The Birmingham age-herald., 1906-10-25

ND/A III America mas puDllC interest III grand opera been aroused to a higher pitch than in the season which will open next month in New York when three well equipped companies will com pete for public approval. New York has always been the operatic center of the United States. It is there that the first performance was given many, many years ago. Grand opera is costly amusement, and only the wealthest communities can give it the support needed to make it an artistic and financial success.
 In 1883 began the first great operatc war in the new world when Henry Abbey opened the present Metropolitan opera house with a company of great strength in competition with Colonel Mapeson, who had for several years been producing the works of the masters of song at the Academy of Music in Fourteenth street, which at that time, was the fash ionable musical center of the town.
 Society without the support of which grand opera cannot be a success in any large city, finally deserted the academy for the Metropolitan Colonel Mapleson
  of public favor ceased to shine on the Academy. The Metropolitan has re- malned since then the home of grand opera in New York. But the wonderful growth of the population of the city, the increasing interest shown in all parts of the country in the higher forms of musi- cal expression, and the enormous access sion of wealth that has come to the kings of finance have all had their in- fluence in creating a demand for grand opera that has not been adequately sup piled.
 This year Oscar Hammerstein, one of the boldest and bravest theatrical man. agers in New York, has thrown down the gauntlet to Mir. Conried by building a handsome opera house and organizing a company of artists which, as far as ma terial is concerned, is a worthy competitor of the Metropolitan
 To still further complieate the situation Henry Savage. who continues periodically to produce opera in England on a simple scale, will present his company to New Workers during the season in a number of the popular grand operas. In addition,
 
 for it's prima donna Lillian Nordica, will probably be heard in the metropolis after it has closed it's season at New Or leans.
 The operatic situation is set forth ill an admirable manner by Katherine Metcalf Roof in the November number of the Broadway Magazine. advance proofs of which have been received. In her article entitled "The Conried- Hammerstein Opera War she says
 "The only direct clash between the three presarios-Conried. Hammerstein and Savag age-appears to be in the matter of Puccinis operas. especially that com- posers new opera. Madam Butterfly" This work all three companies expect to produce, while MT. Conried holds the right of the Italian production. This, while it does not effect Mir Savage's plan, would preclude MT. Hammerstein's pro- duction The role of Madam Butterfly being a great strain upon the voice. MT. Savage, who expects to produce it ire quently, has engaged five singers to all ternate in the part. Of these Luise Jans- sen and Elsa Szmosy are singers of Euro
 
 have been called by the composer the greatest interpreter of Madam Butterfly in Europe
 "On the other hand MT. conried's ex- ponent. Lima Cavalieri, is a singer who has great popuarity'in in her own country as we'll as in Paris and Monte Carlo; and he has engaged Pucinni himself to super intend the production. Then Mir. Hammer stein has on his list Madam Melba, who has been called the greatest living expo nent of Mimi in Pucinnis La Boheme.' Another clash of arms has for its cause most properly-a lady Luis Tetrazzini. The lady in question has placed herself in the embarrassing position of the south ern belle who has engaged herself to two cavaliers. both of whom refuse to give up their claim. MT Conred says, She has contract to sing with me Mir. Hammer