The Arkansaw traveler., 1885-05-23
The pss.e,s of op.ra.
tDAvid SwinR, in The Currensl

David Swing. in The Cusrsntl The real truth is opera Is ssill the most imperfect of the kne arts, and many per sons found in the two weeks that disaD. pointment which has thus far followed that form of music hke a shadow. Go to these entertainments in London or Paris, or in Chicago. and sAe same defects are visible, and people go home tired half to death by the disproportion-the awful lengths of unimpostant solos and TecitA. tons.
 One fault h "opera V Is therefore the length of the performance. Four Aouss of '' Lohengrin or Faust" are fully one hour too much. Nearly all of these works are destitute of due regard to the powers ot human endurance, and per. haps were written by men who had no conception of the public capabilities. Musicians might be willing to sit for tour, five or six hours to listcn to works in their own art, just as poet may compose all night, with much happiness, verses which the outside world will read only az hour at time. Opera writers have failed to make any note ot human nature, and have been always like some preachers and senators and general takers, who be- gin we'll and proceed we'll, but who have no conception of such thing as the time when to quit. In Lohcngrin the chief character. the magical.seeker for the Holy Grail, has to sing history of his project, and to expand and expand long after the climax of the theme has been exhausted. When some study shall be made of the real wish and need of the audience, opera will escape some of those dead points where the audience hopes and hopes for an end to come. The opera music Is also wanting in melodies which sweep the heart. The playful works of Gilbert and Sullivan contain more songs for the people than are to be found in the massive produc- tious which carry higher name and fame. The Last Rose Of Summer" "On Yon- der Rock" and "l have Sighed to Rest Me-" arc illustrations of the eagerness of the he-rt to find some pathetic air which may excite few tears and then live in memory all subsequent time There Is no reason why comediet.as should abound in popular airs and opera proper abound in heaviness. The classic style need not be dull style.
 In all of Faust" there was not sim gle air worthy of Adelina Pat,i--no,hinR which can hush ten thousasd into silence and leave them something to cherish in remembrance. No wonder she avoids Lohengrin." There Is nothing in tha, piece for any such object of public favor. If she must satisfy the people she must have a song worth the singing. An an- gel even could not sing with effect Apoor song.
 Opera is a difficlt art, because it must adjust many details to one grand result It must deal in solos, duets. trios, quar- tettes, and all there Is in music of both voice and instrument. It must study also scenic effects and situations.
 The ideal opera is thing of the fu. ture. IL will open at eight and close ht eleven. The solos will not kill the singer and the audience. There will be grand quartettes, quintettes and sex,ettes. Some of the historic parts will be spoken in- stead Of sung, so as to make a contrast and furnish rest. There will be some fun thrown into the evening, just as the police of Dogberry cheer up the play of " Much Ado," or as the grave-digger cheers up Hamlet" Laughter helps make paihos. Opera will thus come along making itself anew out of the grand material it has accumulated, and will m some future year or period become one Of the greatest pleasures that can come from the many forms Of the beautiful