[Sidenote: _Wagner's influence._]

[Sidenote: _His orchestra._]

[Sidenote: _Vocal feats._]

For those who hold such a view with me it will be impossible to condemn pieces of set forms in the lyric drama. Wagner still represents his art-work alone, but in the influence which he exerted upon contemporaneous composers in Italy and France, as well as Germany, he is quite as significant a figure as he is as the creator of the _Musikdrama_. The operas which are most popular in our Italian and French repertories are those which benefited by the liberation from formalism and the exaltation of the dramatic idea which he preached and exemplified--such works as Gounod's "Faust," Verdi's "Ada" and "Otello," and Bizet's "Carmen." With that emanc.i.p.ation there came, as was inevitable, new conceptions of the province of dramatic singing as well as new convictions touching the mission of the orchestra. The instruments in Wagner's latter-day works are quite as much as the singing actors the expositors of the dramatic idea, and in the works of the other men whom I have mentioned they speak a language which a century ago was known only to the orchestras of Gluck and Mozart with their comparatively limited, yet eloquent, vocabulary.

Coupled with praise for the wonderful art of Mesdames Patti and Melba (and I am glad to have lived in their generation, though they do not represent my ideal in dramatic singing), we are accustomed to hear lamentations over the decay of singing. I have intoned such jeremiads myself, and I do not believe that music is suffering from a greater want to-day than that of a more thorough training for singers. I marvel when I read that Senesino sang cadences of fifty seconds'

duration; that Ferri with a single breath could trill upon each note of two octaves, ascending and descending, and that La b.a.s.t.a.r.della's art was equal to a perfect performance (perfect in the conception of her day) of a flourish like this:

[Sidenote: _La b.a.s.t.a.r.della's flourish._]

[Music ill.u.s.tration]

[Sidenote: _Character of the opera a century and a half ago._]

[Sidenote: _Music and dramatic expression._]

I marvel, I say, at the skill, the gifts, and the training which could accomplish such feats, but I would not have them back again if they were to be employed in the old service. When Senesino, Farinelli, Sa.s.sarelli, Ferri, and their tribe dominated the stage, it strutted with s.e.xless Agamemnons and Caesars. Telemachus, Darius, Nero, Cato, Alexander, Scipio, and Hannibal ran around on the boards as languis.h.i.+ng lovers, clad in humiliating disguises, singing woful arias to their mistress's eyebrows--arias full of trills and scales and florid ornaments, but void of feeling as a problem in Euclid. Thanks very largely to German influences, the opera is returning to its original purposes. Music is again become a means of dramatic expression, and the singers who appeal to us most powerfully are those who are best able to make song subserve that purpose, and who to that end give to dramatic truthfulness, to effective elocution, and to action the attention which mere voice and beautiful utterance received in the period which is called the Golden Age of singing, but which was the Leaden Age of the lyric drama.

[Sidenote: _Singers heard in New York._]

For seventy years the people of New York, scarcely less favored than those of London, have heard nearly all the great singers of Europe.

Let me talk about some of them, for I am trying to establish some ground on which my readers may stand when they try to form an estimate of the singing which they are privileged to hear in the opera houses of to-day. Madame Malibran was a member of the first Italian company that ever sang here. Madame Cinti-Damoreau came in 1844, Bosio in 1849, Jenny Lind in 1850, Sontag in 1853, Grisi in 1854, La Grange in 1855, Frezzolini in 1857, Piccolomini in 1858, Nilsson in 1870, Lucca in 1872, t.i.tiens in 1876, Gerster in 1878, and Sembrich in 1883. I omit the singers of the German opera as belonging to a different category. Adelina Patti was always with us until she made her European debut in 1861, and remained abroad twenty years. Of the men who were the artistic a.s.sociates of these _prime donne_, mention may be made of Mario, Benedetti, Corsi, Salvi, Ronconi, Formes, Brignoli, Amadeo, Coletti, and Campanini, none of whom, excepting Mario, was of first-cla.s.s importance compared with the women singers.

[Sidenote: _Grisi._]

[Sidenote: _Jenny Lind._]

[Sidenote: _Lilli Lehmann._]

Nearly all of these singers, even those still living and remembered by the younger generation of to-day, exploited their gifts in the operas of Rossini, Bellini, Donizetti, the early Verdi, and Meyerbeer. Grisi was acclaimed a great dramatic singer, and it is told of her that once in "Norma" she frightened the tenor who sang the part of _Pollio_ by the fury of her acting. But measured by the standards of to-day, say that set by Calve's _Carmen_, it must have been a simple age that could be impressed by the tragic power of anyone acting the part of Bellini's Druidical priestess. The surmise is strengthened by the circ.u.mstance that Madame Grisi created a sensation in "Il Trovatore"

by showing signs of agitation in the tower scene, walking about the stage during _Manrico's_ "_Ah! che la morte ognora_," as if she would fain discover the part of the castle where her lover was imprisoned.

The chief charm of Jenny Lind in the memory of the older generation is the pathos with which she sang simple songs. Mendelssohn esteemed her greatly as a woman and artist, but he is quoted as once remarking to Chorley: "I cannot think why she always prefers to be in a bad theatre." Moscheles, recording his impressions of her in Meyerbeer's "Camp of Silesia" (now "L'etoile du Nord"), reached the climax of his praise in the words: "Her song with the two concertante flutes is perhaps the most incredible feat in the way of bravura singing that can possibly be heard." She was credited, too, with fine powers as an actress; and that she possessed them can easily be believed, for few of the singers whom I have mentioned had so early and intimate an a.s.sociation with the theatre as she. Her repugnance to it in later life she attributed to a prejudice inherited from her mother. A vastly different heritage is disclosed by Madame Lehmann's devotion to the drama, a devotion almost akin to religion. I have known her to go into the scene-room of the Metropolitan Opera House in New York and search for mimic stumps and rocks with which to fit out a scene in "Siegfried," in which she was not even to appear. That, like her super-human work at rehearsals, was "for the good of the cause," as she expressed it.

[Sidenote: _Sontag._]

Most amiable are the memories that cl.u.s.ter around the name of Sontag, whose career came to a grievous close by her sudden death in Mexico in 1854. She was a German, and the early part of her artistic life was influenced by German ideals, but it is said that only in the music of Mozart and Weber, which aroused in her strong national emotion, did she sing dramatically. For the rest she used her light voice, which had an extraordinary range, brilliancy, and flexibility, very much as Patti and Melba use their voices to-day--in mere unfeeling vocal display.

"She had an extensive soprano voice," says Hogarth; "not remarkable for power, but clear, brilliant, and singularly flexible; a quality which seems to have led her (unlike most German singers in general) to cultivate the most florid style, and even to follow the bad example set by Catalani, of seeking to convert her voice into an instrument, and to astonish the public by executing the violin variations on Rode's air and other things of that stamp."

[Sidenote: _La Grange._]

[Sidenote: _Piccolomini._]

[Sidenote: _Adelina Patti._]

[Sidenote: _Gerster._]

[Sidenote: _Lucca and Nilsson._]

[Sidenote: _Sembrich._]

Madame La Grange had a voice of wide compa.s.s, which enabled her to sing contralto roles as well as soprano, but I have never heard her dramatic powers praised. As for Piccolomini, read of her where you will, you shall find that she was "charming." She was lovely to look upon, and her acting in soubrette parts was fascinating. Until Melba came Patti was for thirty years peerless as a mere vocalist. She belongs, as did Piccolomini and Sontag, to the comic _genre_; so did Sembrich and Gerster, the latter of whom never knew it. I well remember how indignant she became on one occasion, in her first American season, at a criticism which I wrote of her _Amina_ in "La Sonnambula," a performance which remains among my loveliest and most fragrant recollections. I had made use of Catalani's remark concerning Sontag: "_Son genre est pet.i.t, mais elle est unique dans son genre_,"

and applied it to her style. She almost flew into a pa.s.sion. "_Mon genre est grand!_" said she, over and over again, while Dr. Gardini, her husband, tried to pacify her. "Come to see my _Marguerite_ next season." Now, Gounod's _Marguerite_ does not quite belong to the heroic roles, though we can all remember how Lucca thrilled us by her intensity of action as well as of song, and how Madame Nilsson sent the blood out of our cheeks, though she did stride through the opera like a combination of the _grande dame_ and Ary Scheffer's spirituelle pictures; but such as it is, Madame Gerster achieved a success of interest only, and that because of her strivings for originality.

Sembrich and Gerster, when they were first heard in New York, had as much execution as Melba or Nilsson; but their voices had less emotional power than that of the latter, and less beauty than that of the former--beauty of the kind that might be called cla.s.sic, since it is in no way dependent on feeling.

[Sidenote: _Melba and Eames._]

[Sidenote: _Calve._]

[Sidenote: _Dramatic singers._]

[Sidenote: _Jean de Reszke._]

[Sidenote: _Edouard de Reszke and Plancon._]

Patti, Lucca, Nilsson, and Gerster sang in the operas in which Melba and Eames sing to-day, and though the standard of judgment has been changed in the last twenty-five years by the growth of German ideals, I can find no growth of potency in the performances of the representative women of Italian and French opera, except in the case of Madame Calve. For the development of dramatic ideals we must look to the singers of German affiliations or antecedents, Mesdames Materna, Lehmann, Sucher, and Nordica. As for the men of yesterday and to-day, no lover, I am sure, of the real lyric drama would give the declamatory warmth and gracefulness of pose and action which mark the performances of M. Jean de Reszke for a hundred of the high notes of Mario (for one of which, we are told, he was wont to reserve his powers all evening), were they never so lovely. Neither does the fine, resonant, equable voice of Edouard de Reszke or the finished style of Plancon leave us with curious longings touching the voices and manners of Lablache and Formes. Other times, other manners, in music as in everything else. The great singers of to-day are those who appeal to the taste of to-day, and that taste differs, as the clothes which we wear differ, from the style in vogue in the days of our ancestors.

[Sidenote: _Wagner's operas._]

[Sidenote: _Wagner's lyric dramas._]

[Sidenote: _His theories._]

[Sidenote: _The mission of music._]

[Sidenote: _Distinctions abolished._]

[Sidenote: _The typical phrases._]

[Sidenote: _Characteristics of some motives._]

A great deal of confusion has crept into the public mind concerning Wagner and his works by the failure to differentiate between his earlier and later creations. No injustice is done the composer by looking upon his "Flying Dutchman," "Tannhauser," and "Lohengrin" as operas. We find the dramatic element lifted into n.o.ble prominence in "Tannhauser," and admirable freedom in the handling of the musical factors in "Lohengrin," but they must, nevertheless, be listened to as one would listen to the operas of Weber, Marschner, or Meyerbeer.

They are, in fact, much nearer to the conventional operatic type than to the works which came after them, and were called _Musikdramen_.

"Music drama" is an awkward phrase, and I have taken the liberty of subst.i.tuting "lyric drama" for it, and as such I shall designate "Tristan und Isolde," "Die Meistersinger," "Der Ring des Nibelungen,"

and "Parsifal." In these works Wagner exemplified his reformatory ideas and accomplished a regeneration of the lyric drama, as we found it embodied in principle in the Greek tragedy and the _Dramma per musica_ of the Florentine scholars. Wagner's starting-point is, that in the opera music had usurped a place which did not belong to it.[G]

It was designed to be a means and had become an end. In the drama he found a combination of poetry, music, pantomime, and scenery, and he held that these factors ought to co-operate on a basis of mutual dependence, the inspiration of all being dramatic expression. Music, therefore, ought to be subordinate to the text in which the dramatic idea is expressed, and simply serve to raise it to a higher power by giving it greater emotional life. So, also, it ought to vivify pantomime and accompany the stage pictures. In order that it might do all this, it had to be relieved of the shackles of formalism; only thus could it move with the same freedom as the other elements consorted with it in the drama. Therefore, the distinctions between recitative and aria were abolished, and an "endless melody" took the place of both. An exalted form of speech is borne along on a flood of orchestral music, which, quite as much as song, action, and scenery concerns itself with the exposition of the drama. That it may do this the agencies, spiritual as well as material, which are instrumental in the development of the play, are identified with certain melodic phrases, out of which the musical fabric is woven. These phrases are the much mooted, much misunderstood "leading motives"--typical phrases I call them. Wagner has tried to make them reflect the character or nature of the agencies with which he has a.s.sociated them, and therefore we find the giants in the Niblung tetralogy symbolized in heavy, slowly moving, c.u.mbersome phrases; the dwarfs have two phrases, one suggesting their occupation as smiths, by its hammering rhythm, and the other their intellectual habits, by its suggestion of brooding contemplativeness. I cannot go through the catalogue of the typical phrases which enter into the musical structure of the works which I have called lyric dramas as contra-distinguished from operas. They should, of course, be known to the student of Wagner, for thereby will he be helped to understand the poet-composer's purposes, but I would fain repeat the warning which I uttered twice in my "Studies in the Wagnerian Drama:"

[Sidenote: _The phrases should be studied._]

"It cannot be too forcibly urged that if we confine our study of Wagner to the forms and names of the phrases out of which he constructs his musical fabric, we shall, at the last, have enriched our minds with a thematic catalogue and--nothing else. We shall remain guiltless of knowledge unless we learn something of the nature of those phrases by noting the attributes which lend them propriety and fitness, and can recognize, measurably at least, the reasons for their introduction and development. Those attributes give character and mood to the music constructed out of the phrases. If we are able to feel the mood, we need not care how the phrases which produce it have been labelled. If we do not feel the mood, we may memorize the whole thematic catalogue of Wolzogen and have our labor for our pains. It would be better to know nothing about the phrases, and content one's self with simple sensuous enjoyment than to spend one's time answering the baldest of all the riddles of Wagner's orchestra--'What am I playing now?'

[Sidenote: _The question of effectiveness._]

"The ultimate question concerning the correctness or effectiveness of Wagner's system of composition must, of course, be answered along with the question: 'Does the composition, as a whole, touch the emotions, quicken the fancy, fire the imagination?' If it does these things, we may, to a great extent, if we wish, get along without the intellectual processes of reflection and comparison which are conditioned upon a recognition of the themes and their uses. But if we put aside this intellectual activity, we shall deprive ourselves, among other things, of the pleasures which it is the province of memory to give; and the exercise of memory is called for by music much more urgently than by any other art, because of its volatile nature and the role which repet.i.tion plays in it."

FOOTNOTES: