New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-06-04
GATTI-CAsAzzA is some

JULIO GAIIl-CASAIIA is some
thing more than a mere opera
- tie impresario; he is student
Of men. women and affairs, Of history,
Of politics, and Of hundred and one
other things Of which those who con-
troll our operate and dramatic de'-
TIMES are supposed to have little
knowledge. In short Signor Gatti-
Casazza is humanist. Those who
know him would never call him an
optimistic humanist, but neither would
they call him a pessimistic one. some
who have known him but slightly have
averred that he is a cynic, but 1t IS TO
be feared that these persons belong to
the category Of incorrigiole sentl-
mentalsts, a category, alas, only TOO
numerous in this prosperous land OF
ours, q category that refuses 20 open
its eyes for fear Of seeing something
which might disturb its competency
or its ears for fear Of hearing sounds
which are not produced by the angels.
Signor Gatti-Casazza does not, indeed
belong to this precious band, ms eyes
and ears are very much opened, and
the men and women he knows are OF
flesh and blood, compounded equally OF
virtue and frailty. While believing IN
ideals. he realizes that the perfect
anproach TO any ideal is but dream
that at best we can but Approximate
signor Gatti is one of William James's
Praematists, and in this fact lies MS
success.
So il that when he speaks Of opera
its changes, it's present and past condi-
tions. its artists, its future, we may be
sure that what he will utter will have z
foundation four square upon the facts
81 this earth. He is no Icarus who VIII
scorcb his wings at the Sun. He Will
boon upon the earth and speak with
Tho +onoues of men. Whereupon your
sentimeAtalist no doubt will become
orievouslv offended, finding that the
General manager of our greatest OPP
cratic institution refuses to attempt
oorial aiphts from the springboard Oh
illusion.
"Operatic art changes with the times
said Signor Gatti recently to tribune
conservative. Each age possesses
TIA type Of opera, and for that type
orc trained the artists. The opera OF
today is typified in Italy by Puceih''
Mascapni and Leoncavallo; IN france
bv Massenet; in Germany there Is
Wagner and his school, and lucAilS
Mozart Now modern opera is compare
+ivelv easy to sing. No long training
in bel canto is required for successlui
dehut in Puccini or Mascagni' Inc
consequences Is that a singer no longer
will work seven or eight or nine years
70 perfect herself in the art oil song
She will work two years and make
d.hrt in a modern opera. She will sue.
coed and soon will enter the RANKS o.
the stars. When, however, she is CAMEO .
unon TO sing in an old opera the result
is usually lamentable. ROssini' Belllnl'
o. the earlier Verdi require singers
trained in the old school, and IN tna'
training two years study is but a pre-
/ liminary lesson.
"Now. a peculiarly unfortunate con-
dition thus arises for an opera mouse
to-day. The old composers woulo 'ui -
ont one, two or even three WORKS a
wear. with the consequence that 'he
mass Of available operas was tremen-
dous operas all composed in the style
of the time. But our modern com
nosers have no such facility. 1t IS
often that one opera in five or SIX OF
even more years is what they accom-
plish. The result is that of operas IN
the modern school there are not enough
or nearly enough, to form repertory'
This. of course, means that we must
fell back on the old works, and so we
have a condition where there are art
lists exceedingly capable in one portion
Of the repertory, but far less capable IN