It is often regretable that the reputation of the singer draws bigger
audiences in America than the work to be performed. American people go
to hear some particular singer and not to hear the work of the composer.
In other countries this is not so invariably the rule. It is a condition
that may be overcome in time in America. It often happens that
remarkably good performances are missed by the public who are only drawn
to the opera house when some great operatic celebrity sings.
The intrinsic beauties of the opera itself should have much to do with
controlling its presentation. In all cases at present the Italian opera
seems in preponderance, but this cannot be said to be a result of the
engagement of casts composed exclusively of Italian singers. In our
American opera houses many singers of many different nationalities are
engaged in singing in Italian opera. Personally, I am opposed to operas
being sung in any tongue but that in which the opera was originally
written. If I am not mistaken, the Covent Garden Opera House and the
Metropolitan Opera House are the only two opera houses in the world
where this system is followed. No one can realize what I mean until he
has heard a Wagner opera presented in French, a tongue that seems
absolutely unfitted for the music of Wagner.