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Feb. 1. WHILE many of us dream of museums, libraries and picture galleries, with no implication in that word ‘‘ dream ’’ that these things shall not one day be real ities, it is timely to ask whether We are dising our present opport unities in the realm of art as fully as we might. And so the question, Why should not one of Wagner’s operas be played in Shanghai? The idea was born during the recent Wagner con cert in the Town Hall, and it has not appeared less feasible than it is surely attractive on reflexion. It can be said without fear of contradiction that such an orchestra as Shanghai possesses today has never been heard east of Suez. Furthermore, the render ing of the Wagner programme indicated that the orchestra may easily rise to yet higher flights. To perform large excerpts from ‘‘ Tristan,’’ ‘‘ Siegfried,’’ ‘‘Wal kkre ’’ and ‘‘Gütterdimmerung,”’ passing from one to the other with instant appreciation of the requisite spirit, and with “uni formly fine execution, is a far more arduous task than to put through a composite programme, or even to perform one whole opera, in which conductor and players retain much the same atmosphere throughout. So far as the orchestral work is con cerned, there appears no insuper able obstacle to mounting a4 Waener music drama. During the past fifteen years there have been several operatic productions in Shanghai: ‘‘Han sel and Gretel,’’ never to be forgotten ; ‘* “Mignon,”’ ‘‘Tosca,’’ ‘‘Pagliacci,’’ ‘‘ Cavaleria Rusti cana ’: these all by amateurs, unquestionably well done and creditable, but suffering from the defects inevitable when amateur singers attack a long evening of opera. There have also been professional operatic companies, some which it were most charit able to forget, others including good voices but weak orchestrally and deplorable as regards scenery. What we have in mind is a com bination of the scenic effects which amateurs can well compass with the professional talent which lies to hand. It is a professional production that we visualize, and let this be said without discom pliment to the amateurs, whose operas we have all greatly enjoyed in the past. But we are sure that they would be the first to stand aside, though ready to lend any possible help, if a professionally performed opera were considered feasible. Now as regards the singers, the sad fate of Russia has proved an artistic boon to Shang hai in respect of the fine voices it has, from time to time, brought to our doors. Everything would depend, of course, on the opera chosen. Obviously ‘‘ Meister singer,’ ‘‘ Walkfire ’’ or ‘‘Gütter dimmerung ’’ demand all the resources of Covent Garden. But ‘ Siegfried ’’ is conceivable : there is no chorus and only seven voices are needed: Mine, Wotan, Siegfried, the Bird, Fafner, Erde and Brunnhide. For the latter we might search far before we found a better than Mme. Tcherkaskava. The names of Professor and Mme. Zalsman suggest themselves for the parts of Wotan and Erde, and it is possible to fill in those of all the rest except Siegfried without searching very far, though in quiries among the Russian com munity might have surprising results. Siegfried himself is ad mittedly a difficulty , but it is not the abnormally high tenor part of grand opera, as witness the wonderful way in which it was played in Paris twenty years ago by Jean de Reszke, who was more of a high baritone than a tenor. If no singer can be found locally, it might be possible to import one for the occasion from Harbin or Vladivostok. Finally, as regards scenery, the trans formation scene of Siegfried’s ascent of the mountain, among
Newspaper Details
North China Herald
Shanghai, Shanghai, CN
Sat, Feb 04, 1922
Page 37
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USA 27 Apr 2026
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