Article on English opera in New York

Commentary on English opera mixed in with a review of the debut of Harrison’s troupe in Brooklyn. “English Opera.—Mr. Harrison’s operatic experiment was made on Monday night, with success [in Brooklyn]…Let us hope that the interest which Mr. Harrison has now awakened in his fellow-citizens will abide by the theatre of which he is the manager…

It is certainly courageous to touch English opera at this time, when ‘music and musical merchandise’ are at a premium; when fiddlers in the ratio of their unworthiness are as exorbitant and insufferable as prima donnas; when chorus-singers are barely to be had for love or money, (and astounding patterns of humanity are they at whatever cost.) It was courageous, we think, to make this effort. But it requires courage to live in Brooklyn, and the Park Theatre, and the ‘Bohemian Girl,’ and a mild and general order of desperation follow naturally as consequences of this trying condition.

Balfe’s opera is so well known that it is unnecessary to enter at length upon its merits. If these merits were ever doubted, the day of doubt has long gone by. Since the work was written, almost twenty years ago, the composer has shot into an enclouded reputation. He is recognized as one of the few real live writers who now supply the operatic stage. His works are performed in all languages, especially the ‘Bohemian Girl,’ and an early work called the ‘Four Sons of Haimon,’ which we do not remember to have heard in this country. Whatever vitality English opera—as a national institution of the British Isles—may possess, it is almost wholly owing to Mr. Balfe. Thanks to his prolific and melodious pen, the public became eager for home-made music, and musicans were readily found to supply the demand. The freshest and most extensive modern operatic repertoire is to be found in England. During the past dozen years some admirable works have been contributed to it by the composer of the ‘Bohemian Girl,’ by Mr. Wallace, by Mr. Benedict and by Mr. Macfarren. If we, in America, were to make our own operas, we should, doubtless, in a few years, have an array of names not inferior, perhaps superior, to this.

One of the most cheering circumstances about Mr. Harrison’s troupe is, that the artists have all been picked up here. This shows that we have the material for a good company; that even at a commencement we need not be absolutely dependent on Europe for aid and comfort in the matter. And that the leading members of the troupe—thus borught [sic] together—are good, does not admit of the slightest doubt.”

“It is not strange, that Italian Opera should be firmly established in this country, while English Opera can be only occasionally attempted, that Itailan Opera, which has long fulfilled its destiny in regard to the development of dramatic musical art, should be the rule, while English Opera is the exception? It has been said, that there is not such a thing, as a regular English opera, works, written by English masters, demonstrating individuality as well as nationality of style. But the question is, whether those works which go under the name of English Operas, cannot be called thus with the same right, that operas now commanding the favor of the public at large, are styled Italian Operas. The programme of the modern Italian Opera chiefly offers Verdi’s, Meyerbeer’s, and Flowtow’s music. Now, Verdi’s style is not strictly Italian, it is his eclecticism, his adaptation of French effects, his attempt at German characterization, that have given him a peculiar position amoung Italian composers, and if anything, it is his success, that has given the deathblow to Italian Opera.

There are no exclusively Itailan operas any more, as little as there are exclusively Italian singers. The Germans, the English, the French, the Americans, and the Russians have conquered the Italian stage and the Italians themselves seem to be quite satisfied with the concession made to them, by adopting their language as the means of illustration. Now could not this be also done with the English language? The Germans sing in their own country Italian, English, French operas in German; why must we sing or rather listen to Italian alone? English opera ought to be the opera, the rule, while any other should not be but the exception, just as it is in Germany and France. This seems to us sensible and just, and eminently fit to cause a general real understanding of dramatic musical art, while the patronage of operatic performances in a language, which is only understood by the few, must necessarily produce a want of appreciation of all, what constitutes dramatic music. Let us first have an opera, sung in the English language, nevermind, whether it belongs to the Italian, French, or German school, and we shall soon have a school of our own. As to the singers, they will not fail to make their appearance. Our Italian opera is already graced by one of American birth, gifted as any ever came from a foreign land, and perhaps in no other city of the world could be found so much home talent for singing as in New York. The English opera company now performing in the Park Theater in Brooklyn is another proof, that we are not wanting in talents for this class of entertainment. Mme. Borchard, and Messrs. Castle and Campbell have excellent, in many respects superior qualities for their tasks, and we are confident, if English opera should be only properly cultivated, and its importance well brought before the public, that in shrot time a very valuable company could be recruited from the professional singers, now living among us. English opera ought not be neglected int his country, for it will do more towards cultivating the tasts [sic] for music of the masses, than anything else.”