News From VHSource, LLC Vol 10 October 2013 The Complexities of Oscar I!

suddenly over would not have altered the mood of the The Last of the Opera Houses! Met staff. ast month we left Oscar I exiled to London during the middle of his Manhattan Opera Company’s 4th Suffice it to say when Arthur inked the famous Lseason in order to allow his son Arthur to negotiate agreement that put $1.25M into his father’s pocket in a way out of a pending financial collapse. This was exchange for both Oscar and him ceasing all production roughly late February - early March of 1910. Upon the of opera in any way, shape or form in Philadelphia, conclusion of that negotiation, the Manhattan Opera Boston, New York and Chicago for a period of ten Company, including all singers (mostly foreigners), years, the resulting chaos blew tempers off the roof and orchestra, tech staff, ushers, etc. – was unceremoniously left innumerable lives and projects in shambles. We disbanded with no paychecks, no next production – cut will discuss all those juicy tidbits when we end our adrift in New York City. Herbert’s grand opera, Natoma, discussion of Oscar I next month with a close had also succumbed to the same negative cash flow and examination of his wonderful Manhattan Opera missed its promised early February 1910 premiere date. Company.

By March, Herbert had made a presumably ill-advised attempt to woo the Metropolitan into producing Natoma only to be told the triumphant company had no interest in his opera. The Met was already in production for its own first American opera – Frederick Converse’s (1871- 1940) The Pipe of Desire (March 18, 1910)– albeit a one act opera. The Met certainly had no need of doing another so soon. Of course, it was quite probable that they had chosen that work in a bit of desperation during all the prior hoopla surrounding Hammerstein’s commissioning of Herbert to write a grand opera for him. One might also The Winner of the Opera Wars safely assume that – just perhaps – Herbert found himself The Met at 39th and Broadway in 1906 being tossed out of Gatti-Casazza’s (1869-1940) office in much the same way Oscar I had been tossed out of For now, it’s time to zoom across the Atlantic and take Edmund Stanton’s office back in the Spring of 1890. in how Oscar was reacting to all these events taking Gatti-Casazza had been hired away from Milan’s Teatro place back in New York. alla Scala (“La Scala”) precisely to win the war against Hammerstein’s Manhattan Opera Company. He also was No. 11 The London Opera House hired because he could provide the Met with conductor Arturo Toscannini (1867-1957) to do battle with There is no possible way that Oscar I did not know Cleofonte Campanini (1860-1919) of the Manhattan what was happening back in New York. He was Opera Company. The fact that the battle was now definitely not a stupid man, and the fact that he was 2 News From VHSource, LLC Vol 10 October 2013 once again losing absolutely everything he held most dear what was considered a golden age of theatre building in had to have weighed heavily on his mind. However, in and around London, being personally responsible for typical “never one to dwell on disaster” style, his strolls 38 of approximately 200 new theatres built between throughout London led him to start looking at vacant land. 1885 and 1915. Nothing but the best for Oscar! Of A great case can be made for Oscar beginning a relentless course having a real architect certainly did not stop slip down the slope into a fantasy world to block out the Oscar from innovating yet again. pain of what he was losing. Soon his mind began formulating a plan to challenge the Royal Opera at With the famed Marconi Wireless Telegraph Covent Garden (1732 to present) – an organization which Company situated right in Chelmsford, England, Oscar had been functioning in rather grand style for 178 years. immediately made contact with Guglielmo Marconi to When Arthur cabled the news of the settlement and the see what sort of modern machinary might shine in his first payment check of $100,000 was in hand, Oscar cabled new opera house. Such investigation should not back that Arthur should “meet me in Paris.” Oscar greeted surprise one as Oscar was always intent on bigger and Arthur sometime in April with the news that he had placed better in each new building. Their meetings resulted in a bid on property in London on Kingsway between a Marconi Apparatus placed on the roof of this opera Portugal and Batavia Streets for the purpose of building a house so that people could order tickets from up to six bigger, better opera house in London. Arthur’s reply was hundred miles away, including out to sea. Oscar also “I will never speak to you again,” and he sailed back to insisted on hot and cold running water as well as a America to begin building his own career as a producer of private toilet in each dressing room. To ensure that his “operetta,” beginning with Victor Herbert’s Naughty opera house always had enough pure water, he had Marietta. See, Vol 6 June 2011 newsletter for a full discussion Crewe look into the possibility of the existence of an of this operetta. artesian well – which was indeed found!

To summarize the actual While Bertie Crewe was tending to all the details financial situation, after all bills during the summer, Oscar managed to negotiate for the for the Manhattan were paid, exclusive right to do French Operas in London at a Oscar ended up with fairly hefty cost. He then sailed for New York to open approximately $300,000 to a new operetta entitled Hans, the Flute Player (1910, spend on his new opera house composer M. Louis Ganne) in his Manhattan Opera in London. NOTE: The House as a third party renter under the new owner, the Metropolitan assumed the Metropolitan Opera Company. Note: A third party renter mortgage on both the Manhattan is any outside organization renting space from the true owner Opera House and the Philadelphia or lease-holder of a property. The irony of course is that Opera House. Back in London Hammerstein built and owned this property until that fateful once again, Oscar immediately agreement. Hans, the Flute Player definitely was not an finalized the lease for the opera. This show was definitely produced by Oscar I, albeit vacant land for a mere $14,000. from long distance ( London) whereas Naughty Marietta At the suggestion of London’s bore his name as producer, but was actually produced by city government, he moved the Arthur Hammerstein. Hammerstein was definitely not entire project across the street even in America for the Marietta opening. to a site that was 265' x 100' as opposed to the smaller original The new opera house continued to consume Oscar’s site which measured only 200' imagination as he insisted once again on a very wide x 75'. His mood brightened (85') main auditorium with stalls (the British term for considerably into the boundless the orchestra level in a proscenium theatre) & the energy of hearing singers, Grand Circle (British term for balconies) having a picking a season and acquiring depth of 100' and with an additional 40' to the back a real architect, Bertie Crewe wall of the Gallery (British term for raised platforming (1860-1937), since Arthur had for additional seating at the back of auditorium behind Architect Bertie Crewe deserted. Crewe was part of the stalls). He insisted on comfortable seats at a one to 3 News From VHSource, LLC Vol 10 October 2013 twelve rake (each row 12" higher than the one in front) The RMS Titanic sank on April 15, 1912, exactly six making sight lines fantastic from every seat in the house. days before opening night of that second season, and The stalls & boxes were to seat 1,000; the Grand Circle - The Royal Opera at Covent Garden opened its 750 and the Gallery to hold 900 for a grand total of 2,650. season on April 20, 1912 – two days prior. Hard reality NOTE: Boxes are those very expensive partitioned off areas set in immediately. which allow a party of up to 12 to have their own formal space at the theatre - usually on the sides of the auditorium in line with England is a small country, long on tradition. For the circles (balconies). On the technical side, the stage of the anyone to think that there was room for two grand new London Opera House was 90' wide by 60' deep. All opera companies, one of which had been around since in all, Oscar did in fact build the largest opera house in 1732, having housed both Handel and Mozart operas, London in 1911, surpassing Covent Garden by 400 seats. one does not Oscar further requested Crewe to give him a French have to expend Renaissance Interior and a Classic Exterior. many guesses to conclude who Opening night was Monday, November 13, 1911 (season won. The only to run through March 3, 1912) to a full house and the real twist this opera Quo Vadis? by French composer Jean Nouguès time was the fact (1875-1932). Oscar had provided two separate Royal that Covent entries to his Opera House. Unfortunately, he did not Garden produced bother to check, and no one had offered to tell him that a better season both King George V and Queen Mary had sailed for India t h a n two days before his planned opening. The American in Hammerstein Britain was a bit out of his element. d i d . T h e culminating Still his house was full on that opening night, and his i n c i d e n t production was excellent with great singing and staging. occurred when Oscar took up his kitchen chair in the stage right wings King George V and all appeared to be right with the world once again. finally came to a NOTE: See the discussion of Hammerstein opera companies performance, King George V below for an understanding of the kitchen chair. Unfortunately, and Oscar, in his Oscar was still Oscar, and still not at all inclined to deal ever present top hat and cigar (in his mouth), greeted with the niceties of taking good care of notable attendees him with “How are you, King? I’m glad to see you” and (this time royalty as well as society). He simply put on his stuck out his hand – a true American in every way! performances. In that sublime arena of “small worlds,” the only real royalty in attendance on opening night was the The Box Office receipts for the second season Duchess of Marlborough whose father just happened to immediately reflected the horrendous, ludicrous be W. K. Vanderbilt, owner of a box at the Metropolitan, decision to “take on” Convent Garden. As the mortgage with a strong hatred for Oscar Hammerstein. holder, Alfred Rothschild, became concerned about the viability of his piece of paper, Hammerstein found On the whole, the press was extremely favorable and the a South African millionaire, Solomon “Solly” Barnato audiences enthusiastic. The rest of the season included: Joel (1865-1931), who showed an interest in Rossini’s William Tell, Bellini’s Norma, Verdi’s purchasing the Opera House. Once more, Oscar cabled Rigoletto, among others. What Oscar did not take into any Arthur asking him to come immediately and liquidate consideration was the fact that Covent Garden was closed, the business. That included ending all singers’ preparing for its next season, ergo there was no contracts, disposing of the theatre, paying off the competition. Oscar’s first season was so successful that he mortgage, and wiping the slate as clean as possible. scheduled his second season to begin April 22 and run Dutiful Arthur, who had vowed never to speak to his through July 15, 1912 – less than one month after the end rd father again, obeyed the request and sailed to London of the first season on March 3 . Again, his fantasy world that summer of 1912. Once Arthur was again raised its specter. 4 News From VHSource, LLC Vol 10 October 2013 comfortably back in the fold and in control, Oscar, no less from forming a partnership with any one of them, they obstinate and now in his 60s, calmly boarded a ship and instead agreed all would sign the agreement with sailed for America with every intention of doing it all Oscar, securing for the Victoria, the sole right to again as soon as he could. produce vaudeville between 34th and 96th streets on the West Side of Manhattan. Yes, producers could do No. 12 Lexington Opera House that at the beginning of the 20th century. It was a rather remarkable and valuable piece of paper that helped the A ma zi n gl y , Victoria to an average annual profit, in no income tax there would be days, of $200,000 for over fifteen years. Now times o n e m o r e were changing, and Oscar was focused entirely on theatre built by finding a source of revenue with which to build his new st Oscar I. After opera house on Lexington Avenue at 51 Street. There arriving back was not, and never would be, a farsighted bone is in New York, Oscar’s body. to his credit, he did try very The northeast’s largest supplier of vaudeville talent, hard to retire. known as the Keith-Albee Circuit, was run by He returned to Benjamin Franklin Keith (1846-1914) who had his rooms in revolutionized vaudeville by inventing the 12 hour The Lexington Opera House after it was sold to the Victoria continuous performance. In 1914 Keith gained a March Lowe in 1915 and diligently foothold in New York City by obtaining a 2/3 turned his attention once more to tobacco inventions. controlling interest in the soon to be very famous While his fingers were occupied, his mind also undeniably Palace Theatre built by Martin Beck which had turned its attention to “how to get around that document opened on March 24, 1913. This theatre was and that he himself had NEVER signed with the Metropolitan. remains located at 1564 Broadway at 47th Street just at Oscar once more dreamed of St. Louis, Pittsburgh, San the northern edge of Times Square. NOTE: Most will Francisco, etc., but all those far off places required recall the famous goal of all entertainers – to “play the logistics and money that he simply did not have. Palace”. Unfortunately, Beck had begun losing money almost immediately until the Keith-Albee Circuit While the Victoria continued to do great business, Willie offered its talent stable. While the location was perfect, and Arthur had managed to tie up its profits with all sort there was one other rather large wrinkle for both of legal trusts and bank protections to prevent Oscar from owners. Neither Beck nor the Keith-Albee Circuit dipping once again into that till. Such maneuverings were could book any vaudeville talent because of Oscar basically a valiant attempt to protect their families’ main Hammerstein’s ownership of those rights. source of income, but it certainly would not have appeared that way to Oscar, who most likely took it very personally. However, this was early 1914, and Hammerstein was in After months of intellectual contemplations and numerous dire need of money to pay legal bills and finish the trips to lawyers, Oscar decided that the monstrous piece of Lexington Opera House. When approached regarding paper did not pertain to “opera in English.” Thus, it was a buyout of those rights, Oscar was more than ready - time to build again. Didn’t he always have a magical way again with no consideration of any ramifications. The of making money from nothing? There had to be a way. result was $250,000 for Oscar, and a loss of exclusivity for the Victoria. The old man had essentially bitten off There was, although it would sign away the only sure the hand that had fed him since 1899, but he did now source of income his children had ever had. Way back have the money he needed to finish the Lexington. when the Victoria had first burst onto the vaudeville scene with huge success, there had been a sort of “vaudeville The Victoria found itself suddenly the shabby step son war,” played out between Keith, Proctor, Tony Pastor, and to the great Palace Theatre of Times Square. If one Oscar Hammerstein. It is a testament to how big Oscar and remembers back to the discussion of the building of the Willie had built the Victoria’s business that to keep Oscar Victoria in Vol 9 September 2013, the edifice had been 5 News From VHSource, LLC Vol 10 October 2013 built with a great deal of recycled materials and spit to to her New York debut in 1918 at the Lexington Opera begin with (seats often held up by beer boxes). Now her House. It was also during their 1918 season at the shabbiness hit her square in the box office as the Keith- Lexington that Mary Garden sang Monna Vanna, a Albee Circuit’s new rights ownership shut her out of the one act work composed by Russian Sergei best stars. Rachmaninoff (1873-1943), based on a play by Belgian playwright, Maurice Maeterlinck (1862- Even prior to the rights transaction, the Metropolitan 1949), but never finished beyond Act I until many years Opera Company had not exactly been turning a blind eye later by others. when Oscar announced a November 10, 1913 grand opening of his new “opera in English” company. Oscar So contract or no contract, had hit the newspapers with not only his intent to open the Oscar I had the last laugh - the biggest, newest opera house in the city, once again making remnants of his Manhattan opera accessible to everyone, but he also announced it Opera Company with his stars would house a school to teach young opera singers “how and his conductor performing to sing in English.” While all of that was certainly worthy, in his opera house – just the Met saw it as a violation of the agreement that had cost without him in his kitchen chair them $1.25 million dollars. Their immediate reaction was taking all the responsibility and to ask the New York courts for an injunction against the credit. It is also good to remind construction of the Lexington. The Met’s legal claim? Ten all that Oscar’s second years was ten years, and no opera was no opera – period! Manhattan Opera House still stands today at 311 W. 34th Everything was suddenly put on hold as the Met won the known (between 8th and 9th first round. Hammerstein immediately appealed to the avenues), known today as the Maestro Campanini Appellate Division of the New York Supreme Court. All Manhattan Center while his the while Hammerstein had been winning the money to Theatre Republic still resides on 42nd street as the finish the Lexington Opera House, this legal threat to the New Victory. All else has gone the way of the very existence of the Lexington Opera Company had been wrecking ball including the original opera house of his looming like a dark cloud which Oscar simply chose to chief rival, the Metropolitan Opera Company. It was a ignore until April 17, 1914. The Apellate Division most hollow last laugh at best. formally agreed with the lower courts. Hammerstein was officially, totally and finally out of the opera production Thus the grand building career of Oscar Hammerstein business. I came to a rather ignoble end. The journey that began in 1889 with the Harlem Opera House, spanned 12 The Lexington Opera House did eventualy open on August edifices, ended abruptly in 1914. However that is 22, 1914 as a 3,000 seat theatre for “motion pictures on a really only half the story as the opera companies that magnificent scale, with organ and chorus music as a the impresario created are perhaps more important than feature” as one newspaper observed. Once again, Oscar the buildings that housed them. had created an acoustically perfect auditorium for a total cost of $1,225,000 million - almost what the Met paid him to go away! Oscar and His Opera Companies

While Oscar himself never produced opera within its No one can escape the fact that Oscar Hammerstein I walls, Cleofonte Campanini and the Chicago Grand adored opera. His mother and the Berlin Opera Opera Company (what remained of the old Manhattan Company had instilled that initial love for the genre Opera Company) chose to use this house whenever they while he was growing up. His mother’s untimely came to New York City to share their seasons. This passing around 1862 brought the 15 year old squarely company had been the one to finally produce Herbert’s up against a father he either could not or would not see Natoma in Philadelphia in 1911. It would be the one to eye to eye with, causing a solo escape to America. One first bring soprano Amelita Galli-Curci (1882-1963) to of the first things young Hammerstein did, once he had the United States for a debut in Chicago in 1916, and then landed work with a cigar maker and had a few coins in 6 News From VHSource, LLC Vol 10 October 2013 his pocket, was to attend the theatre. The diversity of New Emma Juch (1861-1939) York theatre at the time first introduced the youngster to was a considerable opera the minstrel show, as well as the Booth acting family, but phenomenon who sang all the lure of opera was not far behind. over the country to astounding success. Juch had During and immediately following the Civil War, New arrived in America in 1881 York City had primarily one big opera company, the with a reputation for singing Academy of Music Opera Company and lots of small fluently in four different German/Italian ones springing up as European immigrants languages: French, German, arrived and felt the need for their own music. It was Italian and ENGLISH. She during 1864 that Oscar (all of 16 years old) rediscovered only officially affiliated with opera and made the acquaintance of Adolf Neuendorff the very short lived Emma Juch (1843-1897), chorus master and assistant conductor in American Opera Company, Maurice Strakosch’s German Opera company. established by Theodore Thomas and Jeannette Neuendorff would soon create the Germania Theatre, Meyers Thurber in 1886. The Austrian born singer happily situated on 14th Street in a portion of the old preferred touring to remaining in one place, quite Tammany Hall Building. NOTE: This was the same building possibly because it provided a foreigner with the that had housed the all powerful Democratic Party Political perfect chance to see as much as possible of this vast Machine from 1786. It would be turned into a theatre by country known as America. With the quick demise (one Bryant’s Minstrels around 1867 after the Mechanic’s Hall had season only) of the American Opera Company, she burned in 1866. resumed touring often with soprano Jessie Bartlett- Davies (1859/61-1905) who would go on to fame with We move ten years ahead to the Bostonians, a company known for its light 1874 and Neuendorff, now a opera/operetta productions. NOTE: This singer introduced well established conductor of the famous “O, Promise Me” in the trouser role of Alan a- opera in New York City, took Dale in the 1890 Robin Hood. Oscar I along with him, as a backer (read “money man”) In 1888, Juch formed her Emma Juch Concert Party, and occasional composer of an informal group of opera singers which toured the incidental music, whenever the wealthy living rooms or “salons” of America, offering maestro launched another opera solos, duets, trios and scenes from famous operas. project. First wife Rose Probably at the recommendation of Theodore Thomas, Hammerstein with three young she hired Victor Herbert as her music director, cello boys at home could not have soloist and accompanist for this tour the year after been terribly pleased as she Herbert’s wife ceased singing with the Metropolitan Adolf Neuendorff watched their savings dwindle Opera Company. See Vol 6 June 2013 for more and disappear down that deep information on this group. Herbert only remained with pit known as “theatrical investment.” Juch for one season, presumably because he (1) really did not like to be away from his relatively new wife for In 1888-89, Oscar actually built and owned his first opera such extended periods, and even more likely (2) house – the Harlem Opera House. If the reader has been because Juch chose to form the full opera company. It following these discussions of Oscar I in recent months, may well be assumed that Herbert felt totally it’s good to remember here that a very common unqualified to conduct entire operas as it had not been characteristic of Oscar I was to build a theatre/opera house in his prior experience. We are not aware at this time of and have nothing in the way of talent with which to open Herbert ever conducting opera other than his own the new space. Old friend Neuendorff came to the rescue Grand Opera Natoma, his one act Madeleine, and his with the possibility of booking the brand new Emma Juch one act embedded spoof on Lohengrin, The Magic Grand English Opera Company to help fill the first Knight, originally a part of, and then an addendum to, season. Coincidentally, Juch had hired Neuendorff as her Dream City (1906). first conductor. 7 News From VHSource, LLC Vol 10 October 2013

To return to Oscar Hammerstein needing an opera publisher of the Musical Courier and made the company for his first season in his Harlem Opera House, acquaintance of James Gibbons Huneker (1857- he was more than happy to book the Emma Juch Grand 1921), one of the magazine’s editors who would English Opera Company. Her repertoire included Faust, become a lifelong friend. During a rather lengthy De Trompeter von Säkkingen, Mignon, Carmen, The discussion, Hammerstein made the first public Bohemian Girl, Rigoletto, Maritana, Der Freischütz and statement of his primary intention – “he would produce Il Trovatore – all sung in English. The year is 1889! opera or die.” Huneker would recall that “Hammerstein Proof positive that opera in English was certainly nothing came to seek Blumenberg’s advice and went away new to America when Oscar asked Herbert to write a advising us.” Oscar also went away with a letter of Grand Opera in English in 1907. introduction to one of the world’s greatest sopranos, Lilli Lehmann (1848-1929). The Juch company played the Harlem Opera House from November 4 through November 9, 1888, before moving on Lehmann had, long before – presumably, given the northern most address of the she arrived to sing at the Harlem to another venue outside of New York City. The Met, debuted in 1870 with group was to spend four full seasons touring, but they the Berlin Opera singing were never again booked by Oscar into one of his opera Meyerbeer’s Das Feldlager houses. It should be noted here that neither the Harlem in Schlesien. Lehman sang Opera House nor the Emma Juch Grand English Opera in the first Wagnerian Company made any money whatsoever during this first Bayreuth Festival in 1876 season. Oscar was definitely feeling the financial pinch by i n t h e p r e m i e r e December of 1889. performances of Wagner’s The Ring Cycle as the It was this dire need for money that prompted Oscar to Rhinemaiden Woglinde in make his famous visit to the grand Metropolitan Opera Das Rheingold a n d Company down on 39th street. He had conceived the Helmwige in Die Walküre. La Grand Lehmann brilliant idea of offering a northern “end of season” home She was a prima donna for the famous Met Company which had so swiftly assoluta of the opera world and was granted special managed to “do in” the Academy of Music Opera leave from the Berlin Opera to sing at the Met from Company in the first set of “Opera Wars” of 1883-85. The 1885-1899. Here was a singer of such wide range and Met was now seven seasons along in its life, and was in skills that her repertoire ranged from Richard Wagner Oscar’s eyes the perfect source of “third party” rental (1813-1883) to Vincenzo Bellini (1801-1835). For her money of which he was in such dire need. While he had benefit performance and farewell for the 1890 Met not exactly made money, he had proven that Harlemites season, she chose Norma and netted $8,000.00. would come to opera in their own community. It shoud have been a win-win for both him and the Met. So he Lehmann was a very intelligent woman – sensible, thought. unpretentious – who, with her husband, tenor Paul Kalisch (1855-1946), had already by 1890 decided to The reader may remember from our August newsletter that leave the Met and return to Berlin as they were not at this “wonderful” idea resulted in the Met general manager all happy with the Met’s relationship with its wealthy Edmond Stanton tossing Oscar Hammerstein out of his society patrons. When she met Oscar Hammerstein she office and thus unwittingly planting the seeds which would found a kindred soul regarding opera being for launch the second Opera Wars of 1906-1910. Now devoid everyone, and agreed to help the new impresario build of any new “third party” rental companies, Oscar turned to his first company. Thus, Oscar Hammerstein embarked his tobacco business inventions and was forced to sell one on forming and managing his own opera company. such patent which had provided over the years substantial royalties. This resulted in a much needed $65,000 cash to While Lehmann handled all the casting for him, Oscar fuel Oscar’s determination to bring first class opera up to joyfully flung himself into hiring a conductor, an Harlem. He sought the advice of Marc Blumenberg, orchestra and a chorus, renting scenery and costumes, 8 News From VHSource, LLC Vol 10 October 2013 and finding all the needed properties for his one week Januschowsky (1859-1914), wife of Neuendorff. The season of opera. Interestingly, he chose Walter old friend would once again serve as Oscar’s conductor Damrosch, who had been serving as one of the two major for a three week season which included Rigoletto, conductors for the Met (the other being Anton Seidl) since Carmen, The Bohemian Girl, Il Trovatore, Maritana, 1884. It must have delighted Oscar to have the Met’s best Der Freischütz, and Faust. There is much truth in the singer casting and singing in his company as well as one idea that “it is a very small world.” For the second of their conductors. The Met’s season being over, there straight time, money was made by all. In fact, the was little they could do. Lehmann chose Bellini’s Norma, Columbus Opera House did better box office business Meyerbeer’s Les Huguenots, and Verdi’s Il Trovatore. than the Harlem, even though it was only 5-6 blocks She herself sang only the Norma. away.

Oscar’s education included: (1) the joys of being an Flush with up-town success, Oscar I turned his sights impresario and “putting it all together,” (2) the magic of a on mid-town and began the construction of the first very great name, (3) the fact that opera lovers would travel Manhattan Opera House with huge plans to invade any distance to hear that great name sing, (4) the ease with the very neighborhood of the Metropolitan Opera which theatrical warehouses would open up when one House sitting grandly at 39th and Broadway. As soon as mentioned that great name, and (5) the ring of the box he had secured vacant land on 34th street between office during the entire “season” even if that very great Broadway and 7th avenue, he set his sights on opening name only sang once. The Harlem Opera House was filled his new opera house with the sudden superstar of the for every single performance of that glorious one week. European opera world, the brand new one act opera, Cavalleria Rusticana by Pietro The newly minted impresario was so pleased and joyful in Mascagni (1863-1945). The this endeavor, that for opening night, he found himself a phenomenon was produced in kitchen chair and planted it in the wings. It would become Rome on May 17, 1890 after his throne for the rest of his life from which he would winning a competition held by watch every single moment of every single performance of the publishing house Sonzogno. every single opera he ever produced. Every singer of every Within the next year and a half, company would have to pass his high hat, cigar, Prince the work had been debuted in Albert coat, and spotless linen for every entrance and exit every single major European from this point forward. There had never been, nor has city and been conducted by no there ever been, a more involved impresario than Oscar less than Gustav Mahler (1860- Hammerstein I. 1911). It certainly made the Composer Mascagni fortune of its 27 year old composer who would go on to The Lehmann Hammerstein Opera Company lasted write fifteen operas, an operetta, and assorted only that one week season in the spring of 1890. To orchestral, vocal and piano music. Hammerstein, it meant absolutely everything. To Lehmann, it was nothing more than bump in a huge career. It was the conductor Anton Seidl who brought the new Don’t bother looking for it in her memoirs – she never work to Oscar’s attention. He was conducting his mentioned it. famous Brighton Beach Summer Concerts (Victor Herbert in the cello section and assistant conductor) A Few More Preliminaries and offered free tickets to his friends Hammerstein and Neuendorff. It was at this concert that they heard the In the spring of 1891, Hammerstein formed the “Intermezzo” and “Excerpts from Cavalleria Metropolitan English Opera Company to reside in his Rusticana.” Oscar immediately determined it was the newly opened Columbus Opera House located on 125th perfect work to open his first season in the Manhattan Street between Lexington and 4th Avenue on the East Side and trump the Met by giving the American premiere of directly across the island from the Harlem Opera House. the work. He cabled an offer of $3,000 cash down as He was able to pull together the remains of the Juch Opera an advance on a royalty of 15% of the gross to Company around the soprano Georgine von Sonzogno. The impresario was following an instinct 9 News From VHSource, LLC Vol 10 October 2013 that was to serve as the base for almost all his future opera Three days before Oscar’s opening date of October 1, successes. the courts overturned the injunction due to that pesky wrinkle referred to earlier - no production OUTSIDE of However, the copyright laws of America and Europe were Italy. Aronson immediately scheduled a free two very different things in 1891. Because of a rather little performance the afternoon of October 1st to deprive known wrinkle, “exclusive rights in America could be Oscar of the New York premiere. Why free? At least obtained from Italy only if the Italian work had never been Aronson could fall back on the fact that he had made no produced outside of Italy. Cavalleria had already hit every money on his production in case the courts reversed single major opera city of the world, so Oscar’s very their decision yet again. Meanwhile the public and the generous fee was basically worth nothing regarding press were following all this maneuvering with great securing rights to a premiere of the work in America. The delight and probably even a little betting. Fortunately, best his $3,000 could buy him was the official stamp of the press judged Hammerstein’s lecture hall version to approval on his production by the publishing house and be superior to Aronson’s theatre version. the composer. The race was on to see who would actually produce it first. This would be one of the first occasions on The New York Herald observed: which Oscar was more intent on winning the rights than on making a sound financial deal. The performance was creditable to Mr. Hammerstein, who organized it, and to most of the artists in the cast. Now doing Cavalleria quickly “in order to be the first” Two of the chief singers, the baritone and the became the priority, and the Manhattan Opera House contralto, had no time allowed them to learn their proved to be more hindrance than help. Frozen ground and parts. The wonder is that under the circumstances they did not break down altogether. One or two more Manhattan’s famous bed rock proved a huge delay in rehearsals would have added vastly to the efficiency of completing the Manhattan. Finding another space proved the chorus. An extra day of preparation would have even more problematic as most everything was already averted the small errors in stage management ... booked for the time period Oscar needed – the end of Fortunately, the beauty and dramatic inspiration, September/early October. Remember $3,000 was riding on which made the success of the opera abroad, saved it getting to the opening curtain first. Producing the work up- from failure here. This and the admirable art of town in either the Harlem or the Columbus was out of the Madame Januschowsky ... the splendid tenor of Mr. question, so he settled on the Lenox Lyceum at 59th and Payson Clarke ... the conscientious efforts of the Madison as the closest space that could be booked. Not chorus ... At the end of the evening, Mr. Neuendorff and the leading interpreters of the opera were recalled. only was it not advantageous from a location standpoint, it also was definitely NOT a theatre but a lecture/concert The New York Times remarked: hall. Meanwhile, the work was produced in Philadelphia on September 9th and Chicago on September 28th. The The opera was pitchforked into an open concert room, situation was bad, but then it got worse. and a bad one at that. But the musical forces were superior to Aronson’s and had there been a better Oscar was in a mad scramble to even think about a rather theatre, the Casino performance would have been “iffy” October 1st opening. Suddenly Rudolph Aronson, greatly surpassed. The cardboard-like construction manager of the Casino Theatre, announced he would called a proscenium arch afforded such a view that you definitely produce the work in New York on October 12. were practically behind the scenes when you were in Keep in mind that the Lyceum had no stage, no front. proscenium arch, no room for scenery and no orchestra pit. The Casino was a proper theatre with all the trappings. Oscar’s production ran every evening for a full week in Oscar immediately went to court for an injunction against mid-town before moving up to the Harlem for Aronson, citing his contract with Sonzogno. He was additional performances. Madame Januschowsky was granted the injunction and set about working like a demon asked to sing Santuzza on eleven consecutive nights to turn the Lyceum into the closest thing to an opera house with only Sunday off. Granted Cavalleria Rusticana his builders could make of a huge rectangular is only a one act, but few opera singers are ever asked concert/lecture hall. to sing consecutive evenings, let alone 11 straight. 10 News From VHSource, LLC Vol 10 October 2013

It would be safe to assume that Oscar lost money on the some recently witnessed at the Metropolitan Opera whole affair as well as his dream of besting the Met in House.” their own neighborhood in his own brand new opera house. The impresario’s instinct about the work had in fact In all fairness, Hammerstein’s first been very solid – he himself simply was not able to bank mid-town season had lots of on it. It would take the American soprano Emma Calvé competition – Italian actress (1965-1952) singing Santuzza at the Metropolitan two Eleonora Duse (1858-1924) made years later in 1893 to really win American audiences, and her American debut the day before the work has now become a standard part of opera seasons Boabdil opened. Lillian Russell was all over the world. playing to packed houses in The Mountebanks by W. S. Gilbert and There was one more preliminary opera company before the Alfred Cellier. While known as a great Manhattan Opera Company was formed. Duse great beauty, Russell was also a fine Fascinatingly, this company also resided in the Manhattan singer with critics exclaiming that Opera House – just not the same one. Oscar had pulled no only Lilli Lehmann produced “more punches, promising to build a huge opera house in mid- ravishing tones.” Producers Daniel town and the delayed, but finally ready on November 14, and Charles Frohman were filling 1892, 2,600 seat Manhattan delivered in every way. It was their theatres with matinee idols and acoustically perfect for singing but not so great for the huge audiences. It is ironic that with spoken word. Since his opera house had not been ready for lots of great singers and great Cavalleria Rusticana, Oscar was once more faced with conductors idled by the Met fire, having no opera company or opera production to open the that Oscar chose to rely on old new edifice. This time the impresario imported an acting Lillian Russell friends and the known instead of company from London that immediately faced the less trying to cherry pick the Met’s idle than friendly acoustics. Every review mentioned the talent. Oscar’s primary problem was a common one – obvious – the new house was far more suited to grand he had no money. Yes, the Harlem was making lots of opera than it was to drama. Oscar waited exactly 8 hours money as was the Columbus, but the Manhattan was after the opening before putting together another new eating up every cent. No money meant no first class opera company. talent. It was a very discouraged Oscar who finally sought out Koster & Bial to help him fill the The Hammerstein English Opera Company was Manhattan with vaudeville talent no less. It was a move introduced to the press before Christmas and opened on that ultimately took Oscar Hammerstein I entirely out January 24, 1893. Coincidentally, Oscar had his single of the opera business until 1906. best chance to make huge inroads into the Met’s audience when the Metropolitan Opera House burned on August 27, When Koster & Bial wanted more control than Oscar 1892 and their 1892-93 season was entirely canceled. was willing to give, he simply leased the Manhattan to Since a new opera company was needed, Oscar turned them, and they immediately renamed the opera house once again to conductor Neuendorff and his wife soprano after themselves – the Koster & Bial Music Hall. Georgine von Januschowsky for the foundation. This NOTE: This would be the theatre torn down to make way for time the repertoire would include the relatively new comic Macy’s in 1901. Setting opera aside for the time being opera, Boabdil, with its German composer Moritz Oscar went off to build the Olympia (1895), the (Maurice) Moszkowski (1854-1925) in attendance on Victoria (1899), the Theatre Republic (1900), the opening night, Carmen, the Bohemian Girl, Rigoletto, Paradise Roof Garden (1901), and the Lew M. Fields Fidelio and Il Trovatore. For the most part, Oscar did not Theatre (1904). Our impresario would lose absolutely fare well with the press with this opera season with the everything in 1898, and then learn to let others fill exception of the opening production of Boabdil, which and/or run his theatres, including his son Willie who had already had great success in Berlin. With this would parlay the Victoria into a huge money maker, particular work, the Times noted that it was “better than which fueled all that was to follow. During this period 11 News From VHSource, LLC Vol 10 October 2013 he would also make son Arthur, his right hand man in the III. Dur du bist (Ah! Love Me) is available in both theatre construction business. soprano & alto versions and is the third and last song of the Juch set. In a text by O.E. Ehlers, after admitting to Next month we will explore the crown jewel of Oscar loving another, the singer begs to be loved back since Hammerstein I’s entire career, the Manhattan Opera the earth is such a dreary place without love. Company. Oscar I has certainly shown us tenacity to this point but not a huge expertise in producing. He has Ich liebe dich (I Love Thee) is marked for soprano or definitely shown us lots of ways to lose money. It will now tenor with a text by Joseph Siegel and speaks of the become a shock when Hammerstein truly decides to take change that comes over one when she/he realizes that on the Metropolitan and almost pulls off the biggest “I love but thee.” Originally, it was a woman’s song theatrical David and Goliath struggle Broadway has ever sung in answer to another Herbert lieder Frühlingslied seen. sung by the man. This song is dedicated to Fanny Moran-Olden. As always a special thanks to WikiPedia and the Broadway League’s Internet Broadway Data Base (IDBD) Standchen (Serenade) is marked for soprano or tenor as well as the following books listed below. You can still and dedicated to a Miss de Vere with a text by E. find some copies on amazon.com. Buek. This is one of Herbert’s most famous songs which debuted as the 4th movement of his Suite for Sheean, Vincent, Oscar Hammerstein I, Simon and cello and orchestra, Op. 3 (1 - Allegro moderato, 2 - Schuster, New York, 1956. Scherzo, 3 - Andante, 4 -Andantino grazioso (the Van Hoogstraten, Nicholas, Lost Broadway Theatres Serenade), and 5 - Tarantelle), in Stuttgart, Germany (Revised Edition), Princeton Architectural Press, 1997. and served as his debut at age 24 as both composer and cello soloist. The date was October 23, 1883. The German Lieder Now Available movement was encored so frequently, it was finally removed completely from the larger work to become a Calling all vocal instructors, sopranos/tenors and stand alone instrumental. The melody became so mezzos/altos who would like a bit of an edge at auditions famous that E. Buek added words and the song was and competitions. Were you aware that Victor Herbert published by Luckhardt, Berlin, 1889 and G. Schirmer, wrote German lieder (art songs)? He wrote roughly 19 America, 1889. It was most likely sung for the first between 1888 and 1894 and we are happy to offer you five time in a May Festival concert in Cincinnati with the different ones. Both the German and English text are Thomas Orchestra, Theodore Thomas on the podium, provided in each work. on Thursday, May 22, 1890.

I. Die stille rose (The Silent Each of these is available for purchase and download at Rose) is available in both soprano the links above. Let this be the season where you or & alto versions and is part of a your singers offer something the judges have most three song set dedicated to Emma likely never heard before. The singer will be Juch. With a text by Ida von remembered. Düringsfeld, the singer equates herself to a rose willing to spend the rest of her life lying on the The Incorporation Diary bosom of her loved one. eptember was the month of frustration as we II. Liebesleben (Love’s Token) is made the horrible discovery that the name we had available in both soprano & alto versions and is the second Schosen for our new production company – the song of the Juch set. With a text by Friedrich Brunold, the Victor Herbert Renaissance Project – was exactly singer pledges one word or a ring of gold to prove her love the same as the name we had been using for all of our but also says that no word or ring could ever truly describe creative product for almost two decades. Google search her love. confusion suddenly loomed large on the horizon, and it 12 News From VHSource, LLC Vol 10 October 2013 quickly became clear that a name change was definitely in Sunday, November 17th, 2013, 3:00 pm, Seven Hills order. Sinfonietta , William White, conductor, will present a possible American premiere of Victor Herbert’s Suite When you have been using a particular name in dreaming for Cello and Orchestra, Op. 3 with cellist Alan about your own production company close to twenty years, Rafferty of the Cincinnati Symphony. The concert it becomes extremely difficult to cut the ties and find a will take place at B'nai Tzedek, 6280 Kugler Mill Rd, name that will have any meaning for you. Notice we say Cincinnati, OH 45236. We say possible because at this for you and not others. Names of businesses absolutely time, we know that the must be important first to you. Yes, they must also work American premiere in 1887 for potential customers, but it is not your customers who with Symphony Society will ultimate drive your company. It is you serving your under the baton of Walter customers well, believing in your product, believing in Damrosh, was missing two yourself – all of which results in you putting a ton of movements of this five energy into this endeavor. You absolutely better believe movement work. We are in that name with all your soul! currently trying to check this out and we’ll keep you We basically spent September driving our new marketing posted. If you are anywhere consultant and the “board to be” crazy with various lists of near Cincinnati, Ohio on this possible new names – none of which even came close to Alan Rafferty date, try to get to this resonating. After two solid weeks of pure angst, we finally concert. Here’s two more little nuggets of information: settled on a real mundane, basic name which just was not 1) This work launched Herbert’s composing career, and stirring any juices. We had certainly gone from the 2) the premiere of this work in Stuttgart occurred on excitement of having all the incorporation papers ready to October 23, 1883, which makes 2013 the 130th go and the inpatience of awaiting the call from the anniversary of that first performance. Again, try not to Volunteer Lawyers for the Arts to thanking our little stars miss this one. that the VLFA had NOT yet called. Fridays and Saturdays at 7 p.m. and Saturdays and Then suddenly lightening struck, and a new name burst Sundays at 2 p.m., Dec. 6 to 15, 2013, the Newington forth into the mind, and everything was back in balance – Children's Theatre Company will present Victor proof positive that creative juices sometimes need some Herbert’s Babes in Toyland with youth from 8 to 18. fermenting before they produce something that really fits Performances will take place at the NCTC Performing the bill. The new name is VHRP Live! We took the Arts Theatre located at 743 North Mountain Road in existing branding of VHRP and paired it with the purpose Newington, Connecticut. Visit the company’s website of the production company – proving that Victor Herbert for ticket information. was “alive” and ready to be performed on a regular basis. October 1 finds this incorporator once again happily Friday, Dec 6, Saturday, Dec 7 and Sunday, Dec 8, awaiting the call of the VLFA attorney. 2013, Chicago Folks Operetta will present their version of Victor Herbert’s Babes In Toyland at the 19th Century Club in Oak Park, Illinois. You may Upcoming Performances purchase your tickets on-line ($30, $35, $40) at this site. Monday, Oct. 21, 2013 at 7:30pm, Light Opera of New York will present Victor Herbert’ one act spoof of Saturday, March 22, 2014 at 8pm and Sunday, Lohengrin, The Magic Knight (1906). Performance will March 23, 2014 at 3pm, Concert Operetta Theatre, take place at the National Opera Center, 330 Seventh Dan Pantano, Artistic Director will present Two One Avenue at 29th Street, NYC. Tickets are $25 and can be Acts by Victor Herbert, Madeleine (1914) and purchased here. Cyrano de Bergerac (1899), a new one act version by Alyce Mott. Performances are in the Helen Corning Warden Theater at The Academy of Vocal Arts, 1920 13 News From VHSource, LLC Vol 10 October 2013

Spruce Street, Philadelphia, PA 19103. Come celebrate the found, there was no score – only handwritten parts, so 100th Anniversary of Madeleine and enjoy the rarely heard tip your hat to the North Carolina Symphony Library Cyrano with a beautiful score. Times are approximate. for restoring this marvelous piece. Tim Ribchester is music director, conductor and pianist Hope you have noted the great additions to the Friday, April 25, 2014 and Saturday, April 26, 2014, Calendar portion of this newsletter. I need to call Times TBA, Light Opera of New York will present Victor particular attention to two entries in case you skimmed Herbert’s 1922 Orange Blossoms. Performances will take over the listings. Ohio appears to be a big winner this place at the The Thalia at Symphony Space, 2537 Fall. The November 17th entry in Cincinnati is Broadway at 95th Street, NYC. Ticket price TBA. particularly exciting as this may well be an American premiere of Herbert’s very first official composition, June 14 through August 9, 2014, the Ohio Light Opera the complete Suite for Cello and Orchestra, Op. 3. has announced their 35th Festival Season. Low and behold, Should you be able to make this concert, you will be they are doing Victor Herbert’s Dream City and The one of the few to have ever heard this complete work. Magic Knight. This is spectacular news as this 1906 production most likely may not have been done since Then comes the excellent news of the Ohio Light touring during 1907. For sure The Magic Knight has Opera’s decision to present the 1906 Herbert musical never been in its proper place with Dream City. This is not comedy Dream City and The Magic Knight. There’s to be missed. a great story behind this work and you’ll find a discussion of this operetta in the new E-Book Friday, July 11, Saturday, July 12, & Sunday, July 13, Foundations available for immediate download. As I 2014, the VHRP Live! and the Manhattan Center will have often said, I do not write one of these newsletters present the official three day “play down” event entitled without opening Foundations for reference at least two Restoring Natoma (Herbert’s Grand Opera) in the to three times. It also contains in-depth discussions of Manhattan Center’s Grand on the 7th floor of 311 W. 34th every Herbert theatrical work from Prince Ananias Street, New York, NY. Times and details coming as we (1894) through The Dream Girl (1924) get closer to the dates. Don’t forget to check out the Herbert operettas now available for rental. All the information you need is up Alyce's Musings . . . on www.vhsource.com right now – sample contract, sample materials, full perusal librettos and sample t’s Fall and life in the City has sped up performance materials. Please don’t hesitate to e-mail once again. It has been a fairly quiet us at VHSource and ask about any work’s availability. Imonth for the Natoma project which was great from a standpoint of worrying See you next month. about a new name for the new production company.

As orchestras begin gearing up their 2013-2014 seasons, Two places can supply referenced back issues you may like to read: 1) The E-Book section of Shop VHSource has the new hopefully all maestros will keep in mind the wonderful Foundations which will give you all the VHS newsletters from little galop, Royal Sec, which the young composer Victor March 2009 through February 2013. Explore discussions of the Herbert wrote circa 1884. Think of a more complex Herbert operettas from Prince Ananias (1894) through The Dream Girl (1924) in one searchable source. Or 2) simply login Waiters’ Galop from Hello Dolly, and you have a good to www.vhsource.com and choose “Archived Newsletters in the idea of this very mature work. It’s a great filler or entr’act User Menu” for 2013 newsletters. Reminder: if you are not logged to get everyone to sit down and get ready for the rest of a in, you will not see a User Menu or any samples. concert or to top off that New Year’s Eve concert. It’s a All current newsletters are available to registered users of piece you can retain in your library and pull out again and www.vhsource.com. Simply follow the link, create a user name and password and enjoy this newsletter delivered to your inbox again. Pick up the parts and score and have them available free of charge every month. and ready to go in 15 minutes. When this piece was first