New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-04-18
The Grand Opera Season.

Not every season of the Metropolitan
Opera Company has proved so truly
cause for congratulation as the one when
enters upon its final week tomorrow
night. II is not because this season has
been financially successful (rather 1t has
been the other way round), nor because
of the production of any new work OF
stupendous genius or the discovery OF any
new singer whose name will mark the
epoch; but because the Metropolitan
management and directors were cour-
ageous enough to insist that New York
should have its opera despite the war and
the certainty of a substantial deficit.
Chicago and Boston frankly threw up the
sponge, the Chicago company to go into
bankruptcy, the Boston into what may or
nav not be permanent desuetude. The
vigor of the West and the culture Of New
England have proved alike unequal to the
task Of unfolding the operate banner in
the face of the winds of war. 1t remained
for New York TO prove that opera must
live in the New World, quGnd meme.
Signor Gatti-Casazza may well look
back upon his labors with satisfaction.
He succeeded in gathering together his
company, with one exception intact, and
it across the ocean without the
loss of a single piece of baggage. This
feat he accomplished in the midst of the
turmoil of the opening weeks of the war.
Since then, greatest marvel of all, he has
kept his operate children together as a
happy family-Italians, Germans, French,
Belgians, English and Turks all singing in
an almost celestial ensemble. Of such
Signor Gatti has shown to be the kingdom
of neutrality.
The repertory has likewise been strictly
neutral. OF the operas presented seven
teen have been Italian, fourteen German
and two French; of the composers Wag-
ner leads with thirty-four performances
and Puccini follows with twenty-four;
while Bizet received the greatest number
of performances for any one opera, with
nine for Carmen" In his novelties and
revivals Signor Gatti proved his eclectic
neutrality. OF these three were Italian,
two were German and one was French.
Only in his promised Russian opera did
his performance fail, and then only be-
cause the time was insufficient for him
10 do Justice to Borodine's Prince Igor"
a work which will be heard next year.
49, 81 g bo t,.ro
novelties presented proved in any way
epoch making. Giordano's Madame Sans
Gene" seems scarcely a worthy successor
to the same composers andrea Chenier,"
while Leoni's "L'Oracolo' is only filler
to be used with "Cavalleria" or "Pagli-
acct" Of far greater interest were the
revvals of Weber's "Euryanthe," Beetho-
ven's "Fideio" and Bizet's Carmen" All
three were most beautiful productions,
and Miss Hempel's singing in the Weber
opera has been treat long to be remem-
bered In Miss Geraldine Farrar New
York has made the acquaintance of new
Carmen. whose impersOnation, even now
interesting will undoubtedly mature. OF
the new singers mention must be made
Of Nine. Melanie Kurt, an admirable adj
dition to the ranks of the Wagnerian
sopranos, and Of Luca Botta, new Ital-
ian light tenor.
In short, the season of 1914-I5 will 20
out on next Saturday night if not exactly
in a blaze of glory, at least with the con-
plshed Mars has been held at bay by
Orpheus.