Evening star. [volume] (Washington, D.C.) 1854-1972, 1910-12-04

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and Ricardo | have been ever since.
In France and Italy. as we'll as in Amer
lea, there seems to be prejudice against
American men singers. This may be due to
the fact that the American male opera singer
is product of only recent years, and the
public has not as yet learned to accord him
its full confidence and appreciation. 1t is
to be hoped that this state of affairs will not
continue, and that the day will soon come
when American tenors, barytones, and
BASES will be just as welcome as their Euro
pean colleagues or Our own American prima
donnas.
The number of Americans who 60 to Eu-
rope to study for opera is appalling. Most
of them never get an engagement. Some
buy their debut, and after one performance
are never heard of.
There are many good teachers in America,
and before student goes to Europe L be-
lieve that he should be well grounded in his
art. Yet student should sooner or later 60
to Europe for his debut, and, better still, re-
main there until his reputation is established.
BY RITA FORNIA
T AM firmly convinced that the time is
coming when there will be no need for a
young American man or woman to 60 to
Europe to study for an operate career.
America is bound to have national opera
as we'll as has Germany, Italy, or France.
That time is probably not far distant.
The interest in opera sung in the English
language that has lately manifested itself is
one of the most promising signs in this direc-
ton For national opera the words should
| be sung in the language of the country; and
| the approach of such an opera is surely to be
prayed for. Then, again, there are in Amer
| lea many excellent teachers, teachers per-
fectly competent to bring out the best there
is in singer. Several young American
who have had no European training or ex-
perience.
Yet in spite of all this do not believe that
the time is yet here when such experience,
above all the prestige given by the expert
ence, is not of the greatest benefit.
Grand opera in America has been, at least
until very recently, an exotic art. The operas
have been sung in foreign languages, largely
by foreign singers. Within recent years
American singers have begun to come to the
front, until to-day they are probably more
numerous than those of most other nations.
In Germany there were last year nearly one
hundred American artists singing in the vari
Gus opera houses. Yet almost all these sing
ers have had foreign training.
The reasons for this are manifest. First
and foremost is the difficulty of obtaining
debut in America. In Europe each city of
any size whatever has an opera house; the
capitals generally have two or three. In
America only New York. Boston, and Chi
cago have permanent opera companies.
Therefore, the field in Europe is vastly
greater Then again, these small opera
houses are willing to receive young singers
and to train them; while in America the few
great institutions are for finished singers, or
at least for singers with established reputa
tons.
The American public has been accus-
| toned only to the greatest names, and l
firmly believe that if young singer stays in
Europe until her name is made her foreign
reputation will greatly help her with her own
public. The American public cannot be
blamed for this, as it has been its tradition.
Yet light is breaking even here. Our audi
ences are beginning to show that they are
not afraid to trust to their own judgment.
The greater facilities, too, for the study of
languages that Europe affords, is another
argument for such training. Operas are as
yet all sung either in German, Italian, or
French, and it is much easier to learn these
languages in their home lands than it is in
America. There is also something in the
T. g,