Evening star. [volume] (Washington, D.C.) 1854-1972, 1957-02-03
N6 WS VT WOSIN
NicoIe Henriot Artist
For Boston Symphony


Society. The Society was a
non-profit corporation and
none Of the founders-except
the conductor. a professional
musician--stood to make any
money from its endeavors.
No Outside Incentives
The Society. therefore, had
no incentive except the pleas
ure Of producing good opera.
It was not trying to create
general enthusiasm for a local
opera house something we all
would like to have); it was
not trying to create an opera
workshop for local singers and
musicians something that
would be a highly laudable
project. It was not trying to
raise funds for any worthy but
unassociated cause, nor to
compete with the popular
companies like Salmaggi and
San Carlo that year after year
cater to the large body of mu-
sic-lovers who like to hear
"Traviata," Aida" and Car
men"-all excellent operas
over and over again.
While the Society had to Sc
cure a large financial guaran-
tee before 1t could undertake
to produce an opera. it felt
that it would have less salts
faction in winning a subsidized
audience than In appealing to
people willing to pay their
share for what they enjoyed.
1t therefore priced its tickets
on a scale which, If the
performances were sold out,
roughly would pay the bill.
Tickets therefore seemed ex-
pensive in a town in which all
music, except the Hayes con-
certs. and even many of them,
is heavily subsidized.
Enthusiasm Unlimited
Having had some experience
Of the inertia of new. radical
and expensive projects. I have
never ceased to wonder at the
enthusiasm dedication, and
effectiveness, to say nothing of
the fundamental unanimity,
Of all individuals connected
with the Society. and the I'M
stinted helpfulness of almost
everybody with whom 1t has
come in contact. Financially,
while the original and enabl-
ing backing came from one
man. almost every one Of the
hundred donors approached
joined in the project. and
there were several donors who
contributed without having
been asked. tThe Society is
by no means rich, for the
money not needed for this
first production-if there is
any-will be returned to the
donors.)
The thought. intelligent
planning. and hard work -
some Of it nothing better than
drudgery-shown by the work.
ing committees cannot be
easily explained. The en-
thusiasm was there to begin
with. it seems. for there were
no rallies or pep talks. and no
Sinking Of the unglamorous
jobs which could be done only
by the expenditure Of time and
effort.
Groups PrOffer Their Aid
Washingtonians not con-
nected with the Society were
invariably helpful. Profession
al groups such as the National
Symphony and the Hayes Con-
cert Bureau assisted the new
opera company from the very
beginning. The Symphony Of
fered its box Office facilities,
and both it and the Hayes
Bureau gave freely Of practical
advice about production de-
tails. Emma Hupman and Ed
ward Dougherty have sold the
Society's tickets during the
height of a busy season at the
Symptoms box Office. and the
help and advice of Albert Ber-
kowitz. Of the Hayes Bureau.
have been so great that the in
experienced organization could
scarcely have done without
them.
All Washington newspapers,
in anticipating readers inter-
est. have done much to estab-
lish the new company; stores
have willingly advertised opera
in windows: the towns citizens
have offered ten times as much
Turkish paraphernalia 1.-THE
Abduction" Is a Turkish opera
as the stage Of Lisner could
accommodate.
Roles hard to Master
If one considers how much
more work is involved in the
preparation Of an operate role
than in solo recital, the artis-
tic dedication of the solo sing
ers can be begun to be appre-
ciated. A song for a recital
can be learned alone at a con-
venient moment. and it can be
used all season-perhaps for
many seasons. One has much
less opportunity to sing a role
in a Mozart opera than to
sing der Lindenbaum," at
least in America. where opera
companies are comparatively
few. Yet the music must be
learned in conjunction with
| five or six other sinpers and