New-York tribune., 1912-04-07
'OPERA ON BILL Of FARE.
Producers and Singers In Dis
cussion at City Club.
PARKER'S VIEW OF CRITICS
Speakers All Favor Productions
in English-Mr. Damrosch,
Toastmaster, Has Tumble.

The CITY Club. on the occasion OF It's last
Saturday luncheon Of the season. yester-
day departed from its usual programme of
| civic discussion to talk about the opera
with some Of those who produce IT, Walter
Damrosch presided, introducing as speak
ers Nine Johanna Gadski, David Bisphani'
Professor Horatio Parker. Gardner Lam
son, Nine Alma Gluck and Herbert WITH
erspoon. almost all Of whom had some
thing to say In favor OF opera sung IN
| English. and several Of whom quoted
Scripture 10 prove their contentious. otto
n. Kahn came in after the feast 70 listen
to the oratory. but did not speak himself.
because Of recent death In his family.
II was Professor Parker. composer OF
Mona who insisted that opera had never
been and could never be written IN Eng
Iish, but who added, Just as chorus OF
gasps arose:
Opera must be written In notes. Thank
heaven. Il can be sung In English.
1T warns my heart" he continued, TO
think OF the group of American singers
who have lately sung my own work He
named them all. beginning with Nine
Homer and ending with Herbert Wither-
spoon. last, but not least"
Each one at this point directed his ap-
rlause toward Mr. Witherspoon. who sat
at the speakers table between David Bis
phsm and Otto II. Kahn. Mr.. Damroscn
tipped back in his chair TO convey his re-
licitations TO the singer behind Nine Cad
skis back, and with a dull thud dlsap-
peared from view.
Nine. Gadsk and Nine. Gluck, on either
side jumped UP with little. haif-suppresstd q
screams, grabbed each an arm OF the uh-
fortunate toastmaster, who was pinhcd
back against the wall much as man VINO
has been caught in a barrel, and pulled
him back into view again, while Professor
Parker continued talking.
Il was going TO say something ABOUT
critics" said the composer. but can't
do II; Il wouldn't be fair. since there are no
critics here"
(Pause)
What | had in mind was that they Of
fered strong resemblance to spiked
weathefvanes-pointlng I'm the direction
they think the wind ought to come from.
As they point in every direction 1t Is In
evitabe that some OF them should be right.
Il suppose they serve a useful purpose.
Personally. they are 1ne lovabe chaps and
good friends OF mine. | don't want any
thing I say here to be construed in spirit
OF anmosty. But their estimate OF a new
work reminds me OF the estimate of the
Connecticut farmer on the weight OF a re-
Gently deceased pig:
We'll. the old hog didn't turn out TO
weigh s much s l thot he would-and I
didn't think he would
Each speaker. apparently. had his own
prescription for the cultivation Of a ma
tional opera. Mr. Damrosch said about all
that was necessary was to let the Ameri-
can composers go on trying. Mr. Bispham
wanted local companies established in the
larger cities Of the country. with good local
singers to supply all ordinary needs and
the privilege OF calling on a parent com
pany in New York for singers OF the first
rank for special festivals. Mr. Blspham
not only quoted from an epistle OF St Paul
in support OF opera I'm English. but in his
sonorous voice he chanted:
You have heard It said that a prophet
is without honor in his own country. but
say unto you that opera is without profit
in IT'S own country.
Let us go on" he proceeded and We
shall have an American opera which will
meet with popular approval Not that IL
will be any better than some OF those al
ready produced. he hastened TO add. re-
membcrng that HOratio Parker would
speak next: but they haven't met with
popular approval"
Some Of the large mixed company OF din
ers wondered IL II was TO himself that Pro-
fessor Parker referred in his opening
words:
1T is dangerous to call upon a musician
10 speak IN public. for few OF us can be as
graceful in speech as Mr.. Damrosch"
We Of Anglo Saxon blood need 10 get
over our prejudice against must" said
Gardiner Lamson. who was introduced as
an American singer who had made brill
liant success In Germany. "A man can be
In music and still De virile. He does not
necessarily do fancy work in his odd mo-
meuts. II YOU see such a man, blame the
man, not the music. We need TO become
more intelligently acquainted with music"