Rarely has an operatic enterprise been launched under more favorable auspices. It had the enthusiastic and unanimous endorsement of the press, the lively interest of the public, the backing of many of the wealthiest and most influential men in New York, as well as the quasi-official support of the city itself through the City Club. Finally, it was installed in the beautiful Century (formerly New) Theatre. Naturally, its first season was to a large extent an experiment and there was every reason to suppose that the faults disclosed would quickly be remedied. But the Century enterprise quickly succeeded in proving two very important facts, viz., that there is in New York a large public eager for good opera at popular prices and that this public wants opera in the English language.
The season was not far advanced before it became apparent that what we may call the Opera-in-English nights were more extensively patronized than the performances of operas in their original language, and the management accordingly reduced the performances in a foreign language to one a week. The success of the enterprise was sufficiently indicated by the public demand which was so unexpectedly great—especially for the cheaper seats—that after the close of the season the capacity of the house had to be increased to 1,800 seats.
The répertoire of the Century Opera Company during its first season includedAïda,La Gioconda, 'Tales of Hoffmann,'Il Trovatore,Thaïs,Louise,Faust,La Tosca,Lucia, 'Samson and Delilah,' 'Madam Butterfly,' 'The Bohemian Girl,' 'Romeo and Juliet,'Rigoletto, 'Haensel and Gretel,'Cavalleria rusticana,Pagliacci,Manon,Lohengrin, 'The Secret of Suzanne,' 'The Jewels of the Madonna,'Tiefland, 'Martha,' and 'Natoma.' The conductors were Alfred Szendrei and Carlo Nicosia. Forits season of 1914-15 the Century considerably strengthened its forces, and particularly the orchestra, and it added a number of experienced singers to its roll. Most of its artists, it may be remarked, were Americans. The new conductors were Agide Jacchia, late of the Montreal Opera Company, and Ernst Knoch, who was formerly assistant to Richter, Bolling and others at Bayreuth. Jacques Coini, probably the most artistic stage director New York has had in connection with opera, was engaged in that capacity by the Century Company. The répertoire was largely that of the first season with the addition ofLa Bohème, 'Carmen,' and 'William Tell.' Of the entire list, ten were chosen by popular vote. Altogether the quality of the performances was considerably improved, most of the crudities of the first season being eliminated. But financially the enterprise, like all preceding efforts in the same direction, was not successful and the general support did not warrant the continuance of Mr. Kahn's subsidy, and consequently performances were suspended in the spring of 1915. Some sort of revival of the enterprise is devoutly to be hoped for.
W. D. D.