New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1904-03-11
suhscrip Total repre-
80 opera. on account Of hr.. 'No opera

Within the period covered by the last table the
opera at the Metropolitan Opera House was devel-
oped from one-sidedly Italian institution 10 uni
versal one, IN far toward the last all the
works brought forward were sung in the language
contemplated by the authors.
This one OF the finest achievements OF Mr..
Grau's management. The change under Mr. Con-
rled was In the highest degree reactonary. When
German. French and Italian works stood on an
equal footing the popularity OF Wagner neverthe-
less gave that composer q pre-eminence over his
colleagues and the German operas dominant in
huence IN the list In the season now ended in
spite OF 'ParsfaI" and because OF the reservation
Of two OF the Nibelune dramas for production as
a special feature "a profitable proceeding from a
business point OF view. the German representations
fell Ear behind the italian. As for the French. their
record would have been little else than ridiculous
had there been no Nine Calve with the perennial
Carmen" Coming after the season was two
thirds over. there was stiu time for four repre-
sensations thanks TO which the pitiful French
record was raised 20 three works and ten per
forrnances. Twelve Italian works received nifty
four performances. and eleven German thirty
seven. Eight Of the eleven and thirty-three Of the
thirty-seven were devoted 20 Wagner's works. OF
the other four one was given 10 French opera
Ia Dame Blanche" two 20 Mozart's Die Zauber-
h6te" (Which figures equally IN the Italian lsO
and one 10 Beethoven's "Fideo." The CNplana-
ton OF this was a persistent element in the re-
views which have appeared IN this Journal Par
Signor Caruso and Nine. Sembrfch I'm the Italian
Il needed only Seubrich and Caruso and one or
two others make the Italian performances brill
iant and they glittered. II needed only the an
nouncement to-crowd the house at vastly increased
prices al the 'Parsfal" representations. The ele-
rnents which would have won popularity for the
French list were wanting In Faust and Romeo
ct JuIette." and Carmen pulled through on the
strength q Calve.
paragraph about the singers Nine. sembrich
sang twenty-seven times. and in nine operas. viz:
''Ricoletto" "Boheme." "Pagliacci" "Traviata."
I'll Barbiere" Lucia" ''The Magic Flute Ger
man. as well as Italian). "LElisir dAmore" and
lie Nozze d Figaro: Nine. Ternina. twenty
three times. IN nine operas. viz: "Tosca-" "Parsi-
fal." The Magic Flute" Die Walkire. Tam
hauser." .'siegfried" "Lohengrin." Tristan" and
"G6tterdBmmerung' Nine. Gadsk nineteen times.
IN nine operas: Aida 20 "Cavallier:a % The Magic
Flute 'Nozze ii Figaro" Die Walkare" la
Dame Blanche" "Siegfried." "Lohengrin" and
'Tannhauser'; Nine. Ackte Cwho began on Feb
rusry 49, six times In Faust. Romeo ct Juliettc'
and 'Lohengriu". signor Caruso. twenty-five
times. in seven operas: "Rigoletto" AIDA" Ia
Tosca." 'PaRliacci' Il. Elisir d'Amore," DO
htme" snd Lucia: slgnor Scott, twenty-five
times in nine operas: 'Rigoletto." Aida Ia
TOsca 4" 'Pagliacci' Ia Traviata," "LElsir
d'Amore' Faust" Carmen and None di FL
CARO-; N. Plancon. nineteen times. in Aida, @"
''Tannhauser." The Magic Flute Faust and
Romeo et Juliette'; Van Booy, twenty-eight
grin" Tristan und Isolde." 'Parsifal." "sieg
fried" and ''Das Rheingold", Naval eight times. in
Ia Dame Blanche" Faust" Romeo ct JUL
ette' and Carmen
How did the subscribers fare IN the matter Of
first productions and the distribution Of singers?
quite equally. though those Of Friday night and
Saturday matinee might feel justified In feeling
that they had enjoyed a few privileges over their
colleagues For the FIRST time the matinee subscrib
ers had e. fuI quota Of first appearances. Mondays
FIRST nights "Rigoetto.' Aida" The Magic
Flute." ''Siegfried." Carmen" and Faust;
Wednesdays Die walkure" '"rosoa," ''CavaI-
Iberia" and ''Pagliacci'; Fridays "Boheme"
''Tannhauser." II Barbere.' Lucia" "Coppelia
Cballet. "Romeo et Juliette" and lie Nozze di
Figaro; Saturdays 'Lohengrin." Tristan ind
Isolde" I.EIlslr dAmore'' and la Dame
Blanche" OF the last opera the matinee subscrib-
ers had a monopoly.
OF the operas given IN the subscription list Mon
DAYS subscribers had 20 foregc Die walkIre'
'Traviata." III Barbiere'' Tristan" 'cSozze di
Figaro and Ia Dame Blanche: wednesdays
''Boheme." 'Iohengrfn." ''siegfried." La Dame
Blanche" Romeo ct Juliette' and ''Nozze di
Figaro; Fridays. Die waIkGre" "Traviata 90
The Magic Flute" "segfried." La Dame
Blanche" Faust" and scene from ''Mehstofeie'
Saturdays ''Tosca," "siegfried," Lucia scene
from "AGehstofele" Romeo JuI!ette" and ''NozEe
al Figaro" As how the privilege Of hearing the
different singers OF chief importance distrib-
uted. a table VIII be more graphic than the manner
proceeded with thus far
Saturday
Singers. Mondays Wednesdays FRIDAY s mstinees