The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-12-23
OPERA AND OPERA SINGERS.
SUCCESS or HAMMERSTEIN AND
MISS FARRAR.
Tho New ImpresariO Would Hardly Have
Believed IL OF Himself Geraldine
Rarrar Does Believe 1.-THE Difference
Beiween success In Berlin and Here.


Rarrar Does Believe 1.-THE difference
Between success In Berlin and Here.
A ws wondering reporter was walking in
Sixth avenue on a day some six years ago
when he fell In with Oscar Hammerstein.
He had the courage to break in upon the
reflections Of that active mind with an apt
question:
We'll, Mr.. Hammerstein, are you going
TO build another theatre this year,
"No," came the answer In a meditstive
manner, that is, i don't think so. But
you never can tell what I'm going to do
Thus did Mr.. Hammerstein In his brief
and apparently innocent way perfectly
characterize himself. No one has ever been
able TO tell What Oscar Hammerstein was
going to do. Many have tried. All have
failed. IL il altogether improbable hat
there was any man In New York willing to
commit himself to a prediction hat Mr..
Hammerstein could give birth TO a tun
grown opera house. Nevertheless he has
done il. This extraordinary achievement
outdoes anything hitherto accomplished by
this remarkable explorer in dramatic and
nicotine realms.
The general prediction was that Mr..
Hammerstein's enterprise would prove to
be a farce. Mr.. Hammerstein himself did
not hesitate to shake his head and murmur
that the papers would probably make fun
OF him. The opening Of his new house was
awaited with mingled expectations. 1t was
certain that he had engaged several artists
OF the highest repute, but, on the other
hand, nothing was known about some OF
his leading singers. II was not believed to
be likely that he could organize a good
working chorus and stage management In
so short a time. An orchestra was, OF
course. to be had for money. But rehear-
sails demanded time and the house was
not ready for occupancy at the date when
these rehearsals should have begun.
In spite of all, MIR. Hammerstein's Man
haitian Opera House opened on the night
when he said it would, and 1t opened with
a highly creditable performance OF 'Puri-
.iani.' Every one in the audience had at
tended better performances. That is unde-
niable. Mr.. Hammerstein's was far from
being IDEAL. Probably no one knew that
better than he. But il was a good repre-
sentation under the circumstances, and it
disclosed certain important facts. The sub
sequent performances OF the first week
turtle demonst rated these facts and at
midnight Of his first saturday night Mr..
Hammerstein must nave felt that he had
established certain truths.
First Of all he had shown that most of The
appalling obstacles in the way Of giving
acceptable ensemble in operatio perform
ances in this town had no existence outside
Of the fine fancies of those who desired to
find excuses. In his very first week Mr..
Hammerstein showed us a good, IL not
uncommon, orchestra, competently di-
rooted; a chorus Of attractive appearances
and almost human intelligence in action,
and minor singers capable Of filing out the
performance OF important operas without
thrusting upon the notice of the audience a
contrast with the principal singers alto
gether too violent.
In his second week he mad notable i'm
provements. His Don Giovanni which
was tolerable at the first performance, be-
oame interesting at the second. and his
Carmen struck the town with a delight
full shock. With a cast in which every lead
ing singer was distinctly inferior to many
previously heard, this Carmen" triumphed
by reason Of the level of its general merit,
ny the champa gRe of it's vivacity, the in
fusion Of vitality into all the minor roles
and into the action Of the chorus and balles
ny It's rich and warm stage pictures and by
the earnestness of every one in il.
Meanwhile the repetition Of Don Clio
vanni,' while il revealed some lamentable
weaknesses in the company, served TO
show still more c~onclusively the admirable
quality of Mr.. ~Campanini's conducting
and to satisfy connOisseurs that Maurice
Renaud, while in very poor vocal condi-
ton, was an artist of the first water.
Mr.. Hammerstein deserves well of this
public. He promises much. for the future,
and il the time has come when the city will
suppor two opera houses there. is every
reason to hope that the new one will soon
be able TO offer entertainment of the highest
artistic quality. IL would be idle to claim
that accomplishment for it now, for even
the Metropolitan Opera House with its
years OF tradition and its employees long
trained in its methods frequently falls far
short OF the ideal.
The great achieve ment of Mr.. Hammer
stein is this: He has given us some good
all around performances, without star
casts, and has demonstrated that such
performances can be made acceptable to
n considerable part of the public.
Carmen" has been given at the Metro
politan Opera House with Emma Calve
as Carmen, Emma Eames at Micdeia, Jean
dc Reszke as Don Jose and Lassalle as
EscamiIio. Mr.. Hammerstein's oombina-
ton OF principals falls some noticeable
distance behind that. Nevertheless it made
a stirring effect, simply because it was
quite good enough when 1t was on the
stage, and when it was OF the performance
did o 60 to pieces because OF incompetent
minor singers, a wooden and untupeful
chorus and a somnolesoent conductor.
Mr.. Hammerstein has done wonders in
scenery and costumes. This word won
ders" must be properly construed here.
IL Mr.. Hammerstein had a rich company
behind him o. were himself a multi
millionaire there would % nothing I'M
common in his mounting Of Carmen"
and Aida" In fact there might be
grounds for complaint about some details.
but as he says. and we are bound TO believe,
that he has gone unaided into this venture,
and as he is operating a nev house with
no accumulated stock of scenery, costumes
and properties, he must be warmly praised
fop his iberality and his taste.