The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1871-06-13
Italian Opera Ii should aud Can he
Given.

opera AT the ACADEMY OF MUSIC arc pciuS re-
moved on the stockholders side, and these
gentlemen seem to have made up their minds
TO give it fair chance, by making concessions
such as no manager ever before obtained from
them, the entire responsibility of the sue
cess or failure of the fall season of opera rests
on the shoulders of the management OF
Mile. Nilsson and her company 1t is now
useless to take refuge in glittering generalities
opera In this city as 1t is given at the
European capitals, the apathy Of the public,
and the impossiblity of procuring all the
necessary materials The metropolitan public
have proved themselves liberal and willing to
patronize art In every department, and If we
look to the theatres we will find that only
those managers succeed who spare no pains or
expense 10 the production of plays. On the
dramatic stage not only must the cast
Of play be good in every respect,
but all the accessories, even to the minutest
detail. must be harmonious and without
blemish Otherwise our keen wtted public
will quickly administer sharp rebuke to the
management by "a beggarly account of empty
benches" Why, then, should Italian opera
receive less care in all its numerous details
The ampresorio is content with importing,
perhaps, prtmd donna and tenor,
and contriyes to patch up the rest
of the cast, the chorus and the orches-
ira from the nearest maccaroni and lager
beer saloon. The consequence is that Italian
opera, as IL has been presented in this city for
many seasons past, Is a subject Of ridicu!e to
those who have listened to it in any opera
house across tho ocean. Manager after man
ager has the same stereotyped excuses, 1--WE
cannot do better. The expenses are over
whclming. We are tied hand and foot by pro-
tective unions and Italian rings The stock
holders will not give US any encouragement. :
Now that the last excuse will not hold, on
account of the recent action taken by the di-
rectors Of the Academy of Music, let us see
what available materials there are to make mp
an opera company (the rank and file at leasD
similar to what they have in Europe.
Regarding the orchestra, on which depends
a very considerable share of the success of an
opera, an impresario should bear in mind that
a heterogeneous assemblage of musicians
picked up at hazard will not suffice. The
orchestra of Covent Garden or Her Majesty's
is worth trip across the sea to listen to, and
with such foundations no opera can fail to be,
to greater or less extent, successful. Such
an orchestra cannot be organized at a
moments notice. Long, careful and patient
rchearsals and a conductor like Costa or
Ardti, are necessary to bring an orchestra up
to the standard of Italian opera. The
orchestra is the life and guiding principle
of opera. 1t Is like the blood that courses
through the veins; as long as it is in healthy
condition all other disorders can be easily
rcmedied. This department has been the most
neglected during the past few seasons at the
Academy 1t should receive the first atten-
ton from the inapresdri0 of the coming season
1t is useless to look to Europe for materials, as
the demand there is fully equal to the supply,
and Inferior performers alone can be obtained.
A capable conductor, with carte blanche from
the management, can organize good, reli
able orchestra from the materials in this
city. II this plan be not feasible at present
the only alternative is to engage a complete,
we'll drilled orchestra, like that Of Theodore
Thomas or the Philharmonic Society. If q
manager proposes to give Italian opera he
should use all the means within his reach to
make it an artistic success. II may be OBJ
jected 10 that the expense Of engaging such an
orchestra would be too much of financial
risk. How is it, then, that Gye and Maple
son, in London, undertake like responsi-
bity? And, we repeat it. the public Of New
York are as able and as willing to pay for
genuine opera as the patrons of either of these
gentlemen.
The next department Is the chorus, which
has heretofore been the worst feature at The
Academy. The same remarks will apply to
this branch of the opera. The manager
should entirely dispense with the services Of
those snperaDnuatcd individuals from avenue
and the adjoining districts who have been
butchcring operas from time immemorial in
this city. A good chorus master can find
a few months training will mould this material
into proper shape. One of our numerous
vocal societies might be utilized in like
manner.
With respect to the scenery, costumes and
appointments, we refer the manager to any Of
our leading dramatic houses for examples. If
Mr.. Wallack, Mr.. DAILY or Mr.. Booth were to
run a season at their respective theatres with
such small and antiquated stock of scenery
az has been deemed sufficient for Italian opera
at the Academy during the past half dozen
years. they would soon lose all their hard
earned reputation.
The foundation once laid the supcrstructure
will not occupy much time, especially when such
artists as Mile. Nilsson, Miss Cary, Brigno,
Capoul and Janet have been already secured.