New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1850-12-10
THE FINE ARTS.
The Opera and Musical Prospects.


have had toleraoiy continuous operate season,
attended with occasional explosions, rvalries saa
dissatisfaction, and with strong tendency to ter
rasuate every spring in grand fen de joie of ma
nagerial failures, artistic iealouses, and popular
discomfort although the satisfactory result Of last
years season is good earnest for the future.
The history of New-Yorb Opera might be anus
ing if it were not monotonous, and there must be
some reason for this state OF things-some fatal
misapprehension of times and places in the ma
nagerial mind; for no people are SO ready as we to
acknowledge what is genuine, and to pay roundly
and richly for its enjoyment Ole Bulls fiddle
bow was magical wand, creating gold for HIM
Fanny Ellslers foot pointed to an accessible HI
Dorado wherever she chose 10 lift it; and certain
" Jenny Lind has been the fortunate fa;ryfayor-
ed, who uttered only pearls and diamonds
In no country is money made and spent so easily
and freely as i'll America, and yet we do not have
tie best things that money can buy IN any depart
ment. We ought to hear Grisi and Aiboni and
Persiani, and Sontag, and Mario and Staudigbi
sing We ought TO see Cetito and Carlotta ans
Rosah dance and feast in New ork upon what
ever is tarest and most fascinating III cotempora'
ry art in Paris or London; and this not tor tew
times, in a cramped and unsatisfactory manner.
but with all possible prestige. We are the people
to enjoy and to pay Tor IT. New.York Is more
musical than London, on the whole. The finest
Opera and the finest Opera audience in the world
are among people not especially musical In
London, at her Majestys, which malgrt Partisan
incredulity is now the royal court of the Opera:
it is supported by class who cultivate it as
tb.,
houses are searched and despoiled of whatever
promise they have, and which passes finally upon
the merits of singer or dancer, without appeal
to the Sale Ventadour Or the Rue LeDe}letser.
Now why is a city of as much, if not more, mu.
steal taste, and with ample means to pay for it's
qualification, forever thwarted in its desire to have
a good Opera For we cannot regard the Astor-
place House either in its building or in It's enter
taiumont, as fully worthy ofthe city. Wewishto
be generous to gentleman of the energy and skill
of Mr. Maretzek, but we must be Just to the fair
claims of the clty-our Opera is secondrata
Opera 1t is like the native Italian Operas. whiok
are always poor, because any rising star OF La
Scala or the San Carlo is instantly transferred
to shine in the English armament. 1t is even bet
ter than the Italian Operas because we have IA
RopI, who was considered by Lnmley's divers
pearl pure enough to bring to the surface. But
while the New York Opera is less than the Loo
don or the Paris Opera, we have right to conaI
plain that it is so, and agitate, like free and indie
pendent citizens as we are, until we have ono as
good.
The secret of the matter here, as elsewhere, liz
smply--moaey IfNewYor can pay as much OF
more than London or Paris, New York can enjoy
as much And there being no doubt OF the ability
and inclination to pay, the sole question is, how
to base the undertaking broadly enough to succeed.
In Paris the French Opera is supported by tho
| Government at two houses in one oil WHICH
French Librotti of Italian Operas are sung. Tho
exclusive Italian Opera was sustained before the
Revolution of AZ, by the ashton and wealth Of
the city, and without public aid. Since that time
it has been generally closed, bat twice opened by
Ronconi who lost a great deal of money by the
business. 1t is just now opened for the third tme
| by Lunley the Manager Of Her Majcsty's in
London, and receives ample aid from Govern
ment In Berlin and st. Petersburg the Opera is
supported by the Government, as it ia in Vienna
and Naples In London we believe, but arc not
quite sure, Her MGjestys receives private subsi.
dies from the public purse, while the Royal Itai-
ian Opera at Coyent Garden is private specula-
ton, sometimes succeeding in running the lessee
very rapidly, as in the case of Mr.. Delafeld, re-
Gently bankrupt to an enormous amount.
In addition to this source Of support, the chief
Operas abroad are under the patronage of the Mo-
bility-a permanently fashionable and wealthy
class. One glance at these facts shows clearly
enough that dependence is not solely placed upon
private musical taste or resources. The consent
of long habit and the surviving musical taste
which originally invented and supported the
Opera justify the government In such assistance.
Butwe cannot hope for similar governmental aid
in this country. The Opera is regarded politically,
if we may say so, as a luxury, view Of the case,
which is as true abroad, but which does not occur
to the popular mind there because foreign gov
ernments love and always have aided and Allotted
luxury.
AS we cannot look to the government nether
can we hope from what is called Fashion, the ade-
quate support OF an Opera. We want only the
experience of few past years to show that facs
clearly as it be demonstrated The trush
IT, that in New-York, although there is perma.
nent class called fashionable, yet its materials are
constantly changing. AS the City is perpetua1iy
recruiting from the country, go the more fashona-
bic quarters of the City recruit from the quarters
less fashionable. The East gradually moves to-
ward the West and North. The world beyond the
Bowery arrives pd successful speculations in alks,
stocks or sausages, in the vicinity Of Blooming
dale. The grandchildren spend the fortune of tha
grandparents. The fashion Of yesterday is forgot
ten to morrow, and so the perpetual change goes ou
which keeps all alive. We are apt however to
overlook this spirit and because London and Paris
are only fortnight away, TO fancy that, on the