New-York tribune., 1908-09-06
roonrr,sh, 1aos ,r H. z. Krehblel.l

san Opera House in the season OF 1928. but
the fau the latter year witnessed the beginning
OF a new period. full of vicissitudes With many
brilliant artistic features. 1t still experimental
10 q large Its artistic side, the chief re-
suits Of fits empiracism being the restoration OF
German opera in the repertory on an equal foot
ing gewith Italian and French. 1t also brought the
largest wave OF prosperity to the house that 1t
had experienced since its opening, yet ended in
the shpwreck OF the lessees and disaster that was
than financial. The lessees were again
Messrs. Abbey, Schoenel and Grau. with whom the
reorgan,zed Metropolitan and Real Estate Com
psnY- U.irnited) effected agreement. the essen
sial elements Of which remained unchanged for
rfreen years: that is. down to the close of the
season OF 1e07-'oS- The term was five years. The
lessees took the house for annual rental OF
$4,000 and pledged themselves to give opera four
times week for thirteen weeks in the winter
and spring. The lessons paid back to the lessees
The ss2cs for their box privileges. and to insure
representations which would be satisfactory to
them reserved the right TO nominate six of the
singers two Of whom to take part in every
performances in the subscription list.
The first season under the new lease enor-
mously Successful. Abbey. Schoeffel and Grau
realizing about $4,000 including the visits other
cities and supplementary spring Of two
weeks They made great losses on their other
rerprises, however. especially Abbey's Theatre
tnow the Knickeroocker) and the American tours
OF Mounet-Sully and Mime. ReJane. Like results
attended the of ISs4-'s5 and 1855. the
drag In the latter instance being the Lillian Rus
sell Opera Company. which. together with other
ventures, brought the firm into such a financial
slough that II made assignment for the benefit
of Its creditors. who were forced to take its
business TO protect themselves. Chief Of these
was William steinway. who had accommodated
Abbey, Schoenel and Grau with loans to the
tent OF $4,000. Under his guidance as chairman of
the committee OF reorganization. the stock company,
Abbey, Schoefel Grau (Limited). was formed,
he becoming president, and Henry Z. Abbey.
Lob
rectors at a salary OF $4,000 year Ernest Goer-
htz. who had been in the employ of the firm for
some time, was made secretary and treasurer. He
remained in an executive capacity the Metro
politan until the expiration Of the consulship of
conr1ed last summer Mr.. Steinway got rid Of the
debts Of the company Tor perhaps it would be
more correct to say, changed their character) by
Issuing certificates Of stock and notes the cred
itors In this manner Of the principal artists
Of the company became financially interested in
opera giving.
Before the reorganized company began the next
series OF performances Mr.. Abbey died. and the
season was only fortnight old when Mr.. Stein
way followed him into the grave. A very puissant
parsonage in the managerial field was Mr. Abbey
during q fun quarter-century OF theatrical life
in America. He a purely speculative
ager. who never permitted his likes dis
ilk' to influence him in his chosen vocation Of
pI4' eying amusements. called. the public.
Though his tastes led him generally into the higher
regions and there is little doubt that inherent
love for music for its sake made him take 20
opera. AS a young in his native city OF
Akron, Ohio, where he was born in 1886, he played
cornet in the town band. When he revoked his
resolution never 10 embark in operatic enter
prise again after the disastrous Of ISs3-'Si
/ met him in Broadway. and asked him about the
artists he intended bring the Metropolitan
Opera House. He gave the names OF those
whom he had in view. and / expressed my regret
that one. whom l admired very greatly indeed
was missing. His reply was prompt: There is no
in the world I would rather engage. and
no woman whose singing gives me greater pleas
ure; but she doesn't draw 7 never made any
with her II vas an illuminative obserya-
don- AS a youth he was interested with his father
sn the jewelry business in Akron, and the death
OF his father. in 1873. the business became his; but
by that time he already q theatrical manager
though small scale. In 1869 he had assumed
charge of the Akron theatre. In 1876 he asso-
ciated himself with John b. Schoeffel and with
him gradually acquired theatrical properties in sew
e OF the principal cities OF the East, and entered
upon enterprises of a character which his
undoing in the end. The Abbey. schOeffel & Grau
Company carried through the of 1S96-'S7
with a profit of about $4,000 in New York despite
the fact that the financial affairs of the country
were in very bad way. A four weeks season in
Chicago. however, ruinous and Mr.. Grau was
compelled to fall back OF the artists of
the company and friends to enable him TO bring
re Chicago season to a close. Jean and Edouard
G.. Reszke and L1assalle were among the subscrb-
es TO "A guarantee fund of $4,000 which he needed
90 carry him through. All the guarantors were
repaid in fun when at the end OF the season the
affairs Of Abbey. Schoene 6. Grau Oimited)
wound up and Mr.. Schoeffel bought the principal
asset, the fremont Theatre, in Boston ThereupOn
Mr.. Grau and his associates formed new COM
pany, which gave opera under the conditions which
seemed to have become traditional until the end
Of the of 1929. Mr Grau compelled
by Ill health to withdraw from active duty before
the END Of the last season. and the story OF his
conpanys doings falls naturally into another story
Of this history. We must now survey the artistic
incidents of period between the reconstruction
Of the Opera House and the beginning OF the new
regime This will be the business of this and the
following chapter.
SApiy far the sake OF convenience in the rec
o<c, slau devote the chief statistical attention
81, fhe remaining chapters Of this history TO the
SUBSCRIPTION and discuss supplementary
spring seasons only they offer features special
interest The seasons. generally q fortnight long
and given after the return OF the singers from Wis
its 70 Boston and Chicago distinguished from
the subscription seasons very much the fall
sons In London are from the seasons,
though there is not the sharp line OF demarcation
far fashioa gees. which the adjournment OF
Pssiiarnent makes the oYher side CT Atlantic
Tie tenth rsgussr 81 opera taen began at
the Metropolitan Op~rs House November q.
1888 and ended on February "a, Ise< Oficially the
languages of the performances were italian and
French. but the operas given were for the greater
part, French and German, and the representations
dual in language in all cases, except the
italian works mention this fact, because of
it's singularity. for IT is a familiar phenomenon all
the operate world. except perhaps Italy but
IN order 20 point out hereafter betterment. which
IN with serious artistic striving later
The chorus always sang in the soft bastard
Latin" whether the principals sang in italian or
S--rft. ,s7c the occasions were not a few when
languages were sung also by the princpals-when
lovers wooed in French and received their replies
In Italian. thus recalling things over which AddI-
de gene he