Evening star. [volume] (Washington, D.C.) 1854-1972, 1919-06-29

get a musical training. His
or her family must make
great sacrifices, yet they are at the
mercy of every charlatan of Europe
and America. 1t is time that this
sort of thing be remedied.
1T is time also to finish with all
these European stars who demand
$4,000 or $4,000 per night. They sing
in Paris for 1000 francs $4,000, but
in America they want $4,000. At
present American singers, as rule
are not only poorly paid. but are not
wanted. Every time l have engaged
an American have been asked: Why
did you engage that American sing
err? But IL we should have move
ment such as l and others foresee
there will be no more such foolish
ness.
1.-The chorus and support must no
longer be made to suffer. l am sick
of seeing it. The chorus arrive in
town. when they are on toar, and
must pay So to go look for roomi
yet they get $25 per week. while the
star arrives in a Pullman compart-
ment and limousine, with the pho
tographers running behind"
X X X X
These statements were made to me
for publication by Cleofonte Campo
mini. general director of the Chicago
Opera Association, while we stood
looking at the Grand Opera House in
Paris, which," said Campanini, lis
called the National Academy of
Music!"
The view Of this palace of art and
certain recent experiences suggested
to the greatest producer of grand
opera in America a sensational mes
sage to the American people which
he had long meditated and fully de-
termined to make public at the favor
able moment
The moment has arrived.
The director of the Chicago opera
is in Europe this summer, securing
new works and stars-as usual, an
nually. But things are less usual than
usual. There has been the war, SLOW
ing up Europe artistically, for one
thing, and the impresario who knows
most about these matters (himself
European born and trained. of a FAM
lily of international opera stars, but.
above all, a loyal American directory
has big enough idea of America to
claim their Importance for its musical
students henceforth.
american music students are en-
titled to government protection. says
Campanini. Europe, racked by the
great war. presents artistically
speaking, an exhausted soil. Now is
Americas chance for big thing
ripe"
In front of the Paris opera he ex-
planned.
ut Is a wonderful house. An opera
house like this in Chicago and New
York-one for the east and one Tor
the west, but there would soon be
one in San Francisco. New orleans.
Boston. Seattle and other cities
would be such an educational Iorce
for music in America! The Paris opera
is a worldwide advertisement for
Paris, but the word National pre-
fixed to its title has immense mean
ing. 1t is owned by the French state.
Its managers though not precisely
government officials. are appointed by
the government and are under its
control. And the works presented are
chiefly Of French origin, sung and
played chiefly by French artistes; and
French art Is primarily encouraged.
All the French cities are its feeders
and all other French opera houses are
brilliantly aided by It,"
X 4
1t Is not real music to have
Metropolitan in New York and Chi
cago Opera Association, which give
one American work per year. by for
eign artistes. Campanini does not for
get the patriotic services rendered by
the generosity of a few great cit-
gems who made the existence Of such
companies possible in New York, Chi
cago, Boston and Philadelphia by
cheerfully accepting enormous losses
and making many personal sacrifices.
You cannot have national music
without the nation taking charge OF
it's own musical development" says
Campanini, land when we come to
conservatory Of music--a national
conservatory of music-it must not
be in the control of individuals, even