While opera is habitually performed in a foreign language, or, if in
English, by those who have not the art of making their words
intelligible, there will always be a demand for books that tell the
story more clearly than is to be found in the doggerel translations of
the libretti, unless audiences return with one accord to the attitude of
the amateurs of former days, who paid not the slightest attention to the
plot of the piece, provided only that their favourite singers were
taking part. Very often in that classic period the performers themselves
knew nothing and cared less about the dramatic meaning of the works in
which they appeared, and a venerable anecdote is current concerning a
certain supper party, the guests at which had all identified themselves
with one or other of the principal parts in 'Il Trovatore'. A question
being asked as to the plot of the then popular piece, it was found that
not one of the company had the vaguest notion what it was all about.
The old lady who, during the church scene in 'Faust', asked her
grand-daughter, in a spirit of humble inquiry, what the relationship was
between the two persons on the stage, is no figment of a diseased
imagination; the thing actually happened not long ago, and one is left
to wonder what impression the preceding scenes had made upon the hearer.
Of books that profess to tell the stories of the most popular operas
there is no lack, but, as a rule, the plots are related in a 'bald and
unconvincing' style, that leaves much to be desired, and sometimes in a
confused way that necessitates a visit to the opera itself in order to
clear up the explanation.
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