The New York herald., 1922-06-04

in Milan and Rome, no reason why
they should be given in German In
Berlin, no reason why they should
be given in Russian in Petrograd
and Moscow.
Italians Created Opera.
The Italians created opera. They
lave, therefore, never thought Of per-
forming it In foreign tongues. From
the earliest infancy of the art they
were the guardians of 1t. They created
the elements, gathered them into an
organism and developed that organism
from It's embryonic state to maturity.
The French followed the lead of the
Italians speedily, and IN a few years
had operas of their own. Not only did
they have them in their own language
but the true father of French opera,
Lully, was an italian who so saturated
his mind with the genius of the French
language that he became the creator
OF French musical defamation.
There Is pressing need of going into
tie history Of nationalism in opera.
We have lately had a striking demon
stration of what it can mean. The
Russian Grand Opera Company in its
three weeks at the New Amsterdam
Theater presented works OF which the
whole texture and spirit different from
anything produced by any other ma
ton. The inexhaustible fantasy of
Russian song and story held all of
them under its magic spell. They
could no more have grown In anothep
land than the Russian ballet could y .
1t is not. however, the language that
makes these works so characteristic.
We have had opportunity to convince
ourselves of that when we Eave
listened to Boris Godunov" at the
Metropolitan. 1t was just as Russian
when sung in italian as when given in
the original But the question rises
and thrusts itself forward with great
force whether II no operas or only a
few In the Russian tongue had ever
been produced in the opera houses OF
Petrograd and Moscow. If tie domi-
mating type had been italian opera
sung in italian, would Russia ever
have developed a national school of
opera based on the literature and the
songs of her own people?
What Americans Prefer.
George Hamlin. an American singer
Of great distinction, said in an inter-
view published several years ago: 1T
is untrue that Americans prefer opera
in a language they do not understand.
It is due only to the fact that from
time out Of mind, not having opera or
an operative tradition Of their own,
they have been obliged to listen to
opera in q foreign tongue, II at ALL"
Mr.. Hamlin was of the opinion that
this state of affairs would continue as
long as opera was a private enterprise
and not State institution. Opera will
never be a State institution in this
country. That chimera may as well
be dismissed at once. Politicians can
selves to cultivation of the arts, and
that is the end OF that matter.
Therefore the popular subscription
plan Is the only hope for something in
the nature of substitute for the gov
ernmental subsidy. This plan is, at
any rate, democratic and holds out
some faint possibility of escaping the
conditions inevitably attending the or
ganization OF an operatic stool. COM
peny with enchanted vistas OF divi-
dends in the distance. II 1t is possible
to interest human beings in a scheme
IN which disinterestedness is the
prime requisite. then the latest plan
for national opera may eventuate In
something better than deserted opera
house.
Mr.. Hamlins words above quoted
contain a swift summary Of some of
the difficulties of the situation. Amer
leans have indeed been accustomed
from the beginning to listen TO opera
in foreign tongue. For many years
people went TO "the italian opera"
They called It that and regarded Il as
n form of musical entertainment cul-
tivated in Italy and imported from
that country. II was not till the days
OF Maurice Grau and the Metropolitan
Opera House that tie polyglot opera
company came into existence. Then
the artistic doctrine was promulgated
that operas should always be sung in
the language in which they were writ
ten.
Musical Values Remain.
IN 80 far as the opera itself Is con-
cerned that is the ideal method The
musical values remain undisturbed
and the complete significance of n
score Is published. But does the pub.
pratior roach tho fnteIIippnce OF the
audience to which Il is addressed?
Yes and no. It must reach the intelli-
gence OF all those who are willing TO
give a little time TO the study OF
text and also OF those who under
stand the language when they hear
A sung. The others IL cannot reach.
But the vital point In the whole