Anyone who has traveled in Italy must have noticed the interest that is
manifested at the opening of the opera season. This does not apply only
to the people with means and advanced culture but also to what might be
called the general public. In addition to the upper classes, the same
class of people in America who would show the wildest enthusiasm over
your popular sport, base-ball, would be similarly eager to attend the
leading operatic performances in Italy. The opening of the opera is
accompanied by an indescribable fervor. It is "in the air." The whole
community seems to breathe opera. The children know the leading
melodies, and often discuss the features of the performances as they
hear their parents tell about them, just as the American small boy
retails his father's opinions upon the political struggles of the day or
upon the last ball game.
It should not be thought that this does not mean a sacrifice to the
masses, for opera is, in a sense, more expensive in Italy than in
America; that is, it is more expensive by comparison in most parts of
the country. It should be remembered that monetary values in Italy are
entirely different from those in America. The average Italian of
moderate means looks upon a lira as a coin far more valuable than its
equivalent of twenty cents in United States currency. His income is
likely to be limited, and he must spend it with care and wisdom. Again,
in the great operatic centers, such as Milan, Naples or Rome, the prices
are invariably adjusted to the importance of the production. In
first-class productions the prices are often very high from the Italian
standpoint. For instance, at La Scala in Milan, when an exceptionally
fine performance is given with really great singers, the prices for
orchestra chairs may run as high as thirty lira or six dollars a seat.
Even to the wealthy Italian this amount seems the same as a much larger
amount in America.
To give opera in Italy with the same spectacular effects, the same casts
composed almost exclusively of very renowned artists, the same _mise en
scene_, etc., would require a price of admission really higher than in
America. As a matter of fact, there is no place in the world where such
a great number of performances, with so many world-renowned singers, are
given as at the Metropolitan Opera House in New York. There is no
necessity for any one to make a special trip to Europe to hear excellent
performances in these days. Of course such a trip would be interesting,
as the performances given in many European centers are wonderfully fine,
and they would be interesting to hear if only from the standpoint of
comparing them with those given at the Metropolitan. However, the most
eminent singers of the world come here constantly, and the performances
are directed by the ablest men obtainable, and I am at loss to see why
America should not be extremely proud of her operatic advantages. In
addition to this the public manifests a most intelligent appreciation of
the best in music. It is very agreeable to sing in America, as one is
sure that when he does well the public will respond at once.