Arizona republican. [volume] (Phoenix, Ariz.) 1890-1930, 1918-12-15

40iA'ci oAt PioAilS navy bVCil hioNt ~
make of the Elks Memorial Service tins
afternoon, at the Elks Theater, one OF
| the most impressive in the history of
! the local lodge. Mr.. H. Kirchefer Is
providing special scenery and scenic
arrangements for the stage setting.
Miss Mary Jane Lair has trained spe-
cial chorus of ten school children and a
chorus of thirty adult voices have been
rehearsed by William Conrad Mills on
appropriate music for this program
The ritual, which is one of the most
beautiful of any fraternad organization
will be in charge of the regular officers
of the lodge.
There is some talk among local sing
ers of forming an opera club to produce
one or two light operas during fife
spring mnths. The idea has not as vet
taken definite form. but there appears
to be good deal of enthusiasm about
it. And why not? Phoenix can boas,
of many trained voices adequate to
carry successfully the principal roles
in any number of interesting operas
which are available. Charlie Heath,
Clara Hazard and Mrs. c. NJ Candy are
considering the details of the organrza-
ton which will number 40 or so voices.
The theory that American singers
who have operate ambitions should
spend several years of study in Europe,
to properly fit themselves for assuming
the leading roles in grand opera, has
been exploded during the past few
years. And teachers and students alike
are now recognizing the fact that the
o-called atmosphere" which it was
thought could not be secured anywhere
else than in the opera houses of Europe
was nothing more than a lot of exas
gerated emotionalism. 1t is true tina,
the many opera houses of Europe give
more opportunities for singers to Sc
cure engagements and public appes--
ances and thus gain operate exper-
fence more quickly and easier than IS
possible in America at this time. But
the very emotional singers stopping
over with temperament are not recog-
nized as the higher type of artist
American audiences are, as ru,c
more intelligent than those of any 9TH
er country and intelligent audiences
like to exercise their imaginations anu
not be compelled to have facts literally
rammed down their threats. John II.
Raftery, of the New York Morning Tel
egraph, states that there is a distinct
| American" musical style in perform
ance and that the best known foreign
artists unconsciously adapt themselves
to 1t and assimilate it after they have
| been in this country for awhile He
states that Metropolitan Opera House
singers, after they have been appearing
there for time, acquire breadth of ar
tlstlc outlook and versatility Of style
which they did not formerly have. Ana
the editor of the Musical Courier states
in this connection
The foreign singers at the Metro.
| politan strive for an interchangeab bic
style, enabling them to sing French and
Italian equally well, and to make efrec-
tive side excursions into English when
necessary. They never did those things
When they lived abroad. Our American
singers are anxious to master the best
elements of the various Europan styles.
imported METROPOLITAN and Chicago
Opera artists who in their home Ianos
never dreamed that there was anything
to sing except costumed roles, as 2;
rule discover the concert stage and tine
song repertoire after a short residenc.
on this side of the ocean. Some of then,
even learn to penetrate into such mys-
ferrous domains as those of the classi-
cal LIED and the American melody bal
lad. The American public has fixed on
certain style and standard of song in
depreciation as its ideal, and nothing
TESS VIII 90. Singers recognize the ideal
AS worthy one and try to reach it.
vocal facility alone is not accepted as
passport to Parnassus Even the
most sensational of coloraturas are IN
acceptable TO our listeners if they do
not possess the proper tonalsequipment,
pnrasing contour, and ability to handle
the lyric line if not with warmth and
volume at least with style and grace.
Inc programs as we'll as the singing
ana playing of our younger as well as
olaer typlcally American artists, all en-
deavor to meet the correct elevated
american taste in such matters.
we know that Americans have de-
Veioped well defined likes and dislikes
IN muslca. matters. They love. before
all things, that tone quality in instru
mental performance, and in vocal pro-
uuctlon, which is sensuous without be-
ing sensual. Sloppy sentimentality At
concerts slid into oblivion on these
shores together with horsehair sofas
WaHeu flowers, and cut glass table
o.snes. Mere technical facility on the
piano means less than nothing to
americans, who have outgrown the
LIT pupil that gave us a hirsute and
mechanical imitation of the great mas
ter, without his esprit or intellect EN-
cessive vibrato on the violin or coll,
r7akes Americans smile. A tremolo On
tne part OF a singer makes them swear
orchestral din that signifies merely
fury, and harmonies that sour the soul,
drive orr males to- arink anA ANY fe