The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1857-12-25
Italian Opera at Home ana Abroad-A Few

advocated the adoption Of such q scale of prices
as would bring the entertainment within the
reach Of all. IL has been our aim to popularize
the Opera for two reasons:-First, because it is
an elegant and agreeable amusement affordng
one of the highest forms of artistic enjoyment;
second, because the frequent performance Of
the great works OF the Italian and German mas
tcrs tends to the advance Of musical education
among our own people who have good voices
and quick artistic pcrception-the one some
times spoiled by want of good masters, the other
frequently blunted and vitated by the examples
of bad models
We have claimed, and do still insist, that the
design Of the Legislature in the Incorporation
of the Academy Of Music was mainly the ad-
vancement of the art of music, and that that
advancement cannot be attained without the
adoption Of a Gliding scale Of prices which shall
bring the performances within the means of all
who desire to hear them. The Academy itself
is fine theatre, with more seats in the
auditorium than any Opera house in London or
Paris and the receipts have frequently risen to
a figure above those of the Contine0l theatres,
with all their subsidies subventions and aristo
cratic patronage. Under the present manage
ment step has been taken in the right direc-
ton. The Academy has been thrown open to
the whole pu.iic for morning performances of
full operas, at a uniform admission fee of fifty
cents. For the evening performances seats
may be secured at one dollar each. But this
is only beginning; and the manager
makes the first step to his own cost.
His company is large; the salaries excessive.
In time of great financial distress, the artists
with one or two honorable exceptions-refuse to
accept any reduction and the inevitable result
ensues. The manager can only save himself
from ruin by extra performances, concerts and
oratoros. The poin! of the whole matter is in
this:-The manager cannot afford to give an
opera which costs twelve hundred dollars per
night for fifty cents; but if he could procure sa-
tisfactory artists, and give the opera for five
hundred, he might do so. Now the public here
is not willing to judge for itself. 1t must have
one or two great names in the company. Per-
| haps the owners Of those names belong to the
"has been order-that's no matter. Our public
seems to prefer them to the young, fresh voices
of artists who have their own way 10 make.
This is not the case in Europe In Londen and
Paris, it is true the managers go to great expense
and, stimulated by competition, they pay some
times extravagant salaries. But look at the
Italian, German and Spanish cities You find
there the Opera admirably given at low prices.
As an example, we append the official an
nouncement Of the Opera at Lisbon.
The season commenced on the 10th of Sep
TENDER, with the opera "Belisarus" and new
ballet. 1t will end on the LIST of April. The
personnel Of the Opera house is as follows
Maestros composers-Pedro Antonio Coppols, Vicente
schira. Prmas donnas-Ssg ras Arsenia Charlton De
con'ralto Comprimaria suppementary-Signr a Rita Ge
ordani. Segundi donnssSigr =. Sr. Martin, X. Cas-
Malvezzi, Antonio BRUNO Bsrltones-signors J. T. Be
neventano, J. Arnaud A NJ. Celestno Bassos-Signors
Luciano Bcuche, Luigi Slngardi. Prompter-sguor Gae
tano Fontano. Chorus fnasteY--Signor j. Aug. C. de
Santos. Chorsters-fory individuals or both Or
chestrs-fhty three performers; twelve more to be
gagged Martial band-Tweny 1--we nstrumentaisis, with
complete corps of comparsi and ngurantes Ballet
pany-Ballet composer, sgror Carlos Blast First minco
assolutoMons. Hypo,ito Morret First dancers French
sohoo)-Sig'rss Eplia Bcni, Govanne Ptori. First
dancers (alan scfbol)-Sr'ra LUCIA yicincli Amala
Per, Giovanina Casatu, Cessna Casat,i FIRST dancers
(French styie)-sgnors Ettore PogioIess Carlo Cono
and forty mimcs, dancers, corephes aud fgursntes
Psiniers-Mons. Achille Rambos, sgnor Giuseppe Gin
ers and domes,.cs.
And yet the admission prices are as follows:-
lower or req de chausste boxes ..............l so
First order or tier Of boxes. 80
second order, or tier o. boxes 20
inro ofaer OF uer OF "oSes ............ I'd
n. B-As many can 60 to the boxes As can have sitting
or standing room
Parquc, ~ches'rs seats 90
- all other. OBSERVATION-DISCLOSURES. 90
Gallery, entrance and seat. ACKNOWLEDGEMENTS. g
NeFanaA ......................... %
u frt.n hat Re he ,..Nt
subsidy OF ten thousand dollars, but Lisbon is
q fourth rate city in wealth and population,
while New York Il only second to London and
Paris. The musical taste among Spanish or Por-
tuguese communities is superior to that here,
and the evidence Of that fact will he found in the
admirable organization Of the personnel of the
theatre by which all the small parts are in good
hands. Here we can rarely have good enSm-
De, because no one is willing to sing second
parts. We are coolly told that n third rate
artist has surrendered hisamoir-propre" to sing
what is really the best part in certain opera
role which has been interpreted by the first
tenors on the French and English stage.
A great part of all the plumbers and fail
ures and stupidities apparent in Opera manage
ment here have arisen from competition
among rival managers. There is
bone which has hardly meat enough
for one meal, and yet half dozen managerial
mastffs arc always tearing themselves to pieces
for il. The public gains nothing by the rivalry,
and the managers always lose. We hope, there
fore, that the experience of the past season
will bring US better things for the future. Now
we have good Opera company at moderate
prices. One Of these days we hope they will
be still lower; but that is not to be hoped for at
present In the meantime, VIC have no doubt
that the manager Of the Academy will do his
best to crafty the whole public. lie has strug-
gled manfully through the financial revulsion,
and deserves some reward at the hands of the
public.