The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1871-11-12
having failed to discover any trace OF tin In
the specimens submitted to their inspection.

Inc brilliant success which mas attended
the introduction to the American public Of
artists of real ability has dssipated forever the
vulgar notion that our people are deficient in
appreciation of the highest musical or dramatic
talent Owing to want of enterprise on the
part OF the caterers to public taste the Ameri-
can people never had an opportunity before
this season to show how real was their attach
ment to good music; for hitherto the operate
companies were made up of mediocre
artists, or on rare occasions depended
entirely for success upon the efforts
of some single performer and no attention was
paid to the training or effectiveness of the
choruses. which for the most part were gathered
hastily together, and presented to the public
after few insufficient rehearsals 1t was not
possible in few hours to turn poorly trained
musicians into an effective chorus, and the
natural result followed. The best operas,
married by the weakness of the principal
artists, were completely spoiled by discord-
ant chorus, and the public, disguised, returned
to their homes With the resolution Of not being
tempted to visit the opera again. AS though
tho infection of bad music were not
sufficient, we had superadded the draw
back of o wretched mise en- scene,
inappropriate dresses and dingy properties,
which often impaired an air of burlesque
10 the opera, sadly out of keeping with
popular ideas. So long as the rule of
stupidity continued the Academy Of Music
failed to receive that amount of public patron
age to which good music has such powerful
claims. Studiously ignoring the true cause Of
public Indifference the managers and artists
who found that their efforts were not appre-
ciated as much as they considered they de-
served to be, accused the American people Of
being wanting in musical taste. So per-
sistently was this charge preferred that it
began to be accepted as well founded, until
the advent of Parepa-Rosa, with a well
organized company, gave the American public
recognize artistic merit. The success which
has attended both the English and Italian
companies places beyond question the fact that
managers can always command success if
only they will supply the public with the
highest class of entertainment. We are not
prepared to admit that either the English or
Italian companies have fulfilled oil the condi-
tons which we would look for in the highest
class Of opera; but they unquestionably ex-
hibited considerable Improvement on their
predecessors, and the public marked their
sense of the change in the management in an
unmistakable manner.
1t is to be wondered at that the musical
managers did not recognize earlier the
cause of the lukewarmness of public
support. Had they looked to the dra-
matte stage they would have seen
evidence enough Of popular discrimination.
In the patronage accorded to Wallack's Thea
tire they had proof that the public favor would
always be attracted by high class of enter
tainment. Owing to the assemblage of num-
Der of really good actors like Wallack
Brougham and Gilbert, the popularity of
Wallack's Theatre hiss always been main
tanned, and the increased cost of employing
men Of ability has been more than repaid by
the consistency Of public support If further
evidence were, wanted to prove that merit
never passes without recognition we might
point to the success of Mathews and Sothern,
the latter drawing crowded houses in spite of
unfavorable location, joined to the discomfort
and inconvenience In the theatre itself.
These facts point inevitably to the con-
clusion that public patronage can be
secured, whether for music or drama, on the
reasonable condition of deserving it. The
people are generous, and will distribute their
favors in just proportion to the amount of
pleasure received. They want to be amused
and are willing to pay, if only the proper
class Of amusement be presented. Let only
the highest talent be procured by managers,
and whatever the cost Of the best music or
the best acting it will be paid by the public.
At the present moment an opportunity pre-
sents itself to enterprising musical and dra-
matte managers to secure such q combination
of talent as has never been presented on an
American, or, perhaps, any other stage. We
have among us the very high priests and
priestesses of musical and dramatic art, but
they are scattered about, and their talent is
10 CONSIDERABLE extent IrItCereu away. III
Sothern, Mathews, Wallack and Brougham
could be assembled in one company the effect
would be magical, and though the charges
were doubled such company would play to
crowded houses until May. Not alone would
an enterprise of this nature be sure to result
in financial success, but the effect which it
would have in restoring the theatre to its
legitimate importance with the public would
be felt for many years and tend to win back
popular allegiance from the tricks Of sensa-
tionalism to true art. In the domain Of music
We would have Nilsson, Kellogg, Capoul and
Wachtel united in one company, SO that every
opera conld be given with thorough complete
ness and effect.