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Musical Courier 1892-09-07: Vol 25 Iss 654, 1892
91 lines. Read by computer on 21 September 2026, twice; the two readings disagreed in places. Printed page 6. See the scan on archive.org.
1building will cost the stockholders about $10,000 each. Ten of these have not paid their assessments and only sixty are left to subscribe.
3"I paid $18,000 for my box, and with the assessment of $3,000 a year my opera has cost me about $60,000."
5Nor is Mr. Roosevelt the only director disgruntled on the subject.
7Otto Eidlitz, of Marc Eidlitz & Son, Andrew J. Post and William N. McCord, as experts, have already begun an examination of the Metropolitan Opera House to ascertain the cost of rebuilding. They will submit their report to President James A. Roosevelt in time for next week's meeting of the board of directors. It was said that the experts have been directed to report also upon the feasibility of converting the opera house into a hotel.
9When Mr. Roosevelt was asked regarding the truth of the story that an apartment house, or a hotel, or something was to be built over the ruins of the opera house, he said:
11"It is utterly impossible for any person to say positively what will be done until after the stockholders meet next Friday. Nothing definite will be known after the meeting of the directors on Thursday, because any matter agreed upon by them will be submitted for approval to the stockholders. It is probable that the company will be reorganized, and in case this happens it is not likely that anything will be done for several months."
13It may be that some stockholder or officer of the company is anxious to get rid of the opera house because it has not resulted in profit, but Mr. Roosevelt believes, and Adrian Iselin, the chairman of the executive committee, also believes that the opera house will be rebuilt and be maintained as a home for grand opera.
15At the meeting of the directors held Tuesday of last week it was agreed that President Roosevelt should do all the talking to the public. He expressed himself as willing to tell everything he knew about the intentions of the directors.
17The ashes of the burned opera house are still so hot that it has been impossible to do any searching in them. Workmen are still busy tearing away the top of the Seventh avenue wall, which seems to be unsafe.
19Mr. Roosevelt was asked how much it would cost to restore the building, and he answered, "$500,000." In reply to other questions he said: "The directors will have to find the money in case they decide to rebuild. It will not be necessary to have $500,000 in cash; $300,000 will answer. There are two mortgages on the building, one for $600,000 and the other for $210,000, which is the second mortgage, and which will have to be paid off. This will leave us $80,000 to go ahead with." Mr. Roosevelt was asked:
21"Did not the reorganization idea spring from the fact that the building and its contents were insured for only $74,000, thereby making it reasonably certain that somebody was neglectful of his duty?"
23"The reorganization would have taken place anyway," he replied, "because it is proper that it should. The rebuilding of the opera house, if this is done, would make a reorganization necessary."
25Mr. Roosevelt said that there are 185 shares of stock issued. The holders of these shares have the privilege of a box and may be assessed as often as the directors consider necessary. These assessments have occurred with frequency that has wearied many of the stockholders, for the opera house has never paid its expenses.
27"Is it pretty certain that the opera house will be rebuilt?" asked the reporter.
29"Yes, I think that is pretty certain," replied Mr. Roosevelt. "The stockholders will get the money and the building will go up again."
31Director Iselin said that he thought the building would be rebuilt, but that it was best to wait until enough money for the purpose was in hand.
33At one time in the course of the meeting of the directors there were present several insurance adjusters, J. Cleveland Cady, the architect of the building, and John B. Schoeffel, of the firm of Abbey, Schoeffel & Grau. Mr. Schoeffel said that if the opera house is ready by January 1 next there might be a short season of grand opera. "We could open at the Auditorium, in Chicago," he said, "and by going from there to Boston fill in the time. There is no truth in the stories that we anticipate opening in Hammerstein's new house or in the Academy of Music."
35The "Sun" recently had the following pertinent item about the scenery, and possibly the insurance companies have pondered the same question. Said the "Sun":
37It generally happens, when theatres are destroyed by fire, that persons not connected with the house claim to have sustained loss through the burning of scenery which was either stored, loaned or being painted in the house at the time. In the case of the Metropolitan Opera House conflagration the rule holds true. It has been asserted that the Casino management lost much valuable scenery which was being painted by Hoyt. Augustin Daly was an alleged sufferer to the extent of $10,000 worth of "Tempest" scenery, and Richard Mansfield, "The Planter's Wife" and other stars and companies have been included in the list of losers. As a matter of fact, the only Casino scenes in the Metropolitan were four borders, which were not valuable. Neither Daly nor Mansfield had a particle of scenery in the theatre. Hoyt himself loses nothing, for he was insured for $3,500, and the actual damage to his canvases was only $600. Hoyt's valuable library is intact, and all the wardrobe and operatic scenery belonging to the Metropolitan are uninjured. Shortly after the fire Mr. Hoyt was asked by several of the directors what right he had to paint scenery belonging to others in that house. The directors were both surprised and displeased to learn that this was a long standing custom, and it is understood that Mr. Hoyt was plainly informed that his contract was for his exclusive services at the Metropolitan. All the theatres in town with large paint frames are much in demand by managers who desire special scenery. It is suggested by an expert that if the Metropolitan's stage had not been strewn with lumber used by the painters for their extra work the iron curtain might have been lowered in time to prevent the fire reaching the auditorium.
39This is a serious question, indeed. The "World" has further to say about the burned scenery:
41Mr. Abbey was very much gratified with the lease which he signed with the directors of the Metropolitan Opera House, because, under its terms, he had the full use of the costumes and scenery of thirty odd operas. These effects had been accumulated in the course of seven years of German opera under Mr. Stanton's management, and in making his plans for opera this season Mr. Abbey did not have to take into consideration the cost of either scenery or costumes. All of these valuable effects were destroyed by the fire, and even if the directors decide to rebuild and keep men at work night and day on the opera house, it is still a question whether Mr. Abbey will be able to carry out his contract. Someone will have to pay for the scenery and costumes of the operas produced, and if the cost falls upon the shoulders of the managers it is likely that they will throw up their lease rather than undertake it.
43The directors of the Metropolitan Opera House are known to cherish the most cordial sentiments toward Abbey, Schoeffel & Grau, and they will unquestionably make every reasonable concession to these managers. But it is to be borne in mind that the directors have suffered a very severe and protracted drain in their efforts to support the opera house thus far, and they are not particularly anxious to add to their losses.
45Every great city must have its opera, and New York will unquestionably fall in line again before long. But the outlook for the managers of the Metropolitan Opera House is not particularly bright as far as this season is concerned.
47Calmly considering all the evidence so far collated, it looks as if Italian and French opera at the Metropolitan Opera House was in a bad way, though "Town Topics" asserts that ninety days would be sufficient time to repair losses if a little energy was displayed. But how about the scenery, and worse still how about all the scenery and properties for the Wagner music dramas which were also destroyed?
49All the great metropolitan dailies have editorially deplored the loss and have repeatedly urged the directors to rebuild and go on with the operatic season at any cost. New York without an opera house would be indeed be as musically provincial as Boston, and minus the Boston Symphony Orchestra at that.
51While the absence of opera will give an immense impetus to symphonic and other concerts, yet the absence of an operatic season cannot be atoned for by any number of miscellaneous concerts or piano recitals.
53The New York "Times" sums up the situation very completely as follows:
55If this city is deprived of its annual season of opera the loss will be deplorable. The value of the opera as an art educator and as a refiner is not to be estimated briefly. Its cessation would leave a void in the intellectual life of our community not to be filled.
57It would be superfluous to speak now of the acknowledged influence of music in refining humanity. But the opera possesses advantages which do not belong to other forms of music. Through its dramatic and pictorial aspects it appeals to those who have little or no fondness for the symphony and the quartet, and so leads them to the consideration of a form of art which they would otherwise ignore. But it goes even further. Librettists have searched the treasure houses of mythology, poetry, folk lore, history and even religion for their material; and there is scarcely one of the great world thoughts, from that of Orpheus in Hades to that of the cleansing blood of Christ, which has not been embodied, or at least indicated, in an operatic story. The "beauty that was Athens" and the glory that was Rome's," the gigantic tragedies of the wonderful Eddas, the epics of Wolfram von Eschenbach and the romance poets, the splendors of medieval song and story, and even the mystery of the holy supper itself have been chosen to give inspiration to music that was born to live as long as men and women have noble aspirations. one of two readings
58It would be superfluous to speak now of the acknowledged influence of music in refining humanity. But the opera possesses advantages which do not belong to other forms of music. Through its dramatic and pictorial aspects it appeals to those who have little or no fondness for the symphony and the quartet, and so leads them to the consideration of a form of art which they would otherwise ignore. But it goes even further. Librettists have searched the treasure houses of mythology, poetry, folklore, history and even religion for their material; and there is scarcely one of the great world thoughts, from that of Orpheus in Hades to that of the cleansing blood of Christ, which has not been embodied, or at least indicated, in an operatic story. The "beauty that was Athens" and the glory that was Rome's," the gigantic tragedies of the wonderful Eddas, the epics of Wolfram von Eschenbach and the romance poets, the splendors of medieval song and story, and even the mystery of the holy supper itself have been chosen to give inspiration to music that was born to live as long as men and women have noble aspirations. one of two readings
60To be brought into contract with these master thoughts of humanity and to have them printed on the heart with the emotional power of great music is an education which no progressive community can afford to lose. To the agitation of the intellectual waters which the opera has wrought in this city in the last ten years must be attributed in a great measure the outpour of books, essays and lectures in which the subjects treated by librettists have been considered. It is for the sake of these potent influences for good that all thinking persons will hope to see the opera house restored by the public spirited gentlemen who originally built it.
62The two meetings this week will doubtless decide the much vexed question.
64PIANO EXAMINATIONS AT THE NATIONAL CONSERVATORY.
66As was previously announced in these columns the piano examinations of the National Conservatory, 126 and 128 East Seventeenth street, begin next Monday morning, September 12, at 9 o'clock, and continue until Tuesday afternoon, September 13, at 5 o'clock. The piano faculty, with the celebrated piano virtuoso, Rafael Joseffy, at its head, is a strong one, and the examinations will be conducted with the greatest severity and discrimination. An erroneous impression prevails that entrance to any of the classes of the National Conservatory may readily be obtained simply on personal demand. No one without exceptional talent and at the same time unable to pay the small annual fee for tuition will be admitted to a free scholarship. The advantages of the National Conservatory are numerous indeed, for a comprehensive musical education may be gained under the very best masters in the country and at a comparatively trifling cost. Its collateral advantages are many, and students of the voice, piano and all other instruments should take advantage of these forthcoming examinations.
68THE KETTLE MAY BOIL OVER.
70The musical kettle is at the boiling point, and all because Mr. Theodore Thomas wants to run the musical end of the World's Columbian Exposition himself. In its issue of July 13 THE MUSICAL COURIER contained the following in an editorial about the music at Chicago next year:
72Speaking of Theodore Thomas impels us to ask where do the Symphony, the Seidl and the Boston Symphony orchestras come in? Will they have a hearing? They should, most assuredly, for are they not as distinctly representative of advanced musical culture in this country as the Chicago Symphony Orchestra? These questions are vital ones and are not raised for the purpose of throwing doubts on this truly grand musical enterprise. The directors should examine them carefully.
74The New York "Herald" uses this suggestion as a text for a very powerful preaching in its issue of last Sunday. It prints first the report of an interview with Mr. Walter Damrosch in which that gentleman has the following to say about the subject of Mr. Thomas running the music machine on the solo principle.
76Said Mr. Damrosch:
78It was generally supposed that when Mr. Thomas as a local musician was intrusted with the work of providing representative music and musicians for the Chicago fair he would practically follow the lead of Messrs. Burnham and Root, the architects of the Chicago fair, who when charged with designing the buildings, at once invited the co-operation of a dozen of the most eminent architects of the country, including the leading firms in New York, Boston, Philadelphia and Chicago. The result of this co-operation has been, as we all know, most splendid. The buildings designed by McKim, Mead & White, R. M. Hunt and George B. Post, of New York, do this city the utmost credit, and nothing but praise has been heard on every side as to the behavior of the Chicago architects in the whole matter.
80No sooner was it announced that Mr. Thomas had been invited to take charge of the music at the fair than musicians began to speculate as to what conductors in this country would be invited to direct the orchestra or orchestras, what composers of our own would be invited to furnish original music, and what pianists, violinists and singers would be heard. I will say candidly that among those who knew Mr. Thomas best there were some misgivings as to what was to happen, for he has always, ostrich-like, stuck his head into the sand, crying out, "I see no conductors," and he could never understand that this great country of 63,000,000 people has room for fifty conductors instead of one.
82All the prominent orchestral and choral organizations should have been invited to take part, individually and collectively. Personal jealousies should not enter into an affair of national importance and significance, and I know that all these organizations would gladly make personal and financial sacrifices for such an occasion. Six months have now passed and so far as I can learn this is the program for music at the fair: The $120,000 will be devoted by Mr. Thomas to paying Mr. Thomas, with his Chicago orchestra, for giving two concerts a day during the whole time of the fair, one in the afternoon and one in the evening. Whatever is left after this is paid will go to incidental expenses, such as the transportation for the few foreigners who will deign to accept the very curious offer to pay their fares over here and back, as if such men as Gounod, Saint-Saëns, Brahms and Rubinstein were not able to pay their own railroad and steamship fares.
84It sounds ungracious to say that this is all we expect Mr. Thomas to do, but if there is anything more comprehensive or liberal coming I see no indication of it, and from what I have heard from others in the musical world I see no indication of anything further. If the musicians of this country will make the protest which ought to be made, there will be a radical change in the program at Chicago within the next six weeks.
86The fair has been organized on such broad lines and pervaded by such a liberal Western spirit that the narrowness of its musical policy seems singularly out of keeping with the other departments. I cannot but believe that the authorities in Chicago will realize before it is too late how absurdly small and misleading will be the representation of American music and musicians if nothing more than concerts by the Thomas Orchestra are to be heard there.
88Mr. Anton Seidl, the conductor of the Philharmonic Society, was preparing for his concert at the Madison Square Garden last Sunday night when the representative of the New York "Herald" saw him.
90"I cannot believe," said he, "that Mr. Thomas will do such a thing as ignore the New York conductors. I will tell you why. This is not a Chicago fair; it is a world's fair, and to my way of thinking New York occupies a very big place in the world. Mr. Thomas' secretary sent me an
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