The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1855-01-29

at all new or surprising, but only confirmed
what Mr.. Pierce was not chary of expressing
under the reign Of Mann, the publication
rouses the whole official brood to impotent
wrath, and calls down Goals of fire from presi-
Dental furnaces on our head
What need OF all this fame and fury? Let
some member of Congress demand the cores
pondence which has passed between the State
Department and NJ. Soule since the latter left
New York, and we engage they will find not
only ample confirmation of Mr.. Pierce's letter,
but a clear indication of the rise, progress and
overthrow Of King Mann and the accession Of
his successor, Mr.. Marcy.
The New Opera Out of Its Difficulties An
Easy Money Market.
A very sudden change must have come over the
depressed tone of the money market within the
last few days. We see by an announcement from
Mr.. James Phalen, President of the Academy of
Music, and manager in general Of fashionable
affairs in New York, that the loan for which
the opera was in the field has been negotiated
in some way or other, and that the new estab-
lishment, or the Academy of Music, as it is
called, has been as successful in Wall street as
the Erie Railroad and other loan-seeking con-
Germs.
1t will be recollected, from the statements
published by the friends Of the new opera
house, that the loan was sought 10 be contracted
on what are designated as second mortgage
bonds. Now, if the necessary sum has been
raised on such securities as these bonds, it
argues remarkable degree of comfort and
ease in the money market We are glad to
learn from Mr.. Phalen's statement, not only
that the tightness in that quarter is at an end,
but that the difficulties of the new opera house,
SO far as its stocks and stock debts are concern
ed, have come to happy termination. The
present financial position of the establishment
is however, one thing, and it's artistical position
is another. It's musical prospects are entirely
distinct and different from it's pecuniary ones
although ostensiby dependent upon each other.
discourses and reasons eloquently on the
prospects Of the Italian opera in New York, and
ends by expressing bis conviction that 1t can be
rendered successful in this metropolis if con-
Quoted on certain principles Of cheapness and
liberality. To this conclusion, however, great
many will take exception. In the first place
we have never had an Italian opera that really
paid, and the first season of the establishment
over which Mr. Phalen presides has unhappily
presented no exception to the rule. IT, with such
world-renowned artists as Grisi and Mario, the
enterprise could not be rendered remunerative,
we cannot see under what other conditions it
is likely to succeed.
Admitting for moment the Justice of Mr..
Phalen's reasoning, that low prices are to effect
such rev olution in his favor, is he go blind as
not to see that one fatal mistake has been COM
mitted in the foundation of the new establish
ment, which places such an element of
success out of his reach. If the Academy
Of Music had been intended for the
masses, it should not have been built in To-
cslity, the distance of which is unattainaole by
those who live in the populous parts of the city.
Low priced opera at the broadway succeeds
when it would fail at the Academy of Music,
simply because il is within the reach of those
who, having fatigue enough in the day, do not
care to add to ii by 8 long journey on foot at
night, in pursuit OF pleasure. And yet these
are the classes whom the experience of all the
atrical enterprises has proved are the only ones
for whom it is worth manager while to cater.
They arc at once the most certain and the least
fastidious supporters of the drama But be-
sides the cardinal error we have pointed out,
there is another which in itself would have
initiated against the success OF the enterprise.
The experience of the great operate establish
ments ali over the world has shown that so long
as privileged class is allowed to monopolise
the best seats, the general public will withhold
its patronage. Such was the result when the
Astor Opera House. and the aristocratic pre-
tenders who manage the new theatre on Four
teenth street deserved to fail when they al
lowed their class prejudices to betray them into
the disregard of fact established by such
general experience.
But, under any circumstances or conditions,
we maintain that Italian opera will never sue
coed in this country. II has never done so
anywhere else, and we cannot see what there is
in our case to make il an exception to the rule
1t is the aristocratic classes Of Europe that
support the opera, and miserably they do it.
Witness the failures of Laporte, Lumley, and
eye, in London, and Of Roqueplan, Arsene,
Houssaye and others, in Paris, although sup
ported, in the latter case, by a government
subrention. The truth is, that first rate musical
talent is so rare, and the prices fixed by artists
on their services so extravagant, that it is i'm
possible that the returns of any theatre, or the
patronage Of any public, no matter how must
cal, could render such enterprises remunera-
tive.
So much for the musical prospects of the
new opera house. We apprehend that its