The New York herald., 1872-10-05
Retrospective Glance at Opera I'm
America.

America.
The change that has taken place In the con.
dition OF music here since the time when the
whitehall boatmen rested on their oars be-
meath the windows of the brilliant Castle
Garden and listened to the magic voice Of
Lind or Grisi, Is remarkable and encouraging.
during these twenty years the operatic stage
presents q history almost as varied and
Kaleidoscope as that of Mexico. When we
look back to that magnificent troupe from
Havana, which numbered in its ranks such
artists as Bosio. Stefanone. Bertucca, salvi,
De Vries, Beneventano, Lorini and Marini.
it seems incredible that such a company
should not be financial success We find
these artists in the Spring Of 1852 divided into
hostile bands, one styling itself Protective
Union" and hurting defiance from Niblo's
Garden at their late manager Maretzek, who
entenched himself with the faithful few at
the Astor Place Opera House. The natural
consequence of such blind opposition came
in the shape of an empty treasury
on both sides. Two bright luminaries
Of the lyric stage, Alboni and Sontag.
shone for season before the opening
Of the Academy of Music under Mr.. James
Hackett's management with Grisi and Mario
as the attractions. Lagrange, Frezzolini.
Vestvali and CASTELAR, were the novelties of
the season following, and to them succeeded
Parodi, DAngri and Gassier. When Ullmann
brought out Piccolomini in 1858 it was thought
that the sensational announcements made by
the indefatigable little manager would carry
the season through in triumph; but thepublc
refused to be hoodwinked. Maurice Stra-
kosch next took the reins of management.
depending upon Gazzaniga and Golson as
attractions but the season resulted unfavor-
ably. Adelina Patti made her debut in opera
with this company in 1859, and saved the
season. Maretzek at that time had possession
Of the Winter Garden Theatre, with Gassier
and Fabbri as the principal features of his
company. Another .'Artists Association
was obliged to take up the waning cause of
opera at the Academy Of Music, and appointed
Muzio as director. In 1851 the principal
feature of interest was the debut of Miss Kel-
logg.
Then followed during the succeeding years
Medori, Zucchi, Parepa Rosa, Peralta and
Minnie Hauck, under the management Of
Maretzek; and Noel Guidi, Boschetti and
Cash Pollini, under Grau's direction. The
destruction of the Academy Of Music by fire
on the night of May 81, 1866, compelled a
temporary change of locale to the Winter
Garden Theatre Since the first season after the
opening of the new Opera House Italian opera
languished so as to excite the gravest doubts
Of the possibility Of revival, until the brilliant
Nilsson season again gave it new life and
strength.
The present season has opened so auspiA
ciously, and the prestige Of the rare abilities of
Nine. Lucca is so potent, that one may safely
predict long and prosperous career for
Italian opera in this city. When we look
back at the seasons during which the artists
we have mentioned above made their
appearance we find sorry spectacle
of managerial wrecks. The unapproach-
able troupe from Havana failed most
lamentably even to make expenses, although
they charged but 'sffty cents for ticket. An
impresario, nowadays, might be assured Of
crowded house every night at four or five dol
lars a seat, had he but one of that unexampled
combination of artists The reason of this
change is obvious. Music has since that time
become necessity to the household; conser-
vatories and schools have multiplied and
brought forth abundant fruit and charlatan-
Ism and needless speculation in operate mat
ters have given way to wise, liberal and ear
nest management. Italian opera bids fair to
take firm root this time and to flourish, not as
an exotic, but an evergreen. We have ON un-
failing supply Of rich talent for the lyric stage
in the undeveloped resources Of American
vocalists, many Of whom have won their lau-
rels in Europe against oil competitors. When
the fair Lucca is obliged to leave us and to
quit the shores on which she has received such
hearty welcome, we are promised, In the re-
turn Of Adelina Patti, another operatic sensa.
ton.
Thus, year after year, the public interest in
Italian opera may be kept up until New York
will rival London and St. Petersburg as a
centre Of art and musical attractions People
that have been instructed in the highest and
best works Of the classical masters by such
competent and faithful teachers as Theodore
Thomas and his orchestra, the Philharmonic
Society and numerous organizations of
chamber music, may be regarded as intelli-
gent and discriminating judges Of all that
pertains to art. Hence the interest and atten-
ton with which the teachings of Rubinstein
and Wieniawski are received and the liberality
of spirit shown towards the opera. Ten years
more will bring forth changes in the condi-
ton Of music in this country that will astonish
even the most sanguine.
AFFAIRS IN JAPAN.-Our latest news from
Washington regarding the state of affairs in
Japan leaves US still in doubt and difficulty.
Minister Mori puts good face on things-the