Chapters of Opera Being Historical and Critical Observations and Records Concerning the Lyric Drama in New York from Its Earliest Days Down to
Paperback
Currently unavailable to order
ISBN10: 1153595001
ISBN13: 9781153595001
Publisher: General Books
Pages: 248
Weight: 0.82
Height: 0.56 Width: 9.01 Depth: 5.98
Language: English
ISBN13: 9781153595001
Publisher: General Books
Pages: 248
Weight: 0.82
Height: 0.56 Width: 9.01 Depth: 5.98
Language: English
Excerpt: ...committee of the directors had requested that the last act of Die Meistersinger be sung first, as it was the only act of the opera that had music in it, and the boxholders did not want to wait till the end. The conduct of the occupants of the boxes now grew to be so intolerable that there were frequent demonstrations of disapproval and rebuke from the listeners who sat in the parquet and balconies. The matter became a subject for newspaper discussion; in fact, it had been such a subject ever since the loud laugh of a woman at the climacteric moment of Fidelio had caused Fraulein Brandt to break down in tears in the opening measures of the frenetically joyous duet, O namenlose Freude! In the course of this extraordinary discussion one of the directors boldly asserted the right of the stockholders in the boxes to disturb the enjoyment of listeners in the stalls. Not only did he repeal the old rule of noblesse oblige, but he also intimated that the payment of $3,000 acquitted the box owner and his guests of one of the simplest and most obvious obligations imposed by good breeding. At length the directors were forced to rebuke their own behavior. On the night of January 21, 1891, the following notice was found hung against the wall in each of the boxes: January 15, 1891. Many complaints having been made to the directors of the Opera House of the annoyance produced by the talking in the boxes during the performances, the board requests that it be discontinued. By Order of the Board of Directors. This was the first sop to Cerberus after the directors had concluded a contract with Mr. Abbey, leasing the house to him a second time and substituting opera in Italian and French for opera in German. The public had begun to speak its mind, not only by making a mighty demonstration in honor of Mr. Seidl and the singers when a German opera was given, but in remaining away when the weak-kneed novelties were given; in requesting by petition a performance...
