New-York tribune., 1918-11-03

had come into possession of a score
of an American opera, "Natoma," of
which the authors were Joseph Red
ding and Victor Herbert. The opera
had been offered to Signor Gatti and
the music of the second act given d
practical trial on the stage Of the
Metropolitan Opera House. The direct
or did not think it worth producing,
and with his judgment I find myself
in full accord. Mr.. Dippel, however,
had begun to talk about opera in the
vernacular in Chicago; Mr.. Ricordi
had joined in the widespread chorus,
and with display of energy quite
without example in our history Mr..
Dippel, when he brought the Chicago
company to Philadelphia, produced Mr..
Herbert's work first there and after
ward in New York. Next, to give en-
phasis to his patriotic enterprise, he
changed his plans for series of per-
formances in New York, and devoted
three out Of ten representations to the
new opera, though he found it nee
essary at the last performance to
associate a foreign curtain raiser with
it,
Two Composers Visit America
Interesting incidents, though they
we're made to assume a commercial
rather than an artistic character, were
the visits of two composers who came
to supervise or witness the first produc-
tion Of their latest compositions which
were among the novelties Of the sea
son. Signor Puccini, who had visit
ed New York in 1907 when his old
opera, "Manon Lescaut," had its frs
performance at the Metropolitan Opera
House, came to attend the premiere
of LA Fanciulla del West" and Herr
Humperdinck to give eclat to that Of
| Konigskinder, two operas which
opened their eyes on the lamps of the
stage of the Metropolitan. For the
Italian composer the management ar
ranged reception in the foyer Of the
opera house and for his opera two
special performances at double prices
The German opera was produced in
regular course. Despite all attempts
| to make a new opera by the most pop
ular operate writer alive a sensational
occurrence, Puccini's opera was an
artistic failure. while the German
opera turned out to be the most pop
ular production of the season.
"Konigskinder" also helped it's pred
ecessor Hansel und Gretel, to
achieve wider recognition, and it was
admitted to the aristocratic company Of
the operas in the subscription list after
having been reserved for extra holiday
and popular Saturday night perform
ances ever since it had got into the
4 Metropolitan list, in 1905, when the
composer had been guest Of Mr.. Con-
rled and his company. The presence of
the Russian dancers was fortunate
when Signor Caruso's illness seemed
to threaten disaster. Mme Pavlowa
and her companion, NJ. Mordkine, had
disclosed themselves to their admirers
before the season opened, and though
they were supported by very medi-
ocre company Of dancers they were en-
Enthusiastically greeted at the perform
arlces in which they took part until the
first week OF January Then they de-
parted, but came back very opportuncly
for the second fortnight Of March. A
distressing occurrence was the death
of Charles Gilbert, on October II,
1910, three days after his arrival from
London to join Signor Gatti's forces.
NJ. Gilbert had been a member of Mr.
Hammerstein's compan~ during the
four years of that imprcsario's con-
: suate but before that time had been
associated with the Metropolitan com
} pany, having been brought to America
| by Mr.. Grau He made his New York
debut on December is, 1900. in Gou-
, mods Romeo ct Juliette" He was
born in Paris in 1866, studied at the
Conservatoire, where he carried of
prizes in singing; appeared for the
| first time in opera at the Theatre de
! la Monnaie, in Brussels, and was s
member of the company at that theatre