The sun., 1919-08-02
HAMMERSTEIN, LONG.
IN OPERA, DIES AT 70.


COUttVUcu JTOW FUst EuVo.
the rest OF his playhouses followed, al
though he at first was disposed to con-
flns himself to the uptown districts. His
first downtown venture was the Man
haitian Opera House. standing on the
present site OF Mays. The Olympia, as
he first called II. followed. When that
was lost he built with tho greatest diff
hculty the Victoria, followed this up
with the Republic and the present Har-
ris, and then tho opera house In West
Thirty fourth street and one on Lexing-
ton avenue.
Mr.. Hammerstein did not intend TO
make the Victoria music hall. 1t pre-
sented at first comedies with music and
drama Later he turned II into a music
hall and with twice a day performances
earned a fortune from It. Then with
his new inventions he was soon in
condition to follow his favorite occupa-
ton Of theatre building. The Republic
and the Harris came next
Mr.. Hammerstein had tried opera at
the first Manhattan Opera House and
there produced in English Moszcowski's
"Boabdil." But he had little encour-
agement, although he continued to re-
tain his interest in music. His Santa
Maria" written FIRST under lock and
pshded into three act work with which
he opened the Criterion Theatre. It is
remembered now only because Edna May
made her first appearance as chorus
girl in II. Occasionally he would give
seasons Of opera at his principal Har.
lem theatre, engaged Lilli Lehman for
a German season. and also produced one
OF the first versions Of "Cavalleria Rus
ticana."
Goes Into Real opera.
But there was considerable scepticism
when Mr.. Hammerstein announced to-
ward the close of the season of 1905-06
that he would give opera at his new
theatre, then building in West Thirty
| fourth street. The house had been in
| tended for melodrama, then for vaude-
! Vile, and various rumors were put afloat
| as to its future use. Mr.. Hammerstein
persisted in his assertions and finally
| went to Europe to engage his artists,
| opened his SUBSCRIPTION books and re-
peatedly cabled back the engagements
he was making in Europe.
Although he did not bring back the
! De Reszke brothers, having wisely de-
| termined not TO do that. Mr. Hammer
stein opened his season on December g..
. 1906, and continued 1t until April 30.
! 1907. Mime. Melba was the most attrac-
tive feature OF his first season, although
there was great success for Clotilde
| Breesler-Gianoli In Carmen"
The new impresario brought to this
country some artists such as Maurice
Renaud and Mary Garden, who came
over for the second season to make q
| great success In Louise" and "Pelleas
ard Melisande" as well as in That's"
II was during the third season that Mr..
Hammersteln brought over Tulsa Tetraz-
zini, who had been a sensation in Lon
don and was the sister-in-law OF Cleo
fonte Campanini. the conductor who was
responsible more than any other single
individual for the success of the seasons
at the Manhattan Opera House.
1t was In the novelty of the French
repertoire that Mr. Hammerstein found
his greatest success. and when the best
Of these works had been given there was
/ less success for the theatre.
Mr.. Hammerstein branched out by
building the Philadelphia Opera House.
which he had declared he intended TO
make the greeteyt temple of music In
the United States. He sent his company
thore three times a week during the last
| two years of the existence Of the Man
/ haitian Opera House But there was
little chance of success when the best
novelties Of the French school of opera
were exhausted, and Mr.. Hammersteln
| lost heavily on his Philadelphia VEN
| ture. later becoming involved in a law
suit with his hackers in that city, who
wanted an accounting and the return Of
money they had advanced to him.
His troubles at this time were in
creased by quarrels with Mary Garden
/ and Signor Campanini over financial
matters, so it was not surprising TO
learn in the spring of 1910 that he had
sold out to the Metropolitan Opera Com
pany and had signed an agreement not
TO give performances in this country.
He tried on several later occasions to
break this agreement, the last time be-
ing In 1918, when ne announced his In
tentlon of giving a season OF grand
opera in English, but was unsuccessful.
Builds Opera House in London.
After his agreement with the Metro
politan Mr.. Hammerstein went to Lon
don, built an opera house and started
giving grand opera, but met with fall
ure from the very start. He had many
interesting experiences, however, and
created a great Juror In musical cir
cles all over the world.
Mr.. Hammerstein used to say. after
he had returned to this country, thai
ers so much in his life as he had beer
in London. Hundreds OF them called
him over the telephone at all hours o.
the day and night, imploring him Il
give them parts in his productions. ON
man even telephoned him at o'clocl
In the morning declaring that he wa!
the greatest barytone in the world ant
imploring Mr.. Hammerstein to give hin
an appointment so he could hear hi
wonderful voice.
II told him." Mr.. Hammerstein sale
afterward. that II he sang for me 4
would be over my dead body"
After his disas trous experience II
London Mr.. Hammerstein returned Il
the United States and began to builC
the Lexington Opera House. the las
of the notable series of theatres which
he had constructed. He tried in ever.
way to get the Metropolitan company t
allow him to give performances OF op
era, and even went so far as to engag
a company for the new theatre. H
was prevented however, the agreemen
TO which he had subscribed being un
n,istakable in its intent Since then Mr.
Hammerstein had done little or nothing
in the theatrical business, although twt
or three times a year he issued an
nouncements of plans which were ambi
tious, TO say the least.
Up to about ten years ago Mr.. Ham
merstein was probably as well know
as any other man in New York, and few
even throughout the United States wer
more familiar to the average persol
: than he. He was always well II no
hashily dressed, he rarely walked abroa
that he did not wear silk hat. and