At the same time, even
these harsher passages in Wagner's vocal music are not really ugly,
that is, disagreeable to the ear, _when properly sung_. Just as a
homely face becomes attractive when it expresses a vivid emotion, so
the harshest vocal measures in the realistic music-drama become a
source of enjoyment if they are sung _with expression_.
Unfortunately, there are only a few artists as yet who have
sufficiently caught Wagner's intentions to be able to sing in this
manner. Carl Hill, who created the part of the magician _Klingsor_ at
the Parsifal Festival, in 1882, was one of these exceptions. He
reflected the spirit of the gruesome text assigned to him so admirably
that Wagner was delighted; but afterward he complained that Hill's
fine impersonation was not so widely appreciated as it deserved to be;
and why? Apparently, because _Klingsor's_ melodic intervals were not
pleasing, nor his sentiments sympathetic.
We must conclude from this that, in regard to dramatic singing, many
opera-goers are still a good deal like the honest Scotchman who, on
his first visit to a theatre, climbed on the stage and administered
the villain of the play a sound thrashing; or, like the Bowery
audiences, which applaud the good man in the play, no matter how badly
he acts, and hiss the villain, though he be a second Salvini.
Pages:
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
239
240
241
242
243
244
245
246
247
248