The Catholic bulletin. [volume] (St. Paul, Minn.) 1911-1995, 1911-01-21
GRAND OPERA.


to the enjoyment of grand opera. The
event was heralded in the press and
many and glowing were the accounts
of the stars who were to appear in the
different operas chosen for presenta-
ton by the Chicago Opera Company
Society people had an opportunity to
appear in parquet and box in the
varied, if scant, costumes which the
dictates of fashion impose upon it's
votaries. The music-loving people
flocked to the Auditorium en- masse;
others, also, were in evidence.
The performance was a great sue
cess from grand opera point of view
so much so, we are credibly informed
that a movement has been set on foot
to make grand opera an annual event
in St. Paul.
No one objects to grand opera-if it
is wholesome and inspiring; but all
are not agreed as to the wholesome
and inspiring character of one, at
least, of last weeks operas. Many of
the patrons object to having their
sense of decency and propriety out
ragged by a suggestive exhibition be-
fore. the footlights, particularly when
one of the participants assumes the
role of a monk of the Catholic Church
1t is strange that the requirements of
So-called Art demand the presence of
monk dancing attendance on a cour-
tesan to teach lesson, no matter how
salutary that lesson may be. One
would think that those who assume
the management of affairs of this kind
would endeavor to secure a clean
opera-there are many such-for the
inculcation of the moral truths which,
if we accept the verdict of some
critics, That's is so wonderfully fitted
to convey.
But it may be that Catholics are too
sensitive about such an unbecoming
and unnecessary parade of the re-
ligious habit for the entertainment of
an audience in public theater under
the guise of an opera, which is a trav-
esty of one phase of the spiritual life
of their Church For the sake of Art,
we are told, almost anything can be
tolerated; and everything, no matter
how sensuous, ought to be condoned.
Some, no doubt, thought that this
monk-courtesan combination was not
so shocking; for the tones of the
monk, Athanael, did not become
warm" until the opera advanced be-
yond the first act when "his spiritual
ecstasy changed quite unconsciously
to an earthly one" How edifying to
see such an exhibition of virtue in a
stage monk! This change was be-
trayed in the tone quality before the
monk seemed himself to be aware of
it." The audience, however, was on
the alert and the change in ''tone quail
ity'' did not escape notice; but was
gloated over as the very acme of per-
lection in an operate genius. The
'idealism" which blinded the monk to
his own weakness did not hide it from
the audience.
The excuse for putting on That's, in
stead of Salome, was because the lat
ter, though biblical, ''does not present
so nice a psychological study" 1t
might be we'll in future to leave out
psychology whenever it's teaching
must be presented in a way that is
so suggestive of things not named
among Christians. Is it too much to
expect of the grand opera patrons
of St. Paul that they refuse to allow,
in the repertory of next years operas,
even one that offends against the
canons of ordinary decency and re-
spect fora the rights and feelings of
others which they enforce in their
own homes?