Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1918-11-30
THE CRITIC TALKS
TO MUSIC LOVERS
Weekly Comment on Things
Musical in Discriminating
Philadelphia

NNHE revival of the old-time opera,
i 'L'Elisr d'Amore." by Donizetti.
proved one OF the most delightful ex-
4 periments that Philadelphia music
lovers have experienced for long time.
Doubtless the fact that the Metropolitan
has the Incompatible Caruso and that
the part Of Nemorino Is one Of his best
less the reaction on the audience was
eminently satisfactory.
One original reason for enjoying an
opera of this kind was heard from the
lips of conscientious and well-versed
music-lover who declared that you didn't
have TO work while you heard It," This
may sound strange, but, after ALL there
is lot Of truth in 1t. and many others
besides this frank truth-tellng youth
found pleasure in sitting calmly back
! and hearing the superb singing as the
s4simple plot was unfolded and the char
acters developed.
n s A matter of fact, there Is a lot OF
"A work" In hearing modern opera
and getting all out of II that the COM
poser has put into II. To do this, the
nearer has TO know the score about as
thoroughly as the conductor knows Il.
Nowadays there In a motif" not only
for every character. but oftentimes for
most of the emotions displayed and
sometimes for inanimate objects as
well. The various ways IN which these
motifs are developed, all mean some
i thing, according to the deepest students
OF opera.
Incidentally there is a surprising
number of opera lovers who can cite
at a moments notice most Of the
motifs Of their Tavorite operas. And
they are by no means all professional
musicians either. In fact the writer
once heard one of these argue success
fully that at a certain point in one Of
the Wagnerian operas, while the char
acter on the stage Is utterng what he
knows to be false. the themes as they
/ appear in the orchestra are telling the
real facts in the case.
TT is not hard to see that SO detailed
i knowledge as this OF a complex
modern opera constitutes very real work
for the auditor. But few persons hear
opera in this way, and perhaps It is
just as well for all concerned that such
Is the case. Since the development OF
the "leit motif" by Wagner. the con-
struction of opera, especially by his
followers has grown more and more
complicated until now one can examine
score and with the various motifs,
their diminution, augmentation ct cetera.
almost take 1t apart like a Chinese
puzzle. There Is an almost uncanny
skill shown in this sort of work, but II
may be the reason that so few modern
operas enjoy only brief existence.
Scientific skill and musical feeling, to
say nothing of actual inspiration, do not
always go hand in hand. a.
TNHERE is also an actual danger to
i the composer in letting this complex
ity of design get the better of the
i musical content of his work. A certain
musician of parts was approached some
kyears ago by a brother musician who.
Smentioning some of the great German
Theorists of the kapellmester band.
said: "Have not those men indeed
mastered counterpoint?' NO" was the
reply Of the far-seeing master. Counter
point has mastered them
These are the reasons why IL Elisir
dAmore" came 30 refreshingly the other
night. There is no 'lesson!' in it. no
oubtile analysis to be made; in other
words no work. OF course. a steady
Diet Of Donizetti is not to be thought
Of, but an occasional performance sung
as Caruso sang on Tuesday. shows US
that after all the composers popular a