New-York tribune., 1901-03-03
NATIONALITY IN OPERA.
WHY FOREIGN CLASSES IN NEW YORK
co To CERTAIN PERFORMANCES
AND NOT TO OTHERS.

lieve that the attendance at the performances is
influenced 10y the language in which the words
are sung. rhe foreign element is largely repre- |
sen1ed in the opera house audiences. but the
people who sell tickets there and at other places
say that a question as what language will be
used is seldom asked by ticket purchasers.
Faust in French is no less popular than
Faust in German" said ticket man. and the
same opera in Italian would probably draw as
we'll as il does in the other languages The
people who buy tickets here so to the opera
either because they want to be seen there and
want TO people. or because they like the
opera for its music, regardless of the text. OF
course this does not hold good TO the Wagner
enthusiasts, who when they Germans or
understand that language. naturally prefer IT,
But the parquet is a poor place in which to judge
this matter. The foreign element is better repre-
sented in the upper regions of the house There
the Germans are in the great majority on Wag
ner nights and there also more Germans in
the stand up seats back of the rail on the
parquet noor on those nights than at other per-
fornances but they attracted by the music.
not the book
The Germans of New York We're always good
patrons Of the opera. and the old people of that
nationality who speak with enthusiasm of the
days of Scnntag. Aboni and Mario. who were
willing to make sacrifices in order TO witness
the performances at Castle Garden, or later at
the words; they went to hear the music OF
these veterans not many remain. but in the re-
sorts. half club. half saloon, where German mu-
sicians and lovers Of music cOngregate, one may
still hear glowing descriptions Of the perform
ances when Stigel WachteI Brignoli and Cam
panin were the stage idols.
II enjoyed Wachtel's Position Won Lonju-
rneau and Karl Formes's Leporello and Lucca's
Mignon" said an elderly German. when they
were given in German. but did not remain
away when Capou sang Faust in French or
when Campanini sang Manrico in Italian Al
bani and Parepa did not have IL sing in German
to be appreciated by the oldtme opera audi
tnces. In fact. when the Germans were the best
patrons OF the opera in New-York the works Of
German composers like Weber. Flotow and
others were often performed in Italian and
Meyerbeer's operas drew as good houses when
performed in Italian as IN German
There are many younger Germans who are OF
the same opinion and Indifferent as 10 the
language used. but there are others who have a
decided preference for German music. and they
are equally partial to the German language in
connection with the performances.
ITALIANS DO NOT CARE FOR THE WORDS.
One who knows the Italian colony in New
York almost as thoroughly as IL can be known
by any one man-an Italian by birth. long
resident of this city and 10y the nature Of his
business
patriots Of every class said the other day that
the Metropolitan Opera is not by any means IN
discriminatory affected by Italians The reasons
given for their crowding the galleries on nights
when the old fashioned Italian operas are per
formed and staying away from other perform
ances afford an interesting little study in ma
tional character as modified by alien environ
Inent.
The fact that Italian opera Is sung In italian
has il seems nothing TO do with the case. II
must be remembered that the Italians OF New
York as a body do not represent the educated
classes of Italy. The few wealthy and cultivated
Italian residents socially merged in the gen
eral mass of wealthy and cultivated New York
ers OF all races and origins; and if they were
not. their preferences would be conventional.
probably as those of other people OF their class.
For the rank and file of the New York Italians.
there is not among them anything like the bond
OF community Of language which outsider
generically described at Castle Garden and else
where as Italians. Most OF them come from the
south OF the peninsula where a variety Of dia-
lects are spoken, and where. in many parishes.
the priest is Obliged to preach in the local dia-
lect IL he wishes his flock to understand him.
Taking all this into consideration. ii is not at
all wonderful that the "lingua Toscana OF
operate libretti. especially when delivered in