CHAPTER I INTRODUCTION OF OPERA IN NEW YORK
Title: Chapters of Opera
Author: Henry Edward Krehbiel
Language: English
The HTML version of this text was produced by Bob Frone for his Opera Books page. Plain text adaption by Andrew Sly.
CHAPTERS OF OPERA
Being
Historical and Critical Observations
And Records Concerning the Lyric
Drama in New York from Its
Earliest Days Down to
The Present Time
by
HENRY EDWARD KREHBIEL
Musical Editor of "The New York Tribune";
Author of "How To Listen To Music,"
"Studies In The Wagnerian Drama,"
"Music And Manners In The Classical Period,"
"The Philharmonic Society Of New York," etc., etc.
To MARIE—WIFE
and
DAUGHTER HELEN
Who have shared with the Author many of the
Experiences described in this book.
"Joy shared is Joy doubled."
—GOETHE.
PREFACE
The making of this book was prompted by the fact that with the season 1907-08 the Metropolitan Opera House in New York completed an existence of twenty-five years. Through all this period at public representations I have occupied stall D-15 on the ground floor as reviewer of musical affairs for The New York Tribune newspaper. I have, therefore, been a witness of the vicissitudes through which the institution has passed in a quarter-century, and a chronicler of all significant musical things which were done within its walls. I have seen the failure of the artistic policy to promote which the magnificent theater was built; the revolution accomplished by the stockholders under the leadership of Leopold Damrosch; the progress of a German rÉgime, which did much to develop tastes and create ideals which, till its coming, were little-known quantities in American art and life; the overthrow of that rÉgime in obedience to the command of fashion; the subsequent dawn and development of the liberal and comprehensive policy which marked the climax of the career of Maurice Grau as an operatic director, I have witnessed since then, many of the fruits of wise endeavor and astute management frittered away by managerial incapacity and greed, and fad and fashion come to rule again, where for a brief, but eventful period, serious artistic interest and endeavor had been dominant.
The institution will enter upon a new rÉgime with the season 1908-09. The time, therefore, seemed fitting for a review of the twenty-five years that are past. The incidents of this period are fixed; they may be variously viewed, but they cannot be changed. They belong to history, and to a presentation of that history I have devoted most of the pages which follow. I have been actuated in my work by deep seriousness of purpose, and have tried to avoid everything which could not make for intellectual profit, or, at least, amiable and illuminative entertainment.
The chapters which precede the more or less detailed history of the Metropolitan Opera House (I-VII) were written for the sake of the light which they shed on existing institutions and conditions, and to illustrate the development of existing taste, appreciation, and interest touching the lyrical drama. To the same end much consideration has been paid to significant doings outside the Metropolitan Opera House since it has been the chief domicile of grand opera in New York. Especial attention has been given for obvious reasons to the two seasons of opera at Mr. Hammerstein's Manhattan Opera House.
H. E. KREHBIEL.
Blue Hill, Maine, the Summer of 1908.
AUTHOR'S NOTE TO THIRD EDITION
For the purposes of a new and popular edition of this book, the publishers asked the author to continue his historical narrative, his record of performances, and his critical survey of the operas produced at the two chief operatic institutions of New York, from the beginning of the season 1908-1909 down to the close of the season 1910-1911. This invitation the author felt compelled to decline for several reasons, one of which (quite sufficient in itself), was that he had already undertaken a work of great magnitude which would occupy all his working hours during the period between the close of the last season and the publication of this edition.
Thereupon the publishers, who seemed to place a high valuation on the historical element in the book, suggested that the record of performances at least be brought up to date even if the criticism of new operas and the discussion of the other incidents of the season—such as the dissensions between the directors of the Metropolitan Opera House, the rivalry between them and the director of the Manhattan, the quarrels with artists, the successes achieved by some operas and the failure suffered by others—be postponed for the present at least for want of time on the part of the author to carry on the work on the scale of the original edition.
It was finally agreed that the author should supply the record for the period intervening between the appearance of the first edition of "Chapters of Opera" and the present publication by revised excerpts from the annual summaries of the activities of the seasons in question published by him in the New York Tribune, of which newspaper he has had the honor of being the musical critic for thirty years past. For the privilege of using this material the author is deeply beholden to the Tribune Association and the editor, Hart Lyman, Esq. The record may be found in the Appendices after the last chapter.
H. E. KREHBIEL.
Blue Hill, Maine, Summer of 1911.
CONTENTS
CHAPTER I
INTRODUCTION OF OPERA IN NEW YORK
The Introduction of Italian Opera in New York
English Ballad Operas and Adaptations from French and Italian Works
Hallam's Comedians and "The Beggar's Opera"
The John Street Theater and Its Early Successors
Italian Opera's First Home
Manuel Garcia
The New Park Theater and Some of Its Rivals
Malibran and English Opera
The Bowery Theater, Richmond Hill, Niblo's and Castle Gardens
CHAPTER II
EARLY THEATERS, MANAGERS, AND SINGERS
Of the Building of Opera Houses
A Study of Influences
The First Italian Opera House in New York
Early Impresarios and Singers
Da Ponte, Montressor, Rivafinoli
Signorina Pedrotti and Fornasari
Why Do Men Become Opera-Managers?
Addison and Italian Opera
The Vernacular Triumphant
CHAPTER III
THE FIRST ITALIAN COMPANY
Manuel del Popolo Vicente Garcia
"Il Barbiere di Siviglia"
Signorina Maria Garcia's Unfortunate Marriage
Lorenzo da Ponte
His Hebraic Origin and Checkered Career
"Don Giovanni"
An Appeal in Behalf of Italian Opera
CHAPTER IV
HOUSES BUILT FOR OPERA
More Opera Houses
Palmo's and the Astor Place
Signora Borghese and the Distressful Vocal Wabble
Antognini and Cinti-Damoreau
An Orchestral Strike
Advent of the Patti Family
Don Francesco Marty y Torrens and His Havanese Company
Opera Gowns Fifty Years Ago
Edward and William Henry Fry
Horace Greeley and His Musical Critic
James H. Hackett and William Niblo
Tragic Consequences of Canine Interference
Goethe and a Poodle
A Dog-Show and the Astor Place Opera House
CHAPTER V
MARETZEK, HIS RIVALS AND SINGERS
Max Maretzek
His Managerial Career
Some Anecdotes
"Crotchets and Quavers"
His Rivals and Some of His Singers
Bernard Ullmann
Marty Again
Bottesini and Arditi
Steffanone
Bosio
Tedesco
Salvi
Bettini
Badiali
Marini
CHAPTER VI
THE NEW YORK ACADEMY OF MUSIC
Operatic Warfare Half a Century Ago
The Academy of Music and Its Misfortunes
A Critic's Opera and His Ideals
A Roster of American Singers
Grisi and Mario
Annie Louise Cary
Ole Bull as Manager
Piccolomini and RÉclame
Adelina Patti's DÉbut and an Anniversary Dinner Twenty-five
Years Later
A Kiss for Maretzek
CHAPTER VII
MAPLESON AND OTHER IMPRESARIOS
Colonel James H. Mapleson
A Diplomatic Manager
His Persuasiveness
How He Borrowed Money from an Irate Creditor
Maurice Strakosch
Musical Managers
Pollini
Sofia Scalchi and Annie Louise Cary Again
Campanini and His Beautiful Attack
Brignoli
His Appetite and Superstition
CHAPTER VIII
THE METROPOLITAN OPERA HOUSE
The Academy's Successful Rival
Why It Was Built
The Demands of Fashion
Description of the Theater
War between the Metropolitan and the Academy of Music
Mapleson and Abbey
The Rival Forces
Patti and Nilsson
Gerster and Sembrich
A Costly Victory
CHAPTER IX
FIRST SEASON AT THE METROPOLITAN
The First Season at the Metropolitan Opera House
Mr. Abbey's Singers
Gounod's "Faust" and Christine Nilsson
Marcella Sembrich and Her Versatility
Sofia Scalchi
Signor Kaschmann
Signor Stagno
Ambroise Thomas's "Mignon"
Madame Fursch-Madi
Ponchielli's "La Gioconda"
CHAPTER X
OPERATIC REVOLUTIONS
The Season 1883-1884 at the Academy of Music
Lillian Nordica's American DÉbut
German Opera Introduced at the Metropolitan Opera House
Parlous State of Italian Opera in London and on the Continent
Dr. Leopold Damrosch and His Enterprise
The German Singers
Amalia Materna
Marianne Brandt
Marie Schroeder-HanfstÄngl
Anton Schott, the Military Tenor
Von BÜlow's Characterization: "A Tenor is a Disease"
CHAPTER XI
GERMAN OPERA AT THE METROPOLITAN
First German Season
Death Struggles of Italian Opera at the Academy
Adelina Patti and Her Art
Features of the German Performances
"TannhÄuser"
Marianne Brandt in Beethoven's Opera
"Der FreischÜtz"
"Masaniello"
Materna in "Die WalkÜre"
Death of Dr. Damrosch
CHAPTER XII
END OF ITALIAN OPERA AT THE ACADEMY
The Season 1885-1886
End of the Mapleson RÉgime at the Academy of Music
Alma FohstrÖm
The American Opera Company
German Opera in the Bowery
A Tenor Who Wanted to be Manager of the Metropolitan Opera House
The Coming of Anton Seidl
His Early Career
Lilli Lehmann
A Broken Contract
Unselfish Devotion to Artistic Ideals
Max Alvary
Emil Fischer
CHAPTER XIII
WAGNER HOLDS THE METROPOLITAN
Second and Third German Seasons
The Period 1885-1888
More about Lilli Lehmann
Goldmark's "Queen of Sheba"
First Performance of Wagner's "Meistersinger"
Patti in Concert and Opera
A Flash in the Pan at the Academy of Music
The Transformed American Opera Company
Production of Rubinstein's "Nero"
An Imperial Operatic Figure
First American Performance of "Tristan und Isolde"
Albert Niemann and His Characteristics
His Impersonation of Siegmund
Anecdotes
A Triumph for "Fidelio"
CHAPTER XIV
WAGNERIAN HIGH TIDE
Wagnerian High Tide at the Metropolitan Opera House
1887-1890
Italian Low Water Elsewhere
Rising of the Opposition
Wagner's "Siegfried"
Its Unconventionality
"GÖtterdÄmmerung"
"Der Trompeter von SÄkkingen"
"Euryanthe"
"Ferdinand Cortez"
"Der Barbier von Bagdad"
Italo Campanini and Verdi's "Otello"
Patti and Italian Opera at the Metropolitan Opera House
CHAPTER XV
END OF THE GERMAN PERIOD
End of the German Period
1890-1891
Some Extraordinary Novelties
Franchetti's "Asrael"
"Der Vasall von Szigeth"
A Royal Composer, His Opera and His Distribution of Decorations
"Diana von Solange"
Financial Salvation through Wagner
Italian Opera Redivivus
Ill-mannered Box-holders
Wagnerian Statistics
CHAPTER XVI
ITALIAN OPERA AGAIN AT THE METROPOLITAN
The Season 1891-1892
Losses of the Stockholders of the Metropolitan Opera House Company
Return to Italian Opera
Mr. Abbey's Expectations
Sickness of Lilli Lehmann
The De Reszke Brothers and Lassalle
Emma Eames
DÉbut of Marie Van Zandt
"Cavalleria Rusticana"
Fire Damages the Opera House
Reorganization of the Owning Company
CHAPTER XVII
THE ADVENT OF MELBA AND CALVÉ
An Interregnum
Changes in the Management
Rise and Fall of Abbey, Schoeffel, and Grau
Death of Henry E. Abbey
His Career
Season 1893-1894
Nellie Melba
Emma CalvÉ
Bourbonism of the Parisians
Massenet's "Werther"
1894-1895
A Breakdown on the Stage
"Elaine"
Sybil Sanderson and "Manon"
Shakespearian Operas
Verdi's "Falstaff"
CHAPTER XVIII
UPRISING IN FAVOR OF GERMAN OPERA
The Public Clamor for German Opera
Oscar Hammerstein and His First Manhattan Opera House
Rivalry between Anton Seidl and Walter Damrosch
The Latter's Career as Manager
Wagner Triumphant
German Opera Restored at the Metropolitan
"The Scarlet Letter"
"Mataswintha"
"HÄnsel und Gretel" in English
Jean de Reszke and His Influence
Mapleson for the Last Time
"Andrea Chenier"
Madame Melba's Disastrous Essay with Wagner
"Le Cid"
Metropolitan Performances 1893-1897
CHAPTER XIX
BEGINNING OF THE GRAU PERIOD
Beginning of the Grau Period
Death of Maurice Grau
His Managerial Career
An Interregnum at the Metropolitan Opera House Filled by
Damrosch and Ellis
Death of Anton Seidl
His Funeral
Characteristic Traits
"La BohÈme"
1898-1899
"Ero e Leandro" and Its Composer
CHAPTER XX
NEW SINGERS AND OPERAS
Closing Years of Mr. Grau's RÉgime
Traits in the Manager's Character
DÉbuts of Alvarez, Scotti, Louise Homer, Lucienne BrÉval and
Other Singers
Ternina and "Tosca"
Reyer's "SalammbÔ"
Gala Performance for a Prussian Prince
"Messaline"
Paderewski's "Manru"
"Der Wald"
Performances in the Grau Period
CHAPTER XXI
HEINRICH CONRIED AND "PARSIFAL"
Beginning of the Administration of Heinrich Conried
Season 1903-1904
Mascagni's American Fiasco
"Iris" and "Zanetto"
Woful Consequences of Depreciating American Conditions
Mr. Conried's Theatrical Career
His Inheritance from Mr. Grau
Signor Caruso
The Company Recruited
The "Parsifal" Craze
CHAPTER XXII
END OF CONRIED'S ADMINISTRATION
Conried's Administration Concluded
1905-1908
Visits from Humperdinck and Puccini
The California Earthquake
Madame Sembrich's Generosity to the Suffering Musicians
"Madama Butterfly"
"Manon Lescaut"
"Fedora"
Production and Prohibition of "Salome"
A Criticism of the Work
"Adriana Lecouvreur"
A Table of Performances
CHAPTER XXIII
HAMMERSTEIN AND HIS OPERA HOUSE
Oscar Hammerstein Builds a Second Manhattan Opera House
How the Manager Put His Doubters to Shame
His Earlier Experiences as Impresario
Cleofonte Campanini
A Zealous Artistic Director and Ambitious Singers
A Surprising Record but No Novelties in the First Season
Melba and CalvÉ as Stars
The Desertion of Bonci
Quarrels about Puccini's "BohÉme"
List of Performances
CHAPTER XXIV
A BRILLIANT SEASON AT THE MANHATTAN
Hammerstein's Second Season
Amazing Promises but More Amazing Achievements
Mary Garden and Maurice Renaud
Massenet's "ThaÏs," Charpentier's "Louise"
Giordano's "Siberia" and Debussy's "PellÉas et MÉlisande" Performed for
the First Time in America
Revival of Offenbach's "Les Contes d'Hoffmann," "Crispino e la Comare"
of the Ricci Brothers, and Giordano's "Andrea Chenier"
The Tetrazzini Craze
Repertory of the Season
