New-York tribune., 1908-02-22
MUSIC.
ACCUSING EXCUSES

Respect for the verites OF history seems to call
sor few corrective observations on the informa
ton published in the newspapers yesterday inciud-
tax The Tribune concerning the personality. labors
and achievements of the Milanese gentlemen,
f5uIio Gatti-Casazza ard -srturo Toscanini. into
whose hands the Metropolitan Opera Company has
placed much of the future destiny of New York's
chief Lyrical establishment. The gentleman who
eave the information was introduced to the re-
rorters called together for the purpose by Mr.. Otto
y Kahn He was presented as Count Centanin
The Impression Of his identity gained b.. the re-
ro-ters thus variCusly described: "A distin-
~r,ished Milanese. with pronounced artistic pro-
cifvftics''; Mr. kahn's friend Count Centanini''
An amateur living in Paris. who was closely as
socated with the director for several years
a. Ia Scala. An Italian musician. who Mr. Ka ~,
said happened TO be in New York at the moment
Count Centanini was thus vested with dignity and
tts words with Importance. The reporters could
not know and nobody took the trouble to exT,laiu
,hat he wholly unfamiliar figure about the
Metropolitan Opera House. that he was the &C
oonpanist of Sgnor Guardabassi when that gen
tleraan was member Of the Metropolitan Opera
Company and also Of Signor Scott and that he is
now the husband Nine Noria who. when she
sang in Mr- Savage's English company. Jane
Ludwig. who has been singing with the so-called
San Carlo Opera Company this season. but has
abandoned that organization and has been reported
as engaged al he Metropolitan, Count Centanni
was assistant conductor OF the company. These
facts do not invaldate any OF his statements
they are calculated TO wonder that they
should have been brought forward with so much
circumstance and solennity. There are other men
familiar with La Scala and its directors the
city in the service of the Conried MetropoIi-
tan Opera Company. who are better known and
whose words would carry much if not
weight
Why. indeed. should IL be thought necessary 10
give 3 certificate Of good character the director
and conductor who are coming from Milan? No
one has asked the gentlemen who employed them
20 excuse themselves offer explanations OF their
conduct The wisdom folly of their choice will
be made manifest in time and the engagement OF
directors conductors. singers. instrumental nnu-
sicisns shifters and all the army OF persons
called for by opera performances is their affair
not that OF the public press. 1t is therefore
doubly unfortunate that an inspection Of the GER
1iHcste shows be invalid So far the public
are interested in the future repertoTy which some
observers have feared might be threatened by the
domination OF Manese publishing interests. there
is 10 comfort in the assurance which we have now
received from the spokesman OF Mr. Kahn that
Mess-s. CSatri-CaSazza Toscanni at
swords points with the opera publishers OF Milan
Mr. Conried sold the Metropolitans birthright for
the Puccini rottage last year: there no indica
tons that there viii be Change in the situation
when the directors take hold
We are told Of the skill Of Signor Toscanini as
conductor Of Wagner's operas and OF the achieve
rent OF Signor Gatt-Casazza in creating love for
those operas Italy He found Wagner prescribed
when he took charge OF La Scala in 1898, and now
Wagner is popular This the strange tale; but
historical records show that wagner's operas and
lyric dramas. nearly all Of them. were performed
Italy for from TO twenty years before Sgnor
l2arri-Casazza came TO the surface Milan. Here
q dates which become pertinent under the
c.-c11-ustances Of Nj Centanns Interview: "Fienzi
vas prof1ced in Venice in 1874 in Bologna in 1876,
II Florence in 1877, Rome in 1850; The Flying
Dutchnan~ had its first italian performance in
Bologna in 1877 -~Tannhauser- its first IN the
CITY in 1872, 'I1ohengrin'' its first in Bologna in
1871 Cthe year of its first performance in New
York;. After Bologna. Florence heard the opera
in 1874 Rome in 1873, Genoa in 1850. Venice and
Naples in 1851 The record OF La Scala for the
decade immediately pressing the advent of Signor
Gartf-Casazza inpresaTio makes this disclosure:
die Meistersnger'' brought forward in 1890,
and had sixteen performances; "Tannhauser" in
1882. and had sixteen performances; ''I-ohengrfn
was ii the repertory Of the seasons 1873, 1855.
1883 and 1891. and up TO 1sss had had forty-eight
concentrations Die WaIkure" had fourteen per
forrnances in 1894. The Flying Dutchnan" eight
performances in 1893. and "Cf0tterdaInmerung'
fourteen performances fl 1897. On the whole,
vagner's works seem have got along pretty well
without the services OF the present Of the
Teatro della Scala. Besides the popular under
standing OF the case thus far has been that the
German repertory- at the Metropolitan next year
vas 10 be the concern Of Messrs. Dippe and Mailer.
and the italian Of Messrs. Catti-Casazza and Tos-
canini Under such circumstances il ought not TO
signify greatly that director is the creator Of
.he Wagner cult in Italv- and that the conductor
can hum "SaIorle~ without the book But why
were the newspapers told that 'PelIeas ct Ne
Iisande~ had been produced by the gentlemen OF
Ia Scala? That is intelligence which has gone be-
fore the fact II L. Il