Opera Books

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

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.

WITH OVER SEVENTY ILLUSTRATIONS

THIRD EDITION, REVISED

With an Appendix Containing Tables of the Opera Seasons 1908—1911, etc.

NEW YORK HENRY HOLT AND COMPANY

1911

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.

PUBLISHERS’ NOTE

THE publishers have found difficulty in getting pictures of some of the earlier artists and opera houses, but when they came to later people, the trouble was to decide what pictures could be omitted. The omission of any portrait is not necessarily any expression of the author’s opinion of an artist’s ability. An effort has been made to represent the different singers each in the costume of some favorite part, but some important people have been omitted because good pictures in costume were not available.
Hearty thanks are due for photographs of artists, and of the Metropolitan Opera House, to the managers, and Mine. Aimé Dupont; also to Oliver Ditson Company for their permission to reproduce eight of the over one hundred admirable pictures in Kobbé’s “Opera Singers’”; and for photographs of Hammerstein’s Manhattan Opera House, and his artists, to the management, and to the Mishkin Studio.

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 Qpera’s First Home—Manuel Garcia—The New Park Theater and Some of Its Rivals—Malibran and English Opera—The flowery 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—Maple-son 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 Freischuutz”—“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 Connied—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 “Pansifal” Craze

CHAPTER XXII
END OF CONRIED’S ADMINISTRATION

Conried’s Administration Concluded—1905-1908—Visits from Humperdinck and Puccini—The California Earthquake—Madame Sembnich’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 Impresanio—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 “Thais,” 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

APPENDIX I
THREE SEASONS AT THE METROPOLITAN OPERA HOUSE (1908-1911)

APPENDIX II
TWO SEASONS AT THE MANHATTAN OPERA HOUSE (1908-1910)

INDEX [not included]

LIST OF ILLUSTRATIONS

Anton Seidl
The Park Theater
Italian Opera House, Afterward National Theater
The Richmond Hill Theater
Exterior And Interior of Castle Garden, Used For Opera about 1848
Manuel del Popolo Vincente Garcia
Maria Felicita Garcia Malibran
Loernzo da Ponte
The Astor Place Opera House
Palmo’s Opera House
Max Maretzek
Col. J. H. Mapleson
The Academy Of Music
Mario Marchese De Candia
Giulia Grisi
Sofia Scalchi As Urbain, The Page, in “Les Huguenots”
Italo Campanini
Brignoli And Piccolomini in “Il Poliuto”
Christine Nilsson
Annie Louise Cary
Marcella Sembrich as Rosina in “The Barber of Seville”
Edmund C. Stanton
Henry E. Abbey
Dr. Leopold Damrosch
Marianne Brandt as Ortrud in “Lohengrin”
Adelina Patti
Lilli Lehmann as Brünnhilde in “Die Walküre”
Emil Fischer As Hans Sachs In “Die Meistersinger”
Albert Niemann As Tristan
Max Alvary As The Young Siegfried
Edouard De Reszke As Hagen In “Götterdämmerung”
Jean Lassalle as De Nevers in “Les Huguenots”
Francesco Tamagno as Turiddu in “Cavalleria Rusticana”
Pol Plançon as Mephistopheles in “Faust”
Nellie Melba as Juliet
Emma Calvé as Carmen
Jean de Reszke as Tristan
Walter Damrosch
Johanna Gadski as Eva in “Die Meistersinger”
Emma Eames as Elsa in “Lohengrin”
Lillian Nordica as Isolde
Mario Sammarco and Alessandro Bonci in “La Bohème”
Anton Van Rooy as Wotan in “Die Walküre”
Maurice Grau
Luigi Mancinelli
Ernestine Schumann-Heink as Fidès in “Le Prophète”
Louise Homer as Amneris in “Aïda”
Milka Ternina as Tosca
Antonio Scotti as Scarpia in “Tosca”
Ernest Van Dyck as Tannhäuser
Alfred Hertz
Heinrich Conried
Olive Fremstad as Isolde
Enrico Caruso as Canio in “Pagliacci”
Alois Burgstaller as Parsifal
Interior of The Metropolitan Opera House in November, 1908
Geraldine Farrar as Madame Butterfly [lost?]
Berta Morena as Sieglinde in “Die Walküre
Andreas Dippel as Parsifal
Gustav Mahler
Cleofonte Campanini
Oscar Hammerstein
Maurice Renaud as Don Giovanni
The Manhattan Opera House
Charles Dalmorès in “Les Contes d’Hoffmann”
Mary Garden as Thaïs
Luisa Tetrazzini
Eleanor de Cisneros as Amneris in “Aïda”
Emmy Destinn
Arturo Toscanini
Giulio Gatti-Casazza