The times. [volume] (Richmond, Va.) 1890-1903, 1893-12-24
A TALK WITH DEK0VEN,
THE COMPOSER TELLS SOMETHING
ABOUT "THE ALGERIAN"
And why II Was written-How He Select
ed the Name for It-A Christmas At
traction Here.

'Tn writing the Algerian" said Mr..
DE Koven, the other day, both Mr.. Mac
Donough, the author of the libretto, anc
myself felt that we were TO certain
extent breaking new ground. 1 had al
ways had the idea that comic opera
might be written from exactly the same
standpoint as grand opera In other
words that comic-opera Incidents and
situations might just as aptly be illus
trated In music as purely tragic or ro-
mantle ones. and that the music might
serve as an important factor and agent in
carrying along a comic story. and in Illus
tratng humorous scenes and incidents,
as IL does I'm works Of more extended
scope and more serious purpose.
Il do not pretend TO say that The AL
gerian' is even an approximate realiza-
ton OF my ideas in this respect. Both
MIR. Marlborough and myself were quite
anxious whether the public and the critics
would accept the opera for what it was,
or whether they would say that. being
neither fish, fowl, nor good red herring &C
cording TO the accepted notions of comic
opera, they did not want it at all; so, the
recent reception OF the opera in New York
city, both by the press and by our audi
ences. has shown us that there is a field
and an audience for legitimate, refined
musical work which is neither exactly
comic opera in the generally-accepted
sense OF the term, vaudeville i'm the
French sense OF the term, or musical
comedy as We know IL in this country.
comic opera is a term which is Woe
fully misapplied in this country. The en-
tertainments which are usually termed
comic opera In this country are i'm reality,
at best. little more than opera bouffe
and usually should properly be termed
musical burlesque, or extravaganza.
Comic opera. properly speaking. is a thor
oughly legitimate well-defned, artistic
form, differing only from grand opera
from the fact that the musical numbers
are connected by means of dialogue in
stead or recitative. For some reason or
other composers have not seemed to look
kindly upon this class OF work in late
years, with the single exception Of Andre
Messenger I'm France. and one or two
less well-known men OF his school.
hardly think that The Algerian was de-
signed TO be a more ambitious work than
any OF my other operas; in fact rather
less so. II was however. intended 10 be
absolutely legtimate-that is TO say that
both words and music should be az all
times in keeping with the sentiment and
character OF the situation, and should be
absolutely germane to the subject matter
In hand without horse-pay, localisms or
irrelevancy; so that The Algerian was
an attempt 10 prove that a legitimate
opera could be written which should
amuse and interest an intelligent audi
encc without having recourse TO bar-room
or poker slang. baseball gags interpo-
lated acts OF various kinds. and the thou
sand and one devices which usually 20
10 make the success OF what We have
been used TO term In this country a comic
opera
'"fne term vaudeville in this country is
also grossly misapphed A vaudeville is
the French sense OF the term means a
comedy or more or less farCical order,
into which certain number OF songs
baliads-rarely concerted numbers-usually
incidental and without particular reference
70 the action, have been. so 10 speak,
inserted The pieces which Nine Judie
made famous are OF this order OF drama
Tic work. Audran's Miss Helyett' is 10 a
certain extent a vaudeville, although Au- f,
uran called II vaudeville opera, which |
10 what ! wanted originally 10 can The /
Aiseriaa' out felt the name would be |
on account OF the misappli- /
cation Of the term Ia this country. noted |
above. 'O'0N
fhe task OF public education il no, |
usually either an agreeable or a profitable
one. but. whatever the result. i can onlv
say snai my endeavor has been an honest
ana sincere one from an artistic stand
point. TO- II possible. get back TO the stand
ara OF genuine comic opera, or, as the
frencn term II, opera continue 1 have
EXPRESSED my opinion on various occasions
snat There Is a public IN this country who
= Wiling and ready 70 support works OF
:. A,nd. Just as there IL a public who
matte productions. e'a
80 - ute o. The Algerian wac q sub
% much discussion from The nrsf
- no were writing the spsrs win miss