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Home , Dream City, Emma Trentini, Giannina Russ, Lilli Lehmann, Manhattan Opera Company, Marcella Sembrich

News From VHSource, LLC Vol 11 November 2013 The Birth of the Company

It was during the summer of 1904 that the sauce pan Out of Nothing Comes Success! slipped quietly, but resolutely, from the back burner to the forefront when Oscar related to son Arthur his he 1906 was totally unprepared for intention to build the “largest theatre in the world.” The the . Everybody knew Victoria was on firm profit making ground. There was Twho Oscar Hammerstein was – he built theatres – a monthly income from the rental of both the Theatre he tried to do opera in English – he was a REAL character, Republic to and the Lew M. Fields good for an amazing quote almost any day – he wore a top Theatre to . For the first time in his career, hat, old fashioned formal clothes and always had a cigar in Oscar had a positive cash flow, and he was looking to his hand or mouth, lit or unlit – he and his son Willie were build once again. See Vol 9 Sept 2013 newsletter for a the kings of vaudeville. Oh yes, everyone knew who complete discussion of the second Manhattan Opera House Oscar was! No one was prepared for the Manhattan Opera and its acoustical perfection. Company. While little is actually known of Hammerstein’s The Oscar we have met over the past few months truly acoustical designs or methods, we did run across the believed in opera for the people and because this was following description in Hammerstein biographer America, opera in English. He shunned society and the Vincent Sheean’s book: wealthy – let them go to the Metropolitan and “be seen.” All of his [Oscar’s] theatres could hold Yet, with the aid of the great soprano who musical sound had some time on her hands before she and her husband beautifully, but returned to , Oscar had produced the Lehmann Oscar himself Hammerstein Opera Company (1890) – definitely not in seems never to English since Lehmann herself sang the title role in have given any . La Grand Lehman would never have sung in precise explanation English before 1900. The life of that company lasted of how he did it. exactly one week. He had also made huge headlines as he ....Arthur ... tells us that beneath the led the mad dash to produce Mascagni’s (1863-1945) hardwood floor of (1892), also not in English. He then the orchestra pit disappeared from the opera scene from 1893 to 1904 while [second Manhattan he and son Arthur built five new theatres, and he and son Opera House] there Willie made the Hammerstein’s Victoria into the crown was first put down jewel of ’s Vaudeville. Thus, for almost a a layer of broken decade, Oscar had clearly put being an opera impresario glass one and one- on a back burner, but he never turned off the heat. half feet deep, the whole length and width of the pit. Manhattan Opera House 311 West 34th Street 2 News From VHSource, LLC Vol 11 November 2013

Overhead, as a sounding board, was a hollow hung ceiling, Vincent Sheean, “in effect the same company played elliptical in shape, which followed the contour of the top of in , New York, , and Philadelphia.” the proscenium arch. The outside of this hollow ceiling was Keep that city alignment in mind as we move forward. edged with a hollow plaster beam about eighteen inches When the Met added German coloratura Ernestine square. ... beyond these interesting facts, we have no Schumann-Heink in 1898, the Met and Covent Garden explanation of the principles upon which Oscar operated. Perhaps some of his success was luck, but when we find the had a company which no other opera company in the same effects obtaining in nine or ten theatres we are obliged world could rival. to conclude that he [Oscar] had a special talent for this kind of architecture. However, by 1900, this Golden Age of the Met was beginning to fade, and Grau himself was in failing As the Metropolitan is cavernous and deep, he [Oscar] health. One of his managerial weaknesses was that he wanted the Manhattan to be soft and broad ... this shape concentrated solely on principal voices and neglected produced acoustical results of the first order. ... the the orchestra (which no longer boasted neither Walter Manhattan was suited to those delicate and subtle works that Damrosch nor the now deceased Anton Seidel as have to be seen in detail as well as heard ... such as Pelleas et Melisande. ... The Manhattan had almost exactly the same conductor), corps de ballet, seating capacity as the Metropolitan, but the audience chorus, and the settings seemed closer together and nearer the stage. ...he succeeded (scenery, costumes, props). He .. in the larger purpose of creating a theater where an opera had also run an extremely audience could really share in the experience of the stage. relaxed ship when it came to rehearsals. In short, the press As 1906 was to be a Hammerstein declaration of war, we began calling the Met need to set the stage a bit as to where in its existence the productions sloppy and tired. company was by 1906. When Grau would step down in 1903 Hammerstein nemesis General and be replaced by Heinrich Manager, Edmund Stanton, Conried (1855-1909), a stepped down in 1891 he was theatrical manager with acting replaced by a joint directorship of roots and no opera experience. Heinrich Conried Maurice Grau (1849-1907) and His losing rival for the job had Henry Eugene Abbey ([1846- been Walter Damrosch. The already alienated 1896], the original manager of the Hammerstein simply got madder. In our September Metropolitan’s debut season in newsletter we shared, 1883). Unfortunately, Abbey passed away in 1896, leaving Grau Conried was an actor with no musical knowledge Maurice Grau as the General Manager. It was whatsoever, for whom Oscar had taken a huge dislike these two gentlemen who ended the during Conried’s days working for him in the old Harlem Met’s dedication to only doing opera in German. It was Opera House. Actually to say “disliked” would be then Grau who worked hard to make the Met an generous. Oscar hated the man, and to have such a man running the Metropolitan Opera Company made “taking International company, bringing such voices as Australian down the Met” a “tasty prospect” which quickly grew soprano , French soprano Emma Calvé, into a driving life force within Hammerstein ... German soprano Lilli Lehman, the Polish brothers De Reskes (Jean, a and Edouard, a bass), and Polish Before the 1904-1905 season, the Met had hired Italian coloratura Marcella Sembrich to sing with American tenor (1873-1921) and retained sopranos and . Marcella Sembrich, but was still being accused on occasion of being “tired.” Oscar’s impresario juices By the mid 1890s, Grau leaned so heavily on the Opera were beginning to bubble in anticipation. He set out not Company at Covent Garden (London) that they moved only to build the largest opera house in the world, but whole productions back and forth across the Atlantic. this time, before ground was even broken, in a rare From the beginning, the Met had always been a touring Oscar move, the impresario set out way ahead of time company so that, according to Hammerstein biographer to build the world’s best International opera company. 3 News From VHSource, LLC Vol 11 November 2013

No mention of opera in English this time, the man simply to want to come to an unknown “beginning” went on a hunt for the best singers in the world. opera company in America of all places. Interestingly, both men were born in Parma, and both men were With Arthur firmly in control of building the Manhattan conducting at La Scala at the same time, when Oscar Opera House, Oscar set sail for to find those came hiring. Toscanni said no – Campanini said yes. singers, beginning first in Paris with a full out assault on Toscanni would later be hired by the Met for the Nellie Melba, the reigning queen of all of opera at the express purpose of defeating the Manhattan and its time. It was a quick and decisive “no” almost principal conductor Campanini – small worlds filled immediately. The diva who had been at the Metropolitan with irony. during 1904 – a contract which ended in cancellation due to a major illness – had absolutely no intention of For once, Oscar recognized that he had won a huge returning to America (or the Met for that matter). prize, and gave Campanini practically unlimited However, Melba had never met Oscar nor felt his authority over every detail of performance – an almost determination. On the one hand, she was incredibly rich, unheard of concession for the impresario up to this the toast of the opera world and able to go anywhere and time. Yes, Oscar actually allowed Campanini to be the sing anything she wanted. On the other, it was Oscar who boss in the musical details of each production. was willing to go to any lengths to land Melba’s voice for However, here was a conductor with a huge capacity his company. for work, capable of rehearsing every day and conducting every night. Campanini also had a brilliant According to Sheean, the following story, which may or creative mind when it came to the production of opera. may not be totally true, went as follows. After several Neither Oscar nor New York had seen such a dynamic failed attempts to hire her, Oscar met one last time with conductor since (1850-1898) passed away the singer in her sitting room in the Grand Hotel (Paris). unexpectedly in 1898. Oscar hired the company, but After receiving yet another “no,” Oscar bowed his Campanini molded it into brilliance. farewell, took out a wad of 1,000 franc notes, fanned them out and tossed them in the air. He excused himself, and The hiring of Campanini paved the way for hiring the walked down the hall escorted by the sound of Melba’s rest of the amazing company Oscar I quickly built. The peals of laughter. True or not – she signed a contract the 1906-1907 first season consisted of Nellie Melba next day. (scheduled to arrive at the end of December), mezzo soprano Clothilde Bressler-Gianoli, contralto Elenora The single most important move de Cisnersos, lyric tenor Oscar ever made other than the (considered the finest tenor in the world - yes, better signing of Melba was the than Caruso), Italian dramatic tenor Amadeo Bassi, signing of C l e o f o n t e French tenor Charles Dalmorès, Maurice Campanini (1860-1919) as Renaud (for only a short time), baritone Mario principal conductor. A Ancona, baritone , and baritone masterful musician who would Paul Seveilhac, and Bass Vittorio Arimandi. become a huge operatic wizard, Basically, with the exception of (none of Cleofonte was the younger whom participated in the entire season with the brother of heroic tenor Italo exception of Ancona), there was only one voice type of Campanini and married to Eva everything at any one point in the season. Until, Maestro Campanini Tetrazinni who just happened to Melba’s arrival, Oscar relied on coloratura Mlle be the older sister of Luisa Tetrazinni (1871-1940), the Regina Pinkert and one dramatic soprano, Mme primary coloratura rival to Melba. Campanini was with La Giannina Russ. Scala for three years, where he conducted the premiere of Puccini's Madama Butterfly in 1904. In short, the initial Manhattan Opera Company consisted of some of the most amazing voices in the While Oscar had initially wanted to hire the younger world, but was also as thin as an opera company could Arturo Toscanni (1867-1957), he was too entrenched at possibly be. This amazingly famous cast was 4 News From VHSource, LLC Vol 11 November 2013 sometimes obliged to sing on successive days and he did not force them – his high notes, up to C, were as occasionally twice a day. The strange thing was they clear as a golden trumpet. remained totally loyal to Oscar and Campanini while submitting to what could only be considered an outrageous Thanks to a prolific and wonderful recording career as opera situation. God forbid if someone was to become ill, well as his fan base, Caruso overcame Bonci primarily which happened in the baritone ranks and thus one finds by outlasting him, and few, if any, today remember the four baritones on the list above. tenor Bonci and his stellar voice.

In addition to his principals, Oscar hired the best and Oscar officially declared war on the Met with the brightest young American voices he could find for his opening of the Manhattan. He scheduled all his chorus. At a time when the Met’s chorus was particularly productions on the same nights that the Met had weak, the press fell all over themselves praising the young, productions, including Verdi’s pitting Bonci strong, good looking chorus of the Manhattan Opera versus Caruso and Melba versus Sembrich in 1907. In Company. The same held true for the orchestra as well as fact, Oscar scheduled , and the corps de ballet. directly against the Met’s productions. While the stress of opening both an opera house and a new company Opening night was December 3, should have taken its toll on Oscar, in actuality he had 1906 and in true Oscar a really fine time during his first season. So did his box Hammerstein form, all office once Melba arrived. rehearsals took place while the opera house was still under Another huge difference between the Met and the construction, and of course, the Manhattan productions was simply the newness of painters exited as the first every single aspect of each of the Manhattan’s audience member walked in. productions. Brand new sets, costumes, props The noise contest between surrounding and showcasing many singers America had singers, orchestra, hammers and never heard before. Audiences also loved this brand saws must have proved new opera house which invited its attendees into the cacophonic and tried the souls most intimate experience they had ever enjoyed. The of everyone involved. The first Met could not compete, and initially, didn’t even think Allessandro Bonci (1911) opera was Bellini’s , it necessary. Oscar created absolutely everything from ostensibly to save certain scratch while the Met simply pulled from the for Melba’s arrival. There was one other better wrinkle in warehouse. It was one man “in a huge hurry” against Oscar’s choice – the tenor role in this long neglected work the society funded older institution. The Met initially had such an incredible range that Bonci was the only tenor took the attitude that reality would come crashing down in the world at the time who could, and did, sing it as it on Oscar’s head soon enough. However, once Melba had been originally written. It would be the first salvo in arrived, Oscar began suddenly winning the race. The the duel of the . crowds assembled that first opening night came primarily out of curiosity, but Campanini and the Said biographer Sheean: company delivered beautiful, passionate, fresh, alive performances which garnered rave reviews in all the Bonci had a perfectly produced high tenor of the utmost papers. beauty and used it with the utmost elegance of style. His breathing was phenomenal and his taste beyond criticism. ... Said Oscar on that first opening night: his perfection was constantly compared to Caruso’s errors. I can only say that this is an effort toward the furtherance Caruso’s voice was, even then, much more robust, and he of industry and music. I am compelled to add that I am committed errors of taste and judgment in practically every the only one who has created this institution. I have had performance. He had, however, a luscious tone that no assistance, financially or morally. The burden has all penetrated to every part of the house, his middle and lower been upon me and the responsibility is all mine. I have voice surpassed that of almost any other tenor, and – when 5 News From VHSource, LLC Vol 11 November 2013

no board of directors, nobody to tell me what I should and living on luck and lots of it. Remember every single should not do. opera had to be built from scratch and NO ONE was ... allowed to get sick because there was NO ONE to take The ensemble which surrounds this institution is so large his or her place in that event. and is composed of so many celebrities of music that every opera for the next three or four weeks is experimental, and depends for success or failure on this audience and this city. Oscar woke up the next morning to the following headlines: “New Opera House Opens, Scores Decided In the boxes that night? Mr. and Mrs. Otto Kahn, Eliot Success,” Manhattan Opera House Big Success,” Gregory (a Met Board Member), younger members of the “Triumph for Hammerstein Grand Opera.” “New Opera Met families, and even Met singers not singing that night. House Opened with Star Spangled Banner: Oscar had built an opera company even opera stars wanted Hammerstein Seen in Blaze of Glory,” and the more to see, and all of New York was in eager anticipation for sedate “Oscar Hammerstein’s First Night of Opera.” the fallout to begin. He was almost 60 and he must have luxuriated in all the fanfare. Yes, it would sell tickets for the future, but it Speaking of boxes – there were 40 in all – they were also validated him as a serious impresario who had designed for seeing opera, not being seen. If one sat in a overcome all odds to prevail over the mundane and box at the Manhattan, the only ones who could see the enter the heady artistic world of Grand Opera. Plus, he individuals were other box seat holders and the very front had achieved the miraculous before Melba even of the orchestra. Said in a review of arrived. that opening night:

While the world of fashion went to the Metropolitan and applauded Sembrich and the famous quartet in Marta [von Flotow], the musical people found their way to the Manhattan Opera House to hear Bonci, the famous tenor, and the other new singers. It is evident that Mr. Hammerstein is not catering for the Metropolitan element. ... The auditorium is designed for seeing and hearing, but not for the display of jewels and gowns. So far there was no defection from the time-honored list of the Metropolitan subscribers. Oscar’s second opera, Rigoletto, featured his only That last comment was important solely because Oscar did coloratura of the moment, Mlle Pinkert, who had been not want those subscribers, even when they did start one of the few to not get great reviews for the Tuesday defecting to him. Incredibly he would push both the opening – Oscar would need some high powered wealthy and their company sustaining money rudely away. persuasion to get her back on stage. In addition, It would be one of two primary reasons for the fall of the baritone Maurice Renaud had developed a hoarseness Manhattan Opera Company. upon his arrival in America and needed every ounce of Oscar’s persuasiveness to convince him he had to make In fact, here was one of the very first cases of “go-as-you- his debut anyway. After all, no one else could sing it please” style of dressing. It was not uncommon to see and he was costing Oscar $750 every time he stepped plain white cotton blouses and everyday full length skirts on stage. That Oscar succeeded in convincing Renaud sitting next to the most expense elaborate ball gowns in the is proved by the glowing reviews from every reviewer house or plain work suits (only one owned) sitting or in New York, calling him a “singing actor” and standing next to the full evening tuxedo. The whole extolling his “artistry as greater than his natural voice.” miraculous first season was built upon letting everyone in Oscar made an announcement from the stage prior to door and the following formula: the world’s best leading the overture that Renaud regretted that he was suffering singers + the most dynamic conductor + a great chorus = from hoarseness but would do the best he could. Every SUCCESS. Open night brought in $12,000.00 in 1906 single paper acknowledged that if it hadn’t been told money ($315,789.47 in 2013 dollars*). Oscar was also the singer was not 100%, they would never have 6 News From VHSource, LLC Vol 11 November 2013 known. In short, here was yet another male singer sing two successive nights – but she did. Bonci sang provided by Oscar of such “consumate skill, power and three times – Monday, Wednesday and Saturday conviction that he could not be resisted. Score a second matinee, most of the secondary baritones sang every straight success for the new company - again before Melba performance. The press hailed the men and chided was in the house. Oscar for having weak women – which could not have gone over well with those being asked to do double Also this particular opera was the first in which Bonci and duty. However Bressler-Gianoli made a stunning debut Caruso were singing the exact same role at the same point in the title role of Carmen, hailed as one of the best the in the season. Again we turn to Sheean’s book: city had ever seen, and effectively saved the day or should we say week. Dalmorès sang Don Jose, When he [Bonci] sang “La donna è mobile,” it was Campanini brought a ferocity to the pit, and New York impossible to restrain the audience, and Campanini, who as was swept away once more a rule was inflexibly opposed to encores, had to give in and repeat the air. Just as the newness of the whole endeavor This night’s audience contained the Met’s soprano lined the box office of with Mr. and Mrs. Walter Damrosch the first week, the as well Mme. Sembrich with her husband in another box. Carmen saved the Why such major Met singers in attendance? The Met was second week from a debuting Italian soprano (1874 -1944), slow down due to once with the Folies-Bergère, in the title role of the 1898 “weak females voices.” (1867-1948) opera Fedora with Somehow Oscar kept Caruso and Scotti. The press raved about the Manhattan’s convincing those name Renaud but was not enamored with the new Met soprano, singers to sing multiple apparently celebrated far more for her looks than her performances It was a voice. situation that most likely has never been Following immediately on the heels of Rigoletto, came repeated, but it worked Faust with the debut of French tenor Charles Dalmorès in 1906-1907 without in the title role, 23 year old Canadian Pauline Donalda as all the singers packing Marguerite, and Arimondi as Mephistopheles. The week up and going home. Clothilde Bressler-Gianoli was completed with a repeat of both I Puritani and Faust. Such was the At the end of the first week, having debuted the opera persuasive power of Oscar Hammerstein. Just as his house itself and three completely brand new operas and sons grumbled and griped but also acquiesced, so too been forced to postponed a fourth, the not quite ready Don did the Manhattan Opera Company’s star singers. Giovanni, Oscar had a very tired opera company, but one which had pulled off multiple debuts without any Aida was finally ready during the third week of the catastrophes. season, opening on December 19 with less than glowing reviews, but audiences loved it probably The second week saw performances of Rigoletto, Don because of the debut of contralto Eleanora de Giovanni (2 times), and Carmen (2 times) but without the Cisneros as Amneris. Giannina Russ sang Aida with services of the stunning Renaud who put his foot down tenor Amadeo Bassi making his debut with the and refused to sing again until his voice was normal. To company. Donizetti’s and truly understand how limited in vocal choices this first Verdi’s Il Travatore were ready during the third and season was, it’s best to fall back on a sports analogy. If fourth weeks. you have 11 people of offense and 11 players on defense on a football team, with no backup players or at best Let’s see – that would be debuts of the theatre itself perhaps rookies here and there to help out – you have a and nine operas created and prepared from scratch and real problem if someone gets hurt. Thus, Swiss mezzo- debuted in four weeks time. While the Metropolitan soprano Bressler-Gianoli was appalled at being asked to 7 News From VHSource, LLC Vol 11 November 2013 might have been wondering what hit them, they most Melba made her Manhattan debut on Wednesday, likely assumed this sort of output absolutely could not last. January 2, 1907 singing La Traviata. Tenor Bassi and And then – Melba sailed for New York on December 22, bass Ancona joined her with Campanini conducting. 1906. The Manhattan Opera House was packed in much the same way as that very first opening night in December. We have often spoken However, this time it was not out of mere curiosity – of “house hold names” Melba was here and in perfect silvery voice. The in this newsletter, crowd came to pay tribute to this spectacular voice, starting with orchestra arguably the best in the world. This night the 46 year conductor Theodore old diva was in perhaps her most exquisite form from Thomas, George M. beginning to end. Cohan, Oscar himself, and . Tantalizingly, there was one other little wrinkle to There was Lilli Melba’s debut with the Manhattan. Since this was an Lehman in the world of entirely new production, Oscar chose to set it in 1848 opera pre 1900, but which is the real setting of the original Alexandre there was no greater Dumas, fils 1848 drama La Dame aux Camélias, upon name in the 1906 opera which Traviata is based. Audiences had been used to world than Melba seeing the work in a seventeenth century style, so this (1861–1931). She was production was both glorious and shocking to the acclaimed all over the audience. An opera in “modern dress!” Of course world. If she liked a 1848 was not modern in 1906 but the difference particular toast – it was between 1600s and 1848 was immense, and therefore, named for her, and you jaw dropping. Add to that, Oscar’s choice to place his Melba in 1904 still enjoy it today. If secondary tenor and baritone as support for Melba she liked a dessert rather than Bonci and Renaud so that she could have made with peaches, raspberry sauce and ice cream – it was the stage entirely to herself, and the impresario pulled named for her, and you enjoy it today. She was a HUGE off the biggest opera event New York City had seen to DIVA. However, she also had a huge heart and for some date. reason she liked and admired what Oscar Hammerstein was trying to do – admired his “pluck” [her word] and In her second week, Hammerstein finally gave her wanted to help. Thus she had found herself signing a Bonci and Renaud for a performance of Rigoletto with contract that took her back to a country to which she had Campanini conducting. On Friday, January 11, 1906 no interest in returning. Her last appearance in America the advertisements all read: Melba, Bonci, Renaud. had been at the Met in 1904 with that rather ill-fated La The Times declared this was “the best performance of Bohème in which she sang only once before canceling the Rigoletto seen in New York in many years.” One remainder of the performances. wonders what the Met’s thoughts were as they debuted a novelty – a revival of Meyerbeer’s Africaine, in She had signed her contract but there were conditions. She Italian as L’Africana with and demanded and received her fee in cash in her dressing Caruso. The production was not well received by the room before every performance. She took bows by herself. critics and was quickly dropped from the season. The When tenor John McCormack first joined the Covent Met’s conductor Arturo Vigna was accused of crude Garden company, he started out to take a bow with her and and patchy conducting as the comparisons between him was stopped immediately in the wings by the coloratura and Campanini began to escalate. herself with “In this house nobody takes bows with Melba.” Indeed she had cease being plain “Nellie” Melba Real competition had definitely begun brewing long before 1906. Now she was finally here, and the between the two opera houses, but the arrival of Melba entire month-old Manhattan Opera Company felt a huge openly declared a state of war. This time it wasn’t just jolt of new life. verbal sparing in the newspapers. Yes, Oscar had 8 News From VHSource, LLC Vol 11 November 2013 consciously scheduled his productions on the same days as the very least an orchestral score. Success was the Met. Yes, he had occasionally accused the Met of achieved when a rather “mutilated” full score was conspiring against him. However, the first full out battle found which had been used years before by a touring lines were drawn over the rights to Puccini’s La Bohème. company from England. Campanini, himself, was able Oscar claimed Italian publisher Ricordi has given him a to supply the missing parts for the orchestra once the verbal agreement to perform La Boheme in particular, and score was in hand. The Met then retaliated with a any of Puccini that he wished in his first season. The request for an injunction (‘cease and decease”) against Metropolitan begged to differ. They stated they had Hammerstein with regards to Bohème exclusive rights to all Puccini works and even brought Giacomo Puccini (1858-1924) himself to America for the The Manhattan produced La Bohème on Friday, March premiere of his brand new Madama Butterfly on February 1, 1907 with Melba, (triumphant as 11, 1907. Remember Campanini had conducted the world Musetta), Bonci, new bartitone Mario Sammarco, premiere of that same work at La Scala. Arimondi and Gilibert. Because Campanini did not wish to anger Ricordi, Fernando Tanara, his There was some indication that Puccini had not been conducting assistant, actually took the podium for the entirely happy with the last Metropolitan La Bohème in performance. However, it was Campanini who prepared 1904, particularly minus it’s star. For whatever reason, this the orchestra and the cast. Yes, the Met had filed those time Puccini himself actually worked with conductor injunction papers to stop Vigna, the orchestra and the entire Met cast for the Oscar, but the court had premiere of Butterfly. NOTE: Puccini arrived just in time not yet acted. NOTE: to attend the American premiere at the Met of his Manon While Trentini had been Lescaut. He professed to enjoy it very much, although, in the company from the according to Vincent Sheean, comments made several beginning, this was her weeks later seemed not to confirm that. first huge impression in New York. Many likened Puccini was quickly made aware by either the Met itself or her to coloratura Fritzi newspaper headlines that he had stumbled into full out Scheff of Mlle Modiste open antagonism between the two opera companies or fame, and she, like more specifically – the Met and Hammerstein. Puccini Scheff, would go on to very astutely chose to remain above the fray. He huge stardom in the adamantly refused to comment on who had what rights, world of operetta, leaving that fight entirely to his Italian publishing creating the role of company, Ricordi. It can also be safely assumed that there Maretta in Naughty was no clear right or wrong in this case. The whole world, Marietta in the Fall of including many smaller American venues in smaller 1910. American towns, had been doing La Bohème (1896) for a number of years. It certainly helped Hammerstein’s cause This date was toward the end of Melba’s stay in New when Melba openly and loudly professed to all who York, and thus, after she had sung three Mimis, set box interviewed her that she certainly desired to sing the role office records, garnered rave reviews, and sailed for of Mimi for Hammerstein. The press and audiences also Europe, Oscar dropped the opera from the rest of the wanted to hear Melba sing the role especially given the season. He and Melba had gotten exactly what they amazing performances since her arrival in January. wanted, and the Met finally got their injunction against the Manhattan long after it mattered. A Manhattan Opera Company performance of this opera boiled down to obtaining a score and orchestra parts. Prior to singing La Bohème, Melba had sung Lucia Ricordi went out of its way (at the request of the Met?) to (January 28) with Bonci, Faust (February 8) with keep such manuscripts from falling into Oscar’s hands. Dalmorès, several more La Traviatas and to However, the impresario was not to be thwarted, and sent incredibly glowing revenues. Yet, on March 2, the New agents in search throughout America and elsewhere for at York Times reviewer stated: “she sang the music more 9 News From VHSource, LLC Vol 11 November 2013 beautifully than she has done anything else this season in divas in attendance after a performance at Covent New York.” Garden, Melba arrived wearing a perfume bearing her name. Calvè immediately sniffed the air, and On Monday, March 25 in La Bohème, Melba sang her announced that she “must change tables. I shall not be third Mimi and her farewell for the season as other able to eat, or I shall be sick.” contracts in Europe called her back. Once the opera was over, and all the bows taken, Melba once more appeared While their ages were a tad on the murky side, the two and sang the Mad Scene from Lucia to the delight of the women were fairly close, perhaps even the same age in audience. After many more bows, the house was cleared reality. However, where Calvè aged beautifully from as was the stage, and Oscar threw a huge supper party for a physical standpoint, her tremendously emotional Melba, all the principals of the company, and their wives voice, her temperament and the abandon with which or husbands. At this splendid supper Oscar was in rare she led her life caused a rather short vocal career while form as he should have been. He had Melba on his right Melba’s vocal style of control kept “an abundant and – drum roll please – Calvè on his left. Melba was beauty of tone long after her physical beauty leaving at the end of the 16th week of the season and Oscar diminished. Calvè left the operatic stage in 1910 when had learned his she was 50 (more or less) while Melba did not sing her lesson regarding final farewell to Covent Garden until 1926 at the age of have a major name 65 (more or less). Thus when both divas were in the on board for the box Manhattan Opera Company, Melba was definitely at office. Thus, he had her peak and Calvè was beginning to decline. landed Emma Calvè to finish out the last Melba issued a brief statement the day before she sailed four weeks of the that is important to repeat here simply because it shows season with her own the power of Oscar Hammerstein: repertoire of Carmen, Cavaleria I have never enjoyed any season in America so much as and La Navarraise. the one now closing. All through I have been in splendid NOTE: Earlier we heath and spirits and I shall never forget the kindness listed both ladies as with which I have been received. I am proud to have been associated with Mr. Hammerstein in his launching singing during the of New York’s new opera house. What courage Mr. Met Golden Age with Hammerstein has shown and what wonders he has done! Calvè being the first I think there must be something in the conditions of major voice to bring Emma Calvè American life to encourage him, for I know of no opera C a v a l l e r i a manager in any city of the world who, single-handed and Rusticana into wild popularity. One wonders how the two under circumstances of such difficulty and competition, divas, who both had huge reputations for rudeness to those would have risked his fortune in opera. His pluck they considered lessor luminaries, conducted themselves appealed to me from the first, and I leave as I came, his with Oscar in the middle that evening. They both were loyal friend and admirer. known to have readily skewered Mary Garden (1874- 1967) at Covent Garden once she had become an This from a woman who regularly “ate” her International prima donna. competition for dinner. This also from a diva who sang for Oscar once a week and sometimes twice for a total Within only a couple of years of this glorious, triumphant of 15 performances [five more than she had been supper on the stage of the Manhattan Opera House, the booked for]. Throughout this period, the diva was two divas would openly disdain each other in public. Upon filled with kindness, benevolence, and indulgence. the occasion of a concert at Windsor Castle in which both Campanini actually stopped her in a rehearsal to participated, Melba commented afterwards “what a suggest a different tempo and was met with an dreadful concert this would have been if I hadn’t come.” incredulous stare – such a thing had not happened to On another occasion, at a supper at the Savoy with both Melba in years – and she acquiesced. It was a year in which this huge talent gave her impresario the very best 10 News From VHSource, LLC Vol 11 November 2013 she had to give. Yes, she was “saving Hammerstein from ensconced on his kitchen chair in the wings, smoking disaster” as the Met probably circulated, but she was, in his cigars (25 a day by his own admission). Yes, even the Manhattan Opera House, the prima donna assoluta [a the great Melba and Calvè made all entrances and exits term given before only to Lilli Lehmann in her prime with upstage of that chair. Wagner]. As Sheean tells us: He had gone head to head with the 25 year old society There was literally no other woman in the company who entrenched monolith known as the Metropolitan Opera came within planetary distance of her accomplishment, Company and survived – something the Academy of popularity and fame. ... this in itself was a situation that Music had failed to achieve back in the early 1880s supplied great satisfaction. In almost any other company That season, Oscar made somewhere between the there would have been a few other luminaries, but in the accountant’s reported $11,000 profit and Arthur’s Manhattan, for this one season, Melba was alone. This, plus the feeling that she was really needed, really wanted and that hinting that the figure was actually closer to $100,000. the public was responding as never before, put her into the Oscar himself was quoted as declaring that his box th angelic mood in which she not only sang better, but felt office on 34 street had taken in $750,000. Six blocks better and behaved better than at any time in years. She said away, the Met lost $84,039 that season. it herself and I think she knew.

Calvè made her Manhattan debut on Wednesday, March 27 in Carmen. One wonders what the highly successful Clotilde Bressler-Gianoli, who had come to Oscar’s rescue with her own Carmen before Melba arrived, thought of her demotion. Calvè gave 9 performances in 4 weeks, including her much acclaimed Cavalleria.

All in all, the Calvè portion of the end of the 1906-1907 season continued in the same vein as the Melba weeks and must have been exceptionally gratifying for Hammerstein as he and Calvè watched the downward spiral of the Met and the sweeping crowds now filling the Manhattan. Each On a set of the Manhattan Opera House time either Melba or Calvè filled the house, the box office Oscar, Cleonfonte and staff member rang up that $12,000 per night. Oscar’s mood was such that he began early in the Astonishingly, from January 11 on to the end of the Spring of that first season to talk of two very important season, the Manhattan Opera Company got consistently things which we need to keep in mind as we move full houses (even on non-Melba/Calvè nights) and good forward through the history of the Manhattan Opera reviews. Even the so called “weak ladies” of December Company. The first was a desire to build more opera either raised their own singing to a greater level or rode houses so his company could tour. He had already the silvery dress trains of Melba and Calvè . Either way – singled out Philadelphia, Boston and Chicago as the Hammerstein clearly won the first year of the Opera Wars. perfect new locations. The second was the huge announcement that he had commissioned Victor Oscar had landed the two most important divas of the Herbert to write the first American Grand Opera. While period in one season, he had determined to do La Bohème they had no written contract nor a librettist, Oscar and done it, and he had produced 22 brand new proclaimed it would happen during the second season. productions in 20 weeks, each one having to be conceived Prominent newspaper men were skeptical and were this from nothing. He had kept the loyalty of his entire time correct to assume it was Oscar’s overzealous company even in the face of asking them (including confidence talking. Although the conversation with principal voices) to sing numbers of performances in ways Herbert did take place, and the composer did agree to no company had ever before been asked. True to his compose the score once they found a librettist, nothing original habit dating back to the Hammerstein-Lehmann was to happen during the 1907-1908 season. NOTE: Opera Company, every single performance found Oscar 11 News From VHSource, LLC Vol 11 November 2013

Herbert never composed music without a libretto or outline in 1907-1908 season, Caruso suddenly made $2,000 for place. each of 68 performances. How much of that was the addition of Bonci to the company? While Oscar was Even more fascinatingly, Hammerstein, the anti-wealthy definitely not successful in obtaining Caruso, he lone eagle, boldly asked and received a $400,000 loan certainly helped the tenor’s bottom line. from Frank W. Woolworth (1852-1919), founder of the famous Woolworth stores, using the Manhattan Opera Before he sailed, Oscar announced he had won the House as collateral. Was services of Wagnerian contralto Ernestine Schumann- this a slip in the Heink (1861-1936) from the Met with Cosima Hammerstein rejection Wagner’s (1837-1930) blessing. NOTE: Cosima was of “society” money? Liszt’s daughter, the second wife of composer Richard Hard to say. Oscar heard Wagner (1813-1883) and his co-founder of the that Woolworth had . According to Sheean, she was attended the Manhattan openly antagonistic towards the Metropolitan regularly throughout the company. The impresario also signed the American first season and loved dramatic soprano Lillian Nordica (1857-1914) to the music. Woolworth Manhattan company who had also left the Metropolitan apparently did not in a bit of a huff at the end of their 1906-1907 season. “own” a box at the Both ladies telegraphed Oscar that they were proud to Frank W. Woolworth Metropolitan. Oscar join his company. Of course, Oscar had already Note the hat and the cigar! simply went to see announced a return of both Melba and Calvè as well as Woolworth personally, announcing he would definitely sign Mary Garden, with no introduction, and came away with both a box the darling of the Paris opera scene (although she was subscription for the 1907-1908 season and the $400,000 totally unaware of this). Given everything we have said loan to underwrite the preparation for that next season. above, does anyone notice a bit of a problem with this NOTE: Is it possible the anti-wealthy Oscar felt a kinship with paragraph? the top hat wearing, cigar smoking entrepreneur? Remember that the first season had been very skimpy The two opera companies had no more than closed their on depth at each voice. Also remember that Melba and respective seasons when the raids on each other began. In Calvè had played tag team, both having the Manhattan short, the war heated up more than ever now that seasons stage entirely to themselves. I count five major divas were complete. The Met’s Conried immediately went after listed above, four of which were sopranos. Oscar was Campanini, offering the conductor far more money that making sure he was not skimpy, but was he perhaps Oscar was paying. Fortunately, Campanini had not creating new difficulties for the second season. Adding forgotten his youthful first encounter with the Met as an so many principal voices also necessitated getting “rid” assistant conductor. He was king with Oscar, and did not of weaker voices including soprano Pinkert and ever have to answer to any one but Oscar – no Morgan- baritone Ancona. Hammerstein would not be known for Astor-Vanderbilt dominated board when it came to the handling such ending of contracts gracefully. The fight Manhattan decisions. Conried also went after Bonci to over Bonci also filled lots of newspaper columns as the stop the constant comparison between Bonci and Caruso. two companies battled over a tenor already under This time Conried succeeded by simply offering Bonci contract to one them. Hammerstein happily went to $1,500 per performance instead of the $1,000 for which court over the Met and Bonci – most likely simply to Oscar already had the tenor under contract. Conried most annoy Conried. The weeks leading up to Oscar’s sailing likely felt that he had corralled the full supply of fine to Europe were thus were filled with opera war raids Italian tenors. and posturing between the two companies. However, Oscar was not exactly idle in the raid business. Oscar’s sailing for Europe in the first week of May He definitely went after Caruso. During the 1906-1907 1907 was to have huge implications. His first season season, the famous tenor had made $1,440 for each of 62 had been successful beyond even his enormous performances at the Metropolitan. Interestingly, for the 12 News From VHSource, LLC Vol 11 November 2013 expectations, but it had also been extremely tradition appear to have never been played with the other three bound. Now he seemed determined to take the Manhattan movements as one work in this country. It did not in a totally new direction with a bold declaration before he happen when Walter Damrosch invited Herbert to sailed, that the second season would feature the debut both his cello skills and his composing skills at a sensational Scottish soprano raised in America, Mary New York Symphony Society (1878, founded by Garden. Had the impresario even spoken to Mary Garden? Leopold Damrosch [1832-1885]) concert on January Of course not. However, it appeared he had determined to 8, 1887. This orchestra gave its concerts at the leave the old traditional Italian repertoire of Verdi and Metropolitan Opera House on non-opera evenings. A Puccini as well as all of Wagner to the Metropolitan if couple of months ago, we also discussed a relatively they wanted it so badly. That direction made the loss of the rare recording of this work by the Los Angeles Italian tenor Bonci not such a big deal. It was to be a Chamber Orchestra, entitled Three Compositions for choice that would entirely remake the landscape of opera String Orchestra/ Suite for Cello & Orchestra /Serenade in America. Stay tuned. for String Orchestra with Douglas Davis, cello. At the time, we thought this recording contained the entire As always a special thanks to WikiPedia and the work, but it in fact also contained only movements 1, 3, Broadway League’s Internet Broadway Data Base (IDBD) and 5. We should also mention that this work was as well as the following books listed below. You can still originally written for cello and orchestra - not cello and find some copies on amazon.com. strings. Hence this performance in Cincinnati will in fact be an American premiere of all five movements Sheean, Vincent, , Simon and together again, once more, for the first time since Schuster, New York, 1956. October 23, 1883, but it appears it will be for string orchestra only. If anyone is able to attend, please let us * The calculation of $12,000.00 to $315,789.47 came from know what you think of this work. an Internet Inflation calculator. In March of 2014, Marvelous Performances Ahead Philadelphia’s Concert Operetta Theatre, led by Daniel Pantano will present We spent the month of October discovering wonderful t h news that the Herbert revival is indeed booming right a 100 anniversary along. Between now and July of 2014, there are five performance of the rarely major offerings that have not been heard in a 100 years or heard Herbert one act opera, in one case never heard in its entirety in America. Be sure . This is what to scrutinize the calendar section this month for complete can only be called a black dates, times and location of each of these presentations. box experimental work done in 1914 for one soprano, three men, a maid and a very We start with Samantics, a California based choral Dan Pantano tiny male chorus (whose group which presented the rarely heard work, The entire vocal output fits on Captive on Saturday, October 19, 2013, Friday, one page.) Since this work is only a one act, Pantano October 25, 2013, and Saturday, October 26, 2013, has chosen to pair it up with the Victor Herbert Written in 1890 when Herbert was 32 years old, this piece Renaissance Project’s Pocket version of Herbert’s 1899 made its debut at the Worcester Music Festival of 1891 operetta Cyrano de Bergerac, an equally rare work. and has rarely been heard in the past 100 years after being Those of you in the Philadelphia area will be treated to published by Schirmer in 1915. These concerts did not two gems for the price of one ticket. appear to be with orchestra, but some very lucky folks got the golden opportunity to hear this rare Herbert work. Our trusty daily Google Herbert search engine next turned up the happy news that the equally rare Coming up in November is the Suite for cello and Herbert’s and will be a orchestra, Op. 3 happening in Cincinnati this month. The part of the 2014 Season of the Ohio Light Opera. It unique aspect of this work is that movements 2 and 4 13 News From VHSource, LLC Vol 11 November 2013 will joyfully have the Magic Knight in its proper place in Mill Rd, Cincinnati, OH 45236. We say possible Act II for the first time in 108 years – thanks to a new because at this time, we know that the American performance edition by Artistic Director Steven Daigle. premiere in 1887 with Symphony Society under the We will definitely be in the audience for this one! The baton of Walter Damrosch, was missing two Magic Knight is Herbert’s wonderful burlesque of movements of this five movement work. We have yet Wagner’s which was removed from Dream to find any indication that all five movements have City (also a burlesque) by producer Joe Weber between the been together in this country. If you are anywhere near final dress rehearsal and opening night because he did not Cincinnati, Ohio on this date, try to get to this concert. think his audiences would understand it. Thus, the little Here are two more little nuggets of information: 1) This work was relegated to the end of the operetta and work launched Herbert’s composing career, and 2) the eventually dropped entirely. Dream City and the Magic premiere of this work in Stuttgart occurred on October Knight opened in Weber’s Music Hall on December 25, 23, 1883, which makes 2013 the 130th anniversary of 1906. It played through the rest of the season and when the that first performance. Again, try not to miss this one. work went on tour, The Magic Knight was dropped from the production roughly half way through the tour and Tuesday, Nov 19 and Wednesday, Nov 20 at replaced with operatic arias between the the acts (called 8pm, the new production company VHRP Live! Puffs in this particular work). will debut with Alyce Mott’s “Pocket” version of Herbert’s 1899 Cyrano de Bergerac at Christ & St. Finally, Herbert’s grand opera will make a Stephens Church, 120 W. 69th Street, New York, spectacular return to life on July 11, 12, 13, 2014 in the Manhattan Center, in New York City for the first time in New York. Tickets for this first public tryout are 100 years. We will be playing the first time the brand new $20 at the door. Students and Senior Citizens may score and orchestra materials in a very special three day pay $15 with ID. event in which invited audience members can watch the restoration take place. Nine principal singers and a chorus Upcoming December Performances of 36 will join a 55 piece orchestra for this not to be missed series of events. If you wish to be kept apprised of Fridays and Saturdays at 7 p.m. and Saturdays and this happening and obtain passes to one or more of the Sundays at 2 p.m., Dec. 6 to 15, 2013, the Newington daytime events, please e-mail [email protected] Children's Theatre Company will present Victor and get on the Natoma mailing list. Herbert’s Babes in Toyland with youth from 8 to 18. Performances will take place at the NCTC Performing Add to these rare events a rather infrequent production in Arts Theatre located at 743 North Mountain Road in April of 2014 of Herbert’s 1922 operetta Orange Newington, Connecticut. Visit the company’s website Blossoms presented in New York City by the Light Opera for ticket information. of New York, and 2014 is shaping up to be a stellar Herbert year. Friday, Dec 6, Saturday, Dec 7 and Sunday, Dec 8, 2013, Chicago Folks Operetta will present their Upcoming November Performances version of Victor Herbert’s Babes In Toyland at the 19th Century Club in Oak Park, Illinois. You may Sunday, November 17th, 2013, 3:00 purchase your tickets on-line ($30, $35, $40) at this pm, Seven Hills Sinfonietta, William site. White, conductor, will present a possible American premiere of Victor Upcoming 2014 Performances Herbert’s Suite for Cello and Orchestra, Op. 3 with cellist Alan Saturday, March 22, 2014 and Sunday, March 23, Rafferty of the Cincinnati 2014, times TBA, Concert Operetta Theatre, Dan Symphony. The concert will take Pantano, Artistic Director will present Two One Acts Alan Rafferty place at B'nai Tzedek, 6280 Kugler by Victor Herbert, Madeleine (1914) and Cyrano de 14 News From VHSource, LLC Vol 11 November 2013

Bergerac (1899), the Pocket version by Alyce Mott. slowed to a stop. What to do? VHSource, LLC, our six Performances are in the Helen Corning Warden Theater year old profit company has taken over the funding of at The Academy of Vocal Arts, 1920 Spruce Street, this production, hence we have the wonderful joy of Philadelphia, PA 19103. Come celebrate the 100th paying sales tax. Ah, the joys of producing theatre, but Anniversary of Madeleine and enjoy the rarely heard where there is a will there is surely a way. Cyrano with a beautiful score. Times are approximate. Tim Ribchester is music director, conductor and pianist. Michael Thomas is the music director for the new company and yours truly is the Artistic Friday, April 25, 2014 and Saturday, April 26, 2014, Director/librettist. The company consists of sopranos Times TBA, Light Opera of New York will present Olga Xanthopoulou and Vira Slywotzky. Our two Victor Herbert’s 1922 Orange Blossoms. Performances tenors are Stephen Faulk and Eapen Leubner. will take place at the The Thalia at Symphony Space, 2537 Baritones are Nathan Brian and David Kelleher- Broadway at 95th Street, NYC. Ticket price TBA. Flight (unfortunately not available for this particular launch). Baritone David Seatter and actor John June 14 through August 9, 2014, the Ohio Light Opera Greenleaf complete the company. If you live in the has announced their 35th Festival Season. Low and behold, New York area, come visit this first endeavor and let us they are doing Victor Herbert’s Dream City and The know what you think. Magic Knight. This is spectacular news as this 1906 production most likely may not have been done since This is an introduction to a new concept – pocket touring during 1907. For sure The Magic Knight has never operetta – which is roughly an hour in length, featuring been in its proper place with Dream City. This is not to be only principals sans chorus, sets, costumes and props. missed. It can be accompanied by piano, small ensemble or full orchestra. It’s purpose is to make it easier to keep this Friday, July 11, Saturday, July 12, & Sunday, July 13, fine music in front a ever growing audiences. Yes, this 2014, the VHRP Live! and the Manhattan Center will company is for hire primarily in the tri-state areas on present the official three day “play down” event entitled the East Coast. Its programming is perfect for a gala Restoring Natoma (Herbert’s Grand Opera) in the event, an elegant corporate party, or half of an Manhattan Center’s Grand on the 7th floor of 311 W. 34th orchestral concert. Street, New York, NY. Times and details coming as we get closer to the dates. Gentle reminder that Herbert operettas are now available for rental. All the information you need is up on www.vhsource.com right now – sample contract, Alyce's Musings . . . sample materials, full perusal librettos and sample performance materials. Please don’t hesitate to e-mail scar continues to seize space in us at VHSource and ask about any work’s availability. this newsletter, and one is Otempted to apologize for him See you next month. but the man is so fascinating and his accomplishments with his Manhattan Opera Company so important to Victor Herbert, and opera in general in America that we simply cannot stop ourselves.

Our new production company VHRP Live! is gearing up for a launch on November 19 and 20, 2014. Yes, this is the All current newsletters are available to registered users of www.vhsource.com. Simply follow the link, create a user name and same company we’ve been discussing during our password and enjoy this newsletter delivered to your inbox free of Incorporation Diary. We’ve slowed to a stop in those charge every month. Diary offerings simply because the process itself has