The New York herald., 1875-11-25
ENGLISH OPERA In LONDON.
Revival of the National Lyric
Drama.
HAS ENGLISH OPERA A FUTURE ?
american Singers in Lon
don.

LONDON, Nov. ,, 100.
Carl Rosa has just completed in London seven
weeks Of English opera at the Princess and
Monday last he started on his tour in the provinces
Intending return London in March next. He has
won during this brief season, a well deserved and
Pnviable success; all the London dailes without
reption, have given him the kindest appreciationi
pny one weekly musical journal called the Musical
Standard has the folly to speak about "cheap opera
performances in the vulgar tongue" the polite Ian
Yuage OF opera limited at being, I suppose, the
italian. Thank heaven that he gave US the ''vul-
gar tonguen / am sure unreserved praise Is
due to Mr. Rosa for having proved to all unprejudiced
lovers or opera and many prejudiced ones too that
lhe socalled ''vugar tonguen become charming
vehicle OF dramatic song either the Italian the
German. Fortunately, when God made this vulgar
Tongue Ho made quite capable Of appreciating
whatever beauties it is capable OF expressing though
he does not always think necessary to supply editors
Of English musical journals with soul or brains sum
siant to comprehend these beauties. For my
part I only express the delight have
found in these operatc performances IN Eng
Hsh, which compare most favoraby with op-
eratic performances in the larger German cities
snd that is saying great deal If the German tongue
Is fitted for operate singing, 80 IS the English 70 an
rqua If not greater extent This has been proved TO
my satisfaction in the charming representations OF
t'Thc Marriage OF Figaro" by the Rosa Opera Troupe
II Is great pleasure for be able to chronicle the
Buccess OF English opera in London, the more SO as
shall have record the time the successes Of
three American members Of the company-Mr Pack
prd Misses Gaylord and Josephine Yorke.
During his weeks season Mr. Rosa has produced
the following operas -BaIfe's bohemian GIRL the
s'sege Of Rochelle, wallace's 'Maritana" Mozart's
ssMarrage Of Figaro" Flotow's MARTHA verd's
ssTrovatore" Cagnonrs Porter OF Havre = Gounod's
t'Faustn Auber's "Fra Diavolo.n The principal
artists consisted OF fourteen natives OF Great Britain,
three OF America, Of Sweden and or Germany.
The following the principal ones:-Miss Rose
Gersee, Miss Julia Gaylord, Miss Josephine Yorke
first appearance in England Miss Lucy Frank
lein Mrs. Aynsey Cook, Mile. Ostava Torriani,
Dit Henry Nordblom, Mr.. Charles Lyall, Mr.. Fred G.
Packard (arst appearance in London Nj. Campobelo,
Mr.. +. Il. ceIi Mr.. Ludwig Mr.. Aynsey Cook, Mr.
Enazele Mr. Arthur Howell and Mr.. santlcy. l give
their names because think, when the English opera
becomes recognized institution, Carl Rosa's under
laking must mark epoch in its history-n fact,
Ihe beginning of its proper exposition. Maybe
have been good English opera companies before in Lon
dom old writers bring up memories Of something Of the
sort heard dfteen or twenty years ago. but hitherto
what has gone under the Of English opera in Lon
don has not been worthy Of the name certain MISS
Blanche Cole commenced English operas in the
Eaiety in March or April last, with twenty musicians
about ten arstes and ballet troupe Of halfdozen
ueagre young persons who fancied they could dance
Fresh from Germany, went hear them, with great
expectations, but dreadfully disappointed.
musical soul could have shed the degrading
spectacle pushed down the throat under the name OF
English opera Carl Rosa with high Intentions
and all the promises he made have been carried out
He had orchestra composed OF the finest musicians
pr the London Italian opera; he bad
large chorus, trained equal 70 anything
have ever heard in Germany outside OF
Munich; some Of the Of high repute and
ptners have proved Rosa's good Judgment during the
brief Of their singing The only weak points OF
he opera the scenery and the poor translatons
Df the texts into English verse; but Of course
not hold Mr.. Rosa responsible for these Otherwise,
he performances correctly given and left
charming impression upon the audiences. The per-
Drmances were fully equal to anything have ever
yecn in Germany; far enjoyable to the majority
sf the audience than ever be the with the
italian. So charmingy this Marriage o. Figaro"
given that 1 can only compare the impression left
upon my mind to that produced by the reading of an
exquisite poem. And this impression, bear wen in
mind, was produced by the vehicle OF the
'vCLGAR TONGUE"
n which it was produced.
shall not attempt to give you either detailed
sounts or individual criticisms OF the operas.
imply recording impressions and memories There Is
much to critcise English opera and much to be i'm
proved by Mr. Rosa First Of all we require better
Ganslations of operate text books At present they
IRE totally devoid poetic beauty without which good
soufu singing is impossbility; too full or
dialogue, which, however, Mr. Rosa intends 70
abolish, ana as soon as practicable substitute
,rcitatye Spoken dialogue IN opera is thing Of the
past Germany. II reminds you Of the glaring
defects OF English singers-gnorance Of elocuton and
uaturalness II brings you, when you hear II, from
The ideal realms in which you wander al times under
The influence OF music and song, suddenly and cruelty
down into the regions OF everyday life II CRATES
The ear and destroys the harmony Of what should be
m opera Even 'Faustn Is given US, though without
dialogue, devoid or al poetic beauties. Where s all
the charm or Faust's first address 10 hargaretha in
these prosaic lines p
High born and lovely maid forgye my hum humble da.y;
Let me, your willing slave attend you home to-day.
No my lord. not a lady am /. noryet beauty;
And do not need an arm to help me on my way
Goethe's words are something quite diderent-sim
pic, natural unobtrusiye:-
Mein schoenes Fraulen darf ich's wagon.
Arm und gelee anzutragen'
MARGARFr.
Rann angeieset zach iIaase gehea
II English opera s to be a thorough success our text
books must be thoroughly revised, retranslatcd BY
with least appreciation Of the relationship
between poetry and song, remembering that we have
40 d. undoubtedly, with a vulgar tongue" but one
that We understand, and rom which wo cannot afford
10 lose by penny line translators oil the beauty IL
should possess
The ar,stcs who have contributed 70 the success OF
this "reyiyan OF English opera in London certainly
deserve mention Carl Rosa had stars that s,
not ia the ordinary acccpaton of aat term although
they were all stars in the sense that they made
London gloom bright while they were here, and now
that they have left the musical sky dreary enough
OF santey what say except that Il the English
opera had dozen dramatic singers ike him II would
not fear comparison with the best Italian German
troupe that ever sungS He acts as naturally and
superbly as he sings In the "Porter Of Havre' be
nppears as a dramatic singer Of the highest order Mr.
CampbcIlo promises 70 succeed santey, eventually, in
~.hitn earor hn-ftone yOice A rich mellow.