As an illustration of the absolutely divergent views on the subject held by authoritative opinion, I will make a quotation from the "Morning Post."[29]
It was written with regard to the interesting experiment that Mr. Hammerstein is now making in his effort to popularise opera in England.
"A cry has been raised that the performances
should be in English. It shows a lamentable ignorance (the italics are mine) of operatic conditions prevailing at the present time. It would be well-nigh impossible for Mr. Hammerstein to give his performances in English at an earlier date than six months from now. There is no lack of English singers, but those with sufficient experience of the stage at present available to carry on a regular series of performances, can be numbered on the fingers of one hand."
If this opinion be justified, and I hope it is not, it suggests a sad commentary on the result of efforts made on behalf of operatic education in England from the time of Carl Rosa to that of Dr. Richter.
It seems to me that if opera is to become a living force in English musical life, as oratorio has been, there are certain essentials that must obtain.
In the first place the operas should be given in the English language, and the performers should be, as far as possible, of British race; the choice of works sufficiently eclectic to appeal to all classes, and the prices of admission to the performances, arranged on such a scale as not to be prohibitive to the average individual of more or less limited means.
The headquarters of such a company would, naturally, be in London, but an "operatic season" should be arranged for in the principal cities of the provinces.
The financial question naturally obtrudes itself, but I believe that a solution of the question is not beyond the wit of man to devise.