New-York tribune., 1907-03-02
THE OPERATIC WAR.

The operatic war, the wanes. Is grow
ing more and more like the London conflict some
twenty-five years ago. with the difference that then
it the interloper who played the German card
there whereas It is the old establishment that Is
doing il There operas TO be
brought forward by Mr.. Conried instead lie is now
bring into action his heavy Wagnerian artillery;
while Mr.. Hammersten will blithely pursue his
policy announced at the beginning OF hostilities.
with possibly few moro 'reVivals' Of familiar old
works and the novelty promised TO give Nine.
Melba opportunity 10 appear in a new role
something that has not happened since her inexpl-
cable adventure into the land Of Wagner brought
disaster 10 her Saint-Saenss Helene has been
promised. and the musical material has been re-
ceived from Paris If Mr. Hammersten says
IT will be given, given II will be; for Mr.. Con-
reds energetic rival seems determined TO keep
faith with the public at all hazards, and the zeal
of his people indicates that they have made com
mon cause with him The production OF La
Boheme" at the Manhattan opera House
last night q discussion OF whose features may be
found elsewhere was chiefly interesting because
Of the popular interest manifested in 1t largely IN
consequence Of the circumstances accompanying
the production. II used to be no unusual thing 10
perform operas In defiance Of the wishes OF com
posers and their publishers and with the help OF
scores surrepttlousy obtained. with the orches-
traI parts reN1 from the pianoforte or vocal
scores. Faust suffered such fate in London, II
we are not in error and Bizet's Carmen" and
Massenet's "Manon' here. The spectacle Is not
edifvIng and tho custom is not commentaries; but
there is no occasion 80 into this question OF pro
fesslonal ethics now The stage OF to-day is as
little school OF moraIs in its artistic offerings
its business administration and the two evils are
likely to be righted together II they
righted.
Mr.. Hammerstein's production Of La Boheme'
is understood 10 have been undertaken 10 please
Nine Melba and To keep ratth with her since her
contract with Mr.. Hammerstein stipulated THAI she
should appear in Puccini's opera-indeed It was 70
be the vehicle Of her Te-entrance the local
operatic stage. Her desire perhaps largely
sentimental She was the original Mimi at the
Metropotan opera House December 26. lgp
and though not the first impersonator OF the char
actor in New York Ohe opera had been given 10y
ono OF tho floating operate wrecks at Wallacks
Theatre and the Casino In May and October.
IsqS and also English by the Castle Square COM
many "A month before tho first performance under
A. Crau). she was yet entitled to feel that in
the eyes OF the real opera patrons she was
its creator Moreover. there must remain
with her an unpleasant memory OF the iact
that her last appearance at the Metropolitan
Opera House when her health compelled an aoan-
dounlcut Of her engagement after a single repre-
sentation was made IN this opera II IS not one OF
her finest achievements for the reason that II does
not belong 10 the genre Of works native 70 her eN-
auise gifts; but the opera IS become popular. she
cannot wish 10 remain in the old rut forever, and
the people are hngering for her voice and art just
now as never before. And Mr.. Hammerstein has
another loadstone FOR the element among local
music lovers heretofore dependent upon the house IL