A JAZZ OPERA

Dominion, Volume 23, Issue 284, 27 August 1930, Page 3

A JAZZ OPERA

Antheil’s “Transatlantic”

“Transatlantic,” the long-awaited and much-heralded modernist jazz opera by the young American composer George Antheil, had its premiere at the Opera at Frankfort-on-Main. It was sensational in every respect; the audience", reacting to the unusual effects of the stage, broke into deafening applause, and the noise was increased by hissing and other signs of hostility. There were loud protests from the opposition and' further protests from the critics next day; they were levelled, however, not at the Americanism but at its ultra-modernity.'

Antheil’s opera is of less importance from a musical, point of view that from a theatrical one, says a Frankford correspondent. It is impressive, however, as the expression of a determined artistic (will and as a brilliantly executed picture of our time. It has much of the dash and go of Krenek’s Jonny Spielt Auf, but with the difference that this is genuinely American while Krenek’s is only a European idea of America. For this one must, of course, take Autheil’s own word. He says it is American in tempo. For the rest it displays America in all that it means to Europeans. The musical attire is jazz; the pictorial note is determined by the entrance to New York Harbour. Then there is the great American melange of big business, elections, prohibition, motor-ears. Salvation Army, jostling crowds, murder, movies, telegraph, megaphones—in short all the external accessories of North American existence.

One can well imagine that there are Americans who are as little inclined " to accept this as characteristic as the Parisians are willing to be exclusively associated with the life of the boulevards, champagne, night resorts, cocottes and immorality. Antheil introduces us to a confused love affair, which, as we gather from an article published by him. he regards as a “return to romantic opera.” He fancies that by a naive enchantment of modern man he can raise us above the disillusionment which befalls us when a gentleman in dress clothes, singing, orders a drink; or a lady in evening dress, also singing, descends from her motorcar.

The story tells of a beautiful woman. Helen, of somewhat dubious origin, who as the tool of an old magnate, "Ajax, is to decoy the hero. Hector, a candidate for the presidency. She falls in love with this Hector, but is married to a dummy, Jason, while at the same time an unscrupulous youth. Leo. pursues her with his love. And now follows a whirling struggle for power, for love, with attempts at murder and robbery, interrupted by revue-like dances, booze rackets. political mud-throwing, etc. _ It is impossible tn enumerate details, for one is swept along—and that is the best ql it—with lightning-like ranidity. Nor is the inevitable hapny end. kicking: Hector rescues Helen from suicide on Brooklyn Bridge and is elected Love wins the victory over Mammon.