New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-09-28
Three-Dollar Opera
Public Appreciation Not Lacking, but
Orchestra Seats Cost Too Much

To the Editor Of The Tribune.
Sir: The letter in your issue of to-day in
reference to the price of grand opera seats
written by George Chittenden Turner Is
worthy of the most serious consideration. Mr.
Turner has sounded the note for a new scale
Of prices which should be taken up by cho-
rus of opera well-wishers throughout the
country.
Internationally the reason grand opera has
been an improbable venture in America, IN
tho MAN. is not the lack of public apprccla-
ton. but the mere matter of price. Those
who attend opera regard 1t as superior type
Of productions they want the best seats. Yet
the majority arc unwilling to pay 80 or s. a
seat.
On the other hand, the cheapening OF opera
TO bring it actually below current theatre
prices is not desired by the rank and file OF
opera lovers rs is proved by the failure OF
popular priced" opera. which is unable TO
give satisfactory performances for dollar
or two.
1t has always been the privilege Of musical
art to awaken universal response. Music has
been termed aptly the universal language 1t
is essentially a democratic thing When indl-
yiduals have conspired to make 1t exclusive
for any one class of the people, artistic, and
usually financial, failure has resulted
To appeal to the common sense Of "A people
opera need not lose its dignity or grandeur;
it need only seek to perform its mission in
the spirit of the masters whose imperlshablc
works have placed their choice embodiment
Of the allied arts at the zenith of interna-
tional esteem. This mission of grand opera,
with its influence for public enlightenment,
has been sufficiently appreciated abroad 70
cause opera to become in the complete sense
public property.
We have in the last generation witnessed
the decline Of drama as guided by managers
who have sacrificed art for easily saleabe
stage sensations. Acting has been resolved
generally into mere portrayal of types,
which system the motion pictures have un-
fortunately encouraged The motto of the
producer has been: Give the public what
it wants: I'm not i'm business for the love of
it," These purveyors never stop to think
that what may entertain certain audiences for
a season may not be what the public as a
whole really wants. They charge the public
with hcklencss and Superiiciality, never real
izing that the latter at least is theirs They
cannot grasp the truth that the daring man
ager who submits a first class drama is on
the safe track and is the benefactor OF all
The present plight of the theatre should
be a warning to opera managers who, either
by holding opera by the individual star sys
TEN, exclusively for the well-to-do, or by
cheapening it for the masses. utterly disre-
gard their duty to give faithful performances
Of the master works 10 the public at large.
The stage must eyer'be the teacher, by
virtue of the receptive mind of every audi
ence. The obligation of the management,
therefore. is one of the greatest public con-
Germ. 1t is quite as perIlous 10 the cause of
grand opera to hold it aloof at prohibitive
price as TO thrust it half-fed upon trusting
and impressionabe people. The average
American has no sentiment for art that is a
pretence lie is genuine himself. and is quite
as irritable under imposition as his Euro
pean cousin. Why not consider this average
American to the extent Of providing high class
opera for SO? A. j.
New York, Sept. IS, 1917,