The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1878-08-05

the pres. should no, cr,tlcss artists too severely bat
should rather encourage thom The only way 70 GET
the OF artist il by kindly encourage.
ment rhey are by nature very sensitive Glass; anu
the least word OF eensuse asscouraaes Lhsm
abe good enough TO state whether you cons'der tus
causes OF non-saccess 10 Iailan opera Y Earops ans
the United States TO DO tdenticai and, II no II VIVA
they dinery"
'Opera In Europe does succeed when the man
ager OF theatre who has subvenon 70 Obliged
compete with manager who has one. All manager.
who nave to compete with first class theatres sustained
~ tgovernmsnt are likely 10 tail Tor this reason.
Opera 70 America does not succeed Tor the reason ths
Inc people want the very hest artists, ana they ART
right out these very best artists are engaged IN
Europe by the theatres which receive large suovsn.
tons IRON The different or sustained
oy numerous and rich aristocracy, like Covent Car
den IA London. Tho consequence Of sns state Of
compete with theatres sNJoyng large subventons and
at tue same time compelled TO content themsevs.
with much smaller prices Of admission than are PAID
In the large operate cities OF Europe.
The srocKHoLDER IscuBUs
''ln addition 10 This The American manager Sd Tiers
under other drawbacks. The rich people In New York
mostly boxes IN tho Academy q Music, ana by
having invested their money q certain number Of
saares tnsy 70 every night freely the opera
managers expense THESE people think they have
best clothes; but the middle classes, who really love
music sustain It, are Obliged TO pay ia prices Tor
Inc remaining seats. Italian opera be
made successful iu New YORK long are two
hundred stockholders going every nignt 70 the
iormaaoe and paying nothing. no matter what any
enc may say TO Lac contrary. Nfrt n..F
have weakness Tor everything foreign. American
managers ana American artists are NOT GOOD enough
aud Cary good enough Tor them, taougn
they are tue prize o. the people and
managers aud foreign artists, even though they havo
content themselves with the failures 81 Europe II
they did last will BRING before Them American artists
the nrst order ana they are the very best ma
teriaI 10 make opera successful IN America Iney are
acciitna,cd, aud know their public and arc liked by
the pubic. They must conquer ID any contest WIN
foreign rivals II Is by appealing IN this way to ths
people that believe opera can be made thoroughly
successful here. ftN
AxHRcAN CONSERVATORY MUSIC.
.'What want IN America real national
conservatory OF music IKE the Paris Conservatory.
We nsa TINS IN .sa Is re-
markably woll adapted for operate singing. See the
n.y We ALREADY IL sPe o. me sns
only months old when she came 70 this country,
count her as an American artist; Albani Haack.
Cary, kcliVgg-all Americans by birth; aud these
arlsIs are Inc equal OF any Europe produces"
$50 1t he your intention 10 give the public American
TINE prima donna, ut least, Will be American. Kel-
Iocg ana Cary to the cniet attractions. butt
have not yet completed my company. am goingto
Europe to make additional engagemen1"
AS, notwithstanding Mr.. Sirakosch's poteness and
GOOD nature, his eye IRON time to time wandersdiu
the direction OF his impcdimcnta the reporter tool
his Leave wishing the energetic impresario pleasant
journey. aaH+.ft
TALK WITH MAX MARETZEK.
In America there is not a better known or more
popular operate director or one who has had more
diversified experience than Mr. Max Maretzek.
Familiar in youth with great artists who are barely
remembered by the present generation. and himself
the instructor OF score OF others who have since
become famous under mis- baton, his opinions are
naturally not without weight and his "reminiscences
not without interest A reporter OF the HERALD
fcw DAYS since souxht and found the veteran mana
ger at homo In this city--a homo full OF charming
SUGGESTIONS Of his calling and exempliying in hum
bred ways the culture and COED taste OF true eene-
man. Notwithstanding his ong experience, Naretzck
gracefully wears his burden of years, and but Tor
hair that is tinging with gray would pass anywhere
os ripe man Of forty. Whether as narrator OF the
incidents OF travel inaulgiug in quiet vein q
philosophy concerning tho people he has seen and
heard or criticsing-wh ch hs always does IN gentle
way-the people OF the professional world, he Is ihs
same genial whole souled gentleman that WILDE rs.
membercd quarter OF q century ago, and since then
ss the lie ana soul Of the principal opcratid
enterprises OF the country. What he has done now
ever, Will DO best told in his own words further on
The writer tound him enjoying cigar ana tho dolce
far niene Of July afternoon, and not averse, when
the purposes OF the visit were announced, TO con-
versing freely with regard to the same me language
which follows in response the questions is mis- own,
and convevs an idea of the cleaness and direeness
Of expression with which, although a foreigner, ne
gives shape his thoughts. ss.esl - eetlA8...
CURIOUS REMIxIscENcEs AND ORIGINAL tDEAs.
.Firsl, thep,' SAID tho writer, let me ask you now
long YOU have identified here and elsewhere with
Italian opera?"
"a long long timelouger, indeed than the lives OF
many OF the young people VINO are now my patrons.
In one way and another have been connected with
nearly every Italian opera presented in the United
States curing the last thirty years Before coming
here was engaged At Her Majesty's Theatre London
as chorus master ana assistant TO SIR MichaeI
Costa BaIfe tor three years Mr.. Mapleson, 81,
the iatuer OF the present manager, was also employed
win me at the same umo Tue Colonel as no Is
called was then our ibrarian AMI the possessor oil
fair tenor voice, and, generally speaking. osi>ht
Young man. His son, the husband OF Marie Rozo,
| was not then born. Tho mother, hewever, was one
| of a hall dozen Engsh beauties then living at NO
Tchbourne street, where used 10 pass many agree.
What nave been your opportunities, Mr.. Maret.
eek OF acquiring knowledge concerning the ability OF
| Italian opera 10 sustain itseilf"
ITALIAN OPERA ALWAYS PREcARIoUs
| al answer you frankly. Outside Of It's home-and
| by that term mean Itaiy-tue business has always
been precsrious and dependent either upon suoven,
tons aristocratc patronage or whee!
| wilnln wheel, one OF which has always pushed ths
other. As an example may mention the famous
Italian i'm presario, Signor Barbsja, who had tho
privilege from the government instead OF subven-
ton, oil keeping the only gambling house IN Naples
In short the deficits OF the opera were supplied oy
the profits OF the gaming table. Another Of the re-
nowncd successful managers was signor Marti OF
privilege OF selling ash. iru.hiuIly speaking nsn
furnished the brains OF the opera Ia Vienna bern,
/ 81. PeteTSDurg ana faflS suUVoosiono III "o"vy
gwen 10 mauagsrs aud the uencits are thus covered
| In London, where there exists no government SUB.
MS the iaures OF Ilaan opera TO thus DAY are
| sven more numerous than those In America. Never
tbress IL Is confessed that the arstocratic pat
,onmpe and created permanent luz
sttuIon without regard the victims who have been
| impalsd-"
| CONVENT Garden.
.Bat mas not tho Covent Garden Theatre generally
sustniu cd itself under the management OF Mr. GyoY"
| ,sTbe Coyent Gardsn ltanan Opera Company was
| formed III 1916 by the dissatisfied artists Of Her
Majesty's Theatre, OF whom there were Gris Mario,
| Persiant Tambourni, Costa and Others They were
| backed by Messrs. Deaneld Smith, TWO wealthy
Orewera The hrst season ended Win loss TO these
| uarties of $50 900 and tho bankruptcy oil tho
two gentlemen whoee names last mentioned.
| Mr.. eye was the ACTING aud busincsr
| manager cot the concern at that time DURING
| tho second year joint stock company was formed
among tue artists which resulted III tner Singing LOT
,nv ana leaving and orchestra paid re-