New-York tribune., 1922-12-23
Young BOSweH
InterOieWS
GaM -Cdsdzzd

BECAUSE hs 10 ihs inpresdrio Of ne
metropolitan Opera,
he pas admiHisiratirs director OF Ia
Sculd IN Milan for ten years.
he Vas administrator Of ihs Communal
Theater IN Ferrnrd,
he father tcas an italian Senator. ard
one Of Gdribaidfs ihorsdnd,
he tods trdined for ths navy, but
turned 70 iks thsaier instsod.
There Is deep lSicinotion obout tks
eroeHiitve Of 0rso, operu, nan isho
has net and knoiDH oil the greet singers
Of TIC time, many Of them sVhsH iheg
WeTe just starting. and brought their
v0iees 70 hipl for a try-out. TIE qHist,
damask-Valied Office Of SfGN0R GATTf-
CASAZZA is fill Of ghosts. Young
Boswell thought Of populor udvorttso-
men, for grophophoHcs, IN igkieh all Of
ne singers appear IN costume on Chrst-
mas Morning, much 10 the asionishment
Of the eatire family. No visuSlissd sll
Of the people icho had appeared in thdt
ofiee, perhaps cat IN the very chair ~
tchieh hs tcas sitting. The impresdrio.
iUh0 rcscnblcd a foreign Senator, tcith
his dark beard aud fornol clothes,
tooked up from his fr0rk.
GATTf- cASAzZA-There l. n grow
Ing interest In music In New York.
and every year there are more Ameri-
can artists In the company. Art and
culture are developing here. With the
breaking Up Of opera companies
abroad. we are able 10 have the best
voices In the world. Our aim, now, Is
variety in the operas produced. That
is why many artists aren't engaged
for the whole season, and no one has a
monopoly on a role Variety and youth
arc the absolutely necessary qualities
in the theateT, and opera Is sublimatod
theater. ! have had TO learn the
psychology OF the public. and sooner
or later art depends upon the public.
The theater Is a matter OF their I'M
preston.
SIGNOR GATTT.CASAzzA 70 ore 81
those highly organized personalities. ,oAo
can do taco things al once. He talked,
and at fke sa1se time, Examined lstters
iChioh had come ia the foreign mdh
OBSERVATION-DISCLOSURES Of
opera is n matter Of the emotions.
That is where Wagner made his mis-
take. II was Wsgner's own fault that
his operas didn't take with the pub.
lic Immediately. He was a genius, oil
course. But he was not satisfied with
just writing an opera and having IL
heard, like Meyerbeer and RosSini, but
he must write books about his
technique. He wrote preludes and
preambles, and he got the public TO
thinking that his music was something
they couldn't understand, b. just going
and listening 20 Il, without reading all
about Il FIRST. They came prepared 70
hear something they couldn't under
stand. and, Of course, they didn't.
Meyerbeer and Rossini were inno-
vators, too, but they just let tho pub
lie come and listen.
Ho removed his nose oiostss and
rcsicd he chin on his h0nds. He odEed
iritk deep penetration, speaking roPidly
Ia French.
GATTI- CASAZZA-I went 20 hear
"Tannhaeuser" years ago. for the FIRST
time. Il didn't seem so dlffieult 10 un-
derstand. Il was not so different from
Meyerbeer's "The Prophet" Il was
simple enough 10 see what Wagner was
saying. All his writing simply served
20 confuse the public. without enlight-
ening them a bit. Wagner was genius,
a great genius and bad character. IL
takes time to understand any new form
Of art. The future Of an art doesn't
impose itself upon the public at once.
Young Boswcll-Do you think the
purpose Of the theater Is only 70 give
GATTICAsAzzA-Not wholly. The
object Of the theater is 20 give the au,,
iiicnee emotions, 10 refresh them and
20 keep up their interest In the drama
pnd music. Give them variety and
youth. That Is what they want. And
keen their minds stimulated, too.
nave always said, II they are going TO
be bored or IL they want % sleep, they
Iad better stay at home and 90 TO bed
gratis. rather than try 10 sleep IN an
Expensive and uncomfortable orchestra
chair.
Young Boswell suggested that thGt
odvics Be printed IN the program. ~
could save many tired businsSs men
from having 10 dress Ia he evenings
and leave empty seats, for those vho
hars 70 stand phen The boz o1'es I"
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