The entire orchestra was employed in company with the voices only in the heavier numbers.
It is plain that in these musical plays there was no attempt at complete setting of the text.

There was no union of the lyrics by any sort of recitative.

The first Italian to write anything of this kind in a play seems to have been Cavaliere, but unfortunately his "Il Satiro" (1590) and "La Disperazione di Sileno" (1595) are known to us only through a comment of Doni, who censures them for pedantic affectations and artificialities of style, inimical to the truth of dramatic music.

The dates of the production of these works show us that they were not as old as the movement toward real monodic song, and it is certain that in France, at any rate, the Italian Balthazarini had already brought out in 1581 a ballet-opera, "Le Ballet Comique de la Reine," which contained real vocal solos.

At the same time the evidence is conclusive that the madrigal was acquiring general popularity as a form of dramatic music, and the madrigal drama reached the zenith of its glory at the very moment when its fate was preparing in the experiments of Galilei and others in the new monodic style destined to become the basis of modern Italian opera..