Until operatic audiences begin to understand that singing is
commendable in proportion as it gives realistic expression, not only
to sweet and pleasing moods, but to various kinds of dramatic emotion,
the full grandeur and value of Wagner's vocal style cannot be
appreciated. A real epicure does not care to eat cakes and candy all
the time; he loves olives and caviare too. These may be acquired
tastes, but all taste for high art is acquired. And the time is,
apparently, not very distant when Wagner's realistic vocal style will
no longer be caviare even to the public at large, but will be more
enjoyed--even when it gives expression to emotions of anger, jealousy,
and revenge--than the cloying, sugar-coated melodies of Bellini and
Rossini, or those meaningless embroideries which even some of the best
of the older Italians (Tosi, for example) regarded as the most
beautiful part of song.
The great enthusiasm frequently shown at performances of Wagner's
operas in other countries as well as in Germany, seems to argue that
the public at large _has_ already entered into the real spirit and
meaning of the Wagnerian style of singing.
Pages:
225
226
227
228
229
230
231
232
233
234
235
236
237
238
239
240
241
242
243
244
245
246
247
248
249