The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-03-23

Possibly at some haIcyon time in the
future n larger number OF young
American composers will come to a
realization Of the fact that one cannot
compose an opera without knowing
how. 1t Is not sufficient to have score
paper, a three nibbed pen and ink, or
even talent. A good lihretto IL not
enough. II these items were the es-
sential sum total Mona" would have
been a permanent addition to the rep
crtory OF the Metropolitan Opera
House, for the composer has brilliant
ability and his libretto was one Of the
most admirable OF those that have
been revealed to this public in recent
years.
The root OF the difficulty in the way
of successful American opera Is not
the libretto. nor is 1t the want of Amer
lean subjects. There is no reason why
operas by Americans should be on do
nestle themes. historical, legendary or
otherwise. MoZarts Don Giovanni"
is an italian opera by an Austrian on
Spanish theme. Beethoven's I'll
dclio' is on Spanish story. Verdis
great Aida" Is about Egyptians. but
surely no one would think OF asserting
that it was not an Italian opera. I'll
Trovatore"-Spain again. ia Travt-
attain Italian opera on a French
story, and the same must be said of
the "Manon Lescaut' OF Puccini.
The lbretto may be founded on the
literature or drama OF any land, so
long as II Is written in English, has
poetic and dramatic value, and Is suit
able for musical treatment. 1t seems
unnecessary to reiterate this and yet
the complaint that the subjects Of ma
tive operas are not American Is very
frequent
The true cause Of the failures Is not
necessarily the lack OF musical talent
on the part OF the composers. A man
need not be a genius in order to COM
pose an opera which shall prove to
have a popular appeal. Some OF the
most admired lyric dramas now on the
stage we're written by men OF second
class ability and will not stand for a
moment under the gaze of critical an
alysis. They are cheap stun, but they
y are cleverly put together. And that
skill in construction is the secret Of
opera writing.
What every woman knows is that II
she buys dress goods at six dollars a
yard and has the gown made by an in
ferior dressmaker she will not look as
smart as the woman who pays a dollar
and a half a yard and has her robe
rut by a mistress OF the art. Schu-
mann was a great composer, but he
could not write an opera. Mendels-
sohn was failure at it. On the other
hand. Wagner could not write any
thing else, and Verdi's excursions into
music without a combination of SOLO
lists. chorus and orchestra were not
profitable. Even when he composed
for the church he thought OF the thea
tire.
But. the reader will naturally OBJ
feet. you are talking about two great
masters OF lyric drama whose genius
was indisputable. Quite so; but OBJ
serve that these two composers did not
ait down contented with their genius
and not investigate operate methods
They thoroughly knew their trade.
The composition OF opera Is a spe-
cial branch Of music with a special
technic. The writing Of a play is a
special branch OF literature with its
own methods. which radically differ
from those OF other types OF fiction
When a young man has a good idea
Iui n Piob o'b
writes a play and then takes 1t to Mr.
Belasco he suddenly learns that his
play is not a play, but only the begin
ming of one. After that experienced
.' n1asteT ~ thas' ~apatist's craft bps re-
constructed the work 1t becomes g
practicable play.
When Augustus Thomas writes q
play It is practicable play when hi
finishes It. because he knows his trade
To the disinterested frequenter o.
operate performances 1t is astounding
TO note how little the average Ameri
can composer knows about the tech
mic OF opera writing. These writers
seem to be constantly at a loss what I,
do. They scatter their materials il
aimless profusion. There is no logica
development of the scene, no irresisti
be leading up to the emotional clina1
and no musical climax left with whlcl
to embody II II 1t ever Is reached.
Nine times out OF ten all this un
certainty arises from the composer
entire ignorance OF the genius o