ITALIAN SINGERS AT ORATORIO FESTIVA.LS.
TO TILE EDITOR OF THE SPECTATOR.
Gloucester, 22d August 1844.
SIR—Your journal has long been so distinguished by the ability and gene- rally impartial judgment which characterize its criticisms on music and the fine arts, that I am induced to direct your attention to an evil, which I think calls for some exposure in your columns. The Triennial Festival held alternately in the Cathedrals of this city, Wor- cester, and Hereford, has now been in existence one hundred and twenty-one years ; gradually increasing its scale of expenditure, and usually with com- mensurate success, until of late, when a very serious deficiency has fallen on some half-dozen Stewards, gentlemen of the county, who liberally undertake this responsible duty. At the last meeting here, in September 1841, this was felt to be so onerous, that the Stewards refused to nominate their successors in conformity with established practice. Now, from what cause has this arisen ? Chiefly, if not entirely, from the large sums of money (varying from 500/. to 800/.) given to four or five Italian singers, who insist on these exorbitant terms: and for doing what ?—for marring the effect of the noblest sacred com- positions of BARU', HAYDN, MENDELSSOEIN, and SPOEIR, by their affected mannerism and ill-placed fioriture—in short, singing the music as it was never intended to be sung by the composer. In sacred music to English words, their foreign accent, especially in sustained passages of recitative, is painfully dis- agreeable. No one will deny their superior talents in the performance of their cbuntry's music at the Opera or in the Concert-room: let the habitués of the former continue their extravagant patronage of these spoiled children of the South ; but the opinion is now becoming general, that they are quite out of place in our Oratorios. Owing to the results alluded to, great doubts existed whether the Festival could be held this year ; and it has only very recently been decided to make the attempt without the aid of foreigners. This has been tried with tolerable emcees at Worcester and Hereford ; and should it signally fail here, this ex- cellent institution (on which an important charity is dependent, and which singers know well enough) will probably expire for ever. Mach has been done of late years by our female singers to remove doubts of their capacity, and praise is doubly due where the prospect of reward has been so discouraging. But how can we hope for eminence so long as the foreign 131111iS prevails? We are not without native genius, but it must be fostered; and those whose wealth and rank would give the greatest value to patronage have shown that they have no national weakness of this kind. Better days are dawning, but the movement is from the middle classes; and I sincerely hope in this, as in the sister arts, a more healthy tone is gaining ground, such as will eventually raise this country to a high rank in the possession of those refined enjoyments for which we have hitherto been too much dependent on the other- nations of Europe. I have already exceeded the limits to which I proposed to confine myself; but I cannot here omit another circumstance which has created a strong feeling against foreign artistes. I allude to their habitual levity and utter disregard for the decent observances required by the situation. Having regularly at- tended these meetings, I have invariably observed this, with an occasional ex- ception; and Glum has been, here at least, most conspicuous for her indecorum and indifference during the sacred performances at the Cathedral.
I trust, Sir, you will lose no opportunity to employ your powerful pen in [The experiment of reducing the expenditure of the Triennial Festivals by omitting the Italian Opera singers is judicious. The questionable at- traction of the names of these " stars " having failed as well as their music, it is but fair to try what English artists can do. That they are fully compe- tent to support such performances with perfect credit to themselves and satia- faction to their hearers, there cannot be a doubt. When STORACE, BILLING- To's, and MARA lived, we had Opera-singers who could discriminate between. the sacred styles of England, Germany, and Italy : now, except in the Engle case of LABLACUE, all that has ceased. Let us not hear of the indecorum of Gam : charity finds many excuses for what appears in this light, and the mention of it gives a handle to the enemy, who think they work it well in pro- nouncing every thing in a Musical Festival indecorous.—En.]
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