Evening star. [volume] (Washington, D.C.) 1854-1972, 1906-12-02
Notable Novelty
In English Opera

LONDON, November IA, 1905.
IN AVID BISPHAM'S experiment in light
romantic opera-of which some of
caught glimpse at the dress re-
hearsal yesterday-has much significance.
If the enterprising American singers pro-
duction of THE Vicar of Wakefield sue
ceeds, it is likely to result in a big change
in the future Of opera, for it is along the
line that has been so often recommended of
late, but that no manager has dared to fol-
low viz, plot almost as definite and COM
plete as ordinary play, music that is
throughout worthy of serious consideration
lyrics that in almost every case grow Oh
rectly out OF the dialogue, and last and best
of all, plenty of real humor without a
funny man or any low comedy. If it sue
ceeds, the public will at last have popular
opera in English that fills part of the vast
gap between grand opera and musical
comedy.
The Vicar of Wakefield will not be Of
ficially produced in London till December
l., and Of course, detailed comment on this
notable experiment must be postponed till
them. Suffice it to say that t the dress
rehearsal it gave high promise, and that it
will doubtless be much benefited by the
preliminary provincial tour 1t Is to make
before it's first night in London.
Bispham himself, of course, takes the role
Of the vicar, and is also his own manager.
1t was his own idea. and book and music
were written on commission from him.
There was a queer coincidence about the
writing of the music. He decided that Liza
Lehman, whose Persian Garden" he had
sung all over the United StateJ was just
the person to write the music, and he went
up to her London fiat to see her about it,
This is the rest of the story, as Bispham
told it to me yesterday:
*
Before I got around to the subject of
my call she suddenly exclaimed to me- Da-
vid, I've got a great idea. l think l shall
borrow Sir Henry Irving's version of The
Vicar of Wakefield ana set it to music
It Is exactly suited to the purpose
Yes said l, That is good idea, and
here is the scheme for It, and 1 pulled out
of my pocket and gave to her the outline of
the plan 1 had come to talk to her about.
"Of course, after such an astonishing CO.
incidence as that. 1t would have seemed
like flying in the face Of Providence for us
not to come to an agreement then and
there. But we didn't use Sir Henry's YER
sion of Goldsmith's story-"Olivia," as 1t
was called by the adapter. Wills-because
Sir Henry wouldn't consent; and conse-
auently Laurence Housman has written the
book and the lyrics-with other lyrics bor-
rowed from Goldsmith himself, Shake
speake and Herrick.
I've had the plan in my head for two
years and shall doubtless produce the
opera in America, but l wanted to bring 1t
out here in it's native setting, so to speak.
first before taking 1T to my own country.
although I had several American offers for
it last summer when l was there. OF
course, If this experiment in light romantic
opera succeeds, I shall produce a number
of others-perhaps, for instance, Verdi's
'Falstaff,' which has never been done in
English"
1t is interesting to note that Housman,
who supplies the book and most of the
lyrics, is the author of AN Englishwoman's
Love Letters" which made such a sensa-
ton when published anonymously some
time ago. Z. -.