The sun., 1916-11-12

10 the point" Most OF the contriDu-
tors to the Art World are talking
about painting, sculpture and archi-
lecture. though landscape architec-
ture gets its share. But these para
graphs, which are dignitied by the
iinpersorality OF editorial uttcrance,
can Ice applied to music just as easily
and as correctly as t. any other art.
IN certain applications they wou.d be-
come as mustard plasters in the bit
,erness of their sting.
II any appeal looking toward serious
ness could be hopefully made TO opera
eoers there might be one 10 make in
s!stent and uninterrupted demand for
some suppression of personal glorifi-
cation IN the interest OF beauty. But
opera has never been performed
under ideal conditions since II was in
It's first years. Perhaps the play
was the thing when PERKS Daphne"
was revealed and even when 'Euryd-
ice was performed In the Pa.azzo
Bardi. g.
But wen az that tho seeds
OF change were sown. We know that
the title role uf Daphne was sung
by "a boy soprano, but when Peri sang
his own DrtcO his EHridic" was VT
tor.a .hrchilci. who was the Adelina
Patti OF her time. II singer famous for
her extraordinary skill in decorating
airs with AN amazing embroidery OF
vocal feats.
She did not decorate the music OF
"Eur.dicc' in this manner. hut she
was more than a singer if she DID not
do something TO draw attention away
from the art work and Ia herself. In
IA few short years the prima lonna
had become an established institution
and the alteration of opera singers a
public custom.
All the lyric sopranos in the concert
world are now singing "Lasc.atcmI
murire." though they probably know
nothing Of its history. But this is the
great aria of .AridnHd in Montcverdl's
opera "Arianna.' produced in 1908
Marco da Gagliano. n contemporary
composer, declared hat this beautiful
piece Of arioso "vlsibly moved the en-
tire thcatrc to tears"
And behold the fame of the singer
Of this aria livcth even unto his day
for she was known then by her profes-
sional title LA Florinda." and her reaI
name was Virginia Andrc!ni. We dc
mo- know her salary.
From that time on we find singer
worship and singer fca:s of techn.t
more and more in evidence til before
the end Of the seventeenth century
opera was in effect IA vocal concerto
in which every singer on the stage was
gag in an exhibition of skin II
agility.
Expression also existed, hut IL was
limited to the pathetic, The furtiv'
tear of the auditor was cOaNcd dowI
the sensitive cheek. Gentle melan'
choly, restrained sorrow. m%ournfu
resignation and similar emotions were
beautifully communicated In the slow
arias, the lonesome tunes nf operas
down to the Handel!an period. Rage
and despair had TO be indicated by rap
id, agitatcd music Of the ~"furibondo'
type. But this too furnished its op'
portunities for the bruvura style.
once opera had come to he a parade
ground for the accomplishments %
the singer there was no escape from
the rule Of charlatanism. And II rules
to this day. With the early years OF
the nineteenth century two weapons
were added to the armory of the operi
singer. the high note and the big tone
Neither was wholly new. of course
but they were utilized in a novel man
rer, Handel did not make n display
of high notes, but Mozart introduced
plenty in his Magic Flute" because
the singer could sing them. But TIT
high & tenor was really a develop
ment of the last century. Tcnors hat