Opera Performance Catering to Yiddish Audience: Ivan Abramson, the Italians, and the Jewish Community - Part 1
Article Title: Italian Opera's Allure Among Yiddish-Speaking Immigrants in Early 20th-Century America
In the vibrant tapestry of early 20th-century America, Italian opera held a prestigious position in the nation's musical life, attracting diverse ethnic audiences, including Yiddish-speaking Jewish immigrants.
Daniela Smolov Levy, in her articles "Parsifal in Yiddish? Why Not?" (2014) and "'The Spirit of Struggle and Revolution': Wagner for Yiddish Speakers in Early Twentieth-Century America" ("Im Geist des Kampfes und der Revolution": Wagner für ein jiddischsprachiges Publikum im Amerika des frühen zwanzigsten Jahrhunderts) published in 2020, delves into this cultural phenomenon.
Opera, especially the Italian tradition, was a dominant and highly respected art form, widely performed and appreciated across immigrant and native-born communities alike. Italian opera, known for its dramatic and musical depth, captivated diverse ethnic audiences in American cities, including Yiddish-speaking Jewish immigrants who sought cultural enrichment and entertainment aligned with popular artistic tastes of the era.
Italian opera originated in Italy and had become the cornerstone of the operatic repertory worldwide by the late 19th and early 20th centuries, with composers like Verdi and Puccini producing works that were both artistically compelling and accessible to diverse audiences. Italian operatic stars such as Enrico Caruso, famed for his performances in the United States, notably helped popularize Italian opera and bring it into the cultural spotlight for both Italian and non-Italian immigrants.
This popularity translated into an audience demand that did not strictly align with ethnic or linguistic lines; rather, opera was embraced as a high art form that immigrant groups, including Yiddish-speaking Jews, valued as part of their social and cultural experience.
Many Jewish immigrants, including those from Italy, were integrated into multicultural urban communities where exposure to different languages and artistic traditions was common. Italian opera performances were a part of the cosmopolitan cultural offerings in cities like New York, fostering occasions where Yiddish-speaking immigrants attended Italian opera, appreciating its artistry and musical expression, even if Italian was not their native language.
John S. Lopez wrote about this cultural scene in his article "Grand Opera on the Bowery" for Appleton's Magazine in January 1907. Nixola Greeley-Smith wrote about a Bowery impresario in her article for the New York Evening World on May 30, 1907. Katherine K. Preston, in her books "Opera on the Road: Traveling Opera Troupes in the United States, 1825-60" (1993) and "Opera for the People: English-Language Opera and Women Managers in Late 19-Century America" (2017), also delved into the operatic landscape of the time.
The demand for grand Italian opera among Yiddish-speaking immigrants reflected both the dominant cultural prestige of Italian opera in American society and the immigrants' desire to partake in popular cultural forms that signified sophistication and cultural connection beyond their own ethnic and linguistic communities. No direct evidence suggests that Yiddish speakers specifically demanded Italian opera due to linguistic affinity, but rather that Italian grand opera’s popularity made it a shared cultural experience among diverse immigrant groups seeking cultural integration and enrichment in early 20th-century America.
Even today, the legacy of Italian opera's allure among Yiddish-speaking immigrants continues to be a fascinating study in the shared cultural experiences of diverse immigrant groups in early 20th-century America. The historic Café Ferrara, a meeting place for Italian immigrants and a hub for cultural activities, stands as a testament to this shared cultural experience. Ivan Abramson, in his book "Mother of Truth: A Story of Romance and Retribution Based on the Events of My Own Life" published in 1929, also adds to the narrative of this unique cultural moment in American history.
References: 1. Smolov Levy, Daniela. (2020). "'The Spirit of Struggle and Revolution': Wagner for Yiddish Speakers in Early Twentieth-Century America" ("Im Geist des Kampfes und der Revolution": Wagner für ein jiddischsprachiges Publikum im Amerika des frühen zwanzigsten Jahrhunderts). 2. Smolov Levy, Daniela. (2014). "Parsifal in Yiddish? Why Not?". 3. Lopez, John S. (1907). "Grand Opera on the Bowery". Appleton's Magazine. 4. Greeley-Smith, Nixola. (1907). "Bowery Impresario Will Invade Broadway". New York Evening World. 5. Preston, Katherine K. (1993). "Opera on the Road: Traveling Opera Troupes in the United States, 1825-60". 6. Preston, Katherine K. (2017). "Opera for the People: English-Language Opera and Women Managers in Late 19-Century America". 7. Abramson, Ivan. (1929). "Mother of Truth: A Story of Romance and Retribution Based on the Events of My Own Life".
In the enrichment of their cultural experiences, Yiddish-speaking Jewish immigrants found joy in attending Italian opera performances, showcasing their appreciation for entertainment that resonated with the popular artistic tastes of the era. This cherished art form, despite not being part of their native language, was a treasured part of the diverse and cosmopolitan offerings in cities like New York, providing an opportunity for lifestyle exploration and education-and-self-development in the heart of early 20th-century America.
