The librettist’s lot

SIR – You report (May 15) that Oscar Hammerstein was “furious” that the composer Richard Rodgers received more credit for their work together.

In opera, it is universally accepted that the composer gets the praise, not the librettist. Musicals are not so different. The tunes from Oklahoma, Carousel, South Pacific and others are enjoyable if played by an orchestra without anyone singing the words – but few people, if any, would be interested in hearing just the words spoken, without the tune.

Melvyn Owen

St Ives, Huntingdonshire