Evening star., 1940-12-29

This siInplification will make it pos
sible to present operas everywhere
with the staging facilities that exist
in the average community"
While thoroughly in sympathy
with all that is new and progressive,
it seems to us a bit far fetched to
chose opera, of which this country
knows so little, comparatively, to
revolutionize the method of produc-
ton. 1t is true that the old stand
ards, developed in countries where
opera is understood and appreciated.
may appear outmoded to American
eyes. But the chief difficulty lies
in the foreign text and the impos-
sibility of following the story with
out recourse to libretto which has
been the stumbling block to bet
ter appreciation of opera in the
United States. Given presentation
in clearly enunciated English, the
staging would not disturb the ordi-
nary operagoers.
Widely Heard Today.
Mr.. Barzin'S assertion that 1t Is
being uncritically worshipped by a
narrowing circle" goes against the
statistics, which prove that opera is
being heard by more people today
than ever before. Fortune Gallo,
who yearly, for the past 80 years,
has visited every important city with
his San Carlo Opera Company, can
testify to the attendance and the
enthusiasm of audiences which see
Incidentally everything that can be
done to make scenery for the aver
age-sized stage so that it may be
conveniently transported has been
done by him.
A problem which Mr.. Barzin evi-
IDENTIFY knows little about and which
Mr.. Gallo has to face each year, is
the difficulty of getting any theaters
for his presentations. With the
motion pictures taking over most of
the regular theaters, there are not
many left for the staging of such
pretentious productions as grand
opera. Each year new theaters Join
the motion picture circuits, so that
each year the problem for Mr.. Gallo
increases.
There are certain things about
grand opera that can never be
changed. Most important of these
is the strenuous work of singing,
taxing music and acting at the same
time. The physical wear and tear
OF performance in opera is great
and only those who are in the peak
of condition can hope to survive.
1t is, therefore, almost impossible
to expect singers of the leading
roles to take on any other, even a
minor one, in between times.
Possibly what the association has
in mind is training singers to take
whatever opportunity presents it
self, whether it be in a leading role
or a secondary one. But here again
problem is presented If singer
becomes known as one able to take
a small part he is usually kept in
that medium, while much singing of
parts which do not require so great
"a iCopol4olClllty Will flOU Train an
artist for the burden of a larger
role.
1t will be interesting to watch
the developments of the "labora-
tory" end note what will be ac-
complished. But the future for
grand opera does not look any too
bright from any angle. The COM
plexities of transportation, union
regulations, any feeling that may
exist regarding opera in a foreign
tongue and the dearth of good Eng
Gsh librettos are increasing yearly
and now, with few suitable places
to present opera over the country.
the impetus to incorporate it in the
cultural pursuits will likely expert
ence another setback. The work of
the association, however, may find
means of solving these problems.