New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-04-22

to April p, 1917, there was not
single secular day on which the singers
and instrumentalists were not employed
in operate representations, and Tor
the orchestra there was no respite even
on Sundays. Seven operate perform
ances a week was the rule, and to make
this possible there had to be sixteen
visits to Philadelphia and eleven to
Brooklyn. There is no operate insti-
tuition in the world Of the Metropolitan
company's pretensions to artistic Dig
nifty which would not think such la
Dor not only monstrous but destructive
of good art. In European opera houses
like that Of Dresden, for instance, so
much consideration is had for the play
ers of the wood-wind instruments that,
as Herr Schuch told the writer when
he visited New York in the Conreld
period, an oboe player was never ex-
nected TO play two days in succession.
But even the regulation seven per-
formances a week did not suffice the
METROPOLITAN management. thirteen
times in the season there were eight
performances a week, and in the Sec
ond week of February nine, besides
the Sunday concert Under such cir
cumstances, is it to be wondered at
that many of the performances we're
marked by lassitude and many more
By perfunctoriness The wonder 10
rather that there were not frequent
breakdowns of the huge machine into
which the company has been devel-
oped. As it is, there were but five
occasions on which change of pro-
gramme had to be made-two Of them
hastily and without adequate notice
to the public. On November % lies
Pecheurs de Perles" had to be can
celled because of the indisposition OF
Fraulen Hempel, and "Manon Lescau"
was given instead, This was SUBJ
scription performance; but the
Wednesday subscribers did not lose
the novelty, which was again set down
for them on December 10. The
Thursday subscribers were less fortu-
nate, for on two occasions they were
compelled to submit TO unexpected
changes. On January IL "Tosca" was
given, instead of "Madama Butterfly"
and on March 90, Herr Sembach be-
;,c. III 0c;oof-;od ~ ,,,o. nohs4;tutol for
"Iphigenia auf Tauris." The other
changes took place on Saturday even
ings, when the performances were
given at reduced prices, "Siegfried"
replacing DER Rosenkavalier" on
March and Carmen" substituting
for "Thais" on March 81. 1t is pos
sible, of course, to set down the re-
markable energy and endurance OF the
performers and the perfection Of the
organization which made history
like that which we have recorded in
these two paragraphs possible, as evil
denee Of large devotion and zeal IN
behalf of art and the service Of the
public. We fear, however, that it is
rather an indication of the eagerness
Of the foreign artist within our gates
to capture the American dollar, an
eagerness which must have grown pro-
digiously in contemplation of the lean
years which are surely threatening IN
Europe and may be imminent here.
Possibly similar eagerness was felt
by the company and its management.
Effects Of the European War
The outbreak Of the war seemed a
menace to the continuance Of opera at
the Metropolitan Opera House three
years ago. There was question
whether or not some OF the singers and
orchestra players who had returned to
their European homes at the end OF the
preceding season could be brought back
for service. In the case Of Mr.. Ress.
indeed, the help of the French Ambas-
sador had TO be evoked to secure his
release from concentration camp in
France, where he was wont 10 make
his summer home. Al the last, how
ever, the roster Of the company was
complete save as TO Dinh Gilly, who