The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1903-11-15
A Musical Dawn.
"Babette" a Promise of Real
Opera Comique = Nine.
SChumann- HeiTiCk to Fol-
low FRITZ SCheff.

tr+Af-A
Frightening. No one who heard
Mile. FRITZ Schen in "Babette"
could don't it. So good an opera
so capably performed is an experience
TO remember gratefully and recall
hopefully. Hereafter the characteristic
musical comedy of the period viii be less
terrible.
''Babette" is a fine example of pure
orera comique, and opera comioue is an
art form ss undoubtedly as comic opera
is not J. is a fair illustration of the
first truths of musical criticism.
That the purpose of artistic opera
music is 10 illustrate and vitalize the
text OF the opera; that unless it does so,
opera music is an absurdity; that the
music must be beautiful. not merely
light; that the key TO an opera is the
libretto and that If the nbretto is weak
or Homogeneous the music is likely to be
poor, and that stage settings, costumes,
beauty" girls and comedy are lesser
qualities than text, plot and music
So il is no wonder the engagement
proved a practical success. Day after
day the National was crowded Perform
ance after performance was applauded
until the work was sung through twice
for one price of admission. "Babette"
might even have remained here two
weeks instead of one. Wherever 1t goes
in America it viii surely meet with the
same support. for all America has been
OverTidden with musical comedy like
Washington.
The Light Breaks.
Mile FRITZ Scheff. Mr. HERBERT. Mr.
Smith, ard Mrs. Dillingham; are not TO
stand alone. fortunately. It has been
known for some time that the most
'incom parable mezzo-soprano now to be
heard in America Nine. Schumann-
Heinck. would also appear in opera
comique. and recently the details Of the
plan have leaked out.
Fred C Whitney is to be the mana
ger. an augury that every detail Of in
vestiture. costuming and equipment viii
be skiliflllly and generously supplied.
The music is to be by Julian Edwardes.
who mar rise 10 the opportunity and
surpass Mr.. Herbert: in any event, It
viii not do to PREJUDICE his efforts. 4
book is TO be submitted by Stanislaus
STANCE and Nine. Schumann-Heinck is
to have a role chiefly marked by comedy.
The opening is 10 be made in New York,
as early next season as proves expedi-
ent, at the New Amsterdam Theater.
What a prospect is thisi One OF the
mos notable voices in the history of
opera, a capable musician at work dill
gently on a score worthy of such voice.
and an enterprising and artistic manager
undertaking every obligation TO mount
the work appropriately!
But the list IS not yet exhausted. 1t
IS under.stood DeWof Hopper, whose
inpersonation of Mr. Pickwick develop
ed an unsupported capacity for charac-
ter impersonation, viii undertake the
role of Falstaff in a new opera TO be
built about that rotund parsonage.
Francis Wilson is said to have IN view
an opera OF genuine musical worth
Finally. q dozen or more OF The young
wonea who are now starring il. musical
comedy are all on the lookout Tor op-
portunity 10 sing roles as conspicuous as
that OF Rabette.
Material Going TO Waste.
This reaction from musical comedy
will probably walt on the composition Of
new operas. Following much the same
course Of reasoning as that which de-
barred ST 1kespeare from the stage. the
atricsll managers have Of late refused to
read any OF the classics when a second
or third rate new work could be had.
Accordingly such works as these viii
likely be neglected:
OMenEacnS OrHneUS. a satire on
Gluck's "Orphee en- Enfers;" The Sor-
cerer." b. Gilbert and Sullivan: an old
German work, insurer and Schlosser,'
('adason and Locksmith''); Benedict's
Lilly Of Killarney" Aubcr's we'll
known FRA Diavolo;" Ven Suppe's
l''Crown Of Diamonds" ''Poet and Peas
ant" and Light Cavalry" F1otow's
s-Stradilla" and Martha" DoniZettrs
4'Daughte- of the Regiment and Elk
81 of Love- De Koven's Rob Rov,'-
aIoeIlecker's "Beggs- Student" Ros-
SIMS Barber OF Seville Humper-
dinckts 'Hansel and Gretai.'' Afozart's
s'AIagie Flute Marriage Of Figaro"
and "Belmont and Constance and
yVagner's ''AIeisters.nger.
The list is TOO long to be passed over
for any n ore such operas as The Magic
kiss" Yet 1t will not do to attack any
one OF these notable works with no bet
Ter a company than that which support
ed Camille DArvpe in the unhappy
work Indicated Poet and Peasant"
ssFIansei and Gretal.' and THE Magic
Flute need to be sung. not shouted
As has been said of them in these
columns before. the average comic opera
company or musical comedy company
OF today would wrestle with one Of
them and die A fourth OF the contral-
lCS. ldII the sopranos lWD-LliEAS o. the
bassos. and all the barftones and tenOrs
would never even attempt their score.
70 this low musical level has comic
opera como
Even an indulgent public. trust-ridden
and quiescent, could not endure such
situation ong. Every critic worthy Of
the name has cried out against this ira
dsacement at the top of his throat until
the least intelligent theatergoer has
been made to feel that something was
wrong. Thanking men everywhere gave
support &c the protest. The consequence
was that the managers heard quickly
and are now responding generously. All
reports TO the contrary notwiths- anding.
theatrical managers hear calls for better
art with most willing ears. They are, IN
fact, more pleased than anyone else at
such q movement as has now filled their
thea rs with Shakespeare and threat
ems to drive most Of the abortive operas
Of the stage.
Opera comique-Eot Real Opera.
The proepect inspired by these refec-
tIons is so pleasant and the reflections
themselves give so much pleasure TO the