MUSIC.
THE LATEST PHASE OF ENGLISH OPERA. THE early autumn season has been remarkable, apart from an unusually interesting series of Promenade Concerts, for an operatic campaign at Covent Garden in which the prospects and possibilities of English opera have been exhibited in a decidedly encouraging aspect. The Moody-Manners Company had already established a good reputation for enterprise and efficiency in the Provinces, and though these satisfactory antecedents—as past experiences bare often proved—unfor- tunately afford no certain guarantee for the attitude of the Metropolitan public, the venture which closes this evening has met with a measure of support which was not only deserved by the efforts of all concerned, but seems to bring us one step nearer to the realisation of that desirable ideal, —regular performances of first-rate operas in the vernacular by a stock company at moderate prices. Grand opera in the summer season still remains by far the most costly and unsatisfactory product of the musical world. There is probably no field of artistic endeavour in which there is a greater disproportion between outlay and results, or in which supreme achievement and perfunctoriness, not to say utter inadequacy, are more startlingly combined. A really effective ensemble is never attained, the nearest approach being in the production of some brand-new, but not necessarily admirable, opera. Furthermore, the atmosphere is the worst possible to stimulate the artists to exert their powers to the utmost. The people on whose support the enterprise primarily depends do not go to enjoy themselves, or at any rate, to enjoy the music. Grand opera still remains for most of the occupants of stalls and boxes a social function, an opportunity for the exhibition of clothes and jewels, a place where one goes to see and be seen. The fashionable Covent Garden audience, though interesting to look at, is the most lethargic and apathetic in the world to sing or play to. Now the audience at Covent Garden during the past few weeks has made no pretence to fashion. There were costumes in the stalls, even in the boxes, which must have filled the hearts of the attendants with horror.—One thinks of the highly decorous butler who informed his master: "Dr. Jowett called while you were out, Sir. I regret to say in a soft hat, Sir."—But cacullus non Tacit monachum ; a diamond tiara does not make a music-lover, and the great bulk of those who patronised the recent representations at Covent Garden went simply to enjoy themselves, and on the occuions when the present writer was there did so thoroughly. Nor were they ashamed to manifest their approval in that demonstrative manner which after all even the greatest artists appreciate. Did not Beethoven say, We artists don't want your tears, we want your applause "
It would be easy, but unprofitable and ungracious, to pick holes in the performances of the Moody-Manners Company,—to point out, for example, that their re- sources, especially their orchestral resources, were not equal to the requirements of the Wagnerian music- drama in its later developments ; that from time to time evidences of inadequate general rehearsals were plainly visible, or rather audible ; that the principal conductor was over- worked; and that the company, though it contained many excellent singers and clever artists, had no thoroughly adequate interpreters of the heroic Wagnerian roles. Such a venture, however, should be judged by its best rather than its most ambitious representations, and at its best the company did extremely well. Indeed, we have no hesitation in saying that
the performance of Carmen was one of the most efficient and enjoyable ever given in London. In respect of the render- ing of the choruses, it was probably the best ever given on the London boards, for to bear the choruses of Carmen accurately sung by a body of fresh and tuneful voices was a unique experience for the London opera-goer,--indeed, the difficult ensemble in the third act before the entry of Michaels is hardly ever attempted in its integrity. The principal parts, again, were excellently sung and played by Miss Zelie de Lussan, Mr. John Coates, and Miss Hickisch. Miss de Lussan does not minimise the canaillerie of the leading role, but her con- ception is consistent, her voice is as good as ever, and she never aims at effects that she is unable to realise. As for Mr. Coates, he combines with a good voice admir- able tunefulness, considerable intelligence, and a most scrupulous adherence to the text. A more conscientious artist could not be found anywhere. Miss Hickisoh, again, is a charming and refined singer, who only needs the ease and confidence that come with experience to utilise her resources with leas apparent effort. The minor parts were, with hardly an exception, competently filled, the scenery and costumes gay without being gorgeous, the stage manage- ment smooth, and the orchestra something more than passable. In a word, though there was no outstanding feature like the singing of Trebelli (who sang the part of Carmen as it never has been sung since the opera was produced) or the acting of Calve, the collective efficiency of the performance rendered it far more consistently enjoyable than any that we have witnessed in recent summer seasons. It enabled one to recog- nise once more that perfect adjustment of musical phrase to dramatic situation which renders Carmen incomparable in its genre ; it awoke once more the old amazement at the inability of the French to recognise this masterpiece until it had been acclaimed by the New as well as the Old World ; it helped one to understand, if not to endorse, N ietzsche's dictum, based on his enthusiasm for this opera, —II faut m6cliterraniser la musigue.
It may be objected that we are drawing far too liberal deductions from a single performance, and that to argue from the success of the present season to the establishment of English opera on a permanent basis is a proceeding unwar- ranted by the data available. It might be further contended that before coming to such a conclusion one ought to have studied the balance-sheet of the Company for the present campaign, and into these questions of ways and means we are obviously unable to enter in the present article. The out- goings of such a venture are notoriously very large, but if we may judge from the well-filled appearance of the house on the occasion of our visits, the promoters ought not to have any reason to repent their enterprise. Certain points, however, do seem to be clearly established by the experiences of the last few weeks. First, that it is within the resources of a per- manently organised company which substitutes all-round efficiency for the star system to secure representations of any operas, except a few of Wagner's, superior in the quality of enjoyableness to those of the summer season. Second, that there is a public in London prepared to support such performances when organised on a scale of prices corresponding to the ordinary theatre tariff. It is not a " smart " or fashionable public, nor is its taste or discrimina- tion very remarkable, otherwise the vitality of such pieces as Maritana would be difficult to account for. But it has at least the great merit of being a sympathetic and appreciative public. Third, it entirely confirms the contention of Mr. Galloway, M.P., in his interesting brochure, " The Operatic Problem," that the majority of the Anglicised versions of foreign libretti are so unsatisfactory that " they will have to be rewritten again before these operas can be sung with artistic decency in English." The libretto of Carmen, though we believe it has been partially revised, is still an outrage on
the memory of Prosper Merimee. C. L. G.
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