for music in relation to spoken drama. Haydn, however, composed some music (1796) for an early German translation of Alexander Bicknell’s The Patriot King, or Alfred and Elvida, and Mozart contributed a suite of superior choral and orchestral music for Thamos, König in Ägypten (1773; Thamos, King of Egypt), which was never used for the play in his lifetime but which has survived where the play has long been forgotten.

Eighteenth-century opera nourished musical developments in the theatre chiefly through establishing regular orchestras of some quality. Outside of cities with more than one theatre, such as Vienna, Prague, Paris, and London, the numerous court theatres needed to keep a resident and costly orchestra reasonably occupied, with interest divided between opera and drama. It therefore became customary either to commission incidental music for existing plays whenever possible (especially the historical classics, as more and more of them were translated from one language to another) or to commission new plays that would incorporate ample provision for orchestral and sometimes choral music.