The morning call. [volume] (San Francisco [Calif.]) 1878-1895, 1894-11-25
Foreigners and the American Stage.

Henry Z. Abbey, the celebrated impressario
is credited with having fOretold the day when
the great operas will be sung in the same Ian
guage as that spoken by the audience which
hears them and in doing he referred more
particularly TO the American and English
stag. English-speaking thsater-g oers proba-
bly, contribute IN the aggregate by far the
major part OF the financial support OF the
worlds amusement, and yet that for which
they pay almost any price demanded is doed
out 10 them In some foreign jargon, usually IN
French or Italian. Now, in the great Euro
pean cenIers # will be found that this order of
things is reversed In Paris, for instance, the
German opera of "LOhengrin," or the Italian
opera OF al TrOVatore," is always sung In
French. In Berlin the French and Italian
operas are sung, as a matter of course, In Ger
man, ana Italy also demands that the great
compositions shall be recorded in the native
tongue. Why should not the same compliment
be paid TO EngliShspeaKing audiences, it may
be asked? VocalizatiOn is certainly not more
difficult In English than In German, and the
theory that II is NOT an easy matter 10 sing in
En- glish has been exploded by the statements
of such artists as Melba, Nordica ard Emma
Eames. These, TOO. are the greatest vocal
stars of the day. and moreover they are of
Anglo-S Xon birth and training.
II IL is desirable TO hear our own tongue in
the higher realms Of music how much more so
In those of the drama, and how much more
profitable would IL be for the artists themselves.
OF all the great actors OF the European stage
who have toured England and America here
are but Two who have played in their own lam
Ruage with any degree of financial profit
Tomaso Salvlni and Sarah Bernhardt. But
these sublime artists would have met greater
success Financially at leasO had they been abe
TO ADOPT the language of the country, and would
have contributed that much more TO the enjoy
ment OF their patrons. The only notable in
stances where the English language has been
acquired for stage purposes are those OF Charles
FechIer and Alexander Salvini. They did not
shun the task heTculean il may have been
The younger Salvni has been more successful
in this particular than was Fech er. for lie now
has but a slight information 10 denote his foreign
origin while Fechter retained broken accent
to the lasI.
Coquehn. beyond all cavil the greatest COM
edlan OF the age, can draw hut little more than
expenses; yet there is no question but what he
would be carried on the arms of the pOpulace
were they able 10 understand MIN. WI bout
this bar the great Italian tragedian, ROssi.
would NOT have been OVerShadowed by the
elder Salvini, and thus doomed TO failure Jane
Hadng would have had nothing 10 fear from
the fame OF Bernbardt, and the most recent
conner, Mounet Sully, would not have had his
audiences limited 10 a few patriotic Frenchmen
and a sprinklng OF fashionable snobs whom
one can wach taking their cue for applause
and laughter from their barber or caterer UP in
the gallery.
All honor to Alexander SalvIni. ana for the
sake OF the higher drama let US hope thaLa
few more energetic scholars such as he will ye
forthcoming from the gr' enToom. Aparl from
his unquestioned genius, which Is his right by
inheritance; apart from The bTillancy of his
productions and his enterprise. the public see
In an actor ike Alexander Saivini something
different from The AnglO-SaXon Thespian, ire
Spectlve of the la ter's ability. 1t is another
type; he creates a different atmosphere. In
other words, be presents a contrast, and II Is
largely by the aid of contrasts that we can
alone hope TO see the greatest possibilities of
the stage realized. Art should be interna.
ronal, at least dramatic art; but it will never
be so while protection" rules in The way OF a
tarlf--That Is, language.
The more one considers the accomplishments
OF the younger Salvini the more UNIQUE exeep-
tion he appears. That be is proficient in Eng
llsh and that Italian is his mother tongue the
pubic Is fully aware; but be does not stop
there. This actor scholar can play Goethe and
Schiller in the original; he can charm Sp nish
audience IN lis ma i've patoiS, and be is eligible
10 enter the house of MOliere, for Il is said he Is
able TO express himself III the langut ge OF la
belle France better than he can in that of the
country OF his birth. When Manager W. Nj.
WlklSon announces that he is arranging for
Salvlnfs appearance In London, Paris, Vienna.
Berlin and ike places, and that the perform
ances are 10 be given in the language Of the
several audencrs, SdlYini looms up as perhaps
one OF The most extraordinary figures of the in
ternational and contemporary drama.
Bringing Stage and College Together.
The sale of seats for the second week of
1.-THE New Boy" at the California began on
Thursday last, and made a lively time at the
boX-offce. Sine the initial performance in
this city on Monday, 18th, public approval of
Rfh saNw1a