Evening star., 1925-11-08
AMERICANISM in GRAND OPERA
BY FREDERIC J. HASKIN.

ing the text to which the music is set
twisted into the sound and rhythm Of
Il different language, and, furt thermore,
that English is not an opera language,
as in its very essence and spirit it
does not lend itself to the inanities
and fowery sentimentalitieS of many
of the texts of the older operas. Some
of the things in those texts are so
utterly trivial or downright silly that
If sung in English they would strike
the American audience as iudicrouS.
An illustration of this may be found
in Madame Butterfly" in one scene
Of which a character asks another if
he will have d high ball and the an
swer is Yes, but make 1t light" or
something to that effect. Sung in
English that invariably gets a good
laugh out of part of the audience
and it is not intended for comedy.
Italian is ranked as of all languages
the one best adapted for singing. and
especially operate singing. and many
American artists prefer ii. Efforts were
made to persuade Caruso to learn
TO sing i'll German some of his roles
III the Wagnerian operas, and he tried
consCientiously. but he could not mas
ter the task. When he appeared at
German opera houses he sang in Ital-
ian, while the rest Of the company
sang in German.
Sentiment for English.
However, Mr.. Kahn says that those
advocating opera sung exclusively in
English voice a sentiment which de-
serves and demands sympathy and
respect.
"I hope they will succeed in estab-
fishing orga niZations in New York
and other cities which will be devoted
to the realization of that purpose and
which at the same time VIII be much
needed training and testing grounds
for American singers. Oscar Hammer
stein tried TO do SO for a few months
and failed. My associates and ! tried
it at the Century Opera House and
failed. Still others have tried and fail
ed. Yet the attempt ought not TO be
given up, and l for one shall be will
ing and glad to cooperate If a sound
! ly planned, intelligently directed and
responsibly sponsored effort is again
undertaken toward that end"
Mr.. Kahn comedies that 1t is true
that there Is far from sufficient oppor-
tunity for the plentiful young stage
talent of this country TO obtain stage
routine, acquire a repertoire in prac.
tice and find operatic engagements,
and he says that there should also be
ways and means devised for making
it attractive for American composers
to engage in the more ambitious
forms of composition, such as operas
and symphonies.
No Jazz Opera.
Some time ago there was a report
that Mr.. Kahn was about TO sponsor
the production of a jazz opera, but
he says it was unfounded. To him
the very name jazz opera is a con-
tradiction in terms and in its literal
meaning is quite unthinkable.
American opera ought to have, as
, much as the reality has, our own at
moSphere, idiom, tang and character
iStics," he says, in expressing the
hope that some of those who now
devote their talents to producing jazz
dance music and song will tackle
more important and more eXacting
tasks and try their hand at opera.
Such an opera will probably con
tain some of the motives, rhythm and
characteristics of jazz, but whether
it does or not is immaterial. The
main question is: Has the work got
musical merit? Does the composer
have something to say, and does he
say it in the manner which to him is
the natural and spontaneous way OF
expressing hinSelf2''