New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-05-20
By III. L. kREHBIEL

The experiment of the Society Of
American Singers in seeking TO create
Cor, better, revive) an interest IN
comic opera Of a refined and artistic
type, which was made at the Lyceum
Theatre during the last fortnight, has
been a failure from financial point
Of view. Until last Wednesday night
there had been no representation which
paid expenses. What happened after
that we have had no opportunity to
learn, but it is not likely that there was
enough left Of the week 10 change
failure into even comparative success
The fact will be contemplated with
Sincere regret by all lovers Of opera,
particularly By those who had hoped to
sec a spirit created by the undertaking
which should redeem the theatre from
the dramatic and musical inanity and
vulgsrity exemplifed in the entertain
nents which have filched and degraded
the honored name of comic opera. How
deep that degradation is felt 20 be By
artists Of taste is indicated by the fact
that the singers who united to make
the experiment did not venture to call
the works which they presented comic
operas, but adopted the cumbersome
euphemism "opera comique IN English"
TO describe the character of their en-
terprise.
Thore was nothing novel about the
undertaking except the operas which
were performed and the fact that the
singers assumed the risk Of the adj
venture so far as remuneration for
their services was concerned. The
pieces in the repertory. with the ex-
ception of "The Night Bell." were of a
type in which the public is inexperi-
enced. One Of them, "The lmpresario"
Gan operctta constructed around some
exquisite music which Mozart COM
posed for comedy which bore no re-
semblancc 10 the work which New
Workers have enjoyed, challenged
high degree Of musical skill from at
least two Of its characters and of dra-
matte skill from all. The book seemed,
at least, 10 oxomplify the classic pur-
nose of comedy in that IL strove TO
chastise manners (the manners of
operatic folk and the taste Of the pub
iic) with smile, and the music, that
which was native TO the original play
and that which was interpolated TO
make an operate score, was Of the best
that Mozart composed in the light vein.
So charming and pat 20 the purpose
was il that az every representation
there was applause enough 10 sound
like a demand for a repetition OF
nearly every one OF the solo songs and
concerted pieces. When IL is remem-
bered that the music of the arias which
Mise Garrison and Miss Gates were
called upon 10 sing demanded as much
taste, style and technical proficiency
as the airs in the operas of Mozart
with which our people are familiar, the
fact speaks well, not only for the sing
ers, but for the serious purpose which
inspired the undertaking, which was
an outgrowth Of Mr.. Reiss's desire to
bring this music to the knowledge OF
the American people. With this de-
sire there seemed 70 be blended a
hopc that the taste of the public might
be rescued from the slough into which
il has been plunged by the current
land popuIar) fsrces with music and
legitimate comic opera restored 20 the
honorable place TO which it is entitled.
Both desire and hope had their finest
expression in the production along
with the Mozart operettS Of Pergolesfs
sServa Padrona"--a yeritable monu-
ment in the history of opera, and. de-
spite It's almost infantile plot and text,
one Of the most perfect specimens Of
clarsic beauty and musical grace and
humor which the operate literature
OF three centuries has 70 offer.
Considerable surprise was created
among the operate eognoseenti by the
statement which found its way into the
reviews Of the FIRST performance OF