The New York herald., 1922-05-21

der than it did in their predecessors.
They shared with the infant opera the
enthusiasms. the novelty of the So
called "stile parlante" Cthe parent of
all recitative) and also the benefits Of
stage presentation. For these early
oratorios were acted and they differed
from the opera only in the nature Of
their subjects and their purpose,
which was to keep the youth of the
Catholic church occupied in the eve
nings. otherwise likely to be spent in
questionable excursions in the streets
of Rome.
1t was not till almost the golden
period of Handel that the question
whether an oratorio might be acted or
not was finally settled in the negative
by the decision of bishop of London.
Certain modern oratorios suggest the
possibility of stage treatment. just as
certain operas seem well suited to the
concert stage. Berlioz's "Damnation
of Faust" was not written for theatre
cal performance, but it has endured it,
and with an actor of Renaud's subtlety
in psychologist Interpretation would
always be interesting. On the other
hand. Saint-Saens's Samson ct Dalila"
is actually better as an opera than 1t
is as an oratorio, despite its ambitious
choral enterprise.
Forerunner of Bach Passions.
Mendelssohn Elijah" has been put
on the stage several times. In this
country, for example, it was once 'sent
on the road" with a company headed
by Gwylim Miles in the name part.
But 1t was not successful as drama,
and has since that time rested peace
fully among the accepted. IL infre-
quently given, oratorios. On the other
hand. the musical settings of the Pas
sion which have survived do not for a
moment suggest theatrical treatment.
One which might be heard oftener is
Heinrich Schuetzs Seven Last Words
of Christ" 1t is the forerunner of the
Bach Passions. II suggested the form
and even something of the style. But
not the most fantastic mind could con-
ceive any method of transforming il
into a drama.
The Oberammergau spectacle will
unless the pressure of mere curiosity
seeking tourists crushes out OF it the
original spirit of rapt devotion which
inspired it's actors. The Bach festival
at Bethlehem can never be restored
TO it's early state when the concerts
were given in the old Moravian
Church. How far away from the emo
tional prostration of those days the
good people of the town could go was
shown by their project of building a
grand music hall for the festivals.
Fortunately that plan came to naught,
and the concerts s-re still given in a
church. But they have become at
fractions for visiting musicians and
music lovers from far and wide. The
old atmosphere Is lacking.
Perhaps this will be the misfortune
of Oberammergau. The American tour
ist is depressing parsonage when he
bursts loudly into an art center with
his ready made and half baked opin-
ions proclaimed in piercing tones and
with his personal aggressiveness
pushed into the foreground OF every
incident. The only creature who sur
passes him in his shattering influence
is the English tourist. of whom moth
ing need be said. Silence is impera-
tive in the presence of TIE indescrib-
able.
But 1t is as certain as anything in
human activities can be that before
the coming s1lmmer is over we shall
read amazing crticisms--yes, criti-
cisms--of the performances at Obcr-
ammergau just as II they we're con-
ceived and conducted as an amuse-
ment enterprise and not as religious
function born of an age old vow.