The sun. [volume] (New York [N.Y.]) 1833-1916, 1894-10-07
Plea ron THE MoDERN opEpL-
Give u support SD Mshs It 81 R,.,,u,.
Inauence.

| In1uence.
| In perhaps no other branch Of art have tbor.
been. OF late. such radical changes and i'm.
! provements as In the opera. Indeed this title IL
now hardly applicable, except to works Of a
light nature; for the serious opera OF to-day ia
developing surely and steadily on the lines laid
down by Richard Wagner. The title he pro-
posed, viz: Music-drama," Is the appropriate
and ought TO be the recognized one,
The success of "Cavallcria Rusticana" and
II Pagliacci" Is due quite as much to the
direct and effective treatment of the story on
the stage as TO the music. The one-act opera
Gabrielle" produced here last season by Patti,
while containing melodious and dramatic music,
failed on account Of the dulness Of the iibretto.
The operate audience OF to-day demands a.
much from the librettist ms from the composer.
Many operas, most Of weber's, for instance,
though full Of beautiful music, have gradually
dropped out OF the current repertoire solely on
account Of their uninteresting and Ineffective
course, often due TO poor music; but
the relative Importance OF the librctto il
BEEN befere One Of the most noteworthy signs D
OF the times is the expectation from the operntlo
fitting and iliustrstins the dramatic situation,
and the development OF character is demanded
OF long arias, trios, &c. having nothing TO DO
with the furthering of the story and often him
ee and dreet IS expected no es:
from the composer than from the libtettist and
mo Superfuities" may be taken by both ~
The long overture has been supplanted by the
short prelude or introduction. and in some of the
later works of such celebrated composers
Massenet and Boito the music does not COM
mence till the rising Of the curtain. The chorus
every occasion merely to swell the volume OF
sound or all the stage. ,
That part Of the modern opera In which there Ia
most room for Improvement would seem to be
Of to-day the recltative has frequently forced
and unnatural effect. and the composer seems
to the deiriment OF both. Undoubtedly this
will be remedied.
the singers. A fine voice is no longer .ufiicient
equipment for the operatic stage. A vivid and
truthful Ct the character assumed
artist whose fame is firm and enduring. because
his Performances are equally fine from the
Campanari's success as I3nto in :" I Pegliaccis
is another instance, Of the effect produced bJ
equality of vocal and histrionic powers
opera decided improvements have been made In
ton is now given to details which were formerly
disregarded or passed over as not worth tn:
not disdain 70 superintend personally these two
departments, bestowing much care and thought
OF opera-his influence is plainly discernible.
With the exception Of some of the performances
looked upon il this country as the least impor-
tant factor of success in the production of an
opera. IL Ia in this department that the IMAM
agement" generally decides to economlze and
operas which would not be given In Europe with
out an orchestra Of fifty are often given hero
with one of twenty-five. The result is not pleas
ing. and public taste is lowered thereby.
Insufficient rehesrsals are also the rule. and
here again economy in regard TO the employ
ment OF the orchestra is probably the reason.
In most of the European countries the refining
long been recognized. and gI in Paris there a%e
two opera houses subsidized by the Government.
In this country and In England II Ia left TO pri-
yate speculation or TO the combined efforts ola
few millionares. The opera Is surely worthy of
all assistance both public and private, for In It,
above all the other arts, the spirit of modern
progress seems likely TO find the richest aud
most complete expression. Ii. w.
NEW YORK, Oct. o,