Scan 71
university dictionary of music and musicians, 1912
8 lines. Read by computer on 17 September 2026. Printed page 437. See the scan on archive.org.
1uel W. Cole, Solfeggio, and Music in Public Schools; Charles F. Dennée, Piano, Sight-reading; Eugene Gruenberg, Violin Sight-reading; C. Lenom, Solfeggio; Eustace B. Rice, Solfeggio and Dictation. Superintendents of Normal Department: F. Addison Porter, Piano; Armand Fortin, Voice; Eugene Gruenberg, Violin.
3New Orleans was the first home of serious opera in America, although the people in Williamsburg, Philadelphia, New York, and Boston had enjoyed performances of ballad opera before 1791, when the first theatre in New Orleans was opened by a company of players imported from France. The old Orleans Theatre, America's first opera house, was opened in 1813 with a joint stock company under the management of John Davis. A second theatre of this name, costing $180,000, was built in 1818, and in that house many of the works of Rossini, Meyerbeer, Auber, and Mozart had their first American performance. E. P. PRÉVOST was one of the most notable of early conductors. The artists were brought over from France, and the opera was a favourite institution with cultured Creole society, as well as with Northern visitors. The Orleans Opera House was destroyed by fire, 1868. Meantime, however, the present building on Bourbon street had been erected for the Opera Association in 1859 by the architects Gallier & Esterbrook. Then came the Civil War, disorganization and impoverishment, and opera was discontinued until 1868, when a new opera association was formed, and a company assembled which opened with a performance of "DINORAH," with PATTI in the title rôle. It is to be regretted that since then the opera has experienced many vicissitudes. Paul Ahaiza and E. Calabresi, Placide Canonge, M. Charley, and other impresarios, while giving performances often highly meritorious and producing many works new to America, among others Reyer's "SIGURD," were unable to secure a permanent financial success, and the northern tours, the last of which was made in 1905-6, reflected no especial credit on a time-honoured institution.
5New Philharmonic Society gave concerts in London, 1852-79. Berlioz conducted the first season, and was succeeded in turn by Lindpaintner, Dr. Henry Wilde, and William Ganz.
7New York, the largest city in the two Americas, naturally possessed in 1909 the greatest number of important musical institutions and societies. It was the seat of the rival METROPOLITAN and MANHATTAN opera houses, had in Carnegie Hall one of the most perfect large auditoriums in the world for choral and symphonic concerts, and in MENDELSSOHN GLEE CLUB, one of the most beautiful concert rooms for chamber music and vocal and instrumental recitals. The plans of the New Theatre, then in course of erection, embraced a season of opéra comique, in addition to a regular dramatic repertoire. There, too, were located the NATIONAL CONSERVATORY OF MUSIC, and many excellent private schools, the headquarters of the KNEISEL, FLONZALEY, and other concert organizations, and the offices of the booking agencies by which the tours of foreign artists were arranged, and branches of the chief instrument factories and publishing houses of the whole world. New York's musical beginnings date back to 1751, when the "BEGGAR'S OPERA," already familiar to the Virginians who centred about Williamsburg, was first performed. Other ballad operas followed, and in 1791 Purcell's music to "The Tempest" was heard, but in musical development generally the city remained behind New Orleans and Boston. Versions of the "Barber of Seville," 1819, and "Nozze di Figaro," 1824, together with the activities of such managers as MAX MARETZEK, the STRAKOSCH brothers and Mozart's friend DA PONTE, and the singing of the GARCIA family, prepared the way for the opening of Palma's opera house, Feb. 3, 1844, with "Puritani," the first exclusively lyric theatre in the
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