New-York tribune., 1908-01-25

n
La Scala declared to-day that there was no foun-
dation for the report that he would succeed Hein-
rich Conried as director Of the Metropolitan Opera
House in New York City
Speaking Of the resrIrrected rt.n1or that Heinrich
Conrfed had rendered his resignation as director Oh
the Metropolitan Opera House. Otto r. Kahn. Ona
OF the active directors of the COnried Metropolitan
Opera Company said yesterday that within his
knowledge Mr.. Conried had not rendered his resig-
tOn.
Frederick W SperIing, brother-in-1aw Of the in+
presarIo said ne knew nothing about SIr. COnreda
intentions regard TO the post at the Netropotans
Il doubt very much. however," said Mr.. Sperlngs
''the report that state health Will compel
him to retire. With the exception Of the trouble
with his feet. Mr.. COnried is in excellent healtas
He is able to walk unassisted and is at his offee
In the Metropolitan Opera House every day- and
practically at every presentation at night. His con<
dtion is improving but it is slow. and this nature
ally has some effect on a man who is eager to b
, his work
An old habitue of the opera house said yester.
day: 1T ought to be about time TO calculate the
periodicity CT the newspaper stories about tbs
compulsory retirement Of Mr. Conried from th5
direction of the Metropolitan Opera House and
the appointment of his successor. They have been
going for nearly a year. and they always
present the same phenomena, r ought not "a
be very difficult calculate their orbits. At any
rate. somebody might make inquiry among tbs
young directors OF Mr.. Conried's company. and
whenever he learns that of them is going 20
Europe he might write in his Operatic almanac
opposite the date: About this time LOOK out for
the story of COnred's successor Heretofore r
has always been a Italian who IS 20 come. or
course. what New York needs is a director Of It's
operatic establishment unfamiliar with Ian
guage. our traditions and our tastes. Such nan
can work for that high ideaity which the Young
directors profess. which scOrDs all thought 9t
financial results But why an Italian? WY
not FTeuChman for changer 20
me that the handwriting on tne wall is plain
What's the matter with NJ. GaiIhard who has juss
put down the burden of the Paris Grand opera
after twenty years OF service. and Is said 70
be negotiating with Mr.. Higgins with view
toward taking the artistic direction OF Covers
Garden? The artistic direction. mind YOU, for VI
GaiIhard cOufesSes that he has been such an
idealist that in twenty years he never made
centime of profit out of the Grand Opera II 10
has been hobnonbing and talking opera with NJ
Higgins in London il is like not-at least
it may be-that Mr.. Higgins has been listening and
talking in dual capacity; he's a consulting dr.
rector of the Conried company. you know II Mr..
Cottenet is on the briny with propositions 70 for@
eisn directors in his pocket who knows that 10
will not stop off at London and Parise II seems 70
me most likely. The management. repertoire. ETC.
OF the Grand Opera under VI. Ciailhard.s admins
tration have certainly been more in harmony with
New York ideas than those OF any Italian lyric
theatre Look out for Gailhard story next 10
my warming"
NJ. Gailhard left the Paris Opera at the begin
ming of the wear. after twenty-five years eonnec-
ton with that house. first as a member OF the
company. in which he achieved distinction in such
parts Mephistophees ST Bris and Leporello-
In 1854 he became co-director with NJ Rit and re-
taned his connection with the house until 1891. In
1898 he reelected director. and 20 his regime
Paris is indebted for its first hearing Of the Wss-
merriam operas