New-York tribune., 1906-12-04

opera again at Palmo's under the rnsns~ s~sr,s,. n,
sanearieo and Salvatore Patti Gather OF AdeIina1
but now with competition from the Havana Onara
N"hpAly' remarkably strong organization
under the artistic leadership OF Luigi Ardi+i
Whom even the younger generation of opera
goers VIII easily remember which PLAYED now AZ
'he Park Theatre dong the home OF English opera)
eno now at Castle Garden The spirit TO which Da
Fon'e mad appealed awoke again. and Foster, Nor
gan and Coles built the Astor Place Ouera House
ana lSO public spirited citizens guaranteed opera
Tor hVe years. sanqurico and Patti opened the
houso' ana In the second season, under E. P. Fry
new notable Max Maretzek, appeared upon the
neio as conductor. year later he was man
aser, ana then began period OF rivalry quite as
NahIIo ana oventful that which was waged
century and quarter befors in London. At the
END or the guaranteed period of FIVE years the
AStor Flace Opera House was completely discred-
iteo as the homs OF Italian opera, and steps were
taken TO build again with greater pomp and higher
AIMS than ever The new house was the Academy
or Music II was nearly three times as large as
the Astor Place Opera House. and in many respects
the most perfect lyric theatre that New York had
seen till then has seen since. MaretZek was the
nrst lessee, but rented II TO James H Hackett,
who opened his October 2. 1854. with
Gr1Si and Mario in Norma" Ardiu being the con-
ductor. The prices ranged from s. down; this the
public thought exorbitant, and the opening night
there were only 15o0 persons present The next day
prices reduced one-half Hackett lost 5000
IL
Maurice strakosch and James H Mapleson who
manager from 1875 TO 1885 At the beginning
OF the Academy's career Niblos Garden was lis
rival house. and there German opera modestIy be-
gan its contest for the supremacy, which 1t won IN
1884 and held for seven years AS for The forces
which were arrayed against each other II is inter
esting to note that between 1s47 and 1885 that is
from the beginning OF rivalry between italian COM
ponies till Maplesons retreat the following singers
Of worldwide reuowu were heard by local opera
I1-4o- oolf NJ
Formes. Frezzolini. F'ursch-N -N1adi Graztani Gris.
Gasser,, GazZaniga- Galass Gerster, Hauk. kel-
logg Kaschmann. La Grange. Lucca, Mario,
Maurel. AIierzwtnski. Materna. Nilsson, Nicolin,
Nordica- Nevada, Parodi, Patti, Parepa. Pappen-
heim Ronconi. Roze. Raveli. salvi stenanone
sontag susini. Santley, Scalchi. Semhrich. StaGno
Schott Schroeder -FIanfstAngl. Tedesco, Tamberlk'
Tietens, TreheIn, Vestvali Valera and WachteL
The Academy OF Music remained the true home
OF italian opera until the opening Of the Metro
poIitan Opera House. on October %, 1875. The need
which prompted the building OF the new house
was social Fashion demanded that its votartes in
the ranks OF the wealthy and aristocrauc be ooX
owners at the opera. Within the score Of years
following the erection OF the Academy the popuIa-
ton and wealth OF New York had grown enor-
rnously There was longer room in the old
house for those who belonged by virtue OF social
prestige to the box holder class. The new one
was built For two seasons the two houses were
occupied by rival managers and rival audiences
Colonel NanIeson's forces at the Academy were
headed bv PATTI ana Gerster; MI Abbey's at the
Metropolitan Opera House by Nilsson ana sem
brich Mr. Abbey's failure led 20 the Introduction
Of German opera in the second year OF the mouse
in upper Broadway, but the tide hao IuIneO
against the fine old house in Irving Place Ino
new house prevailed and from the most aris'o-
cratic playhouse IN the city the Academy OF MUSIC
became one OF the most humble and democratic
It must be left for the statistician TO compare the
city's growth in wealth population ana IoFe u
.bs measures which the opera provides during
the life Of the Academy and the period which has
elapsed since. That growth may be an important
factor IN the solution OF the problem set before
the people last night h T. r.