The Washington times., 1918-04-11
MAX .RAB|NOFF AN
IMPRESAR|O WITH
FAITH IN IDEALS
by J. Mach.

The faith of an impressfio. his
broad outlook and his vision, was i'm
pressed upon the writer in a talk with
Max Rabinon, managing director of
the Boston-National Grand Opera
Company. who was in Washington
last week. The faith OF this impre-
sario in his ideals has persisted
through what has been a disastrous
season to large cultural enterprises.
In both a reminiscent and a prophetic
mood, Mr.. Rabinoft discoursed upon
his particular realm, the opera world
in America.
In art Mr.. Rabinoff holds ideals that
are essentially democratic. He has
labored to establish certain art prin-
cipIes that emanAte from his native
Russia-principles based upon a de-
mocracy in art presentation. akin Ioi
that upon which Jacques Copeau has
founded his players OF the Theatre
du Tleux Colombier, where the bel
anced ensemble is the thing: not the
star system that exists often at theI
sacrifice of the minor details which
go to make UP an artistic whole.
Democracy In Art.
In his democracy in art-art in
which every actor must be an efficient
Individual and every branch of the
art must be equally emphasized-Mr.
Rabinoff co-ordinates the music and
Its makers, the scene. the ballet, ALL
the picture, sound and action, using
all the arts in equal value.
We remember how he brought to
Washington the only opera perform.
ances that have reflected in their en-
tirety the standard Europe demands
from her opera stage. Through him
we first heard Montemezzfs great
tragic opera, "L,Amore del tire Re,
with Luisa VILLAIN, the creator or the
role of Flora, in a cast that seemed
an incompatible one. And this was
followed by the premiere OF an origi-
nal ballet by Mrs. Christian Hemmick.
OF this city, "L'Ecole en- Crinoline,"
with Mile. Pavlowa as the leading
artist. So Max Rabinon has amply
justifed his dreams by proving his
ability TO make them come true.
The difficulties OF the past year
that have taxed the ingenuity and
the courage Of this impresario are
but a part OF the recital OF the strug-
gle of art TO exist against the awful
odds OF life in these disastrous hours
of the worlds history.
II believe Il is Imperative to give
the people today" Mr.. Rabinoff said,
"as much beauty and art as can now
be put forth, TO preserve the sanity
and the poise that Is being demanded
OF US. In great stress the mind re-
quires diversion. I am hoping more
and more that the demand will be
for better things, to supply an anti
dote to the spirit of mankind left
scared by the carnage of the war"
"A part of the story OF how a
great, fully equipped opera company
adapted itself to the exigencies OF to-
day is family realized when Mr.
Rabinoff said: "Our freight cars
that was the first difficulty. One Of
our cars was requisitioned. Well, We
dropped one opera from the repertory.
Then out OF our four remaining cars,
three became cars that had been used
for horses, partial partitions in them.
You do not know what that meant to
our mechanics who had to pack the
scenery, nor TO those who had to
handle them!
Gradually, little by little, we be-
came concert-operatic company
with one car for scenery. oh, yes,
we gave scenes in their entirety.
And how? BY an ingenious arrange
ment. We had a large canvas that
encircled the stage. cyclorama on
canvas painted with a brilliant scene
OF people. About three doorways cut
in this canvas we hung rich tapes
tries, and by means OF lights thrown
on IL through transparent curtains we
created the illusion that supplied. for
instance, the banquet scene for Ira
yiata.'"
Harks Back To Grau.
In his operatic ideals Mr.. Rabinoff
harks back to the days OF the famous
Maurice Grau's regime at the Metro
politan Opera House in New York
II was impresario Grau, who brought
together casts that included Jean and
Edouard de Reszke, Emma Eames
Jean de Reszke and Emma Eames in
"Rommeo and JiIiette"'). Calvo, Plan
con-aII stars, it is true, but before
the dominating star ascendsncy had
become a baleful influence.
Coming to this country from Mos
COW in Russia. Mr.. Rabinoffs FIRST
music labors began in the Ghetto, OF
Chicago, in and around Jane Adams
pioneer work at Hull House. Here
he found Italians, Greeks. Russians,
all adrift in a strange land with no
ability 10 provide a social outlet for
themselves that is the redeemlng