The New York herald., 1922-03-12

r F a building could feel, what would be
the sentiments of the Grand Opera
House in New York city If it knew
that it was doomed to destruction? A fine
house like this one, with stage 80 by 20,
a comfortable auditorium, with seats far
enough apart to prevent spectators from
always being conscious of their knees, a
foyer to stroll in between the acts-in a
word, house SO well built and SO capable
Of modern establishment must feel-if it
can feel at all-that it has done nothing
to deserve its doom.
But fashion has DEGREES that no one is
able to ignore, that great and expensive
monument has no power against, and 1t
is helpless in the track of encroaching
an all-absorbing business. OF what avail
would be the plea to stay both fashion and
business, which should rehearse the inter-
esting history of this amusement house?
Who would waste sigh because of its
impending demolition, because Adelina
Patti and her sister Carlotta used to go to
shows here in charge of their stepbrother
Barili?
Who cares that operatic history tells
how in this house Clara Louise Kellogg,
singer, adapter, translator, director, made
the first attempt to sow the seed of Ameri-
can grand opera? And If in the same
full chronicle 1t is restated that the Ameri-
can debut of beautiful rich-voiced Pauline
Lucca occurred here, as well as that of the
equally famous but ill-fated lima di Murska
(they sang here on successive days in
October, 1879, what is to be gained in the
way Of a respite for the famous house by
these tender evocations of the past?
Nothing.
Time, relentless time, goes on unmoved
by memories or tears. Change, as relent
less, drives on, building, tearing down, re-
building.
In the dying strains of I'll Trovatore,"
as they were sung by Max Strakosch's
opera company on the night of January 9,
1868, there was felt by certain tempera-
mental persons in the great audience an
omen Of the fate of the Grand Opera House.
They left the building with their doubts
confirmed that the beautiful house, so ex
cellently suited to it's purpose, would never
be able to rival the popularity of the Acad
emy of Music farther down town but more
central OF situation as 1t was, either with
the fashionabes or the hoi polloi of New
York.
Handicapped by Sponsors.
House Faced Struggle
Scoffed as this omen was with its predic-
tions Of bad luck by the money kings of
that generation, who for whim, caprice,
had determined to compel fame and popu-
larity for the house, 1t worked more or less
powerfully and continued to balk their eff
forts throughout the early chequered years.
Jay Gould and Jim" Fisk, money mag
mates Of the moment, were hardly the kind
Of men who could command and lead public
opinion or direct successfully the fortunes
Of house devoted to music. Their at
tempt to do so is one of the exhibitions of
singularity that crop up continually in
human nature. Gould, as a matter Of fact,
never had more than a lukewarm feeling
for the enterprise but Fisk, much warmer
nature, a man, despite all his faults of
wide sympathies. had II close to his heart.
II the bullet fired by Edward Stokes on the
staircase Of the Broadway Central Hotel
had not killed him, the name of the great
building might not have degenerated into
misnomer so early in its career.
In many various ways, the more numer-
GUS because OF this very name, the Grand
Opera House has Influenced the life OF New
York for over half century. 1t has heard
the greatest singers Of their day some of
whom were heard only here in this coun-
try; II has staged a couple of world
premieres in operas which have long been
forgotten nearly all OF the famous TRACE
dians Of the days following our civil war
trod Its stage, and actors like Ristori. MIL
son, Forrest Ole Bull, Charles Kean, Ellen
Tree, Davenport, Mounet-Sully. Edwin
Booth and Lawrence Barrett are but few
of the long roster Of celebrated performers
who drew great audiences.
Astounding attractions like these long
ago deserted the fine stage of the Grand
Opera House. which in these latter days
has hoat, 10