Omaha daily bee., 1902-11-23
u s c

In response to an inquiry from the leader
OF the musical history department of the
woman's club as to opera-what it ISL
how 1t is to be classified? and so forth, l
take this opportunity to attempt a simple
outline of opera hoping that some read
ers may not find 1t useless information. for,
after all, all information is useful, is 1t
not?
The question in it's original form was
this, What is your opinion of the limits
Of grand opera? When does the title
grand opera cease to apply?"
To answer such a question we must first
remember that the word opera has suf-
fered terribly through transportation for
generations past. AS our English word
"urchin,' which we apply to almost any
youngster. was once the common appella-
tion Of a hedgehog" so the word opera
as it is applied today is almost as far from
it's first meaning as 1t is possible to get,
and still be in the realm Of music.
An exhaustive treatise on opera, operatic
composers, schools, etc, would tire both
you and me, so that can be dropped.
AS understand 1t, / should be disposed
10 ulNluo ING BeneIal heau OpSIh hs Aol-
lows:
1. Music Dramas.
2. Grand Opera.
3. English Opera.
4. Comic Opera.
The first section would Of course consist
Of the 'leit-motif'' works of Wagner, which
created such a revolution in the world OF
opera, such works as -'Tannhauser," "Lo-
hengrinS' Tristan and Isolde "ParsifaT'
and the Ring of the Nibelungen. His Fly
ing Dutchman' would not belong to this
class, although prophetic thereof, neither,
Of course. would "Rienzi,' which is prop
erly to be found under section 2.
Now, as to this section, strictly speak
ing, grand opera" is "a French opera,
sung throughout with the accompaniment
Of the full orchestra. to the entire exclu-
sion Of spoken dialogue. "-Groves' Diction-
airy OF Music and Musicians.
Good examples would be William TELL
or THE Huguenots,' the former by Ros-
sini and the latter by Meyerbeer. Incl
d~entally. It seems strange to think of these
two German names in connection with
French opera"
Then there was opera buffa,' an Italian
opera of a somewhat light character, the
dialogue being carried on in plain recitative,
very simple and monumental. and accom-
panied only by an instrumental bass part
Figured bass, ba~sso-continuo, or thorough
bass in its pure %meaning). A good example
of this is the Barber of Seville" Rossini.
And there was opera oomique," a French
opera in which the denouement was always
happy and the dialogue spoken. not neces-
sarily comic in scene or makeup. Faust"
was originally an opera comlque.
Generally speaking, then, l should include
under "grand opera" all operas lyrical and
dramatic in form and without spoken dia-
logue. l quote from Henry Krehbiel, the
well known authority and musical critic OF
the New York Trlbune:5
unlike the opera audiences OF two cen
turtles ago, we are not required to distin
guish carefully between the various styles
CT opera in order to understand why the
composer adopted a particular manner and
certain fixed forms in each. > " " The
French have grand opera in which every
thing is sung to orchestra Accomplishments,
and opera comique,' in which the dialogue
is spoken"
Comparing these with other schools, Mr..
Krehbiel proceeds to say that the latter
mentioned Corresponds with the honor
able German term 'singspiel.' and one will
not go far astray If he associate both terms
with the English operas OF Wallace and
Balfe."
To sum up then. ] should consider the
opera semi-seria" Of the Italians, the
grand opera Of the French, and the
CROSSE oper' of the Germans. under one
broad head Of real grand opera" while,
generally speaking, my definition as lin
Guiding all operas, lyrical and dramatic IN
form, and without spoken dialogue" will,
I believe, prove the one that will be sui
fcient for the average auditor.
In my humble way, ] agree most heartily
with Mr.. Krehbiel's classification OF such
operas as Mariana" (wallaeel, The Bo-
hemian Girl" (Balfe), as being on the ma
ture Of the opera comique," and IL leaves
us this table TO compare as 10 the general
subdivisions OF m~odern-termed grand
opera"
First, Grand opera French); or,
Second. Opera semi-seria utalian); or,
Third, Gross oper CGerman).
First, Opera CONTINUE French): or.
Second, Opera Buffe Utalian); or,
Third, Singspiel tGermanl; or,
fpuIAH' EheiSh opera AEuBHSul'
All OF these are now generally spoken
OF as grand opera. Uhe last one sometimes
is called English grand opera" which
must not be confused with the term grand
opera in English
The fourth section alluded to-that o.
"eomic OPERAS where the writer stands
appalled,. when he thinks Of the crimes
that have been perpetTated in that name
II is now applied to the worst kinds Of
musical shoddy, manufactured to suit sons
ones voice, or some other ones form, oil
Just to make some money" or TO give q
dimly twinkling "staTlet" a chance TO make
a break from the church choir into thea
trical notice without having 70 start In 9
music hall Il is respectable to a degree
highly so, in fact. And II pays. II II
not TO be considered In the realm OF opera
at all. II can be called musical burlesque
musical farce, or whatsoever one wishes
but not comic opera.