FAUST REINCARNATED

Among the dogmas of the intelligentsia, from earliest times onward, has stood the belief that opera was not to be done in English; and this belief has very naturally been the parent of a widespread conviction, that opera, in America, is an entertainment only for the elite. Mr. George Eastman, always enthusiastic for community improvement, defied both of these doctrines in his theater at Rochester; skepticism has given way to applause, and the American Opera Company, surviving the early lances of critics, will visit Boston with a reputation already made.

Before the time of Wagner, the use of foreign languages in grand opera had a raison d'etre in the musical quality of French and Italian; but no one would insist that the gutteral muttering of Teutonic heroes are more melodious than a reasonably good English version. There is really no reason for thinking it plebeian to enjoy understanding the words of an opera; the granting of this privilege is a type of one hundred percentism that has value.

The new company is turning its back on tradition in more than one way. Instead of a galaxy of expensive and temperamental foreign stars, a group of American singers, with none gifted particularly beyond the others, shifts from chorus to leading role and back as the repertory is presented. Instead of striving to sing to the vast tiers of seats in an opera house, this company modestly plays in theaters of ordinary size. Incidentally, one might note that a tax is charged on tickets to the company's performances, while opera usually goes taxfree. This may be a subtle admission that the audience will really derive some pleasure from opera in English.