Evening star. [volume] (Washington, D.C.) 1854-1972, 1920-08-29

history, typical American
from American born parents is out
and-out director of one Of our great
American opera producing organiza-
tions.
When Campanini was director Of
the Chicago Opera Association Her
bert johnson was it's business man
ager. After the death of the macs
tro he became full director in his
place.
Here is unique opportunity for an
out-and-out American talk in Paris
on burning subject-the American
girl singer in grand opera. In any
case the girl thinks it is a burning
subject. TIE boy also.
I saw Herbert Johnson at the Ho-
tel Mirabeau, Paris. He was willing
to talk for publication.
DO you think" I asked, that
America will ever develop such a pa
triotic pride in her singers as, for
instance, France? Will America ever
support American opera singers as
France supports French opera sing
erS?'
II do not think the time will come
very soon when the American gov
in general as the French government
does here" he side-stepped. Amer
lea has not been stepped in that at
mosphere. With us of Chicago it is
slow process of education to build
up an opera-going public, each year
showing progress, with the hope that
the time will come when he can close
the season with normal deficit
Opera does not make money-not even
here in France-our people do not ex-
pect it to make money. but hope to get
it to the point where the loss Will be,
SO to speak. nominal. That will al
ready mean much, musically."
But the old impreSSarioS made
money!" l said.
Eyes, but travelling about. on a
money-making basis. In America, at
present, there are three established or
CARNATIONS: The Metropolitan. our
Chicago company and the San Carlo, a
travelling organization entirely. l be-
Eeve they make money" "a
But you travel" l said.
On this, he reviewed the story, from
1910, when the Metropolitan people de-
sired to eliminate Hammerstein and in
terested, he said, a number of Chicago
men, like Dawes, Mccormick, etc. who
took up a little more than half the
stock to buy out Hammerstein. The
Metropolitan took the remaining half,
he said and the Chicago company was
called the Chicago-P Philadelphia Grand
Opera Company, being really the Ham,
merStein company developed. Their
policy was to give Philadelphia season
of three weeks, then ten weeks in Chi
cago and back to Philadelphia for four
weeks. 1t worked until 1914.
1.-The war came and the 1914-15 sea-
son was abandoned" said Johnson
I'm 1915, it was reorganized as the
Chicago Opera Association. and Phil
Ia1v al ,ipc fa6 c.
bury had guaranteed the season
there" he continued in answer to my
questions, land now it became Chi
cago company entirely. During 1915
Is and 1861 it gave only ten weeks
each, in Chicago only. Then, in 1917
IS. after preliminary season In the
Mississippi valley, visiting nine cities
in three weeks, we went to New York
for four weeks and to Boston for two
weeks, with our ten weeks in Chi
cago."
In 1888. the Mississippi valley
tour. all planned, had to be Cancelled
on account of the influenza epidemic
Thev gave ten weeks in Chicago. four
weeks in New York, one week IN
Philadelphia, and one-half week eacf
in Pittsburgh and Detroit.
The 1920 season, just closed, IN
cluded three weeks preliminary lr
Kansas City. Omaha, Oklahoma CITY
Houston, etc, ten weeks IN Chlcago
Ave weeks in New York, two weeks
in Roston and one week each in Pitts
bureh. Detroit, Cincinnati and CleVe'
land.
And for the coming season. sale
the all-American director triumphant
Nv, 1--WE have two weeks prelimlhar9
in the Mississippi valley, ten Weeks
in Chicago, six weeks IN EeM iol n
at the Manhattan instead of the Lex
ineton (back to the old Hamme rsteli
| honse). and two weeks divided De
tween Buffalo, Pittsburgh, Cleveland
and Cincinnati; then we SWING soutn
west, Houston. San Antonio, +! faso
| Oklahoma, up to Denver ana Sal
Lake City, and into California; tW'
weeks at Los Angeles and two weeks
| at San Francisco. The prelimlnar!
tour includes Kansas City, Omaha
| etc"
| tire: , o,
| patriotic pride. etc! VIII Anerac'
ever support American opera singer
ss france supports French oper'
NO do not think So" he an
swered plumply, mot in the presen
generation. OF course, we are al
pleased when an american sihse
| makes a success. put"
| WHAT"
| "Rut we are not willing-just hoV
sbalI 7 saw it so that it will SCUM
| riphto You see, the f'rench govern
| ment sustains opera here and they ar
ahIe to take chances, where We can
not. Our American public wants Tn
! finished artistic, the star aireaoy nla t
| and does not want " heip Az
"But your judgment as director?
| 7 said. referring to the recent cas-
of an American girl singer
| acknowledged voice. method ana per
| sonality, kept in secondary roles II
New York, but Immediately recog
n;zsd and overwhelmed with sta
| nl1 when she appeared at Mont
Carlo.
1--WE may be satisfied q. that answ JUL;
tranouilly, but it does not mean
nIreacessarily, that she will make,
success before the American pubic
Tho American public wants reputa
tion-in other words {ne e a niebt e aH,
" star the case you referred to
liter her European successes. Al
| far as we are concerned, the more
Americans we have in the company
caeo company endeavors to provide
the hest stars available from France
ftaIy, Russia and everywhere. We
have also taken Americans, and are
more anxious to get Americans thar
others. For one thing, the Americans
sing all the languages. French ar
Estes cannot, ordinarily, sing Italian
md vice versa, but American artistes
as rule. Nave learned to sing ir
both"
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