New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1907-04-21
MUSIC.
THE M4NHAT'TAN.
Record and ReUieSc of First Season
at This Opera House.


IN its outcome. The manager has himself prom
,sed 10 become SIS historian, but things in
she record may perhaps better be set down by
less interested and possibly more impartial annal-
,st The fact which looms largest in the story is
She lIndaunted manner in which the manager hewed
20 she line which he marked out for himself year
ago. Il is no reflection Mr.. Hammerstein TO say
that many who have been prompt and generous in
ther recognition Of his achievements since looked
upon his enterprise quiXotic down to the very
Asv Of lis opening last December True. he was
known 10 be a manager Of extraordinary resource
and iudomtsbic energy. but he had dallied more
or less with the operate bauble without disclosing
any ambition have his name written among the
managerial wrecks which have been cast upon the
shores Of Italian opera from Handels Gay TO ours.
II was easy TO recall that the opera house
vas not his first. but that he had built one in the
same street given it she name fourteen years
ago and begun season OF grand opera with an
ambitious novelty only to abandon the enterprise
after fortnight. He had even tried German
opera with no less popular artist than Nine
lehman in his earlier opera house in Harlem, and
entered into rivalry with established institution
in 1891 for the production OF "Cavaieria Rusti-
cana" then the reigning sensation of the hour in
Europe.
When the old Manhattan Opera House so soon
abandoned the uses Of vaudeville opened its
doors with Noszkowski's "Boabdir' on January g.
1903 there was rival operate establishment in
the city. for the interior OF the Metropolitan had
been destroyed by fire. and Abbey, schoeffel &
Csrsu were resting their oars for season while
the question whether or not the home OF the costly
and fashionable entertainment should be restored
was under discussion by fits owners. Yet Mr.. Ham
rnerstein was discouraged by two weeks of failure
II was not strange that many observers refused to
believe that he of the stun out OF which opera
managers are made. He did not seem illogical
enough, though he showed some symptoms or nav
ing been bitten by the opera habit. It is an OLD
observation, 10 which this writer has repeatedly
called attention that the desire TO manage an opera
company is q habit which seizes upon some men
IN the same the vices of drinking smok-
ang and gambling enslave others. The habit Is IN
durable long as the victim can procure the
money 10 crafty st. Operate history tells Of q
manager IN London who got himself into Kings
Bench Prison through devotion to opera manage
snent Once there, like Boethius, he found conso-
laIiOn in philosophy He diScoursed on the wisdom
and kindness Of law which provided proper
place as Fleet Prison for the protection Of a man
eyer against the opportunities of his singers as
well the protection of the public against man
whose unftness 10 be at large was demonstrated by
his undertaking TO manage establishment de-
voted TO the performance of Italian operas But his
doctrines obviously sound. found no disciples, and
he continued merrily 10 run his opera from within
the prison walls. Mr.. Hammerstein had the eX-
ample of Henry z. Abbey before him. Twenty
three years ago Mr.. Abbey made experience at
the Metropolitan Opera House which entitled him
10 high and permanent place among the saints
81 the Italian calendar. His crown OF martyrdom
was only little less brilliant lndn mat worn Dy
Mr.. Delafeid. who managed 10 sink $4,000 in q
single London season. For a while the lesson that
all opera is vanity seemed 10 have sunk deeply
into the mind Of the Metropolitans first manager,
but when he found that he could ccnjure with the
name OF Patti his resolution failed him. he forgot
his solemn of abjuration and entered again
the lists candidate for the golden laurels or
prckly thorns that await manager. He went TO
his death ruined man. and il was years afterward
that new conditions brought prosperity TO his sue
CessoT.
Mr. Hammerstein has told US that he has had
good fortune this season and a promise of better
next II what lie has said is TO be accepted with
Nteralness the lesson OF the season now closed IS
that the people who live in New York and come to
New York in the winter season are willing to
spend. let say, one and three-quaTteT millions
Of dollars every year for this form Of enter
tanment. II would appear, also. that fad and
fashion not the controlling impulse in this vast
expenditure; for the chief things which fad and
fashion have had TO offer at the Metropolitan Opera
House have been noticeably absent from the Man
haitian. On a score Of occasions there have been
large gatherings representative Of wealth and what
Is called society al the house in saith street, but
generally the audiences have been distinct in their
composition. II has almost seemed as IL Mr.. Ham
merstein had been correct in his deductiCe that
there enough people in New York who
wanted 10 go 10 the opera but were excluded from
the Metropolitan by the extent If the subscription
70 support a second house. II this be so 1t marks
operate rivalry. which ruined both Mapleson and
Abbey and destroyed the prestige Of the Academy
OF Music forever. Perhaps the citys growth in
population and wealth furnishes the explanation:
&c can scarcely believe from study Of the dongs
o4'the two houses that a growth in musical taste
and culture is the determining factor. Twenty
years ago such list OF operas as that presented
By Mr. Hanmerstein in the season just closed
would have spelled ruin TO any manager. Not even
the prestige OF Adelina Patti would have saved it.
There is not a novelty in the list.
Many things have contributed 10 the measure Of
success which Mr. Hammerstein has won. There
was a large 1ascina ton in the audacity Of the
undertaking and its freedom from art cant and
Rfectation- Curiosity was irritated by the mana
gers daring and admiration challenged by the
manner in which he kept faith with the public. lie
seemed TO be attempting the impossible. but he ac-
complshed an that he said he would do. IL is no
secret-in fact. Mr.. Hammerstein has himself pro-
claimed it-that his artistic achievements have
been due IN overwhelming degree 10 the en-
cheney Of signor CleofOnte Campanni' his artistic
director. But not 10 his efficiency aone-to his
devotion and zeal also. Signor Campanini has
not been the artistic director alone-he has been
also almost exclusively the conductor OF the per-
fOrnances His zeal has fired all the forces en-
pOyed at the opera house A company gathered
together from the ends of the earth has succeeded
IN giving ll3 performances 10 twenty-five operas
and making many OF the performances OF really
remarkable excellence. Tho reason was obvious
at nearly every REORGANIZATION the principals
down 10 the last person IN the chorus and orches-
tTa every one had mis- heart in his work. Not
only the desire 70 do their duty but the pardonab
ambition 10 do better than the rival establishment,
Inspired singers and players alike. II so happened
mat On one Saturday evening the same opera
Verbs "AIda''-was performed az both houses. A
newspaper reporter carried the intelligence 20 the
Manhattan opera House that half the seats were
empty IT The Metropolitan. while the new house
was crowded. The curtain was down AT tne time