Evening star., 1946-12-01
Soviet, u. S.
See Need for
Opera Scores
By Alice Eversmon

There has always been skepti-
cism in the minds of other peoples
as to what extent music can express
and advance political creeds. The
Soviet has imposed on its composers
a dictum to write only music that
will incorporate its theories of living
and has been severe toward those
who have wandered into other paths.
A recent announcement goes still
further in declaring that the ide-
illogical education Of the Russian
people now needs grand opera and
Soviet composers are asked to write
new works on themes of the moment.
One Of the reasons that Shostako-
vichs compositions were welcomed
and listened to with interest in this
country may have been the hope
that through music would come an
understanding of the political trend
in Russia and the public's reaction
to it. But it is questionable If the
hearings have clarified anything or
won any adherents. 1t still re-
mains vulnerable to the ordinary
analysis of music from a structural
and emotional standpoint. What
may be construed as typical of the
present is its noise and blatancy.
Less-advertized composers have
managed to incorporate other -es-
scntials into their writings, but
these invariably had their musical
roots planted in another era.
Mystery of Appreciation.
It was not SO long ago that IS
per cent illiteracy in Russia was
regarded with horror and compass
sion. How, in the interim, these
uneducated masses, apparently
knowing little or nothing of the
great music of the past, could not
only understand but find solace in
works that have challenged the
critical opinions of more expert
eneed people, is mystery. Consid-
ering the length of time it has
taken the educated and progressive
citizens of this country to accept
and appreciate the best in music,
let alone grand opera, it can be
easily understood why a doubt re-
mains just how Fundamentally the
new music of Russia is received by
its people.
Now, grand opera is another thing.
Here one can have proper story
fitted to measure and set to stlm-
ulating and persuasive music. There
is no more telling way of elevating
virtue and unmasking cruel and
pernicious theories. The lesson to
be derived from a plot well acted
and thrillingly sung is bound to
sink deeply into the audiences con-
sciousness. The theater has been
responsible for influencing situa-
tions of world importance from
time immemorial. Opera, with this
aim in view, can do the same.
Vacancy for National Opera.
If we in this country do not need.
and would not submit to such in
fiuencing, there is still a vacant
place in our cultural setup waiting
for the national opera. Recently
the New York manager, Charles l..
Wagner, in conjunction with Ed
ward w. Snowdon, offered a prize
of 81 900 for an original opera based
on an American theme. In addi-
ton, he guarantees handsome pro-
,duction, fine cast and tour OF at
least Is performances in good places
! The scores, not to be over rs min
Iutes duration, must be submitted
not later than October l, 1947, for
production in the fall of 1948.
The field opened by this offer Is
full OF possibilities. The history OF
this country has many romantic and
dramatic moments that could be
utilized. Several American COM
posers already have done so and
their operas have been given at the
Metropolitan and the Chicago
| Operas only to fall into oblivion
with the passing of time. There
must be some other element that
opera composers of today have not
grasped thoroughly and which gave
longevity to such works as "Caval-
Ileria Rusticana," Faust" and III
Trovatore. The time is now ripe
for something new, not in the way
of political teachings, but for ar
tistic development. That is as i'm
portent for us as the theological
education for the Russians.