News From VHSource, LLC Vol 6 June 2011 A Masterpiece Rises From Ashes! a dozen theatres from Harlem to 34th street and How Does One Appease singlehandedly launched the only real challenge the An Angry Giant! Metropolitan Opera Company ever had to face in its first 75 years. The mighty Met lost that competition, but managed to “win” in a way that led s this writer sat watching a wonderful directly to one of Herbert’s greatest composing production of Victor Herbert’s Naughty achievements. AMarietta produced by the College Light Opera Company of Falmouth, Cape Cod last summer, some As early as 1906 while Hammerstein was enjoying dates and facts began flitting through my mind, and an his Manhattan Opera Company’s wildly successful amazing theory suddenly popped into my mind with first season, he suggested that America needed a first regards to this classic American operetta. The reader rate American Grand Opera in English and Herbert may be hard pressed to find the following concept was the man to write it.(see Vol 7 July 2010 for voiced in any of the currently published examinations closer look at the Hammerstein career and life) of Marietta or Oscar Hammerstein I. However, if one Nothing was officially on paper, and the two had places all the events and dates in their proper order, never talked about such an endeavor, but Oscar was common sense dictates that this stunning creation – always “News.” The same reporters who constantly arguably one of the finest American operettas ever culled Oscar’s thoughts now gravitated to the created – may very well have been simply “payback” aforementioned composer for his opinions on the for a catastrophic mess in which Victor Herbert and subject. Oscar Hammerstein I found themselves emotionally embroiled. Marietta arose out of nothing within three It’s fair to note that both men could be herculean months (from contract to first rehearsal) from (1) the talkers. Herbert was gregarious by nature, and rarely skeletal remains of the proud four-year-old suddenly said anything that he couldn’t back up. Hammerstein defunct Manhattan Opera Company, (2) the brilliant was almost the exact mind of an angry opposite, which often composing genius, and prompted the critics of (3) the producing talents the day to “doubt” of a son who needed to almost all of Oscar’s solve the havoc he had pronouncements. The inadvertently created in New York Tribune’s saving his father leading critic, Henry financially. Edward Krehbiel (1854–1923), who had Oscar Hammerstein I followed and written of was the larger than life Herbert since 1886, “epitome” of early openly doubted a Broadway before it even Herbert/Hammerstein was Broadway. He built opera almost from the Oscar Victor 2 News From VHSource, LLC Vol 6 June 2011 moment he heard the first rumblings. When was Herbert’s view of the virtues of overtures versus Hammerstein actually announced an American Grand preludes – he admitted he was a prelude man. Opera around February 1907, stating “He [Herbert] will Overtures were “a resume of the production, a write it, and I will produce it” during the Manhattan condensation of all the dramatic action in a work.” Opera Company’s upcoming 1907-1908 season, The composer felt an overture “gave away too much Krehbiel went on record with the idea that even Herbert by summarizing the entire score” while a prelude was couldn’t write Grand Opera that fast. an “independent standalone piece which simply put audience in the mood for understanding and enjoying By March 1907, America was abuzz with the what was to come.” The composer had already shown possibility of an American Opera, as well as the ever such an inclination with the openings to both Babes growing “opera wars” between Hammerstein’s In Toyland and Little Nemo, but it was definitely a Manhattan Opera Company and the grand “new idea” in the opera world, and thus, major news. Metropolitan. Theodore Thomas had spent a large part of the 19th century educating the American population There was one minor lack that kept the skeptics from coast to coast as to the joys of fine Overtures to active. By the end of the summer of 1907, the all the European operas during his constant tours with composer and the producer still had no libretto, and the Thomas Orchestra. even more importantly, no one even under consideration to write one. One could now safely rule Now came Hammerstein, who represented the average out a 1907-1908 performance. Never at a loss for American and introduced the “new” (particularly answers, Hammerstein declared that would be easily French opera) while the Met represented the wealthy solved as he was prepared to pay $1,000 for any and the German traditions. Hammerstein demanded and finished libretto that laid out the American story he got “acting and meaning” from his singers; the Met was looking for, especially if it was written by an allowed theirs to “stand and sing beautifully.” American! Just wave the money and a libretto would Hammerstein drew a knowledgeable crowd, the Met come, and it did – in October, although its writer, drew those wanting primarily to be seen. The incredible Joseph Deighn Redding (1859-1932), never appears importance of all these positionings may be a bit tough to have collected that $1,000. to understand from a 2011 point of view. Opera is certainly not a primary love of the majority of today’s Exactly where and who iPod and iPad population. However, in 1907, with no found this libretto also television, no radio, and a new fangled phonograph just lies in murk. Redding beginning to really make inroads into American homes, was from the West Coast talk of opera was “news from home.” where he belonged to the San Francisco Bohemian Just as Shakespeare’s London groundling audiences Club. He came East and could understand the vocabulary of his plays, so could promptly joined the the huge German and Eastern European immigrant Lamb’s Club in New population which had spread across our land warm to York. Most likely he a competition involving one of their favorite would have run into entertainments from the “old country.” Many Herbert almost Americans knew opera well, had had their favorites immediately. Did back across the sea, and warmly welcomed the Redding come east with possibility of seeing and hearing it more - especially if his libretto in hand to do it could come from the ranks of their newly adopted just that? Again, no country. definite clear answer Joseph D. Redding exists but it would make circa 1926 Even though no contract existed, Herbert granted an good sound sense. It is interview on April 8, 1907 as to how he would go about also not clear when Herbert began composing the composing a grand opera should he be so inclined. One score, but one would assume, it would have been of the fascinating aspects to come from that interview almost immediately. The libretto treatment Redding 3 News From VHSource, LLC Vol 6 June 2011 presented had a native Indian, Spanish, American love definitely on both sides of the proverbial fence. One triangle theme, was set in California, and most might say the deck was quickly stacked against Oscar importantly, pleased both composer and impresario. Hammerstein. Why it took all parties until Jan 16, 1909 to sign a The following situation formal contract is also unclear. However, that contract has always remained clearly stated that Herbert and Redding were to deliver murky at best, but the completed work no later than January 15, 1910. sometime during January, Hammerstein was to give the opera a first class Arthur and Otto began to production with a 65 piece orchestra during the second discuss a possible merger half of his Manhattan Opera Company’s 1909-1910 of the Manhattan and the fourth season. The completed opera entitled Natoma Metropolitan opera was definitely finished 11 months later in November companies to solve the well ahead of January 15, 1910 delivery date as financially disastrous documented in letters from Redding to his family. competition. Oscar was Unfortunately, Hammerstein now had a huge problem winning the battles but – he was winning the opera wars, but in doing so, he losing the financial war. was bankrupt by January 1910, less than half way He was a one man Otto Kahn through his fourth season. In short, Oscar had no cash impressario - no boards - with which to produce the Herbert opera as contracted. no wealthy sponsors against an entrenched - well By March 1910, he wasn’t even in the country. endowed - highly placed society organization. In this scenario, the leading Space here does not exist this month to really tell this player suddenly became story (it definitely bears telling at a later date). Arthur Hammerstein However, it became quite clear almost immediately (1872-1955), Oscar’s oldest that Oscar’s personality and the Metropolitan’s son and his primary right history could not accommodate a merger. According hand man for all his to author Vincent Sheean in his book, Oscar productions and theatre Hammerstein I, (Simon and Schuster, New York building projects. Arthur 1956), Arthur went so far as to send Oscar overseas had patiently endured three in early March to get his huge and unpredictable ego and a half seasons of out of the way. Did Oscar know why? Probably. producing the Manhattan While he constantly lived his life in denial of Arthur Hammerstein Opera Company’s seasons - financial realities, he was not a dumb man, and he a task he hated. He had also trusted Arthur to do what was best for all.