The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1853-12-12

| municatlon with the people. They cannot rest
| silent under the accusation Of the Union. They
cannot submit to be branded as thieves.
Robbery is not enterprise stealing is no evi-
dence Of energy, felony no proof Of good man
| agement 1t is now clear that the message was
stolen. The President, his Secretary, and his
! Cabinet are purged Of all suspicion Let us
know, then who was the thief Gentlemen Of
the Tribune, Times, Patriot and Post, are
you robbers, or not?
| ITALIAN OPERA IN EUROPE AND AMERICA
| The history of the italian Opera, out of Italy,
and where it has depended upon popular pa
tronage alone for support, has always been
narrative of ruin to those who have sought to
establish it, In Italy the opera is the princi-
pal amusement of the people. The managers
show considerable tact in its management, and
are generally successful. Both managers and
artists are reasonable, accountable beings,
and therefore are not distinguished by those
faults which are so prominent in their imi-
tators out of Italy. On the continent, the
Italian Opera is established at nearly all the
| capital cities and royal residences. At Vienna,
at st. Petersburg, at Berlin, and at Munich, it
| is government institution, and it is, in whole
or in part, directed controlled, and supported
| by the government. In Paris, the opera is as
sisted by the government; without this assis-
lance ii could not exist, and with it, its fortunes
| Auctuate. In London, the opera depends en-
tirey upon popular support, including the
aristocracy and the commonality, and there
| It's history and it's varied fortunes may easily
| be depicted.
The Italian Opera in London has invaded
+! four theatres, once prosperous and respect
able, but since it's occupation their names
have become synonymous with ruin and dis
grace. Going back some forty years, we find
that the italian Opera was purchased by Mr.
Chambers, wealthy banker and o man Of
taste in five years he was bankrupt, and his
family reduced to beggary An actor named
Laporte then got hold Of the lease !; he was a
sharp witted Frenchman, and just fitted to deal
with that mass Of corruption, an Italian Opera
company. With the assistance Of Jew soli-
citor Mr.. Benjamin Lumley, and The support
OF = set Of old debauchees who had the privi-
lege Of choosing the ballet, Mr.. Laporte man
aged to play at hide and seek with insolvency
for few years, when his death enabled his
iactotum. Mr.. Lumley, to step into his shoes.
A notable scheme was now concocted by the
new lessee. He undertook to purchase the
building from the assignees Of Chambers; to
raise the money he made each box little free
hold, which he sold to aristocratic families,
who were in the habit of giving for their opera
box $500 and s4OO sterling per annum, and
were not sorry to invest few thousand in this
musical fee simple. Lumley thus raised an enor
nous sum Of money, and began the season Of
1916 in great style. In 184S he had Jenny
Lind to back him, and in 1851 he was bank
rupt. The theatre since that time has been in
the possession of bailiffs, and every stick has
been sold out of it. Now for Covent Garden
theatre, a noble and prosperous establishment
for fifty years., Need we refer to the days Of
Kemble, Macready, and finally to Vestris, who,
uDLappily was induced to engage Miss Adelaide
Kemble, and played italian opera. In six
months that theatre was bankrupt, for the lirst
time in it's existence. After this, in 1917,
it was pulled down and rebuilt as an Italian
opera. It's first lessee was Persiani, bankrupt in
three months. Its second lessee was Mr.. Beale,
the music publisher, who only escaped similar
fate by finding Mr.. Delafield, young man with
more money than wit, who brought 100000
sterling into the management. In two years
Mr. Delafield was bankrupt 1t then fell into
the hands Of Mr.. Gye. lamp manufacturer,
who made q large fortune out of Julien by
supplying him with common sense. They were
partners in the great concerts-Jullien finding
the music, and Gye the management. How
long eye will hold on the Italian Opera, at
Covent Garden Theatre, is question. Now
for Drury Lane. This theatre was taken by
Captain Polhill who engaged as his manager
Mr.. Alfred Bum. He brought Malibran to
Drury Lane, with the "Sonnambula," and an
italian repertoire. What was the result
Captain Polhill lost 100000. and the theatre
fell to Mr.. Bum, who pursued the same course,
and became bankrupt as often as he could.
Now for the Lyceum. This little theatre was
Italian Opera company bankruptcy was the
end Of that, and the stigma has remained upon
the building to this hour. During this
same period, Mr. Morris, of the Haymarket
theatre, devoted to drama, made fortune of
g120,000 sterling and left it to his family. Mr..
Webster entered the same building with G500
in 1887, where he made sufficient to purchase
the Adelphi theatre and fine estate. Mr..
Charles Kean has realized 100000 in three
years at the Princess's theatre. And SO with
all the theatres.
How about the italian Opera in Paris?
Bankruptcy. Ask Roncon? Ask Lumley
Who, then, have profted? The public? Who
can lay hand on his or her heart and
say that they ever came away from an
opera or ballet better OF wiser person?
When are tears elected in sympathy with suffer
ng, or loathing excited at the exhibition Of
vice? Never The only persons who profit are