A Strenuous Operatic Season in New York
cult still, to make the claim of the enor¬ power than any opera or combination of invite«* to the competition then in progresa mous losses suffered the managers due singers, thut the management decided that among American authors and composers The Performances Were Given at Three by lan¬ Metropolitan Company Brought to increase in the cost of it could throw artistic integrity and prom¬ for an original opera in the English giving opera been agree with certain well-known facts. Least ises to the winds, even in the department guage, for which a prize of $10,000 had a in Houses, at Cost of Two of all does it seem wise or righteous to on which it had laid considerable stress In offered by the Metropolitan company Forward Many Novelties and charge this increase to the rapacity of the prospectus. The ballet programme December, 1908. The story of that compe¬ to relate Million Dollars singers, Mr. Grau made money enough in went largely by the board. "Vienna tition and the award I purpose Revived Gluck's "Orfeo" where it can bo the last three or four years of his admin- Waltzes," which had figured in the pre¬ in a subsequent chapter, other ii"-<- istration to retire with a fortune, though liminary announcement, was performed but brought into perspective with vernacular Jean do Reszke at the last cost him as once, and then only because the German dents in the campaign for is as old in New By H. E. KREHBIEL much as Caruso has ever cost the Metro¬ Press Club, which had bargained for it for opera, a campaign that "Orfeo" is the oldest opera in the current panionship with Mascagni's. On itself.a fact to which man¬ (>"eember politan management, and Grau paid artists its annual benefit, insisted upon having it. York as opera list.the oldest opera and yet one bearing II, 1893, it was given as a curtain raiser Copyright, 19IS. by II. E. Krehbicl and keep their like Sembricb, Fames, Calvé, Plançon and "Dio Puppenfoe," "Sylvia," "Les Sylphides" agers composers obstinately a much needed lesson, which it is greatly for "Pagliacei." Neither stag'- on the were not shut. manage Edouard de Reszke besides. Mr. Conried's and "Chopin," though list, eyes to be feared is not yet appreciated at its nor ballet master disclosed a g!;mmer of CHAPTER X short divertissements after first seasons were also notoriously profita¬ given, long The season had been in progress for a full value because of tne perverted ta3te of intelligence touching the opera. Now the' their novel¬ so 11I.W1-; told the story in all all the ble. Of course the doubling of the chorus operas taking place. Operatic fortnight when the first quasi-novelty was the operatic public for music highly underworld was a sort of mod already «rally year round. There is, more¬ and orchestra added to the cost of ties promised but not were Leo and tone wi±h greatly performed brought forward at the New Theatre, which spiced with dissonance mongrel glen, abounding grinning skul ., lighted save its artistic phases of the contest over, gi'eatcr variety in the character of Bledi's Götzl's "Les Pré¬ the the establishment, but it was this doubling "Versiegelt," gave a rich and beautiful setting to the au¬ that the original mission of the art has- up from within like the illuminated between the Com¬ representations. Counting operas and on pump¬ Metropolitan Opera which made it. possible to give opera in cieuses ridicules," Goldmark's "Cricket the but was found to be been and its dissipated, kin of the Headless Horseman. The I ballets, there was a greater number of per¬ dience and piece, forgotten, potency pany and Mr. Hammerstein, which other which were a source of profit, the Hearth," Humperdinck's "Königs¬ was of a taste for Fields were in formances at the two official lyric theatres places defective acoustically, a fault which because of the prevalence cloudland; the blessed ended with the retirement at the end of the not of loss, to the institution. There was a kinder," Laparra's "Habanera," Lehar's next season. The lust and the shambles. There shades were a mixed of of Paris in 1908, the last year whose offi- partially remedied in the pruriency, company season 1909-'10 of the latter from the oper¬ report that the Metropolitan Opera Com¬ "Zigeunerliebe" ("Amour des Tziganes"), Zimmer¬ was all this in this school Amazons from cial ligures are available, than in the New work was Lortzing's "Czar und nothing of revival, angels, Niblo's and atic field. For a reason which must have pany lost $135,000 on the venture in the Leroux's "Chemincau," Maillart's "Les was in the but much loveliness of scenic and short, skirted, bespangled York season of 1909-'10; but here is a mann," which performed original spectacle d.mcers, all of been obvious, 1 the sig¬ New but a deficit of an of Dragons des Villars," Offenbach's "Contes whose emotions were in their completed chapter nificant fact: the combined of the Theatre, average German. Here was a case in which a for¬ much beautiful music grateful to the ear, toes. Thovitrh with an account of Mr. Hammerstein's receipts $3,400 a is scarcely d'Hoffmann," Rossini's "Signor .Bruschino," Mme. Scalchi the music of Grand Opéra and Opéra for the nearly performance eign work might have mnde a deeper im¬ warming to the emctions and powerfully sang Orpheus discomfiture when he to return Comique conceivable. In the season was Suppé's "Schone Galathea" and Wolf-Fer¬ there was but one attempted whole year did not equal those of the Met¬ Brooklyn pression on an American audience than it appealing to the imagination. It is no performance, and that to operatic management later. I have also to both the com¬ rari's "Le Donne curióse." The operas was ropolitan House the five profitable Metropolitan did had it been given it» English; but to do extravagance of speech to say that for the quite enough, as every one agree«! given some critical attention to the Opera during and stockholders of the which had a first in New York, artistic months in New The pany tho Academy production that it would have had to be provided with first time the present generation of opera- Once more Gluck's opera suffered the activities of the dur¬ York. Grand Opéra, of who in in either at the Metropolitan Opera House or Metropolitan company to be took in in the Music, played partnership; a better translation than is usually be¬ goers in New York were privileged to en- dation of being drafted to kill lime before the first of its and explicit, $626,000 and Baltimore there were the New were Franchetti's "Ger¬ ing year reorganization twelve Philadelphia Theatre, stowed upon foreign operas, and the spirit joy a performance of the. opera which was the introduction of a novelty this t mo to months of 1908; the Opéra Comique the by no means inglorious achieve¬ guarantees which saved the company from mania," Tschaikowsky's "Pique Dame," Mr. more Massenet's on $408,800. making a total of If of the comedy and n.usic been faith¬ worthy of the poet, the composer, the in¬ "Navarraise," December 11, ments of Mr. Hammerstein the last $1,124,800. loss and a In New Converse's of Desire," Druneau's during the receipts of the probably yielded profir*. "Pipe fully preserved than it was by some of the stitution at which it was presented and 1895. Mme. Brema appeared i: two years of the Manhattan House. Metropolitan Opera York it was said at the outset of the season "L'Attaque du Moulin" and Paër's "Il Opera House from November, to performers. Lortzing's Singspiel is a also of the beautiful old legend.in short, rôle, and Mme. Calvé introduced the run- To keep the account of the disastrous 1909, April, 1910, that the subscription had been the largest Maestro di Capella," the last in an abbrevi¬ did not reach this sum little reliance can classic.bewitchingly Mozartian in its music an adequate performance. Old operagoers powder opera which had been writt ivalry intact I was obliged to depart from ever known in the history of the house. ated form. To these works I shall recur her be placed on the statements which were and altogether delightful in its comedy. Its in New York whose memories go back sixty by MM. Cain and Massenet. "Navar- a It would seem to be presently. In familiar operas the strictly chronological procedure in the made from time to time the obvious, therefore, public subject---the familiar episode in the life of years might be ublo to recall not only all raise" lived through five performances, but historical narrative and shall con¬ during period that increase of cost was in the admin¬ was permitted to see new impersonations of be its officials. the Peter the Great which tells of how he the representations which "Orfeo" has had "Orfeo" died on the first night- di strained to do so again in the review of the by istration and the artists ought to be held Lisa, Floria Tosca and Santuzza by Mme. This is a larg-c amount of njjncy to draw learned to appreciate the feelings of "plain in New York but also the very first per¬ slept the sleep of death until its lovely artistic doings of the Metropolitan estab¬ guiltless. But I feel little inclined to con¬ Frcmstad. and of Floria Tosca by Miss from the people of one city for people," as Lincoln called them, by working formance of an opera by Gluck in America, resurrection under circumstances which lishment within the period the a'single cern with financial matters any Farrar. Notable achievements from an ar¬ covering institution of that term myself in a Dutch shipyard as a common carpenter for "Orfeo" was tho only one of the com¬ won the thanks of every sincere 'r, ncidents which L have narrated, which is amusement-using more than I must in to pet down the tistic point of view were representations in its most dignified sense.but to it must trying has appealed to many composers, but has poser's works up to then that had been dramatic music for the mam:: the business of the present chapter. I of this year. of "Tristan und Isolde" and "Die Meister¬ be added the sum taken in Mr. Ham- history extraordinary operatic never been treated so successfully by any- seen in the theatre on this side of the Signor Toscanini. shall do this in order to avoid so far as is by Finance and I are to each other. singer," under Cue direction of Signor Tos- merstein's Manhattan Opera House during strangers lyric dramatist as by Lortzing. It had been Atlantic. Time and again, especially in the possible monotony and dryness in the re¬ com¬ canini, and "Pique Dame," under that of a similar period of weeks, and to The season of the Metropolitan brought forward at long intervals in New old days of German opera at the Metro¬ First Scene an cital, but more particularly to lift into dc- twenty lierr Mahler, who had been engaged for make the comparison complete also the pany which has called forth this long, York in its original form as well as in Eng¬ politan Opera House, there was talk of I^he served prominence a few which loom a limited number of performances only and Artistic things contributed but I hope not: purposeless, excursion be- lish but never which "Armide" or one of the Triumph money by the public for a pre¬ who the over dress, quite adequately, producing "Iphige- larger in retrospect than they did in con- on and on after season was devoted him¬ The opera has been vital in the liminary season of two months of opera gan November 15, 1909, ended was one reason why it appealed to the New nias," but talk was all that came of it. Ex- temporaneous contemplation. Some of self wholly to the direction of the con¬ ever was to which Mr. Hammerstein the April 2, 1910, and comprised twenty weeks. Theatre audience as a pew and. beautiful cerpts from "Alceste" had been sung at tory since. There much in the these things have relation to efforts made applied certs of the Philharmonic Society. to call out and some weeks of But these twenty weeks *ßf the local sub¬ thing. It received four performances in the the music festivals in Cincinnati, but "Or- representation laudatory com¬ habilitate English opeia in its two epithet "educational," The roster of singers was a formidable ment. The a vain effort to reestablish the Italian form scription period, with its live performances season. feo" had the scenic outfit was beautiful and of of one for a reason in the provided only opportunities aspects performances foreign works in old home at a week, did not by any means sum up the explained which Americans had had to learn of the appropriate. If scarcely needed the affect¬ :i its the Academy of Music. the language of the country and of the prospectus. The inclusion in the com¬ music of the first scene to attune sus¬ Both seasons failed, but the mere fact that activities of the company; there were also First Real dramatic quality of the artist who cleared ing production of the works of American com¬ pany's plan of performances in Brooklyn, Novelty, to were undertaken with the sea¬ a subscription series of twenty représenta¬ the path down which walked to ceptible persons the melting mood; the Others were they regular Baltimore and as well The Wagner posers. factors in a Philadelphia. Boston, With Alma Gluck seized lofty, sons m that tions in the Borough of Brooklyn, a sub¬ The first of "Orfeo" in picture upon tiie imagination and ven an sight proved the managers as at the New "so glory. performance idealistic, striving to establish an scription season of two a Theatre, widened the emotions at once. This like thai wore obsessed with the idea that New York representations of the The New Theatre was also first in the New York was in English and took place at picture, anee between the .Metropolitan Opera week for at the New scope operations of the Metropoli¬ of the third scene the an -, as harboring such a passion for the lyric twenty weeks Theatre, field with the first real novelty of the year, the Winter Garden on May 25, 18G3. Mile. representing Elys House and the New Theatre like that tan Opera Company as to require an ex¬ was an Both «liaina as to be to into the ex- in Central Park West, and many special albeit a rather one. This was an Felicita Vestvali was the of -"Fields, artistic triumph. '-ad in Paris willing put number of artists." As com¬ trifling representative iting between the Académie of performances and subscription seasons in traordinary the models in the beautiful revival ". chequers the managers nearly twice as with the season of abbreviation, done into Italian, of Fernando mythical bard and Carl Anschiitz was Royale, popularly called the Grand Opéra, Baltimore and pared 1898-'99, when Mr. Gluck's opera had had a few much money as had ever been asked of any Philadelphia. Boston which Paër's little masterpiece, entitled "Le Maître the conductor. years before und the Opera Comique. So far ¡is they do not local because Grau first attempted to give* opera in the in Paris. Puvis de Chavannes city in the world, regardless of its size, and belong to history de Chapelle" (in Italian "11 Maestro di For the might have within the period covered by these of their connection with the story of the original version of three languages, said the details of that performance the painted the models. The serenity of both support over 100 concerts of magnitude the had been Capeila"). The piece was written for the reader must be referred to other memoirs, of these efforts proved abor¬ rivalry of the opera companies and the in¬ prospectus, personnel in¬ sources; loveliness rested upon the glade in which and fust class importance, and some sixty creased from Théâtre Feydeau a century ago. Paër was are tive; but both remain us ideals toward on 36 soloists to nearly 100, the they outside my ken. My knowledge, was laid to theatres, little and besides. fluence which they had the home per¬ an Italian, but his work was done Eurydice rest and upon the a wider vision big, orchestra from fJ5 to more than 150, the principal however, goes back to a revival which, while which, happily, opened by Since the House formances. The first representation of the outside of his native land.in where mead over which the blessed shades wan¬ the universal and cultural Metropolitan Opera chorus from 7.") to 180. The company now Vienna, it cannot be recalled without a smile at physical struggle its doors to company took place in Brooklyn on No¬ he dered through an atmosphere 'mir.! :ned opened the public in 1883 the to brought forth his "Camilla," in which some of its remem¬ will eventually be directed. To opera in vember before season at possessed facilities give two perform¬ features, may yet be made the of cost of opera there has more than 8, and the opened Rossini a child's when he was redolent, by song the mythical vi macular I a giving ances a and also had a played part bered with the feel that special chapter the Metropolitan Opera House performances day, working agree¬ gratitude. On January S, 1886, minstrel. Strong in contrast, hut i it quadrupled, the larger part of the increase ment with the Boston foi only seven years old; in Dresden, where he the American the is «in«-, though will be necessary to refer had been given in and Opera Company Opera Company produced appealing to the were having grown up since Mr. Grau laid down already Philadelphia an of produced "Leonora, ossia l'Amore con¬ fancy, to tlii- outcroppings of the movement as Baltimore, which cities heard interchange singers. opera in English at the Academy of Music, the entrance and exit of Hades. More the reins of management. In 1909 the di¬ eventually In the old and jugale," the book of which a year later liter chronologically into the histor.- twenty each. The Boston performances approved list were found and between that date and the end of might have been expected of the rectors of the lessee company cheerfully the names of Frances Beethoven antl his collaborators turned into March it 11 nan ai ive. were eleven in number, live in and Alda, Emmy Destinn. performed ten times in New York action than was \v. announced a willingness to face a loss of .January "Fidelio"; in Paris, where, as graphic offered, six in the last week of March. After this Géraldine Farrar, Olive Fremstad, Johanna Napoleon's and three times in Brooklyn. Mme. Helene the at least $300,000, whereas it was an conductor of the Italian fact that so much attention Situation Artificially open labor there' remained before the Gadski, Louise Homer, Lillian Nórdica, Ales- chapel-master, Hastreiter was the Orpheus of this per¬ been secret that, the closing year;, of the ad¬ company sandro Opera, and Rossini's associate, he did noth¬ ccntly given to the so-called revival \ a tour a visit Bonci, Enrico Caruso, Riccardi formance, Miss Emma Juch the Eurydice Stimulated Western and to of classic but it was a ministration of Maurice Grau and the open¬ Atlanta, Ga., Martin. Albert ing comparable with the sparkling opéra dancing; which had become' the home of an annual Reiss, Pasqualc Amato, Ottc and Theodore Thomas conducted. The ment to see mains something t«i be said about ing years of Mr. Conried's had in a something else than the con¬ yielded Goritz, Antonio Scotti, Adamo Didur, Robert comique which, transmogrified form, opera was tastefully staged, and a fine in- ternal fiat ures ol the season in revenues which enabled those to opera festival. the in the New ventional pirouetting of former tin gentlemen Blass, Allen Hinckley and Herbert Wither- people Theatre heard on this marked all the scenes and the i all ;.¦ In we« n the Met retire from their telligence Toscanini's treatment of the mui ropolitan professional labors with spoon. To these were occasion. A puissant personality in his day, at added a large num¬ tableaus up to the final ballet, the culmi¬ reverential more Mai hat! an Opi a houses came o an fortunes in their pockets. 'Hie largest Opera the ber the present would than reverent in!. -^ of newcomers, many of them Ameri¬ generation probably nating feature of which was a Bacchic pro¬ his .¦nd. .tion which it presented was dividend which the stockholders of an C^omicNew Theatre never have heard of him if Pini- loving.and spirit had its cans, engaged, no doubt, with an eye tt Signor cession seemingly conjured up by Orpheus in ¦ti«' thai .' artificially stimulated, though opera company ever received, in all the basso-buffo of the that of Mme. Homer. Hers, was proba¬ The season began with a proclamation of the requirements of the New Theatre, lik« Corsi, Metropolitan for the diversion of the denizens of Elysi¬ ioot have bility, was paid in the last year of the had not revived an impersonation.lovely to the eye, harmonious cooperation between the man¬ most of tiie new operas. Every prospectus company, abbreviated um. This incongruity was forgotten, how¬ d and ha\ «¦ h ad i" iodi« al erupt hum Grau when operas were pose, movement, gesture, ami régime, thirty-two aging director, Mr. Gatti-Casazza, and the before and since has contained namci Italian version of it in order to display his ever, in the absurdities which marked the world') capitals as long as opera if- brought forward m the subscription sea- in voice and song. She had ai administrative director. Mr. and which loom much in that amiable musical buffooneries. . of the at the .i Dippel, larger documen productions opera Metropoli¬ in 1 exi ted. N'cw Vori offei histori Bon. In tin- season which we have in mind than companion Miss Gluck, w ended with the departure of the latter for they loomed in the house bills subse The little comedy (what was left of it) tan Opera House previous to the, one under ,.1 pi ,i v ill as London and whose losses were than quest' asilo" with exq probably greater a new field of operations which had been quently, and my readers can well be was as musically sparkling as champagne, discussion. The first of them took l'ai bu< neithi n n cities evei the large sum which the directors faced spare« place the first act Madame ang an it open« il for him by tho organization of the sin enumeration of all the strangers wh« but with as a sound and sweet a body as on December 30, 1891, when "Orfeo'' was rallel, is a long time with equanimity a year before nine more of "Divinities du Styx," from G ick's "Al Chicago-Philadelphia Opera Company. He figured in this season's list, contentin; the best vintage of Johannisberg. The play given in Italian as a companion piece to nc I ,; «main- novelties, or quasi novelties, were ccste," following at Signor To brought remained in Chicago foi a year, after which themselves with Anna Case, Alma Gluck is all about a music master of the old type "Cavalleria rusticana." Here was contrast h ionablc operatii forward, including the French works at gestion a plan adopted at the r« hi- embarked upon the sea of theatrical Alice Nielsen, Jane Mariski who has written a lyric piece en the sub¬ with a But that was not all. I ondon hu (lie New Theatre: but then- was what Osborn-Hannah, vengeance! the work at the Theatre de la Mo- speculation as manager of an com¬ Aldrich, Marie Jeanne of and was «. operetta Dclna, Maubourg ject Antony Cleopatra and teaches "Orfeo's" stage furniture the most -.- eall h. an he rod should have been an extra source of in¬ Brussels, in 1^'.«.'!. It required onlj til pany. The performances at the .New Thea¬ Edouard Clement (who, like Mme. Dclna his cook how to sing it, telling the audi¬ absurd jumble of ancient pagan and mediae¬ opera 1 belonged come namely, tin- New Theatre itself. I¡ change of a word to mak.» the tre were given on alternate Tuesday and had been an ornament of the Paris ence meanwhile of the musical devices, val Christian notions ever a sort ol ment, and therefore, not i" he wondered at thai stage) conceived. The appear apposite to the for th Friday evenings and Wednesday and Thurs¬ Hermann Jadlowkcr, Leo Din. vocal and which he has em¬ underworld of the was situation, m York or Ni v t>( Slozak, instrumental, Greeks represented situations in the two York knowledge ami experience have and were in of and operas are very mue day afternoons, pursuance Gilly Clarence Whitehill. The con ployed in its score. Pini-Corsi played the by the hell of "Asrael.' which had come alike. continued to look hack with regret as wel a and high beautiful purpose which had ductors were Arturo Toscanini, Alfrc composer and Miss Alma Gluck the cook, over to Ms» Abbey from the German ré¬ admiration to the time when greai of But there are objections of co actuated the founders the institution, Hertz and Gustave Mahler, the assistan and it was difficult to say whether the vet¬ At tile of Music we S'ever- new in îhi' were gime. Academy had cogency to be au;:'::s- .' repcrtpry, brough' .:.. in provide a home foi- a high type of conductors Vittorio eran buffo or the fresh, urged .. Podcsti, novice de¬ seen Tantalus and the . -i rub-, .1 ¦-. n h ntum Egisto Tang young Ixion, other fabled For one de« and beaul y a' i h« comic as well as the best of ami Max tiling. Orpheus had al; :. .-. i opera type Bendix. served the greater admiration. It was prac¬ heroes of Hades suspending their labors mal season Metropolitan Opern House, and old work! The ment before given utterance : spoken drama. operas given were tically Miss Gluck's début in opera, and while the song of Orpheus enriched the corrí ponding ¡,i rformed with a vocal splendor novel in character than those which made rFMie Novelties tion to tiu- deities of the lighter Debussy Which while the buffo kept the sides of all who atmosphere of their house; but now -i nef. the list of the A prison dramatic recitative and ai up parent house, embracing Didn't Materialize understood him with we saw the n he ere were off« aching laughter by his only flames of the hell of tention to many explanations specimens of as well as tier- An announcement which and conquer them sight o im York card v en opéra bouffe became a sterec song action, Miss Gluck delighted medi.val theologians, the ascending smoke both an artistic and a financial credi man and some of his grii f and teai s. K) Singspiel, them received typed formula in the both sight and hearing her of torment and scores of red chai into a debil ; lint there ha Metropolitan prospec by piquant capering her invocation ... ti > ged representations a!, o at the Metropolitan. tus and has not been to her voice and ters, ii a found have an play, lovely her thrice ad¬ devils. The Elysian fields were the magic never been doubl m the minds of % The season tit the beautiful value whom she is about t I' playhouse of- or significance so far as the publi mirable singing. But if "Le Maître de gardens of Merlin (borrowed from Gold- I. in an enced observe) hi-' that loo ma! fercd much was sacrifice for a .; that valuable and inter¬ is concerned told that the Chapelle" was to be presented in transla¬ mark's of that with their i v.. ekly" in knowledge und appreciation of artisti< company-ha opera name), was a drama! c esting, and had the experiment been un¬ bought the "sole and tion, did we not have it i- eason of the needs, ion little of artistii exclusive producin why in English? tropical forest vegetation of the carbo¬ been considere,i. understanding dertaken in any other than the conditions rights for America of three What a lesson for the also an 0 it their am) too an operas by D< composers of operetta niferous era, a sea in the background and -¡I, mean appreciation o pre« al I he t v. hich jection i> -rt inc ihentn thohi ailing imc, compelled hussy, viz., 'La Chute de la Maison Ushei in the vernacular! As for the music, Ros¬ cherubim and to ol ch ap of the i.'I icioua pub! ic, com competition nol only with the 'Le Diable golden-winged seraphim view. The orchest."Orf Metropolitan, dans le Beffroi' and 'Le sini himself would have been proud of with and her asso¬ bined wilh Ioo « ¡Hing a deference to tie also with the Légenri it, keep company Eurydice tremely continent oui but Manhattan Opera House, de Tristan.'" The composer is an which, I make no excited igl whimi of ii 'cm ami dead doubt, his envy. ciates of terpsichorean proclivities, who ex¬ fashionables amateurs it might have proved a success and done we have not pressive trombones being used ... yet heard of The fragment was consorted in the i>" i'M..- ,i i. of the of uoim anything thes per¬ pressed the whole gamut of their emotions and regard rights much toward u stabilization of the art- scores beyond this formance with only to empha ffe« seemingly idle ai Mascagni's "Oavalleria rus¬ on their toes. The " tockholdei o the operat con form m by standing sisters the "No! ins. the American metropolis; a< it nouncement. Another ticana" and a which the Furi« hurl at Oi , statement set of ered a i on the deserve dances in character by Giulia and Sophia Ravogli, who in some in¬ omplacency pai turned oui to be a disastrous failure quotation: "As the Rita Sacchctto. wiien first he appeals '.". from the of the owners of tin- heretofore, operas wi explicable way had won praise for their " pi opera house, t" from a popular and financial point of view. he in the air from "Alcesl I sung- French, German and an There was in in London, were the notab y -, -loll lie t li ingS v, h ich nmk The causes need the Italian, nothing the performances performances inspiring pets are much in tin scarcely inquiry; they long expressed desire to produce at the cause of It Pai U a: il .¦ gran Metropolitan House to invite this revival. endured for four public pspect pel mammy of in H le 00 oil', ¡ous, opera in the ENGLISH Opera Signor Toscanini had -. und ami too LANGUAGE, wit special comment until December when representations, largely because it' was as¬ publii finally chiefly eager Toward the end i>r the season there was an all-star will 23, from "Alceste" for Mi Ho oi m. cast, sec its fu Gluck's tin- of Mi :.n positively "Orfeo ed Eurydice" was produced sociated with Mascagni's opera, which had destroy opposition unusual number of double and even filment during the season." Back mitted Mme. Peina to interpolât« to itibmil to a cotí del abl« \, pula Hummti loin, were the pi conl ribu ti of th under the direction of Signor been introduced to tho stage of the Metro¬ incipal pic bills at both houses, Cue reason being utterance were two facts: the Toscanini, place an air from Gluck's "1¦'. on from the täte In all h« ic cil ¡es low C'Usi to o much of the promise 1 with new stage settings and the politan Opera House with it. Metrópoli that the Russian dancers Pavlowa and produce Mr. Frederick S. parts in cîsse." Its sentiment is one oi tan' si Bson mu he an Converse's oper the hands of Louise' Homer In season 1893-'94 voted arti 11 Mordkin, who had been for the "The of (Orfeo), Jo¬ the of "Orfeo" returned committal expressions which serve moni the Nev f.. ilun engaged Pipe Desire," which had been mac hanna Gadski month of .Maieli, to be so (Eurydice), Bella Alton to the stage of the Metropolitan in the com¬ moment of proved popular and left, unfulfilled in the se: tragic perplexity in ,11.111. e« /" Of) praet I .-.' i mod ii fficull a' the t it :.- ihfl: preceding CAmore) and Alma Gluck (Un another une, and exerted so much greater an attractive so i, was to be Ombra pany of ferocious little drama fashioned lyric drama, but it was redeemed, and attention w» felice). ,So far as America is concerned, which since then has formed a lasting com- and made an effective end >\l SUM. INSIUÍ ( I'lON Ml SICAL INSTRl CTION y\[ S1CAL INSTRUCTION ¡MUSICAL INSTRUCTION MUSICAL INSTRUCTION MUSICAL INSTRUCTION AMUSEMENTS AMUSEMENTS -TCflOOL OF TheNewChoral ofN.Y. NEW YORK COLLEGE 2«E EXPERIENCE n nstitute of Musical Art Soc'y OF -WARD S'. H1LADELPHIA IOU1S KOEMMENICH, Cond. MUSIC ftBORk- Ali Technical Restriction Eliminated 120 Claremont Avenue, Comer of West 122nd Street New Voices Will Be Admitted ccntration Trained P Morning Musicales Developed Memory Friday Made fteudinç Rapid and Accurate ORCHESTRA Frances Alda Giovanni Martinelli MONSTRÁTIONS AND STUDIO RECITALS