New-York tribune., 1908-09-13

record of failure. not deserved by the work and
only partly deserved by the performance We shall
meet the opera again in the story of opera at the
Metropolitan Opera House decade later. when it
came into it's rights, and the public able to
testify their admiration in the presence OF the com
poser.
The prospectus of Henry E. Abbey and Maurice
Grau (Which continued be the official style OF
the manasers) for the 1885 So contained this
announcement: ''The management has also decided
to add number of celebrated German artists and
TO present Wagner operas in the German language.
all OF which operas will be given with superior
singers. equal to any no have been heard in
the German language. The orchestra will be in
creased. The chorus will be strengthened by
number Of young. fresh voices, to which will b
added extra German chorus" Signor Mancinelli
was not re-engaged conductor, but Anton Seidl
was. After what 1 have told thus far In this
chapter the which led TO this change Of
policy will be readily understood The augmented
company formidable host. though it's strength
remained in the French and italian contingent
Had the German singers been equally capable the
story of Mr. Damrosch's enterprise might have read
differently. Nine. Calve returned and revived the
furor Carmen; Mesdames Melba, Nordica,
Scalchi, Mantelli, and Messrs Jean and Edouard
de Reszke. Pol Plancon Victor Maurel and Castel-
mary remained; newcomers were Lola Beeth
Frances Saville Marie Brema (who had been
brought from Europe by Mr.. Damrosch). Giuseppe
Cremonni, Adolph Wan0fer. Giuseppe Kasch-
(who had been a member OF Mr.. Abbey's
first company twelve years before) and Mario An
coma. The regular subscription consisted of
thirteen weeks (ifty-two performances) beginning
on November 18, and there special subscrp-
ton, at the same scale OF prices. for a of
ten performances of German operas, beginning on
December s. There were also performances at
popular prices Saturday evenings and the en-
tire season, excluding the spring season. which
developed but little interest, compassed seventy
four repres sntations For these and thirteen Sum
day night concerts the public paid about $4,000.
"Oh! how far from Covent Gardenr' cried
Jean de Reszke the night of November 27, and
he clipped in his the friend who had come
to offer his congratulations the thunderous
plaudits of the audience. M. de Reszke was in
fine glow OF enthusiasm. He had sung and played
Tristan and opened a in the style of
Wagnerian performances In New York A few
days later. while the drinking norm was going from
hand to hand at medieval dinner given in honor
of the principal interpreters of Wagner's love
drama Mime. Nordca, Miss Brema. the brothers de
Reszke and Mr. SeidD. he responded to q toast and
in four languages, English, German, French and
Italian celebrated the advent of what he called
international opera Why he neglected to throw
in few Polish phrases for :he benefit of mis- coun
tryman Paderewsk, who sat opposite him at
table, his hosts could not make out unless It
because wanted his expressions of delight at the
achievement and prospect to be understood by all
his hearers. High hopes filed the hearts OF all
local lovers of the lyric drama at the period. The
promises of Abbey and Grau had stimulated the
kindliest heartiest. cheeriest feeling all hands.
All chickering's between the adherents OF the various
schools were senced by the PRONUNCIATION OF a
policy which seemed generous and public
spirited as II liberal. Whenever II prac-
ticable New York 10 have performances which
should respect not only the tongue, but also the
spirit of the works chosen for representation That
NJ de Reszke had been active agent in the in
auguraton of the regime open secret
to his acquaintances, ard he bore public testimony
when he supplemented his imperscnation of Tristan
with a German Lohengrin. The significance OF
such act coupled by Nine. Nordcas support
OF him in both performances. seemed extraordinary
in the minds of those who not inclined
TO attach much Importance to the language used
in performance, SO long the performance
imbued with becoming spirit of sincerity and
desire make artistic purpose replace idle diver
sion. II looked II through the example OF these
two artists, seconded by the liberality of the
agement, the people of New York TO take q