Evening star., 1940-01-28

that Verdi's operas were only for
the common people.
If there is an aristocracy in
operatic literature other than that
resulting from the intrinsic worth
of the composition, we have never
known about it. Among the public
of Washington, the natives can
easily count the occasions when
they have had performances Of
opera in their midst and the out
siders, except in a few fortunate
cases, are many of them from
cities where no opera is ever heard
unless Mr. Gallo takes his company
there. The meager number who
regularly visit the Metropolitan are
the only ones who might make such
an assertion.
Thirty-nine years ago yesterday
Verdi died at the age of 88. During
the greater portion of his long life
he was the idol of his own country
and of the world. A real genius, he
began his musical career as an
organist, substituting, when still a
child, for the cathedral organist in
Busseto. BY 20 he was the director
of the philharmonic in the same
city. His first opera was produced
six years later, not in provincial
opera house, but in the famed La
Scala. It's immediate success gained
q commission from La Scala'S direc-
tor for another opera the next year.
Only One Opera Failure.
OF his 18 operas only four have
dropped out of the regular repertoire,
and only one of these four, "Un
Giorno di Regno," composed during
the year when his first wife, his son
and daughter died within a short
time of each other, was a failure
No other composer, with the eXcep-
ton of Wagner, has ever equaled
him in unabating popularity. The
basis of his success was his gift for
melody and dramatic invention, but
analysis of his method of compost
ton has revealed skill, richness
and a power that few other operate
composers have ever disclosed.
1t is true that much of the con-
ventionality of the plots and the
obvious appeal of vocal effects con-
tribute toward depreciation of the
whole in this age when the return
of "Salome" and Electra" and the
performances of operas like EN-
peror Jones" have stirred the oper-
attic pulse with new interest. Yet
1t is not said that this music will be
popular after its novelty has worn
off.
Right here, it might be of value
to have recourse to statistics. Mr..
Kolodin in his book on the Metro
politan Opera has compiled the
number of performances of all works
at that opera house during the last
SO years The list is headed by
Verdi'S Aida" which was given 265
times. In the hundred brackets are
also "Traviata," "Rigoletto," III
Trovatore" and other operas by the
same composer. "Pagliacci" was
played 204 times, "Cavalleria" 181,
Faust" 228, Carmen" 176 Butter
fly" 163-all heard here at the Ma
tional last week. The only other
operas produced so continuously
were Puccini's La Boheme," 202
times, and Wagner's "Lohengrin,"
23S times; "Tannhauser," 189 times;
"Walkuere,' 100; Tristan" 176
times. 1t is interesting to note that
even the Wagnerian operas that
achieved greatest popularity with
the public were that composers
most melodic ones
Composer Needs Dramatic Sense.
The composer of opera has diff
ficult task before him. He must first
of all have a sense of the theater,
what is compelling and dramatic.
This includes also an emotional feel
Ing that will move his audience with
unfagging appeal This does not
mean AN appeal solely to the cul-
tured musician but to the vast pub
lie which loves both the theater and
music. The composer must also
understand how to attract the eye
with his scenic effects and to build
his climaxes. Yet all of this must
be accomplished with clarity and
IN obedience to a certain form.
There is no more cruel ordeal