The Saint Paul globe. (St. Paul, Minn.) 1896-1905, 1905-03-05

GTHE forthcoming season oil grano
opera at the new Auditorium in
II MINNEAPOLIS will bring to the
northwest for the first time the
brilliant achievement of one man
Heinrich Conried. The Metropolitan
Opera House company of New York
had existed before the reign of Con-
ried as grand opera of distinguished
merit. But since Conried assumed
control of the Metropolitan and its ia
nous company of stars, patrons of the
opera in New York have gradually had
their eyes opened to the value or fine
dramatic instincts and traditions used
I'm conjunction with great singing, Mr..
Conried did not gain his ideals of dra-
matte art from Richard Wagner, SIM
liar though these be, but it is plain
that the two We're fed from the same
fount of knowledge and that is the
reason we find Conried succeeding as
has no other interpreter of the Wag-
merriam music dramas in carrying out
the masters dramatic and scenic ideas.
These are, in fact. Conried's Own
ideas, and he has brought to their ex-
preston the opulent resources of mod
ern invention.
Mr.. Conried has become something
of hero in the eyes of the theatrical
and operate world, not only because
he has produced better opera than
those who have preceded him, but be-
cause he has been able to turn art into
money. Not by lowering the artistic
plane of the New York performances.
but by heightening it, has he done this,
hIId Coff limo
superficial reasons for existence. If
ever he has time, which seems doubtful,
to look back at his first flights for fame,
Heinrich Conried must have the feel
ing that his life is fairy tale come
true. Long ago he was only a little
weaver lad living in Silesia, region
as distressful as the most impoverish-
ed corner of Ireland. But he had good
educational opportunities, notwith-
standing his poverty, and his spare
time went in porting over Leasing and
Hebbel and Grillparzer. In the course
of years the young Heinrich graduated
at the loom by producing his master
work" and into this piece of orna-
mental cloth he wove q prophecy
these words, Faust und Gretchen"
Then he put the loom behind him and
bent his steps toward Vienna, where
his days and almost his nights We're
spent In practical study of the art Of
acting.
When he came to America a quarter
of century ago he brought no money
with him, but he brought much that
was infinitely more valuable and &C
tually needed in the tender and eccen-
trio art growth just visible in America.
He became a play agent, represented
German and Austrian authors, mana
gers and composers, collected royalties
for the Wagner family and finally be-
gan bringing over stars and importing
light operas like die Fledermaus"
He was an immediate success as a stage
manager, and to his enterprise Ameri-
cans owed their first acquaintance
with Sonnenthal and other Viennese
celebrities. He acted-and acted well
in the tragedies of Schiller, in grew
some dramas, like Die Bluthochzeit,"
and occasionally in comedy. Only a
couple of years ago, long after he had
become manager of the Irving place
theater, he appeared with success on
his own boards, side by side with
Odilon and SonnenthaL It is the
wealth of his knowledge of the stage
from the front and from behind the
scenes that has enabled Mr.. Conried
to re-establish grand opera upon
basis in which the art of pure drama is
the controlling influence. And he is as
eager to get hold of the finest voices
In the world as were ever Mapleson
and Grau. He carries his splendid art