San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1924-04-20
Four Italian, Three Ger
man and Three French
Compositions to Be Sung.
By PIERRE v. X. KEY.

BY PIERRE v. II. KEY.
New York, April IA nice mix
ture Of hindsight and foresight helps
To make an opera impresarlo. Look
ing into the future with the utmost
accuracy isn't sufficient if it is I'M
attended by u memory OF what has
attracted and repealed the public. So
New York Metropolitan management
is thinking seriously these days about
the operas 10 be glven months hence.
and particularly about those of the
novelty class. Mr.. Gatti-Casazza has
not made known his complete list of
selections, though it is about filled.
We are in position to state, never
theless, that he will offer some ten
works to impart a zest TO his Glen
tele's palates, four in the Italian rep
ertoire, three belonging to the Ger
man school and three French operas.
We offer the titles with the reser-
walton that all may not be given, but
with the knowledge that most of them
are having the consideration of Don
Giulio. 1ne operas are La Gioconda.
Dinorah, Falstaff and Giovanni Gal
lurese Qtalian); Das Rheingold, Die
Gotterdaemmerung and Jenufa 1.-THE
last by q composer named Janacek,
which was given three years ago in
German and will be revived specially
for Marie Jeritza), and Pelleas ct
Melisande, Tales of Hoffman and La
Juive.
The foregoing is a most representa-
tive array of operate novelties; Met
ropolitan patrons will indeed be for
tunate in opportunities to hear them
all.
Amelita Galli-Curci will, of course,
be the star in Dinorah, and Gioconda
is virtually certain to enlist the SER
vices of Rosa Ponselle and Beniamino
Gigli. Who the principal artists will
be for the remaining works, excepting
Jenufa, remains TO be determined.
Perhaps Mr.. GATH will find some new
conner when he reaches Europe this
summer who may fit nicely into some
important part.
Those Last Strsws.
Whenever union musicians can
think of nothing else 10 do they make
demands, through their officers, upon
symphony orchestra directors for in
cresses in pay. We wonder why they
persist in getting that way. They must
realize that there is a limit to the
financial load possible for wealthy and
public-spirited music patrons to carry.
And that one of these days there may
be a serious Sack-fire to the periodic
insistence for shorter hours of labor
and extra privileges
The Philadelphia Orchestra has
been going through another of those
periodic ordeals which are beginning
to weary the fellows who are holding
the bag. At one point in the negotia-
tons between the orchestra officers
and the musical union there threat
ened the disbanding of one Of the
greatest symphony societies ever
formed.
After many conferences, and the in.
terchange of proposals and counter
proposals. an agreement was finally
reached. 1t will increase the Philadel-
phia Orchestra annual budget for the
next few years, although by an
amount much less than the 100000
a year which would have prevailed
had the unions first demands been
met.
We believe in adequate compensa-
ton and hours OF work and working
conditions for symphony orchestra
musicians. WesoppOse, however, their
piling of last straws on the backs of
men and women who for arts sake
have been digging deep into their
pockets.
The Minneapolis Symphony took
stand, two years ago. similar to the
more recent one of Philadelphia. A
similar attitude, when it may become
necessary, on the part of other orches
ira directors, will give the musician.
agitators something worth their think
ing about.
ROchester's Orchestra.
Up in Rochester, where kodaks are
made. they have an orchestra. 1t was
founded a year ago by George East
man. and with a personnel of 65 men
participated in the music part of the
program presented several times a day
in the Eastman theater. In order to
launch a series of pretentious pro-
grams. 81 Of the best instrumental
lists obtainable from the Eastman
School of Music faculty and elsewhere
in Rochester were added to those 66
others, and the unit was given the
name Rochester Philharmonic Or
chestra.
Arthur Alexander conducted the
first concert, something like year
ago. Last autumn Eugene GoOssens,
the English composer-conductor, was
brought over to prepare and to lead
the Rochester Philharmonic in four
concerts. After Vladimir Shavitch had
led programs, there came from Lon
don Albert Coates.
Coates-who may be remembered as
guest conductor of the New York Sym
phOny two seasons ago-conducted
nine concerts Of the Rochester Or
chestra before he brought it to New
York few evenings ago, for its in
troductOry appearance there.
All things considered the Rochester
Philharmonic acquitted itself with
much credit. Barely one year old,
and not possessed Of those advan-
tages accruing TO symphony organiza-
lions which make this type of music
Ifs chief husinags this orchestro from