El Paso herald. (El Paso, Tex.) 1901-1931, 1910-04-01

| the wonderful notes
w OF Tetrazzini's voice echoed
through the Manhattan Opera
| House to the strains of Lucia di Lam
mermoor," AMI the cIcy ing sweetness of
| Nerdfs II Tr0vatore'' were heard q.
the Metropolitan Opera House. another
| memorable opera season came to an end
In America 1t left music lovers not
only in New York but in Boston, Chi
| cago, Philadelphia, Baltimore, Washing
ton and several other cities further ad-
vanced than ever before in their ability
TO appreciate dramatic art set to music.
| Never before in the history of Musical
America has grand opera taken such
| rapid strides as in the last five months.
| Operate Octopus.
! Indeed. so important a factor in the
| artistic life of America has grand opera
| become that it is now being viewed as
| a financial asset and there are rumors
| OF gigantic combination-an operate
| octopus.
The ground for these rumors is to be
found in the fact that during the sea-
| son Just closed a magnificent opera
| house was opened in Boston and before
the baton waves again in New York
| there will be a similar institution in
Chicago. Both OF these are to have
working agreements with the Metro
| politan Opera House in New York, the
mlii1onaires' institution. And only
rev weeks ago the press of the east was
'rllIed with statements and denials con-
corning proposed consolidation or
amalgamation of Oscar Hammerstein's
Manhattan Opera organization with the
older institution on Broadway.
In the discussion of this combination
1t was stated that some such agree
menf has become absolutely necessary
In order to continue to produce opera
adequately in America as the efforts of
the rival organizations have become so
strenuous that the salaries of Europe's
song birds have scared to fabulous
figures. As a concrete example 1t may
be stated that Caruso receives s
Tor single performance, while Tetraz-
zfni, Mary Garden, Mazarin, Bonci, Ger
aldine Farrar and others are paid sums
which would stagger the average i'm
presario Of Italy, England. France or
Germany. The hot competition between
the two companies permits artists to
demand a certain number of perform
ances each season and the manager has
to pay for these performances whether
or not he is able to give them during
the year.
1t was to meet this problem of guar
anteed performances that caused both
the Metropolitan and the Manhattan or
CARNATIONS to extend their activities to
Philadelphia and other cities
New York the Center.
New York prides itself upon being
the center OF operate appreciation in
America, and the source from which
has sprung a national love for dramatic
music, but as a matter of fact opera was
founded in New Orleans more than half
{. century before New York had its first
gala night.
The introduction IF opera to America
took place in 1890 when Davis a French
refuge from San Domingo landed in
New Orleans and offered opera in the
Theater fDOrleans. Soon the news of
the success of the venture was carried |
10 France and. as at that time operatic |
art was almost at a, standstill in Paris |
owing to the upheaval of the French
revolution, many of the greatest sing
ers Of the day embarked in sailing YES |
sickness landed in New Orleans, where
they were paid handsomes salaries for |
ths work
In 1885 a home for opera was built |
and in the Crescent City this was used |
until 1859 when the present French |
Opera House on. Bourbon street |
was erected. This building, which. is |
still being used, was where the great
Patti was first recognized as the great I
Origin of the Opera.
As compared with other forms of en-
tertainment and education in the thea
ter, grand opera is comparatively
recent institution. II is true that the
Greeks are supposed to have recited |
their tragedies to a sort of chant. and
that the Romans did likewise, but opera
as We know it had its birth i1rthe 10th
century
OF course it did not spring full !
grown like Minerva from the brow of
some Jove-like composer, but was pre-
ceded by what have been termed pre-
symptoms" one of the most
interesting of which was grand ballet
by the Piedmontese vioIinist
known as ~Balthasar de Beauioveulx1
This ballet he called "Circe, gu lie ballet
comique de la Refine" and ii was given
On Sunday. Oct. is. 1881. In the PaIais
1u Petit-Bourbon in honor of the mar
Rage of the queens sister.
The plot OF this %premOnitory syunp-
ON" is of interest in comparison with
he elaborate stories of present-day
opera. A gentleman Fastening to an =!
lounce the reign of peace and plenty TO
lis most Christian ma jesty is waylaid
W Circe, and by her changed into lion. !
Half the gods and goddesses of Olvunpus
ry to liberate him but all means fail
Until the royal word works the charm
III very palpable compliment TO the !
ring.
The First Opera.
However crude this work may have !
'een. our modern presentations do not
Lpproach it in the magnificent settings
Ind the cost of this first production.