New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-02-09
Opera IN the Ve1nacuIar
Foreign Works and TRANSACTIONS - Composers and
Singers - Hoo Schools Are Created -- Concern
ing the Study OF Diction

periodically discussed as latter day de-
velopments to add another to the many
dispositions which have appeared in
The Tribune on the subject of the use
of the vernacular in operate per-
formances. Recent experiences have
not been encouraging to those who
have been indulging hope that enc
result of the world war would be to
stimulate the production of operas
composed to English words, nor to
those who have cherished the belief
that musical culture would be pro-
NOTED if operas of foreign origin were
sung in the vernacular. What has
been done in both directions at the
Metropolitan Opera House was negli-
gible, or almost negligible, in the solu-
upon as national problem. The
Metropolitan company purged its ros-
ter OF q number of German singers
and placed taboo upon the lyric
dramas of Wagner. In compensation
it produced Mr.. De Koven's "Canter-
bury Pilgrims" two years ago and Mr.
Cadman's "Shanewis" last year; pro-
duced them and then put them on the
shelf, no doubt for the reasons which
have been compelling in the case of
other works which were not of native
origin. 1t revived work by one Ger
man because it was composed in French
but chiefly because it offered an OPP
portunity agreeable to Mr.. Caruso-a
reason sufficient in itself under the
present condition of affairs), and re-
tanned another because it was familiar
IN its Italian dress and also contained
"A part for Mr.. Caruso. 1t closed its
eyes to the nationality of List and
gave his German oratorio, "St. Eliza
beth in operate form and with Eng
lish words; and has evidently rele-
gated that to desuetude for reasons
which may have been artistic, but were
assuredly not patriotic. This season
1t has produced 'eOberon," which needs
no defence ON the score of its original
English text and deserves no censure
because it was composed by an elo-
Quent German champion of German
liberty when German liberty was an
ideal which had the reverence of every
sincerely democratic soul in the world
That<m may suffice from one point of
view for the situation at the Metro
politan Opera House AT the Park
Theatre, an organization which was
founded for laudable and specific
purpose has departed from it and be-
come not an English opera company
Of the high type which the country
once knew throughout its length and
breadth (and not very long ago,
elther). but an operetta company not
altogether capable of coping with the
fine type of art exemplihed by the
works of Gilbert and Sullivan Pace
the composer, we are certain that Mr.
Gilbert would be Mortified at some Of
the things done to his lines. In both
places old questions concerning the
virtue of the vernacular in perform
ances have been brought to the fore
in every intelligent listener. Leaving
Metropolitan Opera House has stood
that dramatic music is best served
when il is left in association with the
language for which it was composed
the question arises whether or not
all operas ought to be translated into
English.
Assuming. that it is essential that the
words of an opera be understood, {
fact that I am entirely willing te
admit, so far, at least, as operas Of
the most modern type are concerned
what is to be done to make opera il
the vernacular palatable? Shall W,
educate the public down to the leve
of the mass of translated texts or re
form the repertory ab initio? If ths
latter, what shall be done for the PEG
pie who have acquired liking TO
operas whose texts, reasonable in tn
original tongues, become prosaic an,
absurd in translation? Carmen" i
an admired opera, deservedly so; We
how many of US would preserve q seri
GUS frame Of mind if we were to hea
Zuniga ask of Don Jose in melodiou
recitatlve: as yon building the fac
tory at which young girls are employe
at cigarette making?" Who that ha
heard "Lohengrin" in English has no
smiled broadly at the climax Of tn
scene before the cathedral when tn
Knight Of the Swan turns at the foo
Of the steps and rings out the ques
ton: ELSA, with whom converses
thou?" Perhaps she truthful relatio
Of an incident Of the Century com
.pany's season will help elucidate thi
point. On November d, 1913, at
O'Clock IN the afternoon, I sat in m
chair al the theatre and saw Bide- the
Bent enter hail in the castle Of 81
Henry Ashton, where lot of weddin
guests we're making jubilation, an
informed them that Lucy Ashton 10
rather Lucia, for Lucy doesn't Away
fit the music had killed her husban
Immediately after the ceremony Q
marriage. It was startling new
though no one would have thought
from the conduct Of the merry com
pany, nor even from the words Of tn
anegsenHer, which, though they loo
Eomewbat disJointed, ungrammatica
and repetitious in print, flowed quit
placidiy on stream Of tune NIGEL