299:– the famous tragedian – was cast in the main role, and was tone-deaf. No amount of re-writing could get around the problem that Richard was supposed to sing his famous ballad so that Blondin would hear it outside the castle walls. As so often in Storace's life, he was saved by his friends. Michael Kelly was now established as the audience's favourite star after Bannister, and was given a Benefit Night in 1790 – by tradition, he could choose whatever piece he believed would bring in the best receipts at the box-office. At this period a "programme" at Drury Lane would always be a double-bill – a main work, and a one-act "afterpiece" which was usually a comedy. Kelly broke with tradition and risked his income by announcing – to Sheridan's disapproval – that instead of a popular favourite, he would premiere a new afterpiece by Storace, called
224:, which was – at that time – the home of the Royal Italian Opera, a troupe which enjoyed a Royal monopoly on the presentation of Italian opera, and in fact of any musical works which were through-composed without dialogue. Kelly succeeded in getting a few roles there (on the basis of his wider professional experience, knowing roles the King's Theatre already had in repertoire, and his legendary charm), but both Storaces found themselves excluded by the group of native Italian musicians already well-established there. Stephen too worked at the King's Theatre as music director for some operas, including his own
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imprisoned
Austrian hostage, Princess Catherine, "My plaint in no-one pity moves"; a warlike Act III aria for Kelly as the "noble Turk"; and an extraordinary "Queen of the Night"-style dramatic-coloratura Act III aria for Nancy, "Domestic Peace", with a string of double-octave fast upward scales to top c'' over French-horn fanfares that brought the house down. The printed vocal score not only includes one of the famous "scenery" engravings, but cast a glove down to the King's Theatre – avoiding all euphemism the work is clearly described as "an Opera, in three acts".
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Kalmus). The surviving vocal scores have clearly been prepared by an expert hand, and are extensively "cued" with the orchestral parts in smaller notes – it seems possible that
Storace himself, or one of his closer assistants, must have prepared these vocal scores. There are, to date, no commercially available recordings of any of Storace's operas. Storace is not known to have written any exclusively instrumental music, other than the overtures for his operas.
386:. This was the only all-sung opera Storace produced in English – all his other works had spoken dialogue between the musical numbers. His sister regarded it as Stephen's finest work. However, for whatever reason, the piece proved unpopular with the public, and was withdrawn after a short run. The music was not thought worth printing commercially, with the result that not a note of this opera now survives, nor were any solo numbers from it printed separately.
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94:. His interest in art may not have been entirely extinguished, however – unlike the works of any of his English contemporaries, the printed vocal scores of all his operas feature elaborate engravings of what are presumed to be the stage-designs, and it is suggested that these drawings were Stephen's own work. No other artist, at least, seems to have claimed credit for them. Towards the end of their studies, Stephen and Nancy first made the acquaintance of
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416:, attempt to add any "exotic" music for the Cherokee – their "War March" is disappointingly four-square and tonal, but the "War Whoop" is an exciting number. The work also introduced the public to the boy-treble star, "Master Walsh", whose coloratura talents must have been remarkable as his numbers are no less complex than Crouch's or Nancy Storace's. He was to figure regularly in Storace's works thereafter.
236:. Sheridan's personal interest in the theatre had largely dried-up by this point in his career, and he was more interested in politics – his theatrical interests were primarily financial, and he had established a successful format of lavish musical spectaculars, more remarkable for their visual than musical content. To evade the Royal monopoly on opera at the King's Theatre, Sheridan presented a mixture of
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272:(1789) was a box-office sensation, selling out for 50 nights in succession. No little part of the success was the performance of Michael Kelly in the male lead role. Up to this time, high notes in the male parts in the theatre had been crooned falsetto by performers who were more actors than singers. Kelly's aria to the ghost of the Haunted Tower – "Spirit of My Sainted Sire!" included a top B
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213:. Buoyed-up by their success on the Viennese stage, the coach-party which left for London could not have imagined they would find themselves rejected and unwanted in London, where their names were quite forgotten after such a long absence. Stephen was remembered – if at all – as an infant prodigy violinist at
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Kelly tells the story with an important difference. He was as thin as a rake, coming from Sicily to
Livorno, and with a mass of fair hair, and he had not long ceased singing treble. Nancy and Stephen, whom he did not know, stood together on the Livorno Mole, and Nancy said in English to her brother,
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Nancy
Storace organised that the unfinished work was completed (Kelly claims to have had a hand in doing so, but it is more likely that he paid other hands to do it, since he freely admitted he could not read the bass clef. Most likely the work was finished and orchestrated by the Orchestra Leader,
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Stephen
Storace returned to England sometime between the years of 1780 and 1782, most likely to settle his father's affairs after his death in Naples, which probably happened around 1780–1781. Nancy, accompanied by her mother, Elizabeth, went to Vienna in January 1783. Nancy entered into an arranged
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The character of
Storace's music is preeminently English; but his early intercourse with Mozart gave him an immense advantage over his contemporaries in his management of the orchestra, while for the excellence of his writing for the voice he was no doubt indebted to the vocalisation of his sister
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in 1787 in
Storace's version. The work of making "English" versions was not just a question of translation – all complicated musical numbers (especially trios, quartets etc.) had to be "cut" to make them performable by English casts who were primarily pantomime comedians without any great musical
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at the height of their success there. The reasons are suggested to be more personal than professional. Certainly the
Emperor spoke of her with great admiration, even using her abilities as an arbitrary unit of currency – "I'd not give you a Storace for it!". Quite possibly Nancy was under pressure
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Stephen quickly established his credentials with
Sheridan as a young man who could quickly and competently produce good results. He also had an impresario's skill for judging what would make good box-office and bring in good receipts, and he took to adding famous numbers from the Vienna stage to
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role and collapsed on-stage in mid-aria, causing the performance to be abandoned. Nancy was pregnant and gave birth to a baby girl a few weeks later. The child was given to a foundling home by
Elizabeth Storace, who claimed that it belonged to Nancy's estranged husband, John Fisher, who had been
102:. Kelly was with English-speaking friends, and ventured an opinion (in English) as to whether the young person with Stephen was a boy or a girl. "The person is a she-animal" retorted an offended Nancy in English as the first remark in what would be a lifelong friendship with both the Storaces.
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editions, edited by Roger Fiske). The other works survive only in piano and voice vocal scores issued by Storace's publishers, Longman & Broderip. (A number of these scores were reprinted by Kalmus Edition in the 1970s in the USA, but all have been deleted and no details are available from
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Although Storace's English operas were popular in their time, their failure to endure in performance is in part due to the financial caution of his employer, Sheridan. A legendarily shrewd man with money, Sheridan refused to allow any copies of the Storace's works to be circulated, for fear of
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in March 1784. The marriage only lasted a few months. It is unclear how Stephen obtained his first commission to compose an Italian opera for the Viennese stage, but the commission was most likely obtained by Nancy sometime in the fall of 1784, with Stephen arriving in Vienna sometime in late
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still included "borrowings" from other composers on whose reputations tickets might be sold, and Sheridan remained adamant – despite the success of the piece – that he did not want Storace composing fresh work as a regular occurrence. Storace was put to work producing an "English" version of
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is remarkable for the extended ensemble numbers such as the Act I Trio for the Seraskier, Lilla and Ghita, "Your passions thus deceiving" – divided into allegro-andante-allegro sections. Alive to what the public cheered most, Storace included a bravura coloratura aria for Mrs Crouch as the
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which he took in full voice in the Italian style, and proved such a success that at most performances it was encored in full. This aria outlived the rest of Storace's output by decades, and was still being reprinted in parlour songbook anthologies for the amateur tenor a century later.
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banished by the Emperor some months earlier for beating Nancy. Elizabeth Storace claimed that they did not care if the child lived or died; the child died in the foundling home a month after she was born. Nancy's return to the stage four months later was marked by the performance of
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and composer, taught him the violin so well that at ten years old he played successfully the most difficult music of the day. The composer's youth was spent entirely in the company of musicians, since his father (also a composer and arranger) was the Musical Director of
240:-type works specially written in English in the ballad-opera style, with "English'd" versions of popular operas playing in continental Europe in which he saw some commercial opportunity. Stephen Storace's first job at Drury Lane was to make an "English" version of
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pirate versions being performed from which no royalties would be paid. In fact history shows that Sheridan's best attempts failed, and pirated versions of Storace's works were playing in New York by the end of the century. In 1800, the French composer
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works about ancient gods or monarchs of antiquity, Storace spotted a niche in the market for the new "romantic" style of ghost-stories, gothic horror, and romance, and his first purpose-written work for Drury Lane employed all these elements.
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He was born in London in the Parish of St Marylebone to an English mother and Italian father. Relatively little is known through direct records of his life, and most details are known second-hand through the memoirs of his contemporaries
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talent. This also meant transposition of some numbers, making a fresh English text, cutting whole numbers and replacing them with dialogue, and sometimes inserting new comic songs and "patter-songs" which the public greatly enjoyed.
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It is assumed that Storace’s carefully guarded opera scores and parts perished in the Drury Lane Theatre Fire. His two Viennese operas have been preserved, but only one of his English operas survives complete in score and parts –
144:, and the unknown "Cornetti" (which may have been a pen-name for Stephen, Salieri, or even perhaps Emperor Joseph II). This rare example of a Mozart-Salieri collaboration was discovered only in 2016.
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from Elizabeth, who was not at all happy in Vienna, and wished to return to England with both of her children in tow. Nancy left Vienna in February 1787, along with her "entourage" of
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played Storace's string quartet, Dittersdorf taking first violin, Haydn second violin, Mozart viola and Wanhal cello. The "English circle" in Vienna also included the composer
483:. Unfortunately we can only imagine the visual effect of numbers such as "Dicky's Walk", which must have accompanied some on-stage buffoonery of a greatly amusing nature.
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may have resembled, but no details survive. He also wrote pieces "to order" for favourite performers at the Drury Lane Theatre, such as the musical comedian
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Storace is also known to have been involved in preparing musical spectaculars for isolated events. It is intriguing to speculate what performances like
431:, the work – about a faithful servant whose life is ruined by a vicious master – had gained considerable notoriety, and was produced under the title
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825:'Look at that girl dressed in boy's clothes.' Kelly then astonished her by replying, also in English, 'You are mistaken, Miss; I am a very proper
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354:(1791). From this point on Storace abandoned the ballad-opera style completely, and wrote the entire piece in the Mozartian "Singspiel" style.
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produce an entirely new libretto, creating another "romantic" hit situated in the midst of the Ottoman-Austrian war of a few years earlier,
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John Shaw, who was Kelly's collaborator on all his later projects). The work was given as a Benefit Performance for Storace's widow.
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724:, afterpiece, 1794, London; an "English'd" version of the Cherubini opera, compiled by Storace, largely with Cherubini's music).
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82:. Mistrusting the quality of musical education available in England, Stefano Storace sent his son to Italy to study, at the
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Catalogue of Printed Music Published Between 1487 and 1800 Now in the British Museum: L-Z and First supplement
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obliged Sheridan to take her "onto the books", and at last she secured a full-time engagement in Britain.
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animal, and quite at your service!' The dialogue is quoted exactly from: M. Kelly, ed. H. van Thal 1972,
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survives, but it is clear that the completed version was very makeshift.
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It seems likely that Storace had been working on an "English" version of
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Baker's Biographical Dictionary of Twentieth-Century Classical Musicians
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The year 1792 saw Storace produce the boldest of his operatic projects,
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899:, Oxford University Research Archive, 2008 (accessed 6 December 2009)
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34:(4 April 1762 – 19 March 1796) was an English composer of the
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Girdham, Jane (2001). "Storace, Stephen (John Seymour)". In
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Both Nancy and Stephen imagined they might find work at the
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very well. Nancy sang Susanna at the premiere of Mozart's
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Dictionary of British Sculptors, 1660–1851, Rupert Gunnis
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There is no clear explanation why the Storaces abandoned
833:(Folio Society, London 1972), 64. See also this link:
768:(libretto by George Colman II, mainpiece, 1796, London)
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Metastasio on the British Stage 1728–1840, a catalogue
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Reminiscences of Michael Kelly, of the King's Theatre
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106:Return to England; employment in Vienna: 1780–1787
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874:The New Grove Dictionary of Music and Musicians
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73:, ca. 1725; d. London, ca. 1781), an Italian
968:(11th ed.). Cambridge University Press.
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406:(1795) were very favourably received.
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736:and R. B. Sheridan, afterpiece, 1794)
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427:to the stage. In the light of the
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1269:English Classical-period composers
815:. New York: Schirmer Books, 1997.
137:Per la ricuperata salute di Ofelia
119:Stephen produced his first opera,
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965:Encyclopædia Britannica
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423:'s controversial novel
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43:Nancy Storace
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36:Classical era
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1143:Prince Hoare
1087:
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1049:Gli equivoci
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758:Prince Hoare
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741:The Cherokee
739:
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710:Prince Hoare
703:
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691:
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666:Prince Hoare
659:
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642:Prince Hoare
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623:
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611:
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579:
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555:Gli equivoci
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458:Thomas Banks
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396:Gli Equivoci
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92:Thomas Jones
68:
53:, the actor
47:
40:opera singer
31:
30:
18:
1259:1796 deaths
1254:1762 births
1131:Librettists
1089:The Pirates
681:The Pirates
674:opera seria
564:Shakespeare
544:opera buffa
502:The Pirates
402:(1794) and
391:The Pirates
263:opera seria
242:Dittersdorf
184:Shakespeare
163:Dittersdorf
131:prima buffa
113:John Fisher
1248:Categories
1138:James Cobb
933:References
746:James Cobb
734:James Cobb
686:James Cobb
670:Metastasio
654:James Cobb
630:James Cobb
606:James Cobb
594:James Cobb
378:Metastasio
346:James Cobb
1226:Biography
693:The Price
668:based on
562:based on
368:, with a
356:The Siege
282:However,
238:Singspiel
1175:Category
871:(eds.).
717:Lodoiska
546:, 1785,
370:libretto
275:♭
1188:Portals
991:(IMSLP)
987:at the
949:, 1826.
773:Mahmoud
498:Lullaby
466:Mahmoud
342:No Song
319:No Song
307:No Song
142:Salieri
100:Livorno
1100:People
1092:(1792)
1084:(1792)
1076:(1791)
1068:(1790)
1060:(1789)
1052:(1786)
1044:(1785)
1033:Operas
885:
785:Ballet
574:Vienna
548:Vienna
532:Operas
487:Legacy
376:after
289:Gretry
202:Vienna
167:Wanhal
149:Mozart
127:Vienna
88:Naples
1238:Music
1214:Opera
800:Notes
448:Death
159:Haydn
125:, at
941:and
883:ISBN
566:'s
380:'s
372:by
291:'s
186:'s
1250::
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840:^
827:he
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45:.
1190::
1018:e
1011:t
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974:]
891:.
861:*
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576:)
550:)
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