Part 26 (1/2)

XVIII.

THE COLORED AMERICAN OPERA COMPANY.

”Who, as they sang, would take the prisoned soul, And lap it in Elysium.”

MILTON.

”For, wheresoe'er I turn my ravished eyes, Gay gilded scenes and s.h.i.+ning prospects rise; Poetic fields encompa.s.s me around, And still I seem to tread on cla.s.sic ground.”

ADDISON.

The opera, or music drama, in which, in lieu of the ordinary forms of speech, music and song are used to give elevated expression to thought, is the most extensive, and, to nearly all lovers of melody, the most charming, of musical compositions. In its construction several of the other forms of music are most pleasingly united.

In the opera, with the language of poetry, music is a.s.sociated, giving increased ornamentation; and it is used also to bridge over, so to speak, the places where mere language, either common or poetical, could never pa.s.s. That is to say, there are some phases of feeling of such fineness and depth, that only the soulful tones of music can call them into exercise, or give them expression.

The requirements for operatic construction are of course very great,--so great, that none may hope to succeed in the same save those endowed, if not with genius, at least with very superior talents. They must possess both marked originality, and power for continuity of thought; in fact, must form in their capabilities a very ”Ariel,” a fountain-head of music, from which must constantly flow melody after melody, harmony after harmony, ever new, ever pleasing, the whole presenting an artistically-woven story of the vicissitudes of human life. In the composition of an opera, two persons are usually a.s.sociated; the one creating the words of the drama (the song), and the other composing its music.

In this field of musical creation, men of great genius find a more varied, a wider scope for the employment of their powers; and but a few of the world's most eminent composers of music have failed to avail themselves of its opportunities for grand achievements, success in it being generally considered as necessary for a rounding-out of their inventive harmonic capacities; while, for the establishment of their t.i.tles to greatness, they have sought to make some grand opera the _chef-d'oeuvre_ of their life-work.

I would not imply, however, that all the great composers of opera worked simply for fame. To a.s.sert that they did, would, no doubt, be unjust, as it would be denying that they possessed the ”sacred fire of genius,” and that deep and pure affection for art, which, judging from the n.o.ble beauty, the grandeur, of their works, they must have possessed. It does not seem allowable, for instance, to believe that Beethoven created the charming and exalted beauties found in the opera of ”Fidelio” while inspired by no higher feelings than those which fill the breast of him who labors mainly for renown. No: we think of Beethoven, and of others like him, as those, who, while they were favored with extraordinary native powers, were also imbued with a pure love for music,--a love of such strength, that it formed a part of their very natures. To such minds and hearts elevated artistic work was as natural as life itself; in truth, we might almost say, was necessary to life.

But, if great powers are required by the composer of an opera, so also is it necessary that those who are to make known its meanings fully--especially those who are to interpret its leading parts--should possess, as singers and actors, more, to say the least, than ordinary abilities; and those who, in their capability for complete, soulful sympathy with the author's aims, who form, in fine, the very embodiment of the latter's ideals, certainly deserve to stand next to him in greatness.

Generally the brightest vocal stars have shed their effulgence upon the operatic stage: here these singers have found the widest range for their extensive powers of voice and dramatic action. The part of a performer in opera (and here I refer not alone to one who acts the leading _role_) is a most exacting one; for the artist must unite in himself the qualities of both the singer and the actor. While called upon to demonstrate with proper melody of voice and expression the meaning of the music of the opera, he is also required to portray by suitable dramatic movements its corresponding meaning as found in the libretto. These remarks apply more particularly to those who const.i.tute the _dramatis personae_ in operatic presentation. Of course we do not forget the very important aid afforded by those who are included in the pleasing chorus, nor those who by instrumental accompaniment add to the charm of--in fact, give indispensable support to--the whole performance.

It would perhaps be superfluous to here dwell, at least more than incidentally, upon the deep pleasure enjoyed by the lovers of music and of dramatic art when witnessing the performance of a good opera.

At such a time their truly musical souls enjoy a delicious, a sumptuous feast of melody; while the kaleidoscopic prospect, formed by richly-costumed actors, and appropriate, beautiful scenery, fills them with delight. The harsh realities of every-day life are so much relieved by the poetic charms of the ideal, that they live amidst a scene of fairy-like enchantment. Nor does all that belongs to the bewitching occasion end with the regretted close of the performance; for

”Music, when soft voices die, Vibrates in the memory;”

And for days and days, nay, often throughout life, do the best melodies, the ”gems of the opera,” delightfully ”haunt the memory,”

and awaken in the heart the most pleasing emotions. In all this, no more than a just tribute is paid to the n.o.ble genius of the composer, and the fascinating power of his faithful coadjutor, the lyric actor.

These few thoughts, which, it may be, present nothing new to the student of the various forms of musical expression, fall very short of doing justice to a subject of most delightful interest, and one which, for its proper treatment, requires far more of elaboration than can here be given. They are among such as come to me while reflecting upon an achievement, that, although not in a general way extraordinary, was nevertheless, in some important respects, exceedingly remarkable and noteworthy. I refer to a series of performances given at Was.h.i.+ngton and Philadelphia in the month of February, 1873, by an organization called ”_The Colored American Opera Company_.”

This troupe, formed in Was.h.i.+ngton, was composed of some of the most talented amateur musical people residing in that city. The following-named ladies and gentlemen were the princ.i.p.al members and performers:--

MR. JOHN ESPUTA _Musical Director._ MRS. AGNES GRAY SMALLWOOD _Soprano._ MISS LENA MILLER _Contralto._ MISS MARY A.C. COAKLEY _Contralto._ MR. HENRY F. GRANT _Tenor._ MR. RICHARD TOMPKINS _Tenor._ MR. WILLIAM T. BENJAMIN _Baritone._ MR. GEORGE JACKSON _Baritone._ MR. THOMAS H. WILLIAMS _Ba.s.so profundo._

Mr. Henry Donohoe acted as business manager.

Around these, the central figures, were grouped a large, well-balanced chorus, and a fine orchestra; nor was appropriate _mise en scene_, nor were any of the various accessories of a well-equipped opera, wanting in the presentation.

The opera chosen for these performances was Julius Eichberg's excellent ”Doctor of Alcantara.”

The first performances were given in Lincoln Hall, Was.h.i.+ngton, on the evenings of Feb. 3 and 4, 1873; the next at Philadelphia, in Agricultural Hall, Feb. 21, 22, and 23. Returning to Was.h.i.+ngton, the two last performances of the series were given in Ford's Theatre.

Of the highly meritorious character of these presentations of opera there exists abundant evidence, emanating from disinterested, trustworthy sources, from which I quote the following.

From ”The Daily Was.h.i.+ngton Chronicle,” Feb. 4, 1873:--