Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1922-04-22
The Critic Talks
to Music Lovers
IAlALTER DAMROsCH. who Away

IWALTER DAMROsCH, who always
w has the courage of his convictions,
made savage attack on the "claque"
or paid applauders, which, according to.
apparently well substantiated rumor,
has existed at the Metropolitan Opera
House in New York for years. Mr..
Damrosch's address was made at the
recent dinner to Willem Mengclberg
in New York. The claque is an ac-
knowledged institution of certain fa.
nous opera houses in Southern Europe
notably Italy, but what Mr.. Damrosch
''viewcd with alarm" was the attempt
to introduce the custom into the
symphonic field, which he declared in
strong terms to be Il menace.
The defense of the supporters Of the
claquc is that the American audiences
are usually far less enthusiastic than
those abroad and that judiciously dis
tributed applause encourages the
singers 10 better efforts and makes gen
orally for snap and spirit in the per.
formances. There may be more than
a grain of truth in this. for the Italian
opera singers are accustomed to hearty
applause and when it is not received
they feel that their efforts are in vain.
n feeling which certainly does not aid
in producing successful performances.
Mr.. Damrosch charged directly that
the opera claque has been hired on GER.
tain occasions this year by guest con.
ductors with New York orchestras to
stimulate the applause Of the audience
at symphony concerts. He said that he
feared the Introduction of this custom
at such concerts, and he publicly ap-
pealed to Otto Kahn, who was present,
to put an end to this abuse at the
opera.
IXIHILE Mr.. Damrosch's disclosures.
w which have been more than hinted
at from other sources for several years,
will probably have no effect so far as
the opera is concerned. there is little
likelihood that there will be any in.
vasion of the symphonic field by q paid
claque. There can be only one time
during q symphony concert when con.
ductor can be npplauded effectively, and
that is upon his entrance.
The performance Of a symphony con.
cert is SO diversified and so many per-
sons take an important part in it that,
outside of the one time mentioned, there
might always be a reasonable doubt as
to exactly for whom the applause was
meant. For example. when Mr.. Sto-
7.
knowledge the applause after the Eng.
lish horn solos in the "New World
symphony or "Thc Swan of Tuonela," :"
or when he summons other distinguished
members of the Orchestra to do like.
wise, the increase in the plaudits shows
clearly that the audience has in mind
the actual performer as well az the
conductor who made the reading pos.
sible.
In operate work this condition does
not exist. The members Of the claque,
led by the "chef de c!aque,' are, ac.
cording to report. paid tie sum of SO
each to applaud at specified moments,
these moments, of course. being at the
close of scene or aria by the person
hiring the npplauders. There can never
be any mistake in operas for whom the
applause Is intended.
There can be no doubt that the Gus.
tom Is distinctly foreign one, that it
is un-American and highly objection
able to an American audience. Another
thing Is that in this country it is wholly
unnecessary if singer or a performer
has "the goods" the au Fence will man.
ifest it's approval; IL he hasn't, he will
not last long. anyhow. 50 what Is the
difference? The stimulation to better.
work by applause argument does not
seem to carry conviction, because IL the
singer knows that this applause Is being
paid for and does not come from the
feelings Of the audience, the "stimula-
tion" cannot be very great.
EXCEssIVE applause, especially in
u opera. leads to all sorts of compli-
cations. At one performance of 'Ca-
va e~ia RustIcana" here bv the Metro
politan Opera Company, not so many
seasons ago. a then new Italian tenor.
singing Turiddu, received much an
plause at the close Of the scene where
he hurls Santizza senseless to the
ground and pursues Lolo into the
church. At the height of the applause.
the church doors opened and Tu-
riddu appeared bowling and smiling
graciously. Bending over the form OF
Snntuzza, who was evidently unc0n-
scious of what was occurring he lifted
her TO her feet and together they
gracefully acknowledged the tribute OF
Philadelphia to their vocal and his
trionic powers. Then Turiddu disap.
peared into the church again. evidently
IN Dursuit Of Lola. who must have had
. oood start bg that tine ard eeptasaa