New-York tribune., 1886-07-18
A MUSICAL PILGRIMAGE.
ENGLISH OPERA IN ENGLAND AND AMERICA
[rRoM STAFF CORRESPONDENT or THE rRrBuyEl

| [FRoM A STAFF CORRESPONDENT THE TRIBUNE
LONDON, July /.
| The most significant of n fortnights Observa
| tons of musical affairs in the metropolis OF the
world seems to to deserve statement and briof
| discussion In THE TRIBUNE. The observation 10
this: English composers. publishers, managers snd
singers have within the last year become more IN
terested than they have ever been before in the
music and musicians of the United States. This
interest has been created by the American Opera
| Company concerning which tho most extraordi-
nary stories are cnIrent and find ready belief. 1t
| is 80 unusual thing for an American to discover
that bis country is an object Of admiration and
even envy by the ordinarily self-complacent Briton
| that, confess have not always bad the moral
courage to set down the pegs OF British enthusiasm
by informing eager questioners that the American
| Opera though an institution which enjoys the good
wishes Of every patriotic musc-lover in the United
| States has not yet got out of the experimental
stage of it's existence, and that far from sitting
snngly ensconced behind impenetrab!e barrier
of gold it 10 in the open field endeavoring to show
itself entitled to life BY daily Huerng the right
| to live.
1t will readily be surmised that the great interest
| IN the American Opera is not entirely unselish
| Composers dream of increased opportunities for
seeing their operas presented the stage pub
lshers have visions OF royalties pouring into their
| Golfers only slightly obscured by the absence OF
| international copyright; singers pray for the
| occupation which they denied by the
morbund condition of Italian Opera. Yet there is
| unquestonably sincere hope in the hearts OF all
which springs from genuine appreciation OF tbe
| yalue of a national institution devoted TO tho
| promotion of opera in the vernacular Here in
spite of the beautiful success of Mr.. Carl Rosas
| Undertaking achieved by eleven years OF work
| characterized by indOmtabe pluck and steadfast
| adherence to high aims, the conviction seems 10
| have fastened upon everybody that a National
| English Opera. which shall revive the gorics OF
the Italian honses of half century ago and direct
them to a higher end is impossible without the aid
| of the Government. Even Mr.. Rosa shares this
| view cannot but believe that starting from the
advanced position which Mr.. Rosa has conquered
1t would be comparatively simple matter to call
the onged for institution into existence. and found
| il on frmer and better basis than can possibly
come from a Government subvention If the right
| means were adOpted and if more genuine and
sincere love for music than have been privileged
to observe were awakened among the people who
| patrOnize musical entertainments. Tho lesson
taught by the PRESENT state of operatic affairs in
| Paris and Berlin Is that though subventlons can
| keep opera houses open they do not necessarily
| promote high national ideals. But the leaders OF
musical thought in England have wellngh de-
SPARED Of seeing their own country join the ranks
of the continental nations who have cast aside the
frivolous Italian diversion in favor OF serious artIs
tic undertakings, and they sincerely wish
ing that America might do justice to the English
tongue
The one criticism which I have heard on the
American plan the one thing which appears mex
plicabe here, Is that thus far the American Opera
has devoted itself exclusively to the representa-
tion Of foreign works. Mr.. Mackenzie aud Mr.. A.
Goring Thomas. the composers, MrAlfred Littleton.
of the great pub ishing house of Novello Dr. Fran
cis Hueier. the most eminent and able Of English
writer's on music, Mr. Carl Rosa, and Others all
hay o spoken to the same purpose on this question:
In each case almost the first question has been,
" What are the prospects of the American Opera Y
the second. Why does not your American Opera
work in a truly national way by bringing out
American operas or at least operas composed to
English words 2" Mr.. Rosa has successfully beaten
down all opposition to his English scheme and is
now reaping the reward of his long and faithful
adherence to lofty purposes Within the last few
years he has produced without the aid OF the Lon
don public-the only public IN the United Kingdom
who withhold from him the encouragement which
he Geserves-no fewer than six new operas. 10 MIR.
Rosa a few days ago put the question direct:
" What do you hold to be the condition precedent
to the successful establishment of national opera
in
a moments hesitation: "The encouragement of
native composers" Naturally such an answer led
TO a discussion of the advantages and disadvant
ace, which would result from the adoption of a
nol,cv like that suggested, and Mr.. Rosa main
taned that to give opera composed in the vernacu-
lar was An equally sure road to good financial as
well rs artistic results In proof he cited the popu
larlty which some of the operas composed for him
had won. notably d" Esmeralda" aud Nadeshda"
nv Mfr. A. Gorng Thomas. Both works have been
repeatedly performed in London as well as the
provinces and the composers ROYALTIES are suif-
cent to enable him to devote himself exclusively to
composition of higher class music Yet Mr..
Thomas had only drawing-room reputation when
Mr. Rosa's interest was enlisted IN his behalf by
SIG Randegger. The latter invited Mr. Rosa to
attend performance by dllettanti of a onc-act
opera composed by Mr.. Thomas a short time after
be had returned from Paris where he made his
nripcipal musical studies, aud had entered the |
educational institution presided over by the ven |
erabIe Sir George Macfarren. Mr. Rosa recognized |
the talent of the young and at once gave him a |
commission The first was " Esmeralda. OF when |
Sig Randegger drafted the scenario and sarzIais
wrote the lyrics. Few first efforts OF yonng com
n,sers have been so successful as this work 1t
exed itself firmly in Mr. Rosa's repertory. was
trarnlated and performed in several German
cities, and has recently been published also IN an
Italian version. Mr. Thomas composed it while
fnll If enthusiasm and doubtless no small degree OF
his success was due to the fact that he knew he
was writing for publication and performance and
not tor desk kburla
Mr.. Thomas Is n tall slender yonng man. WIN
refined features and gentle manners. aud IS plainly
much in earnest touching his art. In appearance
he bears a pretty strong resemblance to Mr. George
w C.hle q have been very fortunate" he said
when the subject of his success broached,
- very fortunate; if it had not been for Mr. Rosa
should probably be writing songs for a living TO-
day.p During the last week of Mr. Roaas Lonlon
season | heard Mr. Thomas's second opera.
$ Nadeshdan which had its first representation at