The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1859-10-12

OPERATIC ARTISTS In THE UNITED STATES
The True COURSE WHICH They SHOULD PUR
suE.-N is very often the case that distin-
guished artists who visit the United States with
the highest expectations return disappointed,
disguised and soured, because their golden
dreams have not been fully realized. A prima
donna of first rate European reputation comes
to America under engagement at high salary,
to a manager who may not have money
enough, after paying the advance salary, to
buy himself dinner If his season is good
one he pays; if not the artist is sufferer, and
straightway visits the sins of the director upon
the heads of the public. Under the old system,
singers came here expecting great fortune at
once and that without leaving the metropolis.
The new system which ullman and Strakosch
have inaugurated introduces to the public
singers who have yet to make their reputa-
tons, and who, consequently, can be obtained
at lower rates than the artist Of assumed dis
tinction. IF this new order OF things works
well fer the manager, it will give the coup de
grace to the old fashion of one good artist at
by no means closes the country against Euro
pean celebrities, nor does it prevent them from
gaining more money here in a year than they
would receive at home in fve
case in point is that of Madame Grisi. who
sang in grand Opera in the principal American
theatre goer in the country desired to see Grisi
once, and had she made provincial tour its
money success would have been enormous
And so with Piccolomin. Her concerts, SO far
as she went, were unequalled in profits by any
except Jenny Lind's; but Piccolomini went
tually threw away as much as hundred thou
sand dollars which she might have made in
this country. Another instance Of the same
kind is found in the career of Madame Gazza-
niga in the United States. She has fine repu-
tation throughout the country, but intends to
go back to Europe because the engagement
which she made with the manager of the Opera
in New York has been broken, and her place
supplied by some artists who can be had for
less money. Instead of profting by the expe-
rience of her illustrious predecessors, Madame
Gazzaniga has sold her equipage at auction, and
intends returning to Europe. She has fairly
and honestly earned fine reputation through
out the country. Like Grisi and Piccolomini,
her success in New York was grand adver-
tsement, which is worth any amount of money
to her, and she should make concert tour
through the Union with an experienced ma
naper-one that would neither steal nor waste
the receipts in frivolous expenses; for the
true science Of making money in concert or
Opera business, as well as any other, is to
save it. In the South and West on the Pacific
coast, and in the West Indies, distinguished
artist like Madame Gazzaniga would be hailed
with enthusiasm, and in year OF two might
secure comfortable independence. The
trouble with all the fine artists who come here
is that they do not understand the country,
and always fall into the hands Of people who
carefully conceal the real facts from them.
Thus the artist and the public suffer equally,
and no one is benefited except some small
scamp of an agent Every year the country is
growing better and better for artists. An in
stance in point is the city Of Chicago, which
was not in existence in Malibran's day, and
hardly thought Of in an artistic point of view
when Lind, Sontag and Grisi came, but is now
one of the most important operate places in
the country-much more valuable than Boston
or Philadelphia. ST. Louis and New Orleans
stand still higher, and other places in proper
tion. All these cities will pay an artist like
Eazzaniga much more than she can obtain in a
regular European engagement; and therefore,
as well as for the artistic cultivation of our
people, singers of her grade should not cross
the sea until they have thoroughly explored
this country.
THE MARINE CoRPs.-Strong efforts will be