The sun. [volume] (New York [N.Y.]) 1833-1916, 1902-12-28


Nov. ss-rirst concert here Of the Philadelphia
Orchestra.
Nov. s-"LDheurnn" a. the opera. Dsbuts Of
Antilles. tenor. and Herb. conductor.
Nov. S.-cAh vsnth's song cycle. "Hisvsths-'
produced 81 Mendeissohn Hall,
Dec. i.--Tannhluser" al the opera. DEBUT OF
Gerhluser, tenor
Dec. SONG recital and nrst appearance here
OF Bogea Oumlron.
Dec. s.-Fni concer, OF the new Names Quartet.
Dec. s-Second public rehearsal Of the Phhar-
monte. welnsartners second symphony produced.
Debut OF Maud MscCa rthy, violinst.
Dec. i0-Revival OF lie Prophtte AT the opera.
Dec. ii.-Onc hundredth concert OF the Boston
Symphony CrcheJuA In New YORK.
Dec. i?.-Emma Eames As Toma at the opera for
the rrst time.
Dec. iS-Mme. Sembrich Mimi 10 Ia Bo-
home" for the hrst time.
Dec. B-First concert OF the Musical All Society.
Bsch's "A Strong Hold Sure" given.
There are many items in this list which
tend to disclose the condition Of the public
taste in music. When any such review Ia
made the question inevitably arises: HAS
public taste advanced in the last year,"
This would indeed be a difficult question
to answer. A year is too short time in
which to measure progress in general
opinion about artistic matters. unless the
year chance 10 he one In which there II
general excitement over some movement.
Nothing Of that kind has occurred here In
the year now about to end. and therefore
we can only accept the general state Of
public taste as topic for discussion.
To the great mass OF people In this town
music means opera. The record OF inn
portant musical doings for the year should
suffice TO show how small a part the opera
plays In them, but cold facts never
touch your typical operagoer He is con-
tent with himself. and he does not believe
that any one really likes to listen to SYM
phonies and piano sonatas. II is beca use
OF this attitude toward those forms Of
musical art which are pure that the typical
opera goer has so lttl, influence in the
inner musical world.
At its best the opera is hybrid art form.
1t is no. wholly music nor wholly drama,
but a compound Of the two. Absolute
music il. at anyrate. music pure and simple.
and for that chaste and poetic form OF art
the multitude. which likes opera and adores
opera singers, has little taste. Cnfortu-
nately, this ndisposition toward pure
music reacts on operate taste in such way
as to lower il. The hostility to novelties at
the opera is proverbial. 1t IL often said.
| and with perfect Justice. that to insure a
| small audience all that Mr.. Grau has to do
Is to announce q new opera.
II the typical operagoer were also the
typical music lover. as he is in Germany
the entire operate situation would be
| changed. The opera would be the centre
! of interest, not the singers, and a novelty
would he as welcome at the Metropolitan
Opera House az IL Is al a Kneisel Quartet
| concert. Beyond all question. the public
| attitude toward opera is traceable in a
large measure to the fact that fashionable
| society looks upon opera as it's own especial
musical amusement.
Now the plain truth is that FASH onable
| society does not really love opera. but
| an opera box costs a great deal of money
1t is proof positive Of the possession Of
wealth to have one. Again, il is a most
convenient show case for expensive evening
gowns and rare jewels. Furthermore. it
provides its owner with opportunity to
demonstrate publicly that he belongs to
an exclusive social set, and perchance
that 10 really the most valuable accessory
OF . box. To have people who do not
! and cannot know certain distinguished
dinner and dance giters see them visiting
| your box or zee you visiting theirs is highly
| desirable.
II fashionable society really loved opera
music II would love other kinds OF music.
too. But fashionable society. by which
is here meant the only society recognized
by the society reporters. does not pat rorize
other music. A few scattering members Of
| the smart act like music. but the great
social leaders do not give il so much as
passing attention.
The result Of this state of affairs is that
the atmosphere Of the Metropolitan Opera
House il comparatively unmusical, No
better evidence Of this fact could be found
than in the continued favor bestowed on
Nine. Fritzi Scheff. who is not a grand
opera" singer at all. but whose pert ways
| and Dresden china appearance please
the fancy Of my lady this and my lord that
among the nobility Of Wall Street. That
the influence Of the opinion OF fashionable
society reaches far beyond its limits cannot
be questioned. Those who are conversant
With tho inner history Of life in this city
know we'll that among most people OF
wealth heartbuninge and bitter tears are
caused by exclusion from the acquaintance
| OF a coterie Of people whose only claim
on earth to distinction 10 their cleverness
| in refusing 10 know every one else. Clyde
Fitch knew something about this when
he wrote The Climbers but not he nor
any other writer would care to tell to what
lengths women are willing to 60 to get
an invitation to the home Of one OF the
people whose names are accorded q ficti-
tious value by the industry Of the society
| reporters.
Hundreds Of thees climbers 60 to the
opera to show their gowns and their jewels
and TO sit and sigh because they cannot
receive calls from the earl OF Fifth Avenue
or the duke Of Central Park. Is II to be
supposed that these people represent any
sort Of musical tastei Why. one who has
TO ait among them for few nights cannot
help learning from their conversation
that they do not know the stories OF the
most familiar operas. nor even ths names
OF the Character nor yet the difference
between q bArytons and baAs.
But there u a fairly largo percentage
Of the musical public TO be found at the
opera, and lts taste IL genuinely good.
II Is . patient and long -suferins branch
OF the public, which realizes that In the
eyes OF the stockholders Of the house Il