New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1907-08-25
AN ORCHESTRA STRIKE.

The first season ran its course and second one
began in November 1874 Amidst the usual vicissi-
tudes II continued until January % 1916. On this
momentous date Borshese was before the footIights
and about 10 open her mouth in song when sud
denly the orchestra ceased playing. Not a soft
complaining note from the flute not whimper
from the 1ddles Borghese raved and Palmo came
the stage to learn the cause Of the direful
silence A cOloquy with the musicians. If not e1-
actly in these words. was to this effect
What's the meaning of this2 Is it striker
Why"
NO pay
'Il pay you Tomorrow
'"To-night's the tirne"-the musicians packing up
their instruments.
Palmo rushed the box office to get the nights
receipts Alas, they already in the hands Of
the deputy sheriff. Another opera manager had
gone down into the vortex which had swallowed UP
Ebers. and Taylor. and Delafeld and others Of
their tribe in London and Montressor and Riva-
fnoli in New York Palmo it is said. had liter
ally 10 return TO his pots and kettles after serving
cook in The hotels and restaurants Of others
the once enterprisng manager of the Cafe of a
Thousand Columns became dependent the
charity of his friends There was another season of
opera at Palmo's, among the managers of which
Were Sanquirico. buffo singer. Salvatore
Patti and Italian named Pogliagno. In the
company were Catarina Barin and her chill
dren. Clotilde and Antonio. Patti a
singer He the husband of the prima donna,
Catarina Barih. who looked upon a fine
representative of the old school of singing. and
from the pair sprang CaTlotta and Adelna- who
gave a lustre 10 the of Patti which the
father would never have given it by his exertions
singer and manager. Both were born before
their parents New York. Carlotta in
Florence. IN 1910. and Adelina IN Madrid in 1913.
The childhood and youth of both were spent IN
New York. ana here both received their musical
training. Their artistic history belongs TO the
world. and since am. with difficulty. trying just
now to talk more about opera houses and those
who built them TO their ruin. than about those
who sang In them. will not pursue It. The summer
Of 1877 Palrno's little opera house deserted In
1913 II became Burton's Theatre. where. as Mr..
White observes. that most humorous of comedians
made for himself in few years a handsome
fortune
Who shall deny that Signor Palmo though his
fortunes went down in disaster. made q valuable
be looked upon as in an experimental stage-which
mas IoT us ann the permanent establishment OF
nature the movement must remain until the YER
nacular becomes the language Of the perform
interpreters. The day is still far distant but II
VIII come. The opera of Germany still Ital-
vention of the art form. though in the mean while
the country had produced a Bach and Handel.
The Palmo venture lat the bottom OF which there
7oocrsttze 81 form e en- usS 10 PoPIhiIIze or Ge
been the possession Of wealth and fashion, re-
vived the social sentiment upon which Da Ponte
classes" IL was not Italian opera that had Sue
cumbed but only the building which housed il.
This certainly presented an aspect OF incongruity
Fine talent came from England for the English
companies whose career continued without inter-
rupuon. and the moment which saw the down
fall of Palnao's enterprise also the influx Of
company Of Italian artists under the manage
ment Of Don Francesca Marty Y Torrens. OF Ha-
vana. who deserves to be kept in the minds OF
the opera lovers who go back to the days of the
that he brought Signor Arditi New York-the
hawk-billed conductor whose shining pate used to
glisten like stage lamp from the conductors seat
in the fine old house at 18th street and Irving Place.