The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1904-01-31

to a bookshelf may pull down a worthy
version of the work and acquaint himself
with the beauties of the poets, historians
and essayists of al tongues. To make the
lyric drama equally accessible as source
OF information, or in other words, TO give
it the educational value that 1t should
have, is impossible in America without Il
be sung TO English words. Neglecung from
EmCrson's broad diction that 1T is foolish
for anyone but the special student TO spend
time in mastering work In Its foreign
language when an adequately translates
version Is prOcurable, and without dwell
ing upon the fact that continental audi
onces prefer To have the opera or play pre-
scnted Ii their own tongues, II may be
observed that there is no reason why the
adaptation Of an English text Is not par
ticuarly proper and helpful when an i'm
ported drama. lyrical or otherwise, Is per
formed in this country. When a drama is
being presented. whether lyrical or other
wise, it is equally as important TO know
what is going on, what motives are urging
the persOnageS, what passions are being
expressed what human action, IN short, Is
being portrayed, as ii is to be assured that
such and such notes are being associated
with such and such syllables as arranged
by the composer. 1t is too long since the
dark ages To argue with a twentieth-cen-
fury citizen that he must take the story
of his opera by faith and be SauSned
merely with the lyric beauties of the score
This also brings forth another question.
opera? What was the inspiration of the
composer. Was it merely to play with
tonality. or are themes, melodies and arias
supposed to be inspired by thought, action
or passion? How can these various motives
be understood in opera if explained in jar
gon Of sylables and in a lingo in which not
even the vowel sounds are ineligible 10
one unacquainted with the tongue? English
V.ssasaFa and NrfTN
environment precludes a general education
such as prevails in all European countries,
where, in a word, the back door of many Il
home opens on a domain where another
tongue is spoken. Few students VIII not
maintain that English is the language OF
the future Walter Damrosch believes II,
Col. Henry w. Savage believes ii, and both
seem to believe that grand opera in English
is to be the grand opera of the future for
the same reason.
Indeed. opera as ii was originally intro
duced in this country came in English
guise, and was not otherwise known until
the advent of the Havana Opera Company,
a half century ago. In those days opera
sung in English was supported nobly. 1t
was both fashionable and educational. Is
there any reason why it should not be so
in these days?
But somehow. in some way, it became
the fashion to forget the mother tongue
when the music came to town. Grand
opera in English retired in favor of the
imported article, as it is now presented
by the Italian Opera Company. For years
it slumbered, was decried, and dwelt in
rags Various ventures by undetermined,
if not inspired, producers were coldly re-
ceived. Fortunes were expended by a
number of impressarios unnecessary to
mention.
1t was not until within the past decade
when Mr.. Savage with a well-sustained
effort began to build his now famous or
ganization that grand opera in English
showed any signs of resuscitation. Not
only did this Boston impresSario present
the old works that had been translated
for years and forgotten, but during the
last five years since the phenomenal sue
cess of his English singing company in
New York at the American Theater, this
resolute manager has secured original
translations of the newer operas, and each
season presents some new masterpiece in
the English tongue. Last season ii was
Puccinis "Tosea," the greatest compost
ton of the modern Italian school, and this
year he has elevated his organization still
higher by presenting Verdis brilliant
"Othello' in English
FRANK c.. PAYNE.