Grand Operetta

Deems Taylor is not only a charming and witty talker, a keyman in four radio programs, a highly successful scribbler of books and of introductions to other people's books; he is a composer to boot. Last week Americans were pricked into awareness of that half-forgotten fact when the enterprising Philadelphia Opera Company (TIME, Feb. 9) put on the world premiere of the first new Deems Taylor opera in eleven years, Ramuntcho.*

What the audience heard was an old-fashioned opera of love, misunderstanding and renunciation. Its six scenes, all laid in the Basque country, began in a murky smuggler's hideout, ended within the pale walls of a convent. The hero, a young smuggler and pelota champion (his name, Ramuntcho, is the Basque diminutive for Raymond) is separated from his Gracieuse by the army's call, then lost to her forever through the machinations of the girl's mother, who intercepts all their letters, thus driving the brokenhearted daughter into holy orders. When Ramuntcho returns and exposes the fraud, it is too late. Her heart belongs to God.

All this was spiritedly portrayed to lush music, plentifully sprinkled with 19th-Century devices--arias, duets, a quartet, a drinking song, a ballet, choruses.

After the final curtain Composer Taylor, his quizzical face wreathed in a great smile, appeared before the footlights with Conductor Sylvan Levin. His upraised hand silenced the ovation. "Excuse me just a minute," he said, then leaned over, kissed the wiry little maestro on both cheeks, in true Basque fashion. The audience decided that it had enjoyed itself thoroughly; the critics, that the great American opera was still to be written.

Boston will probably hear Ramuntcho next winter. Meanwhile Composer Taylor plans to write a fourth opera for the Philadelphia troupe's U.S. tour next season.

The highest-paid musician in the U.S. is Singer Nelson Eddy. He has pocketed $7,000 for a single concert, generally gets $3,000-$3,500. His take last year: better than $200,000. So reported Variety last week. Second-best box office, said Variety, was petite, vivacious Coloratura Lily Pons, who averages $3,000 an appearance.

* Taylor's first opera, The King's Henchman (1927), and his second, Peter Ibbetson (1931), have been the New York Metropolitan Opera's two top U.S. drawing cards.

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