STORACE, Stephen (1763-1796), dramatic composer, was born in London in 1763. His father, Stefano Storace, an Italian contrabassist, taught him the violin so well that at ten years old he played successfully the most difficult music of the day. After completing his education at the Conservatorio di Sant’ Onofrio at Naples, he produced his first opera, Gli Sposi Malcontenti, at Vienna, in 1785. Here he made the acquaintance of Mozart, in whose Nozze di Figaro his sister, Anna Selina Storace, first sang the part of Susanna. Here also he produced a second opera, Gli Equivoci, founded on Shakespeare’s Comedy of Errors, and a “Singspiel” entitled Der Doctor und der Apotheker. But his greatest triumphs were achieved in England, whither he returned in 1787. After creating a favourable impression by bringing out his “Singspiel” at Drury Lane, under the title of The Doctor and the Apothecary, Storace attained his first great success in 1789, in The Haunted Tower, a genuine English opera, which ran for fifty nights in succession, and retained its popularity long after the opening of the present century. No Song No Supper was equally successful in 1790; and The Siege of Belgrade scarcely less so in 1791. The music of The Pirates, produced in 1792, was partly adapted from Gli Equivoci, and is remarkable as affording one of the earliest instances of the introduction of a grand finale into an English opera. These works were followed by some less successful productions; but The Cherokee (1794) and The Three and the Deuce (1795) were very favourably received, and the music to Colman’s play, The Iron Chest, first performed March 12, 1796, created even a greater sensation than The Haunted Tower. This was Storace’s last work. He caught cold at the rehearsal, and died in ...consequence, March 19, 1796.
The character of Storace’s music is pre-eminently 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 method of writing for the voice he was no doubt largely indebted to the charming vocalization of his sister Anna. This lady, who has attained lasting honour as the original representative of Susanna in Le Nozze di Figaro, was born in London in 1766, completed her education at Venice under Sacchini, sang for Mozart at Vienna, and first appeared at the King’s Theatre in London in 1787. After contributing greatly to the success of The Haunted Tower and her brother’s later operas, she crowned a long and brilliant career by winning great laurels at the Handel Commemoration at Westminster Abbey in 1791, retired from public life in 1808, and died August 24, 1817. During her stay in Vienna she married John Abraham Fisher, a celebrated violinist; but he used her so cruelly that she refused to bear his name, and in her will—bequeathing property to the amount of £50,000—styled herself “spinster.”
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STORAX. It has been explained in Incense (vol. xii. p. 718) and Liquidambar (vol. xiv. p. 687) that the storax of commerce and the pharmacopceia (used as an emollient) is derived from the Oriental liquidambar tree. The storax of the ancients, on the other hand, a solid gum which does not now occur in commerce, appears to have been the product of the beautiful white-flowered shrub Styrax officinalis, which is still common on Carmel and elsewhere in Syria. It was much used as an incense, and formed an early and important article of Phoenician trade (see Movers, Phönizier, ii. 3. 101, 223 sq.). It is probable that the Greek word στύραξ is of Semitic origin, representing the Hebrew צרי, which the English version renders “balm” (Lagarde, Mittheilungen, p. 234 sqj).
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