Omaha daily bee., 1910-04-02

When the wonderful notes OF Tetrazinnfs
voice echoed through the Manhattan opera
house to the strains Of Lucia al Lammer-
moor and the cloying sweetness OF Verdfs
I'll Trovatore" were heard at the Metro
politan Opera house last Saturday night
another memorable opera season came to
an end in America. It left music lovers
not only in New York, but I'm Boston, Chi
cago, Philadelphia. Baltimore. Washing
ton and several other cities further ad-
varced 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.
Indeed. so important a factor in the artis-
tic life OF America has grand opera become
that 1t is now being viewed as a financial
asset and there are rumors OF a gigantic
cornblnation-an operate octopus. The
ground for these rumors is to be found in
the fact that during the season Just closed
a magnificent opera house was opened in
Boston and before the baton waves again
in New York there will be similar insti-
tuition in Chicago. Both of these are TO
have working agreements" with the
Metropolitan Opera house in New York, the
millionaires' institution. And only q few
weeks ago the press Of the east was filled
with statements and denials concerning
proposed consolidation or amalgamAtion Of
oscar HRmmerstein's Manhattan Opera or
ganization with the older institution on
Broadway. In the discussion of this COM
bration It was state that some such agree
ment has become absolutely necessary in
order to continue to produce opera ade-
quately in America, as the efforts OF the
rival organizations have become so strenu-
Gus that the salaries OF Europe's song birds
have scared to fabulous figures. AS con-
crete example 1t may be stated that Caruso
receives 5000 for a single performance.
while Tetrazzinni. Mary Garden, Mazarin,
Bonci, Geraldine Farrar and others are paid
sums which would stasger the average inn
presario of Italy, England, France or Ger
many. The hot competition between the
two companies permits artists to demand
certain number OF performances 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 guaranteed per-
formances that caused both the Metropoli-
tan and the Manhattan organizations to
extend their activities to Philadelphia and
other cities.
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 a century before
New York had it's first gala night. The
Introduction of opera TO America took
place in 1890 when Davis. a French refu-
gee from San Domingo landed In New Or
leans and offered opera at the Theater
c'Orleans Soon the news of the success
os the venture was carried to France and,
as at that time operatlc art was almost at
a standstill in Paris owing to the up
heaval OF the French revolution, many of
the greatest singers of the day embarked
in sailing vessels and, after Drawing storms
and sea sickness. landed in New Orleans,
where they were paid handsome salaries
for the work In 1885 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 greatest soprano of her
day.
As compared with other forms of enter
tainment and education in the theater,
grand opera is comparatively recent In
stitution. 1t is true that the Greeks are
supposed to have recited their tragedies
ITO a sort of chant, and that the Romans
did likewise. but opera as we know it had
its birth in the sixteenth century. OF
course II did not spring full grown like
Minerva from the brow Of some Jove-liBe
composer, but was preceded by what have
been termed 'premonitory symptoms" one
of the most interesting of which was a
grand ballet organized by the Piedmontese
violinist known is Balthasar de Beau
joyeulx. This ballet he called "Circe, on
IL Ballet Comique de la Refine" and it
was given on Sunday. Oetober is, 1881. in
the Palais du Petit Bourbon in honor of the
marriage Of the queens sister. The plot
of this "premonitory symptom" is OF in
terest in comparison with the elaborate
stories Of present day opera. A gentleman
Fastening to announce the. reign of Peace
and Plenty to his Most Christian Majesty
is waylaid by Circe, and by her changed
into a lion. Half the gods and goddesses
of Olympus try to liberate him, but all
means fail until the royal word works the
charm-all very palpable compliment to
the kirg
However crude this work may have
been, our modern presentations do not ap-
proach II in the magnificent settinvs ana