New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-03-15
George Hamlin Lays Trod
bic to Control of For
eigners Here.
WOULD SEE LEADING
SINGERS TAKING PART
Farrar, Caruso and Scott, Singinl
in Vernacular, Would Be
Interesting Affair.
LRy Cable 70 The rribun.

Berlin, March 14.-George Hsmiin.
the Chicago Opera. Mrs. Hamln and u
son and daughter arrived in Berlin
week with the intention to remain
eraI months. Mr. Hamlln. who has not
been heard in Berlin for years, has two
song recitaIs at the end OF March and the
beginning OF April. and will be the solo
Est at an important Bach choral concer,
in Vienna, under the direction Of Pro
fessor siegfred Ochs.
Mr.. Hamin will go TO Paris and Lon
downward in May and some weeks later
will meet Nine. schumann- Heink and
siegfried Wagner at Bayreuth. where l.
will attend the Bayreuth performances a
the Ring"
Speaking to The Tribune correspondent,
regarding the projected season Of grand
opera in Paris with international artists.
Mr. Hamln said:
From what have heard of the scheme
it appears a good one. Provided the pro-
motors do what they promise AMI give
operas in a first class manner, / think
it will be great success"
Concerning the much discussed question
OF grand operas in English, Mr.. Hsmlin
expressed the opinion that as long az
operate conditions in America were
under the control of foreigners there was
little likelihood Of great progress IN oper-
attic performances in English.
',The truth of the matter is he said,
that operate works by Italian. Germany
and French composers sung in Engli7
are not given a fair chance or equS
place on the schedule of performancesS
In Chicago, for instance, English opera
is given only at popular Saturday night
performances at cheaper prices. The
highest priced singers. Notwithstanding
most. II not all of them. could sing in
English II required, are never in the cast
on nights when opera in English is sung
! That the public likes opera in English
the crowded houses on the English nights
bear testimony.
1.-The subscribers demand opera in Ital-
ian, French and German, but hardly OBJ
ject to opera in English II the big singers
are in the cast. An interesting expert
ment would be to produce opera with Far
lrar Caruso and Scott singing in English
know the old argument that there is
no comparison between the Italian and
English languages from a singable stand
point. Personally confess that l prefsz
TO sing Italian opera in Italian. New
theless, il. the text is properly trans
(which, in most cases. 1t is not-the
can be spIendidly and effectively sur
English or any other language.
1T is untrue that Americans pre-
opera in a language they do not unde
stand IL is due only TO the fact TIL
! from time out of mind not having operV
or an operate tradition of their OWN
| they have been obliged to listen to opera
| in a foreign tongue. IL at all. Very lit
! tie is ever done to alter this state Of
| affairs, and very little is likely to be
| done until grand opera becomes an in
| stitution of the state. as in Germany and
| France, and not a private enterprise
| under the artistic administration and d.
rection of foreigners. who, naturally
| have no interest whatever in produc-
ton of opera in English.
"As to the recent discussion relative
10 the advantages of American or Euro
| pean music study l am decidedly Of the
! opinion that for the opera singer especialf
/ Iy there is better opportunity in Europa
| to get the routine and acquire the expert 4
| ence than at home. II is ridiculous "a
say that teachers are better in America
/ / only know there are a lot or bad ones
! there, just as we'll as in Europe.
European morals, as far as I am abs
to Judge. are neither better nor worse
| than the brands in America. Therefore
the dangers TO students are no greater
| here than anywhere else