The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1855-06-20

HA AN OPERA-CLosE OF THE FIRST SEA
ION OF THE AcADEMY-Irs REsULTs.-fhe nrss
regular season Of the Academy Of Music hsss (
terminated as no other Opera season nsS ever
before terminated in this city-w,sh the pres
tige Of complete success, and feeling Of gene
raj satisfaction on the part Of the public, the |
panag. ment and the artigts. No party has to |
complain Of promises uny,erfor med EN- gsgements |
unful6iled, or heavy losses incurred on one |
side or the other. For once in operatic affairs
qualification with which we can afford to look
back ON the events Of the past season, or the
brilliant prospects which open for the next.
Both are conclusive as to the permanent and
prosperous establishment of the Italian y rical
drama as one OF our local Institutions
Various causes have contributed to bring
about this happy result. One is undoubtedly
he position and respectability Of the tive prin-
cipal directors Messrs. Phalen and Coit-and
the business talent they have brought to bear
on the affairs of the establishment. Another
is in their choice Of an associate having consi-
derable experience in theatrical matters, con-
joined with well known address and tact-tAe
Cbevaiier Wikoa But the third, and not the
least important, Is the fact Of the two first nam
ed gentlemen being private individuals, with
out any previous connection either with artists
or Journalists From the Independence OF
their position as regards both, they
have been able ct once to secure tho sup
port of the most sensible and influential portion
Of the press, and to exercise an effective control
over the artists with whom they have had to
deal, by treating them fairly and kindly, and
thus soothing the feelings and conciliating the
good will Of proverbially irritable class
We have watched with extreme interest the
successive efforts that have been made within
the last twenty years to establish Italian
Opera in this city, and we probably know as
much Of the history and causes of failure of
these attempts as any one. The first great ex-
pertinent Of this sort was made by Palmo, him
self an Italian, and great amateur of the
Opera. He had been successful in accommodating
fortune of from 100000 to $4,000 in q
cafe in Broadway, and his love Of music induc-
industry in speculation which, however con-
genial it might have been to his tastes, was en-
tirely out of his line. He opened in Chambers
street the first regular Italian Opera house
established here; but after a few sea-
sons of heavy losses, which swallowed up the
entire of his fortune, it broke down.
One of the principal causes of Palmo's failure
was his incompetency to reconcile and control
the jealousies and difficulties arising from the
senstiveness and irritability of his artists; but
Q more serious one still, was the readiness with
which he allowed himself to be Influenced by
the ignorant suggestions and evil c0unsels Of q
small clique connected with the press, who have
subsequently earned for Themselves the dannmi-
nation of oyster house critics.
The next attempt at italian Opera was made
In the Aston place house, under the manage
ment of Sanquirico and Patti. These persons
were artists themselves, and consequently the
oyster house critics had full sway over their
affairs The result was that before two seasons
the enterprise went by the board from bad
management.
The third effort was made by Mr.. Edward P.
Fry. He began his career by giving his conf
dence to particular section of the oyster
Independent portion Of the press by refusing
them the usual privileges. Under such in
fuences there occurred what will always
occur when vanity and ignorance reign
supreme. Quarrels between the manager
and his troupe, and quarrels between the press
and the manager marked the whole of this
unfortunate enterprise, and of necessity soon
brought 1t to disastrous close.
After Fry came Maretzek, who, undismsyed
by the fate Of his predecessor, assumed all the
pains and responsibilities of the Astor House
management. Mr.. Maretzek being an artist
himself, Of course had the same difficulties to
contend with that all artists have to encounter
when they become managers. They usually
carry into the business administration Of the
atre too much professional prejudice and bigot-
~, and too little tact and knowledge Of the
world, to conduct matters to q successful re-
suit. Between the dictation of the oyster
house critics, and the rivalries of artists, Maret
eek got along for some years with varying
fortunes, but on the whole unfortunately, and
it was evident that from his efforts there was
little to be hoped for as regards the permanent
establishment of the italian Opera amongst us
On the completion the Academy of Music,
Ole Bull, conformity with Ullmann and Strar
kosch-two of them artists, and without any of
the experience requisite in the management of
great business enterprises the drec-
ton of that house. AS usual, the rivalries of
the singers to say nothing of the quarrels Of the
principals themselves, and the old blighsing
influence Of the oyster house critics, soon
brought ruin upon the speculation; and COM
mittee of the tockholders-private gentlemen,
having but very little previous experience in
such matters but still competent from their
general business requirements compelled
to assume the management of the concern.
Here was an entirely new regime, differing