New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1892-08-28
THE METROPOLITAN OPERA HOUSE FIRE..

! THE METROPOLITAN OPERA HOUSE FIHb.
Within the last fifteen years the thrilling
story has been told of eight or ten New-l 0rk
theatre fires that almost in fash have wrapped
cellar and cocllloft in single sheet of flame.
Yet the predominant feeling has been invarl-
ably one of relief that such swift and sudden
destruction should have been unaccompanied
by an appalling loss of life. The Metropolitan
Opera House fire offers no exception ana thou-
sands of light-hearted playgocrs who nave
eagerly inspected on opera nights the ascending
semicircles of dazzling gowns ana )eweieu
coifrures, or been buoyed on the harmonic waves
of Mcstersinser'' or "Goetterdaemmerung'
yelling up from the deep orchestra, Will con-
graduate themselves that Saturdays disaster
did not write the eptaph OF great audience.
Now. as before, the very rapdity with which
the fire spread in the vacant theatre ceftihes
TO the unceasing vigilance during performances
that guarantees virtual security to every spec
tator at our local playhOuses and while the
stages emptiness may be credited with the
fortunate lack of fatality, the auditorium would
probably have escaped even scorchng II the
regular house force had been on hand to use
tho available appliances. The fact, too, that
III an hOur dllu d Ddll luc HohOS he~ S~A''-"SN~~
the combustible material within reach argues
strongly in favor of the substantial validity OF
the builders claims and so long as no spec'acie
can be presented without himsy scenery and
appurtenances, the only apparent moral con-
Germs the safer storage and sequeStrauon OF
the scene painters colors and oils. So many
other costly theatre fires have indeed been
ascribed to their insidious agency that managers
have calcuabe pecuniary interest in its sup
presson: and in restoring the damaged part
Of rheir fine structure, the Metropolitan Opera
Uouse directors will assuredy bear this well
in mind.
The accident comes at peculiarly uniortu-
nate season, and will excite among muslc-lovers
specal and Independent regrets. The buiid-
ing. unusually severe In design, possesses rev
of the architectural beauties that adorn many
great national opera houses and supremacy dis
tinpuish Carriers Paris masterpiece Its foyer
is conspicuousy inferior by comparison with
European ideals. The interior is notable less
for artistic than constructive excellence, ana
il accommodates fewer spectators than several
other existing American playhouses. hut It's
superb combination of stage and auditorium
capacty was a revelation TO this public When
it was opened, in 1888, and its splendid facili-
ties for the adequate presentation OF grand
opera with complete accessories. contributed 10
the achievement of high standard OF artistic
merit and the creation and maintenance OF an
elevated public taste. A mere catalogue OF the
operas and singers made familiar on its boards
would indicate the measure OF its founders
artistic hopes To be sure financial deficits
have not been unheard OF In its history but
unless at Bayreuth, where the conditions are
altogether exceptional, opera house and " deh-
citr are inseparabe terms, and the pubic
spirited citizens whose names appeared on the
original subscription are phlosophically alive
to the fact 1t is characteristic, by the way,
that private pei sons should here assume volun-
tarily burden that in foreign capitals is met
by q Government subvention and any untime-
" interference with their unselfish projects Is
therefore doubly to be deplored. Arrange
ments are no doubt possible by which this sea-
sons opera appointments may not be hopelessy
disconnected. Meantime, the early opening OF
the restored playhouse will be awaited with Pc
culiar interest by all liberal enough to expert
ence concern at a common misfortune