FATE OF THE OPERA

Nelson Evening Mail, Volume LXIV, 2 April 1930, Page 5

FATE OF THE OPERA

AGE OF MECHANISATION

GLOOMY OUTLOOK HELD

VIEWS OF FAMOUS' SINGERS

NEW YORK, sth March

That the end of grand opera is in sight, due to the mechanisation of the present day and to the absence of great composers, is the considered judgment of Signor Gatti-Casazza, director of the Metropolitan Opera for the past 21 years and prior to that director of the La Scala Theatre, Milan, home of the lyric drama, lie is supported in that view by GalliCurci, Frances Alda, and Tito Ruffo, eminent baritone.

•'The age of mechanisation in which we are living is nob favourable to any foini of art," said Si'gnor Gatti-Casazza. "It looks almost as if the world thought nowadays that it could get along without grand opera. The principal reason for the crisis is the lack of new composers. Most of the modern composers lack genius and sincerity, although they have a good technical knowledge of music, in addition, there is a dearth today of great operatic singers. Still another reason is the increase of general knowledge of music among the people. "The opera has lost' its mystery since the radio has brought the voices of operatic singers and the music of operatic composers to the home. They have no need to go to the theatre. In this age, progress is almost entirely along technical lines. We are doing wonders in aviation, in (he construction of submarines, in al! sorts of mechanical tilings; but where are the great works of sculpture of our day, the great paintings, the great novels? They are not to lie foiwulj neither are the great operas of this age.

"OLD-FASHIONED ENTERTAINMENT"

Galli-Curei, who retired from opera a few weeks ago to devote herself to concert WOl'ki ifi JHSt as pessimistic. "Opera is very old-fashioned entertainment for 1930," she said. "The whole world, particularly the Italians, is losing interest ill it."

.Madame Alda, who retired after 22 years on the operatic stage to sing over tlhe radio, following in the steps of Schipa, Knrcnko -Mid Jeritza, said th»* broadcasting had sounded the death knoll of extended concert tours by opera singers, besides causing havoc in the status of the opera itself. "11 is the old law of supply and demand," she said. "When people can sit ill comfort in (heir homes and hear the great works of the masters sung by those whom they lovo lii hear, without any more trouble than tinning on their radio sets, naturally the demand for opera, especially in provincial opera houses, fast disappears. Radio is just beginning, and growing byleaps and bounds, while the glory of the opera is fading out."

"A CULTURE CRISIS" The latest male operatic "star" to forsake the opera is Ruffo. He intends to do sound cinema work, as he believes il gives the artist a better chance to reach his audience.

It is reported to be the same across the Atlantic. A musical correspondent in Milan says:—"ln Italy nowadays opera seasons close, almost without exception, with notable deficits, with the reduction to a minimum of seasons and the duration and importance of tours in the larger towns. The public no longer loves the opera.'

Bruno Waller. German operatic conductor, says:—"We are in I he midst of a. culture crisis, which naturally affects the opera. The mood of to-day ; s turning away from the beautiful tti'ngs of life. Of the legion of operas turned out during the present generation, only two, those of Richard Strauss and Montcme/.zi. have succeeded in establishing themselves in (he regular repertory."

All authorities appear to be pessimistic. I'lio Metropolitan! director asserts thai ii would require the appearance of another Verdi or Wagner to halt the approach of the crisis in opera.