New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-09-22

"%HE third season of grand opera at
the Manhattan Opera House began
on November 9. 1908, and ended on
March 81, 1909. During this
period OF twenty weeks there were five reg
ular performances q week, for which sub
scriptions had been invited in June. Had
The rule been strictly followed the season
would have been comprised by 100 repre-
sentatons; but advantage was taken in ac-
cordance with New York custom, on &C.
casions which seemed suspicious, such as
popular holidays and the advent of. sem
sstional novelty, TO add four to the number
Of representations. In the case of the
quasi-novelty, in this case Richard Strauss's
"Salome," which had been famboyantly adj
veitised by the circumstances attending its
production and withdrawal at the Metropoii
ian Opera House in the season of l9O6-'o7
Mr. Harmerstein took occasion to prove
the disnterestedness of his aims and the
sincerity of his protestations by raising the
price of admission on its first performance.
This proceeding, in which he was but
following the example of his rival. NAV. I
suppose, be looked upon as venial sim
The public was used to it and expected
nothing else Looked at in the light thrown
on it By some of the incidents of the
rivalry between the opera houses, however.
it becomes worthy of comment for instruc-
ton in righteousness if not for reproof. IF
we could but believe the asseverations put
forth by the managers of the contending
opera houses, there never was a period in
the history of opera in which managerial
sltrulsm reached such noble height as it
did during the years of rivalry between
the Metropolitan and Manhattan establish
ments. The dear public's consuming hum
ger for opera was to be gratified and its
taste uplifted no matter what sacrifices of
money were entailed by the devoted pur-
veyors OF the costly entertainment Never
theiess every opportunity to exploit popu-
lar curiosity concerning a new work was
seized upon as an excuse for & representa-
ton outside Of the subscription and at adj
vanced prices of admission. This proceed
ing, together with system of brgandage
practised by the box Offices in collision with
the ticket spectators, made the people nav
4 great deal more for their luxury than a
glance at the official prospectuses would
lead one to conclude. In few years il
also led to some scandalous doings involv-
ing the Metropolitan company, which led up
to the gates of prison and ought to have
penetrated them. OF that | shall sneak
later.
Mr.. Hammersten's administration gave
fewer instances of such exploiting of the
public than did that of his rivals, but the
reason might be found, probably, in the
Tact that ne was not blessed by so large q
list Of subscribers that the general public
looked upon the opportunity to enjoy the
hrst night of a novelty as a gracious beni-
son. Besides. he had Philadelphia on his
hands. His double headed enterprise had
reached such a stage of forwardness when
ne put forth his first extended announce
ment Of the season that his new opera
house was building and his companies were
engaged.
In June. 1908, he informed the public
through the newspapers that the New York
and Philadelphia houses were to be sepa-
rate and distinct establishments so far as
orchestra, chorus, ballet and working per-
sonnet were concerned, but would be united
IN Jubilee" performances in both cities.
the like of which had never been ATTEMPTED
IN any part of the world He had re-
tanned Cleofonte Campanini as conductor
Tor New York and engaged Signor Sturani.
OF Rome, as conductor for Philadelphia.
HIS principal singers were to be Mines. Me-
Da ietrazzini, Maria Labia, Doria, Mariska
Aldrlch, GervileR eache, Garden, Augosti-
neii'' zepilli, Trentini, Penzano and Sever
ma and Messrs. Zenatello, Dalmores,
Renaud, Sammarco, Gilbert, Dufranne and
Arlmondi the r1oior;tv re u,hor, ~
Nho"n and some of them greatly and de
SerVedly admired by the New York public.