New-York tribune., 1908-10-04

duction Of his works. Had he come TO New York 2
faonth ear''er than he did It would not have been
4 day too early.
.>~e- his New York lasco Signor Mascagni went
70 Boston. where troubles continued to pile upon
him tfn he overwhelmed He fell out with
his managers. or they with him, and in fortnight
he under arres: for breach OF contract in fail
ir~ :. n-cduce the four operas agreed upon He
retorted with countersuit for damages and at
tsched theatrical properties in Worcester which
the Mittenthals said did not belong to them but
TO their brother The scandal grew until il
threatened 70 become 2 subject Of international
diplomacy. but in the end compromises were made
and the composer departed 70 his country in
bodily e spiritual peace. One achievement
remained: the Musical Protective Union OF New
York had asked the federal authorities deport
the italian instrumentalists under the Alien Labor
Contract Law. and the Treasury Department at
Washington decided in its wisdom that
matter how poor musician musician might be,
he was rot laboring man. but artist. and not
subject TO the law. Exit MascagnI.
On February "A 1909. the directors Of the Metro
potan Opera and Real Estate Company by
vote Of : TO adopted resolution directing the
executive committee ito negotiate with Mr.. Helm
rich Conried regarding the Metropolitan Opera
House with power TO conclude lease in sat
isfactory terms can be arranged" This was the
outcome Of a long struggle between Mr.. Conried
and Mr.. Walter Damrosch, few other candi-
dates for the position OF director OF the nstitu-
non making feeble ana nopeieSE enortS TO gain
q position which all the world knew had after
many Hcisstudes. brought fortune to Mr. Grau.
The public seemed opera and the element Of
uncertainty eliminated from the enterprise Mr.
Conrfed had been actor in Austria. had come
such New York and worked himself up TO
the position OF manager of a small German theatre
in Irving place. He had also managed comic
operetta companies English and German, in the
Casino and elsewhere. and acted stage manager
other entrepreneurs. For year two his
theatre had enjoyed something Of vogue among
native Americans with knowledge Of the German
tongue and Mr.. Conred had fostered belief in
his high artistic purposes by presenting German
plays at some Of the universities. lie became
known outside the German circle by these means.
and won q valuable championship IN considerable
portion Of the press In the management Of
grand opera hs had experience and no more
knowledge than the ordinary theatrical man. But
there was no doubt about his energy and business
skill though this latter quality was questioned in
the end by such administration as LEFT his
stockholders without returns, though the receipts
OF the institution were greater than they had ever
been IN its history. He had no difficulty in or
ganizing e company. which was called the Helm
rich Conried Opera Company, on the lines laid down
by Mr. Grau and acquiring the property OF the
Maurice Grau Opera Company which. having MADE
large dividends tor FIVE years sold to its sue
cessor at an extremely handsome figure. Mr.. Con-
ried BEGAN his administration with many protesta-
tions OF artistic virtue and made beginning
which aroused high expectations. To these prom
ises and their fuhlment shall recur in a resume
of the lustrum during which Mr.. Conrisd was
operate consul. Also I shall relate this story OF
the principal Incidents OF his consushiP but for
much Of the historical detail shall refer he reader
70 the table OF performances covering the five
wears. The operas produced within the period
were but few. Some OF them are scarcely worth
noting even in a bald record Of events; others have
been so extensively discussed within recent a
period that they may he passed over without much
ado here
Mr. Crau succeeded TO a machine IN perfect
working order. the good will of the public. con-
,rscts with nearly all the artists who were pop
,,ar fayorItes an obligation with the directors OF
the opers house company to remodel the stage and
a contract with Enrico Caruso. The last acQuis-
ton was perhaps his greatest asset from a fEsn-
ciaI uoint OF view. though II led to reactionary
poIIcy touching the opera itself which, however
,Isss,ng to the boxholders nevertheless the
institution loss Of artistic prestige emphasize
IN. fact hat MI Ccnried acquired the contract
| with siEnor Cerlso from Mr.. Grsu because from
that day 10 this careless newspaper writer's. taking
ths.x cues &rtfni interviews put forth by Ar