New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-05-16
New York Opera Comique
A Visitor Hopes 1t May Become
Permanent
been forgotten
Tn the Editor of The Tribune.

To the Editor of The Tribune
Sir: viii you permit an English musician
and sometime critic to express his apprecIa-
ton Of the work Of the Society of American
Singers as exemplifed in the all too briei
season of operette or opera comlque now
alas. drawing to close at the Lyceum lhe-
tire? May also express my surprise AT the
comparative apathy of the critical contra
ternity of New York and the corresponding
indifference of the public?
Knowing as | do the work Of the Opera
Comioue of Paris and having been regular
attendant at the noteworthy seasons OF opera
in English given in London by the late SIR
Joseph Beecham and his son, feel that
sneak with definite and sound standards oil
comparison when | affirm that l nave not
heard in either the French or English capi-
tails better performances Of their kind than
those of Pergoesi's exquisite ia Serva Pa
drona.p or "The Maid Mistress" as it is
STYLED in Miss Mattulath's excellent version,
and Donizetti's Decameronian I'll Campanello
di Note" otherwise "The Night Bell
The first of these is a veritable gem, and
is done as perfectly possible at the Lyceum
by those admirable artists Florence Easton
and David Bispham. whose singing and act
ing are in accord with the highest traditions.
The revival of Gounod's unduly neglected yer-
sion Of Moliere's "Le Medecin Malgre LUZ is
also thoroughly enjoyable. "The Mock Doc
tor" incidentally proves the sound musician
ship of the French composer, who is usually
appraised by his Faust and Romeo and
Juliet" "The Mock Doctor" is fount OF
sparkling melody, and is full of touches OF
muscianship and clever contrapuntal and
pol, phonic effects, as well as ingenious and
humorous orchestration. The work is as fires n
to-day as it was fifty years ago. and, more
over. has been improved by iudlclous COM
preston so that it goes with uneeasing verve.
Finally those little Mozartian masterpieces,
"The Impresario" and "Bastien and Bas-
tienne." which were, am told, first present
ed in this city last autumn, are source OF
Joy both to the trained and the unframed
musician By reason of their unceasing stream
of lovely melody, their dainty humor and, in
the case of the first piece, the employment OF
every resource Of which Mozart was the mas
ter. Incidentally would congratulate Mr..
Krehbiel on his adaptation of the libretto.
am lOlu lndL the ODJtSL VI Ahc SONANNF VI
American Singers is to lay the foundations
of a permanent Opera Comique in New York.
If so, it is, as Americans say, up to yourselves
to secure this desideratum by supporting one
of the most meritorious musical organlza-
tons | have discovered in this country. Such
american artists as Lucy Gates, Florence
Macbeth Mabel Garrison. Florence Easton,
David Bispham and Albert Reiss are worth
going 2 long way to hear-a much greater dis
tanct than to hear some of the much adver-
tised foreign artists at the big opera house
on 81 roadway. Comparisons may be odious. but
sometimes they are unavoidable, and | must
express my preference for native American
talent over the imported article in many
cases. The present season of opera comlque
at the Lyceum is TO close this week. unless
the New York public wakes up to its singu-
lar charm and merit, as | trust it yet may.
ERNEST j. HART
New York, May II, 1917.