New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1908-08-23

later, the audience still clamoring for a speech
Mr.. Seidl came forward, for perhaps the twentieth
time, and spoke follows:
Believe me. ladies and gentlemen, I understand
the meaning OF this great demonstration. For my
self, the orchestra and the other members OF the
company. l thank you
To understand the story of the overthrow Of Ger
opera managed by the owners OF the opera
house. and the reversion to the system which had
proved disastrous at the beginning and was fated
prove disastrous again, it is well to bear the
fact in mind that instability was. IS and always
will be element in the cultivation of opera so
long 1t remains exotic; that is. until 1t be
comes a national expression in art, using the YER
nacular and giving utterance to national ideals
The ckleness of the public taste. the popular
ing for sensation, the egotsm and rapacity of the
artists, the lack of high purpose in the promoters,
the domination of fashion instead of love for art.
the lack of real artistic culture-all these things
have stood from the beginning as they still stand.
IN the way OF permanent foundation of opera in
New York. The boxes of the Metropolitan Opera
House have high market value to-day but they
are q coveted asset only because they are visible
symbols OF social distinction. There were genuine
of rejoicing In the stockholders voices the
measure of financial success achieved in the first
three seasons of German OPERA but the lesson had
not yet been learned that institution like the
Metropolitan Opera House only be maintained
by a subvention in perpetuty; that in democratic
America the persons who crave and create the
luxury must contribute from their pockets the
equivalent or the money which in Europe comes
from national exchequers and the privy purses of
monarchs. This fact did eventually impress Itself
upon the consciousness of the stockholders Of the
Metropolitan Opera House. but when it found lodge
ment there 1t created a notion-a natural one and
easily understoodthat their predictions theirs
alone. ought to be humored in the character of the
entertainment. Ishave displayed a disposition 10
quarrel with the artistic attitude of the directors
but 1 could not be honest chronicler of the
operate occurrences OF the last twenty-five years
If 1 did do The facts in the case were
fragrant, the situation anomalous. The stockhold-
created art spirit which was big with prom
ise while rich in fulflment, and then killed ii be-
cause Its manifestation bored them. An institution
which seemed about to become permanent and a
fit and adequate national expression in an ad-
mired form OF art. afoat again upon the
sea of impermanency and speculation About the
middle of the fourth German the directors
formally resolved to continue the German repre-
sensations. Not long afterward it developed that
the receipts for the season would be considerably
less than had been counted on and Immediately
clamor arose against the management The cham
pons or Italian opera joyfully proclaimed that the
AheII OF German opera had rum and attributed the
falling off in popular support TO the predominant
OF NagnerS operas and dramas in the renertorv
The disaffection threatened mischief 70 the an+ar
prise and had TO be met; the directors met # by
iorInaiy asking for an expression OF opinion from
the stockholders as TO the future conduct of the
institution. On January, p. 1885, they sent out a
submitted two propositions on which they asked
for a vote One was ITO go on with German onera
with an assessment OF $500 box'' the other ITO
give no opera the next season. with an mr.
OF sd'"N box and TO resume, If possible the fol-
lowing season The letter. which was signed by
James A. Roosevelt president stated that the Civ
ing OF Italian opera was suggested because
the directors were convinced that to 90 so I'm a
satisfactory manner will require a much larger
assessment upon the stockholders than TO give Ger
man opera" II was also forth that the direc-
tors had estimated that the opera could be main
tanned for the assessment s25O0 on each bon1 pro-
vloed the receipts from the public amounted to
@"o performance The subscription was 80 per
cent larger than the previous year (about $50 600
against %o2Uo). and larger receipts had been ex-
pected than in 1861. when the average was
about $500 Instead the receipts had fallen off and
indicated an average of only s., 500. Rentals how
ever, had increased sliO00
Inc answer for the stockholders was a vote of
over four TO one in favor of continuing German
opera under the first proposition OF the circular let
ter. Then, while the Italinissimi were still pro-
claiming that the Metropolitan Opera had been