Skip to main content

Full text of "The history of opera in San Francisco"

See other formats 


HEFERENCE   DEPARTMENT 


AcCCtSION 


•792.079  Un3"  B  549892 

NOT  TO  BC  TAKCN  FROM  THE  UBRARY 

rORM  1417  -  aM — lO'  41 


Digitized  by  the  Internet  Archive 

in  2010  with  funding  from 

San  Francisco  Public  Library 


http://www.archive.org/details/sanfranciscothea19397sanf 


M0>I0GR.".PH5   TO  BE   L'CLUDED  IN  THIS  SERIES   »  BIOGRAPHICAL  AilD  HISTORICAL 


VOLUME  I. 

INTRODUCTI  ;H  TO  THE  SEBIES 

S.N  FR'.HCISCO'S  E.\RLIEST  Si'TERTAIl^RS: 

STEPHEN  C,  MSSETT 

JOKJPH  A,  R.-nVE 

VOLUME  II. 

PIONEER  IMPRES  :.RI06  j 
TOM  mGUlRE 
DOC  ROBIi'SON 
M,   B.  LE.WITT 

VOLUlffi  III. 

FAMOUS  EiJ.LY   FAr-lILIESj 
THE  STARICS 
THE  BAKERS 
THE  Cn/iPJUNS 

VOLUiiE  IV. 

THE  BOOTH  FAMILY » 
J'JNIUS  BRUTUS  BOOTH  SR. 
JUNIUS  BRUTUS  BOOTH  JR. 
EDVriN  BOOTH 

VOLUliE  V, 

LOLA  iiONTEZ 

ADAH  ISAACS  IffiJIKEN 

HR3,   JUDAH 

VOLUME  VI, 

LOTTA  CR.BTREE 
JOHN  HCCULLOUGH 

VOLUkffi  VII. 

THE  HISTORY  OF  OPER.i     IN 

SAN  Frj-Hcisco    (p-:pt  i) 

VOLUME  VIII. 


THE  HISTORY  OF  OPER.\  IN 
S,.N  FR.-NCISCO    (P.;RT  2) 


VOLUlffi  IX. 

FOREIGN  TlIE/i-TRES    (P/J^T  l) 
THE  FRENCH  TPE.TEE 

VOLUlffi  X. 

FOREIGN  THKvTRES    (PART  2) 
IIAUAN 

VOLUME  XI, 

FOREIGN  THILITRES    (PART  3) 
RUSSIAN 

VOLUlffi  XII. 

FOREIGN  THEjMRES    (PART  4) 

GBRliAN 

SPANISH 

VOLUME  XIII. 

THEATRE  BUILDINGS    (PART  I) 
VOLUlffi  XIV. 

THEATRE  BUILDINGS    (PART  2) 
VOLUlffi  XV. 

liINSTRELSY   (PART  l) 
VOLUME  XVI, 

MINSTRELSY    (P^LRT  2) 
VOLUME  XVII. 

BURLESQUE 

VOLUME  XVIII 

PERIOD  COSTUMES 
STAGECR^VFT 

VOLUME  XIX 

LITTLE  THEilTRES 


San  Francisco  Theatre  Research 


Vol,  7  Second  Edition 


MONOGR/vPH  XVII 

THE  HISTORY  OF  OPERA 
IN 
SAN  FRANCISCO 

PART  1 


First  Impression,  November  1938 
Second  Impression,  April  1939 


Lawrence  Estavan^  Editor  San  Francisco « 

Monograpii  XVli  from  'Theatre  Research, 

This  edition  produced  by  W«P«A^  Pro.lect  10677, 0.P, 665-08-3*167 


54989:^ 


TABLE  OF  CONTENTS 

HISTORY  OF  OPERA  IN  SAN  FRANCISCO 

PART   I 


PAGES 

THE  HISTORIC  BACKGROUND 1-5 

Genesis  in  Italy 2 

The  Music  Drama 3 

Imported  to  America 5 

Demanded  in  San  Franci  see . 6 

The  Tivoli 7 

Amateurs  in  the  West 8 

The  Forty-Niners 8 

The  Opera  as  an  Institution. 9 

Circus  Yields  to  Grand  Opera.  • 10 

V\[orld  Famous  Prima  Donnas 11 

The  Earliest  Opera   Season 12 

Visiting  Companies  in  the  Fifties • 12 

Seasons  in  the  Sixties 13 

The  Roncovierls 14 

Testimonial  To  Roncovieri 14 

II  Trovatore 15 

Interview  with  Descendant. . 16 

Memo  from  Roncovieri . 16 

Faust  in  the  West 17 

Parepa  Rosa 17 

Opera  in  the  Seventies 18 

The  Eight  ie  s .  19 

PIONEER   PRIMA  DOi-TNAS  : 19-54 

ELIZA  BISCACCIAFTI  (1824-1896) • • 19-30 

Tier   Background ■-  - 22 

Critics  Overcome • 25 

Requests  from  Peru 24 

Return  to  a  Changed  City 24 

Lack  of  Engagement s • 25 

Short  Lived  Success 2G 

An  Animated  Musical  Verb 26 

Decline  and  Destitution. • 27 

With  the  Bella  Union 27 

Return  to  Lima 28 

Poverty  and  Old  Age 29 


TABLE   OP   CONTENTS    (Cont,) 

P_AG_E_S 

CaTKEx^xINE  HAYES    ( 1820-1861) 30-39 

Engaged  by  Barnxom 51 

Suite  at  The  Oriental 32 

Auction  of  Tickets ,  52 

The  First  Concert 33 

The  Public  Favorite 35 

A  Burle sque  on  Critic s 55 

Operalogues 36 

Grass  Valley  Trips 37 

Advice  From  The  East 37 

Visit  to  Valparaiso 38 

ANNA  BISHOP  (1816-18S4) 39-49 

Appearance  in  America 40 

Performance  in  San  Francisco 41 

Journey  to  Australia 43 

Second  Visit  to  California 44 

Madame  Bl  shop  •  s  Concert 44 

Trip  to  China 45 

Shipwrecked  at  Wake  Island 46 

Wreck  of  the  Bark  Libelle 46 

Career  Continued 47 

A  Final  Farewell 48 

LESSER  LUMINARIES 49-54 

Anna  Thillon  (1812-1903) 49 

The  Bianchis ,  50 

Elvira  Brambllla 52 

The  Departure  of  an  Artiste 53 

Others  in  the  Minor  Choir 53 

DAUGHTERS  OF  THE  WEST 54-82 

SYBIL  SANDERSON  ( 1865-1903) 54-64 

Study  in  Paris 55 

Massenet's  Muse 57 

Debut  at  The  Hague 58 

Pari  s  Debut 59 

European  Success 60 

The  Cuban  Millionaire 60 

Enchants  the  Czar  of  Russia 61 

Marriage  to  Terry 61 

Illness  and  Bereavement 61 

Reappearance  in  America. 62 


TA3LE   OF    COOTENTS    (Cont.) 

_PAGES 

EMM-A  NEVADA  ( 1861-     ) 64-70 

San  Francisco  Debut 65 

Her  Souvenir  Book. 66 

Second  Sfn  Francisco  Appearance 67 

Letter  From  Nevada 68 

CARO  ROMA  ( 1866-1937  ) 70-72 

The  Blacksmith '  s  Daughter 70 

Sings  Before  Cueen  Victoria 71 

Original  Compositions. 71 

Last  Days 72 

MAUDE  FAY,  NATIVE  DAUGHTER  (1883-      ) 72-83 

San  Francisco  Schoolin'j:; 73 

Dre sden  Di scipllne , 73 

Eurydice  and  Ariadne 74 

Red  Cross  Service. 74 

Hone  Town  De'ou.t 75 

Critique  by  Redf ern  Mason 77 

San  Francisco  Ovation. 77 

Her  Best  Role 78 

Second  Local  Appearance 80 

"No  Sacred  Fire" 81 

V\[orld  War  Activities 82 

Marin  Music  Che st 82 

Companies  and  Repertoires 83 

Seasons  in  the  Nineties 84 

The  Decline  of  Grand  Opera 85 

MUSIC  HALLS  AND  'OP'RY'  HOUSES,  THE  FIRST  DECADE 86-105 

The  Adelphi 86 

The  American , 87 

Galleries 88 

Renovations 88 

A  Critique  of  the  Painted  Cihip 89 

The  Cannon  on  Washington'  s  Toes 90 

The  First  Metropolitan 91 

Brilliantly  Lighted  with  Gas 92 

The  Blooming  Sixtie  s .  •  .  . 93 

The  Second  Metropolitan. 93 

First  Impressions, 93 


(.j-oo; 


TABLE    0?   C0NT:t5NTS    (Cont.) 

MUSIC  HALLS  AND    'OP'IiY  HOUS.0S,   THE  FIRST   DECADE    (Cont.) 

PAGES 

The  First  Night , 95 

Maguire ' s  Opera  House .  =  .........  =  .,......,.  o  .......... ,  96 

The  Bleak  Seventies  , 96 

The  Changing  Theatre  District , 97 

Baldv;in'  s  Academy  of  Music ,,....,... 97 

Firctrap  Opens 98 

Splendors  ^'xlinost  Bewildering , , «  98 

The  Firctrap  Springs 99 

Wade  '  s  Opera  House , 99 

White  Elephant ,  lOQ 

The  Opening  Night 100 

A  Dedicatory  "Pome" , 101 

Famous  Guest  ^^rtlsts ..................................  ,  102 

Amateur  Performances  . 102 

Decline  of  Wade '  s  Opera  House 103 

Caruso  in  Sang  in  Carmen 103 

The  End  of  the  Grand 104 

Municipal  Opera 104 

The  Tivoli:   A  Boor  Gr.rdcn  Blossoms,.,........, ,  104 

Enter  Pinai  ore 105 

The  Setup 107 

Grand  Opera 108 

Prom  Upholsterer  to  Impresario 108 

Local  Composers 109 

Mascagnl  Conducts. 110 

The  Third  Tivoli 110 

The  New  Tivoli Ill 

Leoncavallo  Conduct s 112 

Transfiguration. 113 

End  of  an  Era 114 

BIBLIOGRAPHY  115-115a 

Newspapers  And  Periodicals. • 116 

APPENDICES • ].17-13G 

Tivoli  Opera  House  Record  (1880-1900) 118 

Composers  :  Nuraber  of  Tiiiies  Presented 119 

Operas  Presented 120 

Composers  and  Operas • 122 

Personnel:  Prima  Donnas,  Chorus,  Singing  Actors 129 

Personnel:  Musical  Directors 152 

Personnels  Stage  Managers 152 

Tivoli  Opera  House  Record  (1900-1906) 155 

Operas  and  Composers. 153 


i  i  »  i  •  •   . 


ILLUSTRATIONS 

Count  Alfred  Pierre  Roncovieri Frontispiece 

FOLLOWING  PAGE 
Eliza  Biscaccianti 18 

Catherine  Haye  s 29 

Anna  3i  shop 38 

Sybil  Sanderson 54 

Emma  Nevada . .  • 63 

Car o  Roma 63 

Maud  Fay 53 

Caro  Roma •  69 

The  Grand  Opera  House ,    1873 85 

Souvenir  Opera  Programme ,  1876 100 

Tivoli  Opera  House ,  1879 * 107 


"^rf.-t   n. 


-if  til  srfT     .Y 


tr'S  If  P-  — ••    i^^r: 


ii 

fortune  hunters  and  empire  builders,  peopling  the  many  his- 
toric theatres  down  to  the  closing  of  the  Tivoli  which  marked 
the  end  of  an  era.  The  second  volume  records  the  rise  of  mu- 
sical comedy  and  light  opera,  briefly  discusses  the  ballet 
and  develops  the  trend  toward  opera  as  a  more  democratic  form 
of  entertainment  in  the  chapters  on  San  Francisco's  municipal 
opera. 

The  two  volumes  contain,  in  addition  to  the  straight 
history  of  opera,  short  biographies  of  such  prima  donnas  as 
Eliza  Biscaccianti,  Catherine  Hayes,  Anna  Bishop,  Sybil  San- 
derson, Enmia  Nevada,  Caro  Roma,  Maude  Pay  and  Luisa  Tetrazzi- 
ni,  among  othCT-s;  3\ich  dancers  as  T':':;dora  Duncan  and  Maud 
Allan;  and  among  male  otars  and  impresarios  such  nsiiies  as 
Ferris  Hartman,  Fortune  Gallo  and  G.^etano  Merola. 

Obviously  this  work  does  not  represent  the  last 
word  to  be  said  on  the  .abject  of  opera  in  San  Francisco.  It 
is  rather  the  other  way  around  —  a  gathering  of  new  material 
from  original  sources,  the  initial  tilth  of  a  virgin  field,  a 
first  book.  Hov/ever,  great  pains  have  been  taken  to  make  it 
definitive  in  one  sense  --  the  primary  one  of  an  accurate  and 
complete  reference  text.  Therefore,  if  in  some  spots  it  is 
difficult  to  differentiate  between  a  catalogiio  of  events  and 
good  solid  prose,  there  remains  to  bo  considered  the  exi- 
gencies of  untravoled  roads. 

THE  EDITOR 


COUNT    A.  h.F   RED    PIERRE    RONCOVIERI 

1819  -  1874 


PHOTO  COURTESY  OF  SUPERVISOR  ALFRED  RONCOVIERI 


HISTORY  OF  OPERA  III  SAN  FRANCISCO 

PART  I 

THE  HISTORIC  B.iCKGROUND 

Opera  in  the  V/est  had  its  heyday  in  San  Francisco. 
Beginning,  v/ith  the  ^old  rush  deliriiun  of  1849,  opera's  chron- 
icle is  a  reflection  of  the  city's  desire  for  pleasure,  Its 
thirst  for  the  drariatic,  its  hixnger  for  the  picturesque. 

Men's  lives  had  an  operatic  quality  in  the  fifties. 
Overnight,  nev;  arrivals  '.von  fortune  or  suffered  ruin.  Classes 
were  fluid;  social  differences  fluctuated;  Individual  hravura  was 
applaiided;  sudden  reversals  of  situation  were  experienced  by 
almost  every  one.  The  mood  was  grandiose.  An  air  of  triumph 
and  unexpectedness  pervaded  the  atmosphere.  Grand  opera  was 
avidly  seized  upon  as  a  most  satisfying  form  of  entertainment . 

Clovms  quickly  yielded  to  prima  donnas  the  palm  for 
drawing  the  crowd.  Imports  from  Italy  were  in  demand  --  the 
latest  products  of  Verdi,  Bellini,  Donizetti  were  eagerly 
awaited  and  found  enthusiastic  audiences.  In  spite  of  the 
numerous  fires,  opera  house  after  opera  house  rose  phoenix- 
like  . 

San  Francisco's  operatic  landscape  is  crowded  with 


•■•■4^-' 


>^-  ,j 


xnterestln^  scenes  and  episodes:  resec.rcli  workers  have  uncov- 
ered hundreds  of  little -kno^m  facts.  To  ga.vo  a  broader  viom' 
c^f  opera's  plivco  in  the  city's  cultural  life,  this  jiionograph 
traces  the  changing  standards,  the  changing  audiences,  and 
the  changing,  attitudes  tov/ard  opera.  It  shov/s  the  decline  of 
interest  m  grand  opera  in  the  einpty-pocketod  seventies;  the 
overshadowing  popularity  of  musical  comedy  and  operetta  dur- 
ing the  life  of  the  fivoll;  and  the  trend  toward  tax  .:  subsi- 
dized opera.  In  ;  oneral  it  attempts  to  present  an  iinpression 
of  a  msny-facet^Ki  subject,  each  surface  of  v;hich  could  well 
become  the  theme  and  topic  of  a  separate  monograph. 

.■iefoi'o  directly  beginiiing  the  subject,  a  bird's-eye 
view  of  opera  itself  as  an  art  form  "-  a  very  brief  sketch  of 
xts  genesis  —  might  be  in  place,  since  the  monograph  is  in- 
tended for  the  general  reader  as  well  as  the  student,  and 
these  brief  references  to  the  growth  of  "v/orld  opera  have  a 
direct  bearing  upon  the  history  of  opera  in  San  Francisco. 

25M?J  P_  II .  I?  AI^ 
Opera  in  its  modot-n  sense  was  originated  onFloronco 
In  the  yof'r  1600.  It  is  one  of  thu  few  ait  forms  which  was 
deliberately  prod\.TCed  by  a  group  of  men  vdio  knew  the  goal  to- 
ward V7hich  they  strove.-  Th^^.y  combined  the  already  existing 
elements  of  folk  song  and  folk  play  and  achieved  a  successful 
new  synthesis,  giving  Europe  one  of  its  most  popular  types  of 
entortainmunt. 

One  may  compare  this  rapid  growth  to  the  development 


■  6'bni  '■>     ' 
*  ■■.  mr>i^ ■.■  •  ry inirA-'-Q-'I I^J^i i-  to  s  •  •' 

.HiiiVi' 'i.  Lit  'jt;iis<?rf=-v '{--p.©  ■.  &ii,fi^jt 'Wioqcf  .bftsa^ '  nx'  :f e hir' jfnx 
■ :; J-o,ior<o  i  •fen/*-.  ^/i«FR>o--  Iv.^  i  ?:  iniv  Id  v^^f'ifif  jj<7c- '  -^j 

•  .:l-;frr*.*¥W:c;;   ••■••' -ri  -••'•efr<3r?)  • 

•  ■  e-  ■  js^d'. .    ■ 


(  t%\T  iV\    V/-0.  / 


of  the  cinema  in  our  own  time.  Within  a  generation,  the  mov- 
ies have  become  a  major  enturtainiricnt  force*  In  its  i^apid. 
evolution  from  a  crude  experimental  state  to  a  highly  devel- 
oped  technioal  art  form  with  a  cinematic  school  of  composi- 
tion all  its  own,  film  history  joarallels  in  many  v.'a7/s  that  of 
opera. 

Among  the  forerunners  of  opera,  mention  must  be  made 
of  the  Miracle  plays,  the  Mysteries  and  Moralities,  produced 
by  tradesmen  and  artisans  --  members  of  various  ;j;uilds  —  in 
England  and  on  tho  continent  during  the  fifteenth  and  six- 
teenth centuries.  Gradually  music  was  introduced  into  those 
sacred  sketches,  the  Coventry  Christmas  Play  for  example.  In 
sixteenth  century  Italy  there  was  a  ^reat  revival  of  Latin 
plays,  with  songs  and  musical  interludes.  In  England  the 
Masque  --  a  musical  pageant  dealing  with  the  representation 
of  m.ythological  and  allegorical  subjects  in  the  most  lavish 
manner  --  bocoine  a  popular  diversion  among  t]io  aristocrats. 

Experiments  in  setbing  pl-^ys  to  music  were  made  in 
Florence  about  this  timt;,  with  music  of  tho  madrigal  typo, tho 
singers  out  of  sight  of  tho  audience  comracntinj;  on  the  stage 
action-  This  was  but  a  stop  before  opera  itself.  Soon  after- 
ward, the  first  r>.al  mui.ie  dr;)ma  left  the  laboratory. 

TliS  irJSxC  DRAMA 
Peri  composed  Eurydice  in  1600;  Monteverdi's  first 
opera  arjpeared  in  1607  j   and  the  new  entertainment  won  ac- 
claim..  There  were  no  oyjora  houses,  so  the  new  form  of  art  was 


■■.•J.ie.:^r,-^y  joflit.f   .  sYi?i'Ci  .f»i;ts'i-4f^ ';>':';  1:, 

..  ..-•►..bL    .  Mi^&kt"-'. 

..  ,.  :.  . ,u{r<*->^R ••'-'-"'■ 

•1  • ' J jti St',  i  jil :  YW^nco  ■•  ■dtai>.Q ;t ax « 

,:;.i.  :r>j?!Lr»  •esflflJ^  •ritfi*'"  «?"^^<5 

5  JA'iQOvT. a i.1-  :.-.np.J,a^uvi4*).is.XfcfQoq  •  ->  -•-lunri.ojM 

f\}.um:.c4.:ex:'  j  iqxS: 


qo/.o-j. 


;:iP  ^f38 


exiiibited  at  firet  in  the  7.a:;tlcs  of  ul.e  nobles,  antl  vvas  a 
pastime  of  tlic  wealthy.  Public  o.jera  houses  appeared  later 
—  Venice,  1(537  r  London,  1655'  Paris,  1669;  Kome,  1671; 
and  Haiaburg,  1670. 

The  Italian  tonguo  lends  .itself  to  sonij,,  and  the 
art  of  singing  has  had  cultivation  in  Italy  from  the  days  of 
early  Christianlt^r,  3y  the  sevontecnth  century  a  school  of 
sxngors  had  hoen  highly  dcvolopod.  Soido  v/orc  r.on',  some  v/ero 
v/ononj  and  sonc  among  the  "-n.^st  aclnirod  v/ore  boys,  the  cas- 
tr.'vtl  v/ho  had  boon  subjected  to  o  ./.vlding  operation  cormionly 
practlcod  from  1600  to  1800,  v/hich  enabled  young  singers  to 
retain  their  boys'  voices  for  th'j  rt-st  of  their  livos*  Thoy 
could  sing  gro'^t  phrpsus,  hold  out  intormln-'bly  on  long  no-tos 
and  trills,  and  perform  -ill  sorts  of  voc^l  gymnastics  with 
great  agility. 

Compos'srs  v3cd  v;lth  one  another  in  crtbcllishing  ari- 
as —  the  op'^ratic  songs  —  v/hlch  v/cro  the  .mainspring  of  the 
opera.  These  arias  were  extremely  florid;  aria  di  bravura, 
aria  di  agilita,  aria  di  abilita.  aria  di  eQrt;:amentOf  and 
aria  cantabile^  to  name  only  a  few.  The  action  of  the  drama 
was  carried  on  largely  by  recitatives  \7c'jich  accomplished  the 
more  hiAiiitale  v/ork.   The  aria  v/as  the  thing. 

Not  a  single  opera  of  that  period  remains  in  the 
modern  repertory.  There  are  occasional  revivals  of  portions 
of  this  music  by  small  groups  but  on  the  whole  this  great 
mass  of  material,   the  jjiroduct  of  so  much  effort,   is  lost  to 


.  ;!'!f.f.fiOv.' 

v:.lri;f,xxf  n  - 

'  ■  •■  ■'.'.'  t  ■ 

^'•©i^WIW)   -CAW 


the  opera  hall  and  relegated  to  the  realm  of  the  research 
specialist  and  the  antlquariajn. 

Gliick,  (1714-1737)  a  German,  who  did  most  of  his 
v/ork  in  Paris,  tried  to  free  opera  of  its  absurd  vocal  pyro- 
techjtiics.  Wagner  (1813-1883)  was  the  next  great  reformer. 
They  aimed  to  give  dramatic  expression  the  first  place  and 
imisic  the  second.  There  also  developed  the  opera  bouffe,  or 
tlic  comic  opera,  which  by  its  emphasis  on  plot  and  action, 
served  to  make  opera  more  stageworthy. 

Despite  those  trends,  the  florid  Italian  school 
continued  to  be  popular  throu.gh  Donizetti  (1797-1848)  ,  Bellini 
(1801-1835),  Rossini  (1792-1868),  Verdi  (1813-1901)  and 
Puccini  (1858-1924). 

IMPORTED  TO  MSRICA 

PxxrQlj  an  English  importation,  the  only  type  of 
opera  knovm  in  America  for  many  years  was  the  Ballad  Onera. 
Flora,  or  Hob  in  the  V/oll,  was  tho  first  one  hoard.  It  v/as 
performed  in  Charleston,  South  Carolina,  in  1735,  six  years 
after  its  original  performance  in  London.  John  Gay's  The 
Beggar' 5  Op^^ra,  tho  prototype  of  all  such  v/riting,  was  given 
in  1750.  Per  more  than  half  a  century  English  opera  held 
the  field. 

Nev;  Orleans  in  1790,  hov/over,  became  the  center  of 
activity  for  French  actors  and  musicians.  They  traveled  up 
and  doY/n  the  Atlantic  Coast,  performing  the  vrarks  of  Rousseau, 
Monsigny,  Gretry,  and  others. 


«rtT:tnx*jpJi;?ta  ^rt^  i-Rt-?  ;*7Sj.  !.•?-• 

•*XS^    ftrtSl    83V.'       fC^i-SI^'X)       ♦iCJt.   ■;''  .-•flSiiiii'iOSt 

ij8  titorST        %  fertoooe    art*   r 


.\.iAi^,v!iSI     \*5tijv.Vs>^  ,:   i:..;-.,,  :rt&iii:j    ^^•40at  ric^       .^NSti  vii 


Italian  opera  appoarod  in  1794  vi/ith  Paisiello's 
Darbor  of  Seville,  given  in  English  at  Baltimore,  Philadelphia 
and  Nov;  York.  Rossini's  version  was  heard  in  Italian  in  1825, 
the  first  opera  in  that  language  to  be  produced  on  the  North 
Arnerlcan  continent. 

In  1852,  Signer  da  Ponte ,  the  librettist  of  Mozart ' s 
Figaro,  Don  Juan,  and  Cosi  fan  tutto,  brought  to  New  York  an 
Italian  troupe.  Soon  afterwards  the  elegant  Italian  Opera 
House  was  built,  and  Italian  opera  was  firmly  established  as 
a  regular  amusement.  The  works  of  Donizetti,  Auber,  and 
Meyerbeer  became  prominent  in  the  1830 's  and  1840' s,  as  did 
those  of  Balfe  and  Wallace. 

The  first  Americcji  grand  opera  v;as  Leonora,  by  Fry, 
given  in  1854,  in  Philadelphia.  Foreign  grand  opera  became 
a  regular  part  of  musical  life  in  the  East.  It  reached  Chi- 
cago in  1850  and  appeared  definitely  in  San  Francisco  in  1851 
with  La  Sonnambula» 

DEMNDED  IN  SAN  FMNCISCO 
Opera  found  in  San  Francisco  an  eager  and  expectant 
audience.  Ho  sooner  had  the  roughshod  Argonauts  paused  for 
breath  in  the  midst  of  their  picaresque  camp  medleys  than  the 
elegant  French  and  Italian  prima  donnas  made  their  entrance 
and  triumphantly  took  the  stage.  Operatic  performances  v/ere 
given  as  early  as  1850.  Los  Angeles,  an  almost  Spanish  tovm 
at  the  time,  occasionally  heard  opera  produced  by  traveling 
outfits  that  wandered  north  from  Mexico.     Sometimes  those 


ofui    \ioaaK 


»,Y^'4  '.Yn     -.ii^-Aysi.:  /i  "^    ■>• 


')f .  <0    P' 


ilV/C  1 


.i^r.tJX    ru 


u  ^:L  <:i:v:;^i;^<^ 


companies  came  to  grief.  Stranded  artists  v;ere  forced  to 
settle  where  l\ick  had  left  them,  making  up  the  local  nucleus 
of  teachers,  choir  singers,  and  critics. 

In  San  Francisco,  opera  was  given  at  the  California, 
the  Adelphi,  the  Baldwin,  and  the  Jenny  Lind  Theatre  (where 
Jenny  Lind,  contrary  to  popular  o  "dnion,  never  sang) •  On 
February  3,  1851  one  reads  in  the  Alta  California,  in  connec- 
tion with  a  concert  announcement: 

"Advice  Gratis.  We  would  respectfully  advise 
gentlemen,  if  they  must  eject  tobacco  juice  in 
church  or  in  the  theatre,  that  they  be  partic- 
ular to  eject  it  on  their  own  boots  and  panta- 
loons, instead  of  the  boots  and  pantaloons  of 
others ." 

And  further  on,  is  this  in  milder  accents: 

"Those  who  are  lovers  of  vocal  music  and  have 
not  the  spare  shilling,  can  yet  have  their 
taste  ;ratified  by  visiting  the  plaza  any  morn- 
ing. The  bootblacks  who  Jiave  profitably  squatted 
on  the  steps  in  front  of  the  California  Ex- 
change daily  pour  forth  their  melodious  strains 
to  a  crovi/d  of  admiring  listeners,  but  a  fev/  more 
can  be  accommodated  if  stands  are   taken  early." 

THE  TIVQLI 
It^s  a  point  of  pride  with  many  San  Franciscans  to 
have  been  patrons  of  the  old  Tivoli,  that  famous  institution 
that  has  done  laore  perhaps  than  any  other  American  theatre  to 
ma]ce  oper;i  a  deinocratic  entei'talnmont .  Starting  as  a  public 
beer  garden  -■'b.ere  citizens  drank  b''-iyj-  md  v;ine  to  the  strains 
of  the  \/icnna  Ladies'  Orchestra,  the  s.-tab].ishraent,  under  the 
management  of  -Toe  Kreling  and  his  orctiiersyesir.ayed  putting  on 
Gilbert  and  Sn.Jllvan's  Pinafore  in  tj;e  seventies:   a   period 


.•,''.'^VAV 


•i^^lHj 


i;h.cn  tho  v;hoic  English-speaking  world  v;as  ri-'-rinf':  with  Gilbert 
■'.'.nd  Sull.Lvr'.n' 3  pralsus.  Fcj-lo'/ing  its  succu£.;3  •.•;ith  Plnaf or o , 
the  Tlvoli  contin-u.od  an  unbroken  run  of  comic  and  grand  opcra 
ti.ll  t.h.c  f':reat  catastrophe  of  1906. 

?h>3  Tivoli  vvas  instruvnuntal  in  forming  the  operatic 
teste  of  p.  '.hole  'jon-ii'^^tion*  Between  1880  and  1006  it  put  on 
over  4,000  .•'hows,  ':io?/':lj  ll^ht  0})era  and  musical  comedy.  No 
other  ;.!U3ic  h':-.ll  '.^-'  :\n:rica  hrs  rivaled  it  in  popularity  or 
infl'jenc>:.'  • 

AMA'JIJURq  _IN  TH3  WB3T 
Enthusiastic  about   opera  in  the  v/cst  and  particu- 
larly m  San  Francisco,   Olin  Dovmcs,  noted  music  critic  of 
^^"^^  ^^^^'{  JP^X  Times,   v;ro'-.e  In  the  Geptoubcr  7th  issue  of  tho 
Times,  1930: 

"San  Francisco  is  one  of  the  most  romantic  cit- 
ies in  tho  v/orld.  It  haa  a  tradition  which  Los 
Angolos  has  not.  Tho  art  tradition  is  further 
I^orth.  There  is  in  and  about  S.  P.  a  fine  om- 
ateur  spirit  of  enthusiasm  for  art  v;hich  this 
observer  has  not  encountered  olsev/hcro  in  a  Like 
de^^rce  in  the  U.  S. 

THE  P0RTY-NI!;ER3 


"The  period  of  the  '4'J'ers  coincides  with  that 
time  of  vast  political  unrest  in  Europe  which 
caused  the  period  of  violence  and  tyranny  and 
death,  which  created  in  many  Europeans  the  in- 
tense desire  to  forsake  their  own  troubled  land 
for  the  No\/  Nation  developing  overseas. 

"Those  wore  the  days  when  not  only  miners, 
lo.wyers,  horse  thieves,  sailors,  cowboys  and 
millionaires  shot  freely  in  the  streets,  but 
where   opera  flourished  in  the  land.    Much  has 


:.iv  .rftt: 


■>  t      /^n'A  i^i 


been  said  and  nuch  has  been  written  jfoout  Hew 
Orleans,  vyhich,  admittedly,  hns  an  older  oper- 
atic tradition  and  a  longer  operatic  past  than 
any  other  city  of  North  America.  But  much 
has  yet  to  be  written,  once  musicolocists  and, 
trained  musical  historians  set  to  work  in  this 
country,  about  the  wonderful  history  of  the  old 
Tivoli  Opera  House,  which  for  decades  gave 
twelve  months  of  opera  each  year,  up  to  the 
year  of  the  San  Francisco  earthquake  and  through 
years  when  the  population  of  the  city  numbered 
roughly  about  300,000.  For  eight  months  of  the 
year,  while  Mr.  Leahy  v^as  the  manager,  they  cave 
light  opera--Offenbach,  von  Suppe',  Lecocq,  ^and 
in  due  course  Gilbert  and  SuUivar.,  and  similar  works 
and  for  four  months  grand  opera,  principally  of 
the  French  and  Italian  schools, with  an  occasion- 
al venture  into  such  deep  waters  as  those  of 
Wagner's  Lohengrin.  The  populace  loved  opera. 
They_  supported  it  not  as  a  civic  duty  but  as  a 
passion,  and  long  before  there  was  any  impor- 
tant development  of  railway  facilities,  in" the 
days  of  bandits  and  stage  coaches,  the  San 
Franciscans  found  means  to  transport  an  entire 
company  from  New  York  to  their  city  in  four  and 
one-half  days,  which  is  even  now  about  the  time 
consumed  in  the  trip* 

"They  loved  opera.  They  loved  gold,  good  food, 
adventure  and  their  own  great  land.  V/e  think 
ive  were  born  too  late  and  too  far  East,  For  It 
would  seem  that  San  Fr-^ncisco  today  is  not  the 
city  it  was  in  the  pre-earthquake  era;  it  is 
safer,  saner,  perhaps  more  bourgeois.  But  a 
heritage  like  that  is  not  lost  in  a  year,  nor 
indeed  can  it  ever  be  wholly  forgotten,  and 
about  San  Francisco  there  is  the  flavor  of  a 
wonderful  past  and  that  atmos-.ohere  which  sa- 
vors of  advr.nture  and  of  tastes"  formed  by  rich, 
adventurous  living." 

THE  OPSRA  AS  AN  IMSTITUTION 

The   beginning  of  opera   in  San  Francisco   is  the 

first  topic  of  this  monograph.   After  a  resume  of  seasons  in 

the  fifties,  the  various  pioneer  music  halls  and  op'ry  houses 

in  the  gold   rush  tovm,   this  monograph  treats  in  a   brief 


10 


biographic  fashion,  the  ''.cadlnc  prlmf.  donnas:  reviews  the 
Impresarios  and  outstanding  personalities;  covers  the  ballet 
and  the  Bohem:*  an  Club.  The  final  section  traces  the  ups  and 
dovms  of  opera  as  a  popular  form  of  entertainment  in  San 
Francisco,  the  North  Beach  troupes,  the  San  Carlo  Dollar  Opera, 
the  Municipal  Opera  House  —  in  general,  the  trend  toward  an 
opera  to  be  made  available  to  a  great  democratic  audience* 

CIRCUS  YIELDS  TO  GR/.ND  OPERA 

While  the  circus  drev/  the  pleasure-hungry  crowd  the 
first  two  or  three  years  after  gold  was  discovered,-"-  its  popu- 
larity soon  yielded  to  the  opera »  Clowns  gave  way  to  prima 
donnas,  and  before  very  long  no  city  in  the  New  World  was  more 
eager  to  hear  the  latest  in^portation  from  Italy  than  the  tur- 
bulent new  tov.TL  by  the  Golden  Gate» 

The  first  grand  opera  given  in  San  Francisco  was 
Bellini's  La  Sonnambula,  presented  at  the  Adelphl  on  February 
12,  1851  by  the  Pellegrini  Opera  Troupe*  Norma  followed  sn 
February  27,  and  Ernani  on  April  8,  the  last  night  of  the  sea- 
son and  8  benefit  for  Slgnor  Pellegrini* 

Theatres  rapidly  appeared  to  accommodate  a  we  11- paying 
opera  public.  In  1851  the  Jenny  Lind  Theatre,  a  large  and  handsome 
house  rivaling  the  best  theatres  in  the  Atlantic  states  and  seating 
2000,  was  erected  opposite  the  Plaza.  The  American  Theatre,  on  Sansome 


-"-  See  Volume  I  of  this  series,  monograph  on  Joseph  A.  Rowe» 


f.OX 


,  :0  «r{^.  •vd.xiwoi.  aron  .^^.xjoXiftf 

•W^--.-*-    *  '  ■     ■      -    ■•• 

•   ••  t ■  1?.* .■;;  ■   ••^"  ^A.  .    •, 


street,  was  finished  early  in  1852.  Here  music  Toecamo  iden- 
tified with  the  drama,  for  Emilie  Coad  decked  her  histrionic 
offerings  v/ith  vocal  trimmings.  Her  programs  v;ere  diversi- 
fied; during  the  performance  of  the  Irish  drama,  Brian 
Boroihme ,  she  sang  the  cavatina  from  La  Gazza  Ladra  in  con- 
junction Y/ith  the  burlesque.  The  Invisible  Prince,  and  one 
reads  in  the  Alta  California,  October  27,  that  "the  scene 
from  the  Bohemian  Girl  was  exceedingly  well  played."  In  1853 
the  Metropolitan,  a  massive  and  costly  structure, was  built  by 
Joseph 'Trench  and  opened  under  the  management  of  Catherine 
Sinclair,  The  renowned  harpist  r'ochsa,  with  whom  Madam  Anna 
Bishop  was  so  closely  associated,  became  its  musical  director. 

WORLD  FAMOUS  PRIM  DONNAS 

During  the  ^old  rush  decade,  some  of  the  world's 
foremost  musical  and  dramatic  celebrities  visited  San  Fran- 
cisco, including  the  petite  ''American  Thrush,"  Fmio.  Eliza 
Biscaccianti;  the  "Swan  of  Erin,"  Kate  Hayes;  and  Anna  Bishop. 

From  the  fifties  through  the  Civil  War  era,  through 
the  seventies'  depression  and  the  boom  of  the  eighties,  to 
the  end  of  the  nineteenth  century,  an  ago  best  marked  in  San 
Francisco  perhaps  as  ending  with  the  great  catastrophe  of 
1905,  the  public  patronized  opera  —  sometimes  erratically 
duo  to  fluctuo-ting  economic  conditions  but  mostly  v/ith  gener- 
osity and  enthusiasm.  In  1879  Marie  R6zo  was  diverting  the 
city's  dollars  into  the  pockets  of  her  impresario.  Colonel 
Maple son.  In  1884  the  music- loving  public  was  heatedly  de- 
bating tlao   respective  merits  of  Adclina   Patti   and  Etelka 


fXPA?^   tr.rs'il;      i'   .r.-:  OJ^ar^cciO'lTcq      nil.-;      ;;.;.': il-irJ.      :!l:o.:*; 

•nooe  oxltf"     dJiiCv      j  VS  ir-tJoloO      i£A/L'^ilii!vilL-£i.i:^iA     ■'"-''^  ^^   r.bBoi 
^  dlii/cf  n.n«',o'ii;ctGi/^;''»  -y^i-jcno  bar.  ovl.:"jcn  p.    *£i'-:l-.X  iOO'tJpM  &/f'f 


'■  '  ^  •--   r.-£  .'r-.o      ■:ry::ictoi:trq     ojtidi/q   oxW    4?0-5x 

■   '•-      :,.>  ^  . -•     .'x.i    '..iKTxrfibnoD  oinTo/K':-     r-;.'r.i,J  •;,■■;}  j5.  J.  "i   ot   ■.  i-'J:  > 
:'■'   -.'.Jb  f.cw  -oirif.?'.  OV  :•!     nl        .mr.;  in.viiJn..-   ban  'julec^ 

•    xl£).>t':urf  c.-.y  r.J:Xv-:;/c     rj^XvoX-occtrnt  '>rl.-t  N<01  iti        .no«oXq;i:(' 


Gerster.  In  the  nineties  San  Francisco  v,'as  under  the  spell 
of  Melba,  Sembrich,  Nordica  and  Schumann-He Ink.  A  little 
later,  Tetrazzlni  became  its  favorite. 

THE  EARLIEST  OPERA  SEASON 

Already  in  1851  there  were  regular  performances  of 
French  and  Italian  opera  --  some  given  by  strolling  troupes 
that  wandered  north  from  Mexico.  "Doc"  Leahy,  it  is  said, 
used  to  recruit  many  of  his  performers  from  these  stranded 
companies  when  he  became  manager  of  the  Tivoll .  In  1854 
there  were  as  many  as  eleven  opera  seasons* 

The  works  in  the  earlier  repertoire  have  by  no 
means  gone  out  of  fashion.  A  large  part  is  still  included  in 
the  current  repertoire.  But  before  this,  it  might  be  well  to 
list  the  popular  companies  of  the  period. 

VISITING  COMPANIES  IN  THE  FIFTIES 
To  enumerate  the  various  companies  that  visited 
this  city  between  1851  and  1861  should  suggest  what  attraction 
opera  had  for  the  public  Mere  companies  came  during  the 
fifties  and  the  first  half  of  the  sixties  than  in  any 
other  period  of  the  same  length  which  followed.  Sometimes  a 
troupe  would  give  as  many  as  thirteen  seasons  of  opera  in  one 
year. 


f -J-.-    f.  ,  -r:\''"'':"-^t'-' 


••.•<-?-•  ■'^-^-..,, 


•f."9.'T;*tc«'. 


:(   B9.I.i5Cffr- -''••S'l:?- 


J;:■]•^^K•iSia■.^:f:,::Ji::iX^^ 


'!! "'V  ■.    •" -?!•■.  = 


The  first  was  the  Pollcsrlni  Opc.ra  Company  T/hioh 
gave  regular  porformancos  in  1851  and  again  in  1853.  Tills 
was  followed  by  the  Planel  French  Opera  Company;  Kate  Hayes 
Opera,  and  in  1854  Mme.  Anna  Bishop's  Opera  Company.  The 
same  year  the  Thillon  English  Opera  troupe  appeared  at  the 
Metropolitan  and  close  on  their  heels  came  Illme.  Barili- 
Thorne '  s  company.  The  next  year  Signora  Garbato  arrived  v/ith 
her  singers  and  Mme.  Bishop  repeated  her  triumphs  and  contin- 
ued in  partnership  with  tfaie .  Barili-Thorne. 

Later  to  be  called  the  Mother  of  Music  in  San  Fran- 
cisco by  over- enthusiastic  critics,  Signora  Bianchi  arrived 
from  Mexico  with  her  husband  Eugenic,  in  1857  and  promptly 
proceeded  to  put  on  opera*  Lyster's  English  Opera  Company 
gave  four  seasons  in  1859,  Maguire ' s  Opera  House  and  the 
Metropolitan  housed  the  majority  of  theae  performances. 

SEASONS  IN  THE  SIXTIES 

During  the  sixties  there  was  little  letup  in  the 
feverish  operatic  activity,  though  according  to  Young's  His- 
tory of  San  Francisco,  there  v/as  no  opera  in  1861.  No  ex- 
planation is  given;  it  was  probably  due  to  disorganized  con- 
ditions in  the  East.   A  renaissance  quickly  followed. 

Eliza  Biscaccianti  made  her  appearance  in  Italian 
opera  in  1862.  The  Bianchis  were  also  tremendously  vo- 
cal that  year.  Week  after  week  their  company  entertained  San 
Franciscans  and  by  the  time  thoy  finished  the  season  their 


i'f*-^  tf<-  ■■•rfV-;--  r-~^.i¥'^.l    ^rc-Lli'^^,  %i:  •. 


r«-  -.«^      -*-•'** 


.'-'/■.'■:  '^t 
•.ov     ^4 


14 


najuG  had  bocome  a  housGhold  vrord.  The  closing  program  of  that 
year  announced  that  the  Bianchis  had  completed  their  tv/elfth 
season. 

THE  RONCOVIERIS 


Singing  with  the  Bianchis  as  well  as  with  numerous 
other  local  and  visiting  companies,  I.Iadame  and  Monsieur 
Roncovleri  for  fifteen  years  labored  to  furnish  amusement  to 
early  San  Francisco,  taking  part  in  nearly  every  opera  and 
appearing  on  both  French  and  Itcilian  operatic  and  dramatic 
boards. 

I'.lonsieur  Roncovierl,  correct  and  painstcJcing  in  his 
roles,  was  knov/n  to  his  associates  for  his  kindness  and  cour- 
tesy. Ke  was  always  v/illing  to  devote  his  time  and  talents 
to  benefits  and  for  charitable  purposes.  Finally,  after  fif- 
teen years  of  activity,  he  himself  was  ready  for  a  benefit. 
Among  his  colleagues  who  offered  their  services  were  Signora 
Bianchi,  Madame  Reitcr,  Miss  Howson,  and  Messrs.  Evans, 
Mancusi,  Miller,  Bianchi,  and  Reiter.  The  Alt a  California  of 
Oct»  27,  1866  states; 

TESTIMONIAL  TO  RONCOVIERI 

Last  evening  Mens,  Roncovierl,  a  most  deserv- 
ing artist,  took  his  benefit.  The  house  was 
not  full.  His  expenses  were  light,  however-- 
the  artists  of  the  late  Bianchi  troupe  all  vol- 
unteering, with  the  exception  of  Brambilla, 
This  smacks  slightly  of  'petit  inoffensif  Fos- 
sati»  affair  of  last  year.  Luckily,  however, 
a  most  amiable  and  estimable  person  took  the 
soprano  role   in  so   good  a  manner  as   not   to 


!ct;-.BiJl!'e\lo 


.C.r.'W  t  ,'.£6X0.1 


15 


causG  any  regret  for  the  nonappearance  of  the 
favored  soprano.  Mons .  Roncovlcri>  we  hcar> 
has  sung  on  two  occasions  for  Miss  Brambilla 
for  nothing,  and  was  entitled  to  a  recompense. 
Perhaps,  he  did  not  ask  for  it." 


IL  TROVATORE 

"The  opera  'II  Trovatore'  was  cut  most  dread- 
fully. The  first  act  was  done  well,  the  trio 
b^tv/een  Miss  Eirana  Howson,  Bianchi,  and  Mancusi 
winning  great  applause.  The  first  scene  intitie 
second  act  was  splendid.  Mad.  Bianchi  showing 
her  most  intense  drar.iatic  action  in  that  scene, 
and  fairly  creating  a  furore  of  applause,  inter- 
rupting her  frequently  in  the  mist  of  her  im- 
passioned declaration.  The  beautiful  aria  'II 
Balen,'  was  unceremoniously  omitted  by  Mr.  Man- 
cusi. The  public  paid  for  that  air,  as  well  as 
the  others,  and  ought  to  know  why  It  was  not 
given.  Mr.  Mancusi  must  learn  a  little  of  the 
English  language  and  of  satire,  and  not  imagine 
that  we  arc  all  asinine;  sec  our  favorable  no- 
tice of  his  performance  at  the  Academy  of  Musi3, 
on  Thursday  evening--that  part  in  particular 
praising  his  singing  in  the  'Puritani'  duet. 

"Wo  have  listened  with  some  amount  of  impa- 
tience at  the  buffooneries  and  gags  introduced 
into  'Crispino.'  In  an  opera  buff a,  one  wants 
to  laughj  in  a  tragic  opera  it  is  rude  and  in- 
sulting to  have  an  artist  turn  around  to  the 
avidience  and  grin  at  some  persons ,  and  turn  to 
the  members  of  the  chorus  and  call  them  jack- 
asses in  a  tone  loud  enough  to  be  heard  on  the 
back  seats  of  the  parquette. 

"Some  respect  is  usually  paid  when  singing  with 
a  nev/  prima  donna.  All  efforts  and  subterfuges 
tending  to  turn  the  services  of  Miss  Howson  to 
bad  account  failed  most  signally.  Miss  Howson 
sang  most  admirably;  and  v/lth  a  few  years  of  ex- 
perience, and  hearing  some  of  the  best  models, 
which  she  could  not  hear  in  the  Colonies,  she 
will  be  second  to  none,  for  her  voice  is  beau- 
tiful, fresh  and  spontaneous.  Bianchi  was  bet- 
ter than  ever  before-^  his  voice  fresh  and  clear 
as  a  bell. " 


<.i 


.-j^4    Oi: 


16 


INTERVIEW  WITH  DESCENDAMT 

Writing  a  series  of  articles,  "San  Francisco's  Emi- 

iionce   in  Music  Viforld  D\ie   to   Pioneers ,"  Pauline   Jacobson  recordr. 

in  the   3ullctin>   June  2,  1917   an  Interview   with  Alfred 

Roncovieri,  a  son  of   the  pioneer  singer,    and  at  thpt  time 

Cuperintendent  of  "chools  in  San  Francisco.   'To  quotes 

"Superintendent  Roncovieri  relates  the  delight 
of  his  childhood  days.  Mien  such  times  per- 
mitted, as  in  the  market  scene  in  'Martha, '  his 
father  v/ould  take  him  by  the  hand  and  lead  him 
among  the  rest  of  the  supers  on  the  stage. 
Again  he  relates  another  not  quite  so  happy  an 
episode.  The  child  had  strayed  from  the  pro- 
tection of  the  wings  onto  the  stage,  whore  his 
father  stood,  the  only  occupant  of  the  stage 
singing  a  solo-  He  stood  gravely  v/atching  him 
from  behind.  ?/hen  the  father  turned  and  dis- 
covered him,  the  child  in  groat  fear,  ran  to 
cover  under  a  table  on  the  stage,  much  to  the 
hilarity  of  the  audience." 

MEMO  FROM  RONCOVIERI 
Alfred  Roncovieri,  aubsequently  a  City  ouperviso''*, 
has  given  supplementary  information  on  the  singer.  Ac- 
cording to  Mr.  Roncovieri,  his  father  Count  Alfred  Pierre 
Roncovieri  v/as  born  December  31,  1819  in  Bordeaux,  Franco. 
He  arrived  in  San  Francisco  in  January  1850.  He  was  known 
on  the  stage  both  as  Monsieur  Roncovieri  and  as  Signer  Ronco- 
vieri. He  appeared  in  all  of  the  French  and  Italian  operas 
played  during  the  seasons  beginning  April  2,  1850  dovm  to 
1873.  He  also  appeared  in  nearly  all  the  dram.atic  and  light 
opera  performances  given  by  the  French  Theatre  of  those  pio- 
neer days. 


and 


17 


In  1850,  the  eminent  pianist,  Henri  Herz,  gave  a 
series  of  concerts  at  which  Monsieur  Alfred  Roncovieri,  "Basso- 
Cantante"'  of  the  Grand  Opera  of  Bordeaux,  France,  was  the  as- 
sisting artist.  The  first  concert  took  place  on  April  2,1850 
and  this  was  the  first  appearance  of  Monsieur  Alfred  Ronco- 
vieri on  the  concert  stage  in  San  Francisco.  Ttiis  viras  followed 
by  additional  concerts  on  April  6,  11,  and  a  farewell  con- 
cert on  April  27,  1850. 

Between  1850  and  1870,  Monsieur  Roncovieri  sang 
with  the  Pellegrini,  Blanchi,  Ghioni,  Richings,  Bishop, 
Bonheur,  and  Lyster  opera  companies.  From  1870  to  1873  he  was 
the  leading  basso  of  the  Agatha  States  Opera  Company  both  in 
San  Francisco  and  while  on  company  tours  in  Mexico. 

FAUST  IN  THE  VEST 
The  Bianchis  produced  Gounod's  Faust  in  1865  —  its 
first  representation  in  the  West.  Performed  several  years 
before  in  Paris,  the  diabolic  opera  was  a  welcome  novelty  in 
San  Francisco.  Adelaide  Phillips,  Madame  Bishop,  Elvira 
Brambilla,  all  gave  seasons.  In  1866  the  English  Howson 
troupe  appeared  at  the  Metropolitan  and  the  Academy  of  Music. 
The  Bonheur  Opera  Company  came  in  1867. 

PARE? A  ROSA 

The  most  important  event  in  1868  v/as  the  opening  of 

a  season  of  fifty  nights  of  Parepa  Rosa  at  the  Metropolitan. 

A  shrewd  Amazonian  business  v/oman,   who  smoked   cigars   and 

counted  her  change,   Parepa  Rosa  always  v/ould  estimate  from 


TI 


-^t:;;;:      :  'AW**  mjb'-t-fi'H^il     ^o  '"feSb^/fg*) Jv^^ii};  i^ruri  3xV>'   i/i^v;  :.a:tir'  2icr 
-      ■    '  "'        '    jfiiift    •,*6do^^>lt'rt>r"^ -WBt  :i*i  •6f&i^5^i  iyrwx'WKf.')'  rarity  .r:    jJrjttyAv 


18 


the  winfs  the  size  and  quality  of  her  audience,   so  the  story 
f'.oes ,   and  then  proceed  •.  to  exert  herself  accordingly* 

Lyster's  English  Opera  Company  from  Australia  ex- 
tended its  engagement  into  1869.  The  Caradlnis  opera  outfit, 
also  from  Australia,  won  good  notices  for  the  high  standards 
of  its  ensemble  work,  a  desideratiun  becoming  increasingly  rare 
v/ith  the  advent  of  the  star  system  which  relies  on  the  high 
talent  of  one  or  tv/o  individuals  to  cover  the  mediocrity  of 
the  supporting  cast. 

OPERA  IH  THE  S:^VEin?IBS 

There  was  a  diminution  of  interest  in  Grand  Opera 
after  1870;  opera  bouf f o ,  musical  comedy,  and  later  on  English 
opera  of  the  nem  school  usvirped  its  place.  Offenbach's  music 
--  light  and  trivial  as  It  is  --  took  the  city  by  storm.  At 
the  California  Theatre  a  French  company  presented  Grand  Duch- 
esse,  Genevieve  do  Brabant  and  the  nov;  forgotten  Flour  do  The*. 

The  same  company  in  1874  put  on  La  Fill e  de  Madame 
Angot.  In  1879  Maurice  Grau  brought  Aimec  and  produced 
Madame  Favart ,  Glrof lo-Girofla,  Los  Brigands,  La  Petite  Faust 
and  La  Bollo  Holono  in  addition  to  other  popular  importations. 

In  1879  there  was  a  revival  of  grand  opera  by 
Colonel  Maploson,  who  brought  out  Mario  Rozo  who  sang  at  the 
Baldwin  Theatre  during  April,  and  opened  May  5  at  the  Opera 
House  with  Alda.    The  success  of   this  soason  was  in  marked 


'if£<!**e  i«Ttt  •. 


.'-•i ili^.i.'S j ,.  .s^»'..  i^A\it(%i 


^^rm^a^^-.^-i 


,f):rT^- 


■J  ■YCf-i'Xof-i^L^i.i^... -ft.'.    .,.•;- v^.-    .iv    ,  pX/:w^^iv^i); 


ifV>r,  I  ■■ 


ELIZA        BISCACCIANTI 
1824   -    1896 


PHOTO   FROM   ODELL'S   ANNALS   OF   THE   HEW  YORK  STAGE 


contrast  to  that  of  a  German  company  v/ho  produced  The  Flying 
Dutchman.  V'Jagner  was  too  ultrfimodern,  too  heavy  for  the 
empty-pocketed  seventies. 

THE  EIGHTIES 
Declining  gradually,  the  dusty  old  Grand  Opera 
House  v;itnessed  a  final  revival  of  former  glory  in  a  fev/ 
brief  hrilliant  seasons.  Emma  Nevada  came  from  Paris  to  sing 
here  under  Colonel  Mapleson's  management  in  1884.  Stars 
of  the  New  York  Metropolitan  gave  seasons  at  the  Mission 
Street  Opera  House;  Wordica  sang  in  Tannhauser;  Schumann- 
Heink  in  Die  V^falkure .  Damrosch  conducted.  Musical  comedy, 
however,  was  the  greatest  attraction, 

PIONEER  PRIMA  DONlIAS 


ELIZA  BISCACCIAiTTI  (1824-1896) 

Tho  semaphore  on  top  of  San  Francisco's  Telegraph 
Hill  which  signaled  to  the  townspeople  the  arrival  of  a 
stcamor,  v/avod  its  v/Glcomo  to  a  shii^  that,  on  a  rainy  Febru- 
ary day  in  1C52,  carried  the  first  prima  donna  of  any  rcnovm 
into  the  harbor.  The  arrival  of  a  woman  was  still  an  ^;vcntin 
this  man's  world.  And  when  a  vroman  c;irao  armed  with  a  captl™ 
vating  smllo ,  dancing  cyos  and  a  golden  voice,  enhanced  by 
romantic  rumors  of  vocal  trinjnphs  on  th^.  Atlantic  Coast,  her 
coming  was  a  momentous  event  among  a  population  beginning  to 
orave  culture  in  addition  to  bread  and  gold. 

Venturing  into  a  musical  wilderness  which  P.  T» 
Barnum  did  not  dare  to  risk  v/ith  Jenny  Lind  and  Kate 
Hayes,   the  petite  prima  donna  --  Eliza  Discacclantl  Icf t  tlie 


KO 


steamer  wondering  what  fame  and  fortune  v/ould  come  to  her  in 
this  nev/  world.  She  was  not  alone,  however, but  was  acconipanlod 
by  her  husband,  a  talented  contra-bassist,  and  George  I.  Evans 
who  v/as  an  excellent  pianist  and  a  conductor  of  recognized 
ability.  They  'were  soon  to  demonstrate  that  fortunes  could  be 
made  in  the  erstwhile  miners'  hangout  and  were  to  help  make 
San  Francisco  famous  as  "The  Actors'  El  Dorado." 

Attempts  had  already  been  made  on  the  part  of  the 
press,  the  better  hotels  and  by  certain  groups  v;ith  a  back- 
ground of  culture  to  change  the  crude  and  impolished  aspects 
of  the  frontier  town  but  where  these  efforts  had  failed  Eliza 
Biscaccianti  succeeded  almost  over  ni.jht  by  the  magic  of  her 
art.  For  the  men  in  the  audience  --  vdiether  miner  in  rougli 
flannel  shirt  or  gentleman-gambler  in  frilled  linen  —  she 
embodied  grace,  domestic  joys  and  refinements  long  since  aban- 
doned. 

She  inaugurated  the  first  opera  season  of  San  Fran- 
cisco in  1352  at  the  American  Theatre*  IVhen  the  date  v\?a3  an- 
nounced the  demand  for  carriages  far  exceeded  the  supply*  The 
men  no  longer  had  reason  to  lament  "the  melancholy  scene  of 
brooches."  The  ladies  complained  no  more  about  the  high  cost 
of  dressmaking.  Rivalry  b'-gan  and  each  tried  to  outshine  the 
other  as  they  crushed  into  Sansome  and  Leidesdorff  Streets  for 
the  Biscaccianti  concerts* 

Her  first  appearance  was  announced  for  Grace  Church 
on  Pov/ell  Street  on  March  28,  but  the  demand  for  tickets  was 


■•*■":'■    -f-^.-v. 


so  ijreat  that  the  perf  orraance  liad  to  be  removed  to  ttie  Ameri- 
can Theatre.  The  Alta  Cal^forixia  two  days  later  describes 
the   effect  of  the   epoch  making   concert   in  those  u'ords : 

"The  next  day  the  people  went  about  in  a  dazQ 
and  even  the  most  sober  minded  and  judicial sul:)- 
scrioed  to  the  decision  of  the  press  that  the 
evening  marked  an  era  in  the  musical,  social 
and  fashionable  pror';resG   of  the  city." 

Other  appearances  followed  with  the  same  enthusias- 
tic recepti. ons.      The  programs   varied: 

According   to    the   Alta  Callfoi-'nia   of  Marcli   31,    1852: 

"The  American  Theatre  was  filled  a^ain  last 
evening  on  the  occasion  of  Mme.  IUscnoclani.1 's 
second  concert.  The  program  v;as  new  v/ith  the 
exception  of  the  finale  to  'La  Sonnambula . '  On 
March  27,  at  her  third  concert,  she  sang  the 
Cavatina  from  'Ernani,'  j^ems  from  'Lucia' and 
'Comiu'  Thru  the  Rye'  On  March  29,  the  or- 
chestra under  the  load{:rshlp  of  George  Lodcr, 
gave  two  excellent  overtures =  Monsiour  Coulon 
gave  the  recitative  and  aria  from  Adams'  'Le 
Chalet,'  and  Rossini's  'La  Gloirc'Mme.  Biscac - 
cianti  sang  'I  axn.  Q?aeen  of  a  Fairy  i3and^' 
Casta  Diva  from  'Norma'  and  'Oh  Cast  Tiiat  Shad- 
ow From  Thy  Brov/.  '    " 

On  July  3  the  Alta  reports  that  she  sang  "John 
Anderson,  My  Jo,"  "Believe  riio  If  All  Those  Endearing  Young 
Charms,"  "Porgi  Ai.ior"  of  Mozart  and  scenes  from  La  Sonnambula. 
"The  approbation  of  the  public  knew  no  bounds  and  a  shov/ er  of 
taravos   and   b(■;uq^^ets   greeted  tiie    conclusion." 

Those  public  approbations  were  stimulated  in  no 
small  way  by  the  numerous  benefit  performances  and  generous 
gifts  of  the  young  prima  donna  to  churches  and  other  institu- 
tions  that  had  been  ravaged  by  the   fires   that    so   often  visited 


•s'ia>  . "V- 


J,3iiXf 


•>#  .•2K:i:J^*ti  .•■•■ 


?.2 


the  cil-.y  xn  its  early  days.  Pire  companies  came  out  in  full 
uniforr.i  to  honor  her.  At  one  such  occasion  in  behalf  of  the 
Sansoi.ie  Hook  and  Ladder  Company,  Captain  Green's  little  three- 
year-old  son  dressed  in  full  fireman's  regalia  placed  a  bouquet 
of  roses  in  her  hand.  To  her  title  ''The  American  Thrush''  they 
added    "The   Coluinbus  of  the   liusical  Pacific/'   the   flr?t 

"to  brave  opinion  and  try  her  fortunes  on  the 
far  shores  of  California,  the  first  when  their 
souls  v/ero  yearning  for  music,  to  come  and  glad- 
den them  with  her  song."  ■;;- 

Thr-Gu^^h  tne  mc^ns  of  such  fervent  ovations  heralded 

by  v;ord  of  mouth  r'.nd  by  the  press  Bisc'ccl'mti '  s  fnme  Gpren.d 

to  other  plonoerlnc^  communities*   Urj.ed  by  requests  from  S^c- 

r^mento  and  L'-rysville  Itae.  3isc;'\ccl"ntl  c;'rried  her  triuinphs 

to  the  northern  vnlleys  of  tlie  f^tr-.te,  returning   to  the  Jenny 

Lind  Thef.tre  in  July  1852  to  Tilvo  n.  series   of  nine   or  ten 

concerts   for  the  month,  including  -^  oei'form.''.nce  of  Rossini's 

Stp.bot  Mnter.   Tben  she  left  for  S'^n  Jose» 


HER  BACKGROUND 
Eliz"  Blsc^-ccianti  v/fs  born  in  Boston  in  1824.  Her 
mother  was  organist  of  the  venerable  Haydn  and  Handel  Society , 
."jid  the  sister  of  Anne  Kev/ctt,  ;•'  cclebr'-^.ted  nootess.  Her  father 
was  <?  distinguis!:icd  It-'l.;'\n  violinist  ''nd  orchestr*"  lender. 
Her  eduction  fro;ii  hor  o^'rliont  yo^ra  hid  been  the   best  th-^.t 


-;:-Jocobson,  P-'ulinc.   The  Bulletin  May  5,  1917 


■  A  ■Vo>* 


f    :vl    :v. 


cultural  Boston  could  give ,  and  hor  mxisical  training  was  later 
supplcmontod  by  study  in  tho  great  European  music  centers.  A 
descendant  of  an  aristocratic  family,  her  husband  Biscaocianti, 
several  years  her  senior,  v/as  a  music  lover  and  an  accomplished 
cellist. 

After  being  declared  a  child  prodigy  in  her  ovm 
city  she  made  her  New  York  debut  in  1047  at  tho  Astor  Place 
Opera  House  as  Amina  in  La  Gonnrjnbula.  Both  in  Europe  and  in 
America  her  success  v/as  instantaneous  and  complete.  In  Paris, 
Milan,  3t.  Petersburg,  London,  and  Plor.jnce  her  singing  crc' 
atod  a  sensation,  especially  her  rendition  of  La  Sonnambula, 
Norma  end  Lucy  Ashton.  She  \/as  also  fcjued  as  a  singer  of 
English,  Scotch  and  Irish  ballads. 

CHITICS  OVERCOLiE 

The  music  critics  in  San  Prcjicisco  were  completely 
overcome  by  her  fourth  concert,  declaring  "her  voice  can  fill 
the  finest  perceptions  of  the  most  musical  soul  v;ith  tones  of  as 
perfect  sweetness  and  delicacy  as  it  will  ever  hear  this  side 
of  Gabriel's  trump."  -"- 

After  remaining  in  San  Francisco  for  nearly  a  year 
she  sailed  for  Peru  in  February  1853.  The  fashion  of  the 
city  congregated  to  say  good-bye.  They  v/ere  deeply  grateful 
and  v/ould  never  forget  hor  --  so  they  said. 


-Jf  The  Alta  California,  March  30,  1852 


t"!    rxB   lo   !*rtnhnoop.:'b 


lO   olQUBt  oriT 
doijoo  rfcfii/ol  led  ?iovo 

i»Jb   iirtF  owe    iO^llQr; 

"•    ".qiiu;*ij    e'le. 

oris 

100  x:flo 

n  bLuovr  boA 


24 


REQUESTS  FRO?i  PERU 
Even  more  eloquent  praise  was  meted  out  to  hor  dur- 
ing hor  visit   to  Lima^  Peru,   the  next  year.    The  following 
effusion  was  printed  in  1353   in  a  Lima,  Peru  newspaper. -;;- 

"Vi/ho,  upon  hearing  thy  song,  v/ould  not  fool  his 
heart  palpitate  with  enthusiasm?  For  thoupour- 
Gst  out  ineffable  enchantment  v;ith  thy  sv/cot 
tones.  Favorite  nightingale  of  the  Americas  1 
Sybil  of  harmony  and  delight, at  whose  voice  the 
celestial  vaults  might  ho  movcdl  ■."e--alasJ 
I'Jhat  spirit  have  wo  capable  of  understanding 
and  api^ro dating  thee,  whom  wo  see  passing 
swiftly  to  a  great  r.nd  glorious  future?  Hayes t 
thou  be  blessedl  Under  the  pure  slc^''  that  cov- 
ers Lima,  the  matchless  song,  rich  in  consola- 
tion shall  bo  present  to  us. 

(Sign^.d)  The  Ladies  of  Lima." 
In  Lima  she  was  considerv^d  superior  to  the  Swedish 
Nightingale,  Jenny  Lind.  Th^re  \;oV'.:  critics  who  maintained 
that  while  not  the  equal  in  fullness,  sublimity,  and  inspira- 
tion of  Jenny  Lind,  she  surpassed  her  in  "patlios,  truth,  storms, 
melody,  artistic  finish,  and  high  culturr^." 

I^TUxRN  TO  A  CPIAHC-ICD  CITY 

Returning  to  San  Francisco  in  1859  after  a  world 
tour  during  \ifhich  she  placed  "a  girdle  of  melody  around  the 
globe,"  she  fotmd  that  the  froiitiei"  town  of  tents  and  shacks 
to  v;hich  she  had  said  farewell  had  become  during  her  six 
years'  absence  a  metropolis  second  only  to  New  York  in  the- 
atrical importance. 

Amusement  was  in  groat  dem.and.   Evurything  could  be 


-"-Quoted  by  Pauline  Jacobson,  San  Francxsco  Bulletin,  May  5, 
1917. ~ 


vffli-^iir'*:;^; 


,ar<T,     ^■ 


.t  if?pf.«/ ;•.,-*  r<-i,-t 


■  >_.-.'■■..  11  .UL  *..»■■ 


25 


had  from  grand  opora  at  Mag\ilro's  and  the  Metropolitan  to  va- 
rieties at  the  Bella  Union  and  the  cafes.  She  had  helped  to 
bring  about  a  demand  for  opera  singing.  She  was  joyful  that 
her  pioneer  efforts  had  yielded  fruit .  And  she  remembered 
how  grateful  her  first  audience  had  been  to  her. 

liut  the  old  yields  place  to  the  new.  Her  arrival 
v;as  scarcely  noted.  Soon  after  she  had  loft  in  1853^  a  bril- 
liant ncv/  star  had  usurped  her  place  in  the  affections  of  the 
public.  Kate  Hayes,  the  Swan  of  Erin,  had  arrived  and  taken 
over  the  field  which  Biscaccianti  had  discovered,  and  through 
an  enterprising  press  agent  the  new  star  exploited  it  to  the 
full*  Kate  Hayes,  according  to  the  discerning,  v/as  simply  a 
ballad  singer  v/ithout  the  voice  or  style  or  culture  of  Biscac- 
cianti. But  these  were  silenced  by  the  louder  voice  of  the 
press  agent. 

LACK  OF  EIIGAGai-IEI-ITS 

Before  very  long,  Biscaccianti  learned  all  this. 
Though  a  fev/  faithful  admirers  were  still  backing  her  she 
found  that,  where  a  few  years  before  her  concerts  commanded 
$5.00  a  seat  to  crowded  houses,  she  no\7  sang  to  half  empty 
halls  at  a  dollar  a  seat.  Son  Francisco  was  not  enthusiastic. 
There  were  too  many  other  attractions. 

George  T.  Evans,  a  pianist  and  conductor  of  note 
and  a  fascinating  young  man,  was  her  accompanist  for  the  sea- 
son. Eliza  was  young  and  beautiful;  her  husband,  an  ill- 
tempered  contra-bassist  was  a  man  much  older  than  herself. 
The  inevitable  took  place j   she  fell  in  love  with  Evans, left 


o;} 


iarirf  ^     •    '  ' 


•  '  ■•fii  ilk: 

•::,..;. ,:.-r.     -.,:,,;..     ?,-£,,>Y    6i^    "ioVO 


:6i6v  oi-ld'   *^^ 


fnrij'  e/^ 


jc-rr 


,  x:cir.vt  .  *! 


her  husband,  and  v/ent  to  live  '.-''ith  her  aoconpanist.  But.  she 
did  not  hotter  her  emotional  situation.  Blows,  hard  v.-orh,  and 
shoi''t  rations  were  hor  portion  with  the  pianist. 

SHORT-LIVED  SUCCESS 
Oeorgc  E.  Barnes  in  the  Bulletin  of  iisrch  7,,  1S96 
writing  of  Biscaccianti  at  this  her  unliappy  period  records  an 
instance  of  short-lived  faino  for  the  formor  favorite  and  re- 
lates a  rivalry  xn  the  pioncor  city  botwooxa  two  pri;aa  donnas 
when  she  appeared  v/ith  Froa  iystor's  English  Opera  Troupe. 
This  was: 

''A  sllrii-walstcd  affair,  brought  horo  from  Hew 
York  late  in  the  fifties.  The  cc.iipany  consisted 
cf:  Lystur  himself,  a  barytone;  Jonn  do  Hago, 
a  basso;  Georgia  Hodson,  a  contralto,  who  sang 
tenor  at  a  pinch;  Rosalie  Durand  (\;ifo  of  the 
riding  .master,  Disbrow,  In  Now  York  City,) 
soprano;  and  a  sort  of  fake  tenor,  called  Prank 
Trevor,  \/hoso  real  name  was  O'Neill,  and  v;ho 
claimed  kinship  with  the  rod-h(:.'idur  branch  of 
that  Irish  family.  He  chang  jd  his  n?jno  froM 
Irish  to  Welsh;,  because  in  his  opinion  'Trevor' 
read  better  on  the  theatre  bills.  Tlie  company 
pleased  the  public  for  a  whilu  and  made  some 
money,  but  the  necessity  for  more  strength  was 
soon  soon,  and  Lystcr  engaged  Harry  Squii'es  and 
Lucy  Escott,  both  Americans  —  the  latter  from 
Connecticut.  Squires  had  a  lovely,  fluty  toner 
voice,  approaching  that  of  the  late  Joe  Maas; 
clscott  ',;as  a  fair  soprano,  but  had  not  a  high, 
vocal  raiigc.  The  music  liad  to  bo  transposed 
for  her.  This  fact  gave  Biscaccia.ntl  hur  op- 
portunity. The  press  and  patrons  of  the  com- 
pany complained  of  Escott  and  asked  that  Eliza 
bo  engaged  to  take  the  role  of  Aiviina  in  ''La 
Sonnambula J "  about  to  bo  produced,  llio  i.ianago- 
mont  cons ent  ed . ' 

AH  ANIMATED  MUSICAL  VERB 

''VAien  th^  night  arrived   there  wus  :•.  large   and 
fashionable   assemblr.gc   in   Magulro '  s    Opera 


21- 


'House,  on  Vi/pshlngton  Gtroct,  xCscott  was  in 
the  stngo  box,  anxious  to  hoar  her  rival.  She 
hoard  Eliza  soon  enough  to  convince  her  that 
she  could  not  be  placed  with  such  a  prima 
donna,  Bellini's  score  was  sung  as  true  as 
when  it  left  the  composer's  hand,  and  with  a 
bell-like  clearness  and  sweetness  that  set  the 
audience  v/ild  with  enthusiasm.  The  arias, 
"Come  per  mc  Serena,"  and  "Sovra  il  Sen, "were 
hoard  in  all  their  brilliantly  crisp  beauty; 
the  "Ah,  rion  Giungc"  h"d,  from  her  throat  a  lin- 
gering, clinging  sweetness  like  the  tones  of 
the  golden  angclus  bells  of  Lima.  Every  eye 
was  turned  tov/ard  tho  box  where  Escott  sat;  the 
act  was  rude,  but  nevertheless,  the  gaze  was 
all  in  that  direction.  She  bore  the  scrutiny 
bravely,  and  had  the  good  sense  to  heartily  ap- 
plaud the  singer;  but  she  did  not  personally 
congratviiate  nor,-  t.nd  left  the  thoarro  'jufurc 
tho  curtain  foil.  Esoott  and  Squires  v.'ont  to 
Australia  with  the  Lystor  company,  made  a  for- 
tune and  arc  nov/  living  in  ParJ.s.  Poor  Eliza 
Blscaccianti  remained  hope  for  soiaotimu  after 
they  loft,  to  bo,  to  do  and  to  suff^:r  --  an  an- 
liaatod  musical  verb,  as  it  wore" 


DECLIliE  AND  DESTITUTION 
'iradixally  she  took  to  drinks  and  through  debauchery 
sank  lower,  becoming  lncrcasin--;ly  disreputable.  Soon  it  be- 
came not  an  Infrequent  sxght  to  see  tho  glorious  ;\nd  once  ac- 
claimed Biscaccianti  reckling  drun]<.  in  tho  streets  and  alloys 
of  North  Doach.  No  }.'>j  spec  table  theatre  v/ould  engage  her.  The 
end  of  lior  San  Erancic.co  career  was  tho  -3ollo.  Union,  th<.;  noto- 
rious gcuabling  den,  saloon  and  burlc^squu  hall,   tho  only  door 


open  to  her. 


WITH  THE  BELLA  UNION 


The  actors  at  the  Bella  Union  were-  mostly  driftwood 
cast  out  from  tho  city's   legitimate  theatrical  life.    Among 


28 


them  \ve;r."'6  third-rate  extras  who  would  never  mor;nt  higherj 
novices  who  hnd  not  yet  found  their  tjlaccs;  and  in  rare  in- 
stances fi.rst-class  talent,  even  genius,  Qone  cheap  through 
drink,  debaucb.e:.7,  inisi'ortLine,  or  oliA  age  and  generril  decay. 
For  a  while  b]ie  jokes  and  burlesques  v/ere  -^f  the  coarsest 
cliaracter.  Deeri  sea  sailors  rejoiced  v/hen  the  bows  of  their 
ships  pointed  tov.^.rd  San  Francisco,  w'lich  meant  to  them  the 
Bella  Union. 

Night  after  night,  for  iiei.rly  three  years,  Eliza 
Biscaccianti  Topcaven  h-,re.  In  s  fo^-,  of  tobacco  fiuaes,  in  an 
atmosphere  stale  v/lth  drink  and  loud  vith  the  clink  of  glasses 
and  the  rr-iucous  talk  of  ^nen  who  came  to  leer  rather  than  lis- 
ten, our  lorima  doiina.,  once  greeted  -m:  ''a  sibyl  of  Jiarmony  and 
delight,  a  fairy  vision,"  sang  her  old  arias  and  popular  aii^s, 
too  often  the  Mcrse  for  drink.  She  './as  known  to  her  newer 
public  onlj;-  as  ;-;:i.."caccianti  of  tlie  3ella  Union. 

RETURN  TO  LIMA 
But  it  viiust  be  recorded  that  Eliza  :'.dscaccianti 
did  not  perish  anong  rhe  outcasts  of  tne  Bella  Union,  Muster- 
ing all  her  moral  energy  and  using  the  money  she  had  saved, 
she  finally  left  San  Francisco  for  Lima,  Peru  in  1865,  to 
make  a  visit  to  another  scene  of  forr.ier  triumphs.  She  v/as 
greeted  with  enthusiasm.  Under  the  ZovXh  Avierican  skies  she 
made  what  might  be  called  a  comeback. 


^-p'-'-J-  '-.l- 


•  -Ha 


■-'ii 


Ps*^ 


?Ihat  a  contrast  to  lior  days  of  degradation  at  tho 
Bella  Union  was  the  trluraph  she  roapod  after  one  of  hor  con- 
certs in  Valparaiso!  The  "estudiantos"  of  that  city  took  the 
horses  from  her  carrla(io  and  drew  hor  wltii  shouts  of  applause 
to  the  Hotel  D'Oro,  v/horc  she  had  hor  apartment.  After  a 
decade  in  South  Axaorlca  she  returned  to  Italy  with  a  consider- 
able fortune  in  money  and  juv/ols.  In  Milan,  where  she  estab- 
lished herself  as  a  vocal  tcf.cher,  she  is  reported  to  have 
married  a  military  man  who  dissipated  her  fortune. 

POVERTY  MID   OLD  AGP] 

In  the  spring  of  1S96,  when  few  Americans  remembered 
Biscaccianti  and  seme  thour^ht  that  her  stormy  life  had  closed, 
a  San  7ranci;ico  v/oman^.  I.Iiss  Nelly  V'fatorhouse ,  found  hor  in  an 
institution  in  Paris. 

The  old  prima  donna  v/ho  Uad  charmed  the   Americas  in 

her  early  years  vifas  nov/  destitute.   Hiss  V/atorliouso  describes 

her  in  a  letter  publisjied  In   the  Bulletin,  March  21,  189G   as 

"a  poor  dear,  sv/eet  woman,"   who  i^uardedly  told,  of  her   San 

Francisco  life  and  her  experiences   of   the  fifties.   Biscac- 

cianti  claimed  that  she  virt'.   robbed  In  Caiifornla  and  that  a 

Montgomery  Gtrcct  diamond  dealer   got  all  her  ;jev/ele.    Hiss 

IVaterhouse  said'. 

"I  aia  I'raid  that  she  is  drawing  on  her  imagina- 
tion -.'Vhen  she  claims  to  have  possessed  real 
estate  and  diamonds  in  San  Francisco. 

"As  to  her  life  in  this  city,  the  poor  old  woman 
acknowledged  to  the  correspondent  thnt  it  was 
not  bla-ieless,   and  that   in  fret,  it  was  most 


KATE   HAYES    (THE    SWAN    OF   ERIN) 

1820  -  1861 


Mi^i^  lii^'jKJLC^i,^  _c^.: 


PHOTO  COURTESY  M.  H.  de  YOmiG  MUSEUM 


■bl,'.uu-ible  but  oho  said,  also,  -/xth  sowe  truth, 
that  she  did  oponly  whc.t  many  others  do  secret- 
ly, and  that  was  hor  groatost  fault  in  tho  oyos 
of  the  world. 

"...Ono  day  (says  Miss  Watorhouse)  I  found  her 
Y/ith  no  fire,  and  she  had  boon  v/ithout  it  for 
four  days  because  she  had  ovordrav/n  hoi'  allow- 
ance and  had  no  money  to  buy  fuel... Old  as  she 
is,  Blscacci :.'.nti  is  Int ..resting  comp'.ny,  and 
vjhon  in  fair  health  vor>  br.f^t  and  cjuusing. 
But  she  Is  -.IZ.  alone,  aijd  in  her  solitude ,  ex- 
cepting when  it  is  broken  by  an  occasional 
visitor,  tho  curtain  of  death  is  falling  on  a 
long  and  troubl.>d  life."  (San  Francisco  Bul- 
letin, March  ^1,  ItiOG) 

It  \;as  only  a  few  inonths  aft^r  t}iis  interview  that 
Eliza  Biscaccianti  died  in  the  Rossini  i^'oimdation  Home  for 
Musicians  --.nd  Artists  in  P  .ris,  July  1896.  One  of  her  dy- 
ing wishes  was  tlxtr.t  th.e  American  press  should  be  informed  about 
her  doi'th.  H^r  request  v;as  ;, ranted.  A  paper  iri  .Boston  gave 
her  ti_-n  linos  of  obituary j  one  in  Kev;  York,  sev^jntedn. 


CATHERINE  HAYES 
The  Sv/an  of  Erin  (1320-1861) 

KatoHayos,  the  Swan  of  Si'in,  ?nd  Sli';;t".  B  :.ec:.ccianti  '  s 
San  Francisco  rival,  was  born  in  Ir c;lc'n.d  in  1S20 .  As  a  young 
girl  h.  r  beaut.i.f'al  voice  won  for  hi.-i-  the  interest  and  patron- 
age of  the  Bishop  of  Limerick,  the  Right  R«=v.-.rfc]id  Edmund  Knox. 
Her  first  singing  master  was  Signoi'  Antonio  S-....1.0,  Dublin,  in 
1841.  Her  first  concei^t  appearance  occurred  under  his  direc- 
tion in  Dublin  in  184;-3. 

On  hearing  Norma  she  was  strongly  attr-^^.ctod  to   the 


oporr'.tiG  stage  and  presently  becrjno  a  p'lipil  of  Manuel  Garcia 
who  had  qeen  the  ruastor  of  Jenny  Lind.  The  Swan  of  Erin 
studied  with  hlra  in  Pari^  in  1844. 

Ker  first  appearance  in  opera  took  place  at  the 
Italian  Opera  House,  Marseilles,  May  10,  1044.  She  sang 
Elvira  In  1845.  fier  appearance  at  Ctovent  Garden  in  London  on  April 
10,  1849  as  Linda,  was  a  high  light  in  her  career.  She  vis- 
ited AtTierica  two  years  later  and  appeared  for  the  first  tirae 
in  Nevif  York  on  September  25,  1851  at  Tripler  Hall.  In  the  far 
Vi/est  the  new  El  Dorado  was  beckoning  venturesome  prima  donnas; 
Catherine  Hayes  arrived  in  San  Francisco  on  Uovembcr20,  1052. 

gNGAGED  BY  BARIKJl'I 

A  prelimina^py  announcement  of  hor  arrival   appeared 

in  the  Alta  California  on  October  81,  1852: 

''Mr.  Barnum  has  contracted  an  engagement  with 
Catherine  Hayes  for  60  concerts  to  be  given  un- 
der his  direction  in  California,  Mexico,  Cuba, 
the  U.S.  arid  the  British  provinces  of  North 
America.  Mr.'  13.  is  to  pay  Miss  Hayes  :j;;50,000 
and  also  to  divide  the  profits  of  the  concerts 
with  her.  Sife^ior  Mongis  and  other  artists  are 
engaged,  and  the  party  is  to  sail  for  this  state 
in  November.  'It  is  unfortvinatc  that  the  Prince 
of  Humbugs,  as  he  is  justly  styled,  should  be 
thus  intorcstbd  in  thomovomonts  of  Hiss  Hayes." 

Mr.  Barnum 'was  not  very  popular  with  the  public  at 
the  time,  nis  hoaxes'  and  purpotual  ballyhoo  were  resented. 
His  versatility  and  imaginative  trickeries  v/crc  unappreciated - 

Cathorlnc  Hayes'  coming  inaugurated  the  second 
great  musical  jrv.   of   San  Frfincisco.    Expectation  ran  high. 


'-ilCf     t 


'■T  ;,  5}-no;^iaT 


•r.t   orfd- 


32 


On  October  31  the  Alt  a  California  v/rote  as  follov;s: 

"Miss  Catherine  Hayes  --  the  great  Irish  Canta- 
trico,  is  actually  on  the  point  of  starting  for 
tho  Pacific  Coast.  Her  agent  is  in  town,  cn- 
&rgetically  engaged  in  making  preparations  for 
her  appearance  which  vjg  learn  v/ill  be  during 
the  month  of  December.  For  renown  in  the  mu- 
sical circles  of  Europe,  :ind  indeed  of  tho  vrorld  ^ 
is  built  up  by  her  own  peerless  powers,  which 
have  entranced  hor  listeners  v;hcrovor  she  has 
appeared.  Iliss  Hayes  is  a  native  of  Limsrick, 
Ireland,  and  is  about  27'^ years  of  age.  Ghe  has 
a  most  elegant  and  graceful  person  and  mannci", 
and  wins  the  heart  at  once,  not  only  by  ht;r 
voice,  but  by  the  native  simplicity  of  manner 
that  talcGs  tho  heart  by  storm  at  first  sight. 
Hex'  voice  is  a  soprano  j  clear  and  rich,  and  of 
•"•  fluency/  in  its  intonations  and  cadences  v/hlch 
gives  it  a  complete  centre"!  of  all  the  cnoros 
of  S3Tnpathy  and  adjniration.  She  is  only  equalled 
as  a  songstress  by  the  Swedish  Nightingale,  and 
there  are  thousands  who  draw  the  comparison  In 
favor  of  the  Swan  of  Erin," 


SUITE  AT  THE  ORISTiTAL 
At  last  her  ship  actually  entered  the  Golden  Gato- 
Crowds  had  gathered  on  tho  wharf  and  chcor  after  cheer  arose 
when  she  stepped  into  the  carriage  which  carried  lier  with  hor 
mother  to  the  Oriental  Hotel.  The  enthusiastic  mob  follov/od 
to  huP  quarters.  To  calm  their  vocir.;rous  aepr'-. elation,  she 
made  h:;r  apriearancc  and  bowed  her  thanlcs,  rauch  to  th.dr  de- 
light. Her  first  concert  v/as  to  tclzu  place  at  the  ib^erlcan 
Theatre. 

AITCTIOrl   OF  TICKETS 
To  prt?vent  speculatio-n  ixi  tickets,   her  agents  de- 
cided th.v.t  it  would  be  best  to  place  the  tickets   at  auction, 
..  quaint   custom  but  fairly  fr<^quent  in  this   p->.riod.   Many 


She  was  actunlly  32. 


53 


theatre-goers  assembled  and  a  lively  competition  began  for  the 
best  seats.  The  auctioneer  always  announced  that  the  best 
seats  v/ould  be  put  up  first  and  knocked  down  to  the  highest 
bidder.  The  bids  started  at  fifty  dollars,  then  rose  to  one 
hundred,  one-fifty,  two  hundred,  and  so  on,  the  price  jumping 
up  by  fifties  till  it  reached  !y650. 

San  Francisco,  lusty  infant  city,  had  outdone  New 
York  and  P-  T.  3arnum,  v;ho  at  the  initial  Jenny  Lind  concert 
in  Old  Castle  Garden  had  received  fpGOO  at  an  auction  for 
choice  seats.  Such  a  small  margin  of  victory  however  was  not 
sufficient  for  a  crowd  charged  with  so  much  enthusiasm  and 
possessing  so  much  new  gold.  The  bids  continued  to  rise  by 
twenty-fives  and  fifties  —  cheers  following  each  bid,  baited 
by  the  auctioneer  --  eight  hundred,  eight-fifty,  nine  hundred, 
reaching  at  last  $1,125.  At  this  point,  in  a  burst  of  ap- 
plause, the  Empire  Fire  Engine  Company  gallantly  bid  ;ii;i,150 
and  the  ticket  was  "knocked  down." 

The  Engine  Company  foreman,  George  W.  Green,  a  pop- 
ular butcher  and  at  one  time  a  member  of  the  municipal  gov- 
ernment, had  the  expensive  ticket  framed  and  placed  it  in  his 
drawing  room  in  a  conspicuous  place.  There  it  was;  memento 
to  bo  shown  and  referred  to  with  civic  pride. 

THE  FIRST  CONCERT 
On  the  evening  of  November  30,  1852  Catherine  Hayes 
stepped  on  the  platform  of  the  American  Theatre   and  faced  a 


1  ?rfia  ^Y^lil-tt.-'. 


"i.  'T-.    '<{(^' 


in  .'..>       ■    i.-30J3lq  btm  irv. 


-;Jl    fciTtJj 


n'>t':totT/.      fyti!i  \ 


house  crowded  v;ith  the  v/oalth  and  beauty  of  the  city.    She 

was  thirty-tvro,   a  graceful  and  dignified  person^   of  medium 

stature,  with  a  fair  Irish  oval  face,  blue  eyes  ^  "bright  auburn 

hair;   her  oxprosslon  intelligent  but  without  nuch  animation. 

Rudolph  Eerold,  v/ho  v/as  her  accompanist,  decided  to  settle  in 

the  city  and  becarae  one  of  its   first  Important   conductors. 

Horr  Mengis,  baritone,  was  her  assistant. 

The  morning  after  the  concert,   the  critic   of  the 

Alta  California  reports: 

"Long  and  loud  wore  tlric  cheers  v;hlch  greeted  her 
entree.  Sllonco  having  boon  restored.  Miss 
Hayes  sang  the  sweet  and  plaintive  invocation, 
'Ah,  mon  fllsl',  one  of  the  most  touching  gems 
of  Meyerbeer's  music.  Kcr  voice  is  naturally 
a  mezzo-soprano.  Excessive  study  has  forced  it 
perhaps  a  shade  higher.  It  is  sv/eet,  mellow, 
lacking,  if  anything,  power.  In  the  upper  reg- 
ister her  notes  certainly  require  strength. 
Her  voice  is  admirably  cultivated,  flexible,  and 
the  delightful  shake  or  quaver  which  she  Intro- 
duces with  so  much  effect,  imparts  a  softness 
or  tremulousnoss  to  her  plaintive  songs,  sooth- 
ing and  agreeable  to  the  listener. 

"Hiss  Hayes  was  ably  assisted  in  the  duet  from 
Norma  by  Herr  Mengis,  baritone.  Previous  to 
this  duetto.  Signer  Hcrold  executed,  a  fantasia 
on  the  piano  v/lth  much  taste  and  skill. 

"Altogether  the  concert  was  highly  successful. 
There  was  much  enthusiasm  and  altogether too  much 
noise  and  uproariousness .  Some  younger  sons  of 
Erin  became  so  much  excited  as  to  toss  hats  and 
money  upon  the  stage,  which  however  enthusiastic 
it  may  seem,  could  not  but  be  regarded  as  ex- 
tremely bad  taste. 

"The  program  £ilso  contained  an  Interpretation 
of  'The  Last  Rose  of  Summer,'  a  scene  from  'Don 
Pasquale,'  and  several  ballads. 

"Her  ballads  being  most  exquisitely  rendered 
were   repeatedly  encored.    At   the  close  Miss 


35 


Hayes  v;as  escorted  to  the  Oriental  Hotel  by  a 
torchlight  procession  composed  of  a  hody  of  our 
firemen^  and  serenaded." 


TI-IE  PUBLIC  FAVORITE 

Eliza  Biscacclanti  v;as  present  at  this  triumphant 
first  appear-ance,  and  v;hlle  she  v\/armly  applauded  the  newcomer, 
jealousy  soon  developed  hotwoen  the  two.  We  have  already  re- 
ferred to  the  split  in  public  patronage,  the  battle  betv/een 
the  respective  admirers  of  these  prima  donnas.  The  nev/spaper 
critics  took  sides  by  comparing  the  two  divas  and  occasionally 
dwelling  upon  thoir  strength  or  weakness  when  such  statements 
were  uncalled  for.  31scaccianti  prematurely  left  San  Fran- 
cisco for  a  tour  of  South  America.  Catherine  Hayes  stayed 
and  continued  to  roap  tri\amphs. 

Concert  followed  concert.  On  the  occasion  of  her 
seventh  one,  the  auction  of  ticlcets  was  still  v/ell  attended 
and  the  bidding  v/as  spirited.  The  choice  seat  was  sold  to 
Sam  Brannan  for  ',-500.  The  romaindor  of  the  first-class  seats 
sold  at  a  very  high  premium.  The  concert  was  for  the  Fire- 
men's Charitable  Fund. 

A  BURLESQUE  ON  CRITICS 
In  contrast  with  the  overwhelming  praise  accorded 
to  the  Sv;an  of  _l]rin  by  local  critics,  there  was  a  refreshingly 
novel  appraisal  in  the  Golden  Era  of  December  19,  1852.  With 
his  tongue  in  his  cheek,  the  learned  critic  described  a  con- 
cert of  the  Irish  cantatrlce: 


ozio 


35 


"To  say  that  the  house  was  brilliantly  recher- 
che and  fashionable,  would  convey  but  a  faint 
impression  of  the  scene  which  burst  upon  our 
astonished  gaze.  There  were  seated  young  'dis- 
tingue critics, '  and  to  crown  it  all,  there  was 
the  divine  magnificent  Hayes  herself,  with  all 
her  ladylike  grace  of  manner  and  rich  magnifi- 
cence of  voice  t  We  have  listened  to  la  Sontag, 
'The  Lind, '  ed  it  omne  genus,  but  these,  in 
comparison  v;ith  Miss  Hayes,  are  but  as  rush- 
lights to  the  sun.  She  is  magnificent — she  is 
the  ideal  of  perfection--and  deserves  a  more 
brilliant  place  in  the  heavenly  choir  than  any 
planet  which  has  appeared  during  the  present 
century.  We  never  remember  to  have  heard  any 
singer  of  modern  times  introduce  the  'Sequia' 
v/ith  so  much  effect,  and  in  her  lov/er  register 
her  management  of  the  'Buenos  Noches'  is  a  mag- 
nificent trixmiph  of  art.  Her  musical  educa- 
tion has  evidently  been  of  the  most  finished 
order;  and  in  her  perfect  control  of  the  *Se 
Compra  oro,  '  she  has  no  equal.  \7e  think  how- 
ever in  her  upper  register  she  sometimes  fails 
in  E  Pluribus  Un-um,  but  the  startling  effect 
she  produces  with  her  Non  conbatibus  en  swampo, 
make  ample  amends  for  this,  as  well  as  her  want 
of  the  poco  mais  arrlva. 

"In  rendering  her  ballads,  she  throws  all  that 
aqui  sevende,  that  gushing  of  the  soul,  into 
her  music,  that  the  listener  floats  in  a  spir- 
itual atmosphere  of  delight,  positively  uncer- 
tain whether  he  is  an  inhabitant  of  this  sphere 
or  in  the  land  of  dreams." 


OPERALOGUES 
Giving  entire  operas  in  concert  form.  Miss  Hayes 
began  a  series  of  costume  recitals  on  December  23,  1852. 
Among  these  were  The  Barber  of  Seville,  Lucia, Don  Pasquale, 
Norma,  and  The  Daughter  of  the  Regiment .  To  many  of  the 
early  settlers  these  entertainments  performed  in  the  little 
San  Francisco  Hall  on  Washington  Street  became  occasions  for 
social  meetings  and  reunions.  The  same  faces,  the  same  people 


oV 


a,.■i^^i.^od  ni^ht  after  night  in  parqusjtto  and  dress  circle, 
thoii,3h  the  price  of  adinission  was  double  v/]iat  It  was  at  other 
placer.!   of   anuseiaont . 

GRASS  VALLEY  TRIPS 

Vacationing  in  the  mountains,  Xatc  Hayes  in  company 
with  her  mother  visited  the  mining  country  in  the  vicinity  of 
Grass  Valley  in  February  1S53.  According  to  the  malicious 
critic  of  the  Golden  Era,  "It  is  stated  that  Kate  Hayes  has 
been  raining.  That  is,  aft^r  the  minors  had  dug  and  washed 
the  precious  ore,  sac,  v/ith  characteristic  shrev/dness,  picked 
o\.it  the  big  lumps."  She  did  give  several  song  recitals  in 
the  Valley. 

Apparently  not  r-.  friend j   the  critic   of  the  Golden 

Era  again  maligns  the  Swan  in  the  February  lo  issue,  1853: 

"The  Sacramento  Union  devotes  near  a  half  column 
to  the  particulars  of  the  auctioneering  off  ..  of 
Kate  Hayes'  Concert  Tickets,  on  Monday  evening 
last,  and  the  final  1-mocklng  off  of  one  ticket 
at  the  small  sum.  of  ;|,51200.'  only  for  the  sake 
of  having  tho  glory  of  outdoing  San  Prancis-co, 
and  the  consciousness  that  they  could  have  giv- 
en their  money  to  a  much  better  purpose.  "lo 
suppose  Marysville  Y;ill  feel  boi\nd,  in  dread-  of. 
her  reputation,  to  raise  a  fc\;  hundr^^d  on  Sac- 
ramento, v/hen  they  receive  a  visit  from  this 
very  v/orthy  object  of  public  charity,  ojid  a 
visit  to  Mule  Run,  would  no  O.oubt  cause  a  uni- 
versal 'shell  out'  of  its  'Sons  of  pluck.'  '  So 
look  out  for  the  rettirns  fror,;  'Mule  Run'  and 
'Humbug  Canon.'" 

ADVICE  FROM  THE  SiiST 
The  Eastern  world  of  music  heard  of  Kate  Hayes' 
triumphs  in  Calif or.nia  and  letters  w-->re  occasionally  published 


;-oIpon. 


which  had  heon  sent  from  the  East  and  articles  v;ere  referred 
to  what  had  appeared  in  newspapers  on  the  Atlantic  Coast. 
Such  a  letter  published  in  the   Golden  E,Ta.     on  liarch  20,  1853 


reads 


"It  seems  that  Miss  Kate  Hayes,  the  'Swan  of 
Erin, '  who  failed  to  create  a  sensation  In  this 
section  of  the  Union,  has  been  eminently  sua* 
cessful  in  California,  I  am  glad  of  it;  for 
her  brilliant  musical  attainments,  but  for  her 
perseverance  in  raising  herself  from  honorable 
obscurity  to  a  proud  position  among  the  most 
noted  of  her  sex.  It  must  be  acknowledged, 
however,  that  as  a  vocalist,  Miss  Haj^^es  cannot 
be  ranked  v/ith  Jenny  Lind,  whose  Inspiring  mel- 
odies had  scarcely  died  away  at  the  time  of  the 
former's  first  appearance  in  this  city.  It  is 
thought  by  many  here  that  should  Miss  Hayes 
again  visit  this  city  professionally,  the  rep- 
utation she  has  acquired  in  California  will  as- 
sist her  in  creating  a  more  favorable  impression 
among  our  musical  critics.  In  my  opinion.  Miss 
Heyes  can  be  i-anked  as  inferior  only  to  Jenny 
Lind  and  Madam  Sontag," 

The  Golden  Era.,  February  27,   1853  .;5avo  space  to  this 


"A  Kow  York  paper  says  that  California  is  the 
only  place  whore  the  musical  talents  of  Miss 
Kate  Hayes  have  boon  acknowlodf,od  v/lth  anything 
like  that  enthusiasm  v;hich  has  characterized 
the  profossiojial  tours  of  Jvjnny  Lind,  Sontag 
and  Alboni.  The  same  paper  Cvdvises  hur  to  make 
the  most  of  it,  as  there  is  but  one  California. 
The  cciiuaonccirient  of  still  another  series  of  sub- 
scription concerts  in  this  city,  leads  iis  to 
believe  that  Miss  Kate  Hayus  intends  profiting 
by  th^;.  hintvS  throv/n  ou.t  by  our  Nov;  York  con- 
tcmpor-.ry." 


VISIT  TO  VALPAI-iAISG 
The  prima  doima  did  not  take  this  advice.   A  change 
of  landscape  was  in  order  and  on  May  IC ,  1353  Kate  Hayes  left 


item: 


0   odT 


ANNA        BISHOP 
1816    -    1884 


PHOTO   COURTESY  M.    H.   de  Y'OmiG  ulVSElM 


39 


by  steamer  for  South  Araorica.  Hor  final  appoaranco  had  been 
at  a  complimentary  concert  given  her  by  the  Fire  Department 
on  May  14.  Like  her  rival  she  was  generous  with  her  dona- 
tions, among  which  \?as  a  sum  of  !:p250  to  the  sufferers  of  the 
steamer  Independence. 

She  returned  to  San  Francisco  the  follov/ing  year, 
but  stayed  only  about  three  months.  Unlike  Biscaccianti  she 
received  a  v/arm  welcome  on  her  rotiirn  and  the  scries  of  con- 
certs she  gave  at  this  time  vifere  marked  by  a  success  similar 
to  that  which  attended  her  previous  appearances.  She  v/as  as- 
sisted by  oig.  Leonardi,  Mr.  Leach  and  George  Loder,  the  mu- 
sical director  of  the  San  Francisco  Philharmonic  Society.  On 
April  24,  1854  she  reappeared  in  Norma  at  the  Metropolitan. On 
July  7  she  gave  a  farev/ell  concert.  She  left  for  Australia  on 
July  8. 

SMe  married  her  agent,  W.  A.  Bushnell  of  New  York, 
in  Rome,  September  1857 •  Four  years  later  at  the  age  of 
forty-one  she  died  at  Sydenham,  London  county,  England, 
August  11,  1861. 

ANNA  BISHOP  (1816-1884) 

The  third  great  prima  donna  to  appear  in  San  Fran- 
cisco during  the  gold  rush  decade  was  Anna  Bishop.  She  had 
an  unusually  eventful  life;  her  biography  has  the  elements  of 
a  popular  novel. 

Born  in  London  in  1816,  her  maiden  name  was  Anna 
Revere.   She  was  married  in  1831  to   Charles  Bishop  who  died 


40 


a  few  years  later.  Her  debut  took  place  at  the  Italian  Opera 
House,  London  J  on  July  5,  1839.  The  follov/ing  year  she  began 
a  tour  through  Copenliagen,  Stockholm,  the  Swedish  provinces, 
and  St .Petersburg.  She  sang  before  most  of  the  crovmed  heads 
of  Europe.  In  Upsala,  one  of  the  S\¥edish  University  centers, 
after  one  of  her  concerts,  300  students  congregated  and  es- 
corted the  priraa  donna  to  her  hotel,  serenading  her  beneath 
her  window.  They  formed  a  cavalcade  on  the  day  of  her  de- 
parture and  accompanied  her  as  far  as  the  gates  of  the  tovm. 
At  Stockholm  she  sang  at  the  Theatre  Royal  where  Jenny  Lind 
was  the  premier  cantatrice.  A  linguist  speaking  nine  lan- 
guages, she  rendered  the  popular  Sv/edish  airs  in  the  national 
tongue . 

She  v;as  the  inspiration  for  Trilby,  Du  Maurior's 
best  seller,  it  is  reported;  and  the  hypnotic  influence  exer- 
cised over  her  by  the  famous  harpist  of  the  day , Signer  Bochsa - 
supplied  a  theme  for  legends.  Bochsa  accompanied  her  to  San 
Francisco  where  he  became  director  of  the  Metropolitan.  Viflien 
he  died  in  Sydney,  New  South  Wales,  his  tomb  became  a  place  of 
frequent  pilgrimages  for  Mme .  Bishop  during  the  rest  of  hor 
life. 

APPEARANCE  IN  AMERICA 

She  made  her  American  debut  in  Philadelphia  at   the 

Walnut  Street  Theatre  on  November  22,  1847   performing   in 

Norma.   Her  noble  bearing,  grand  stage  presence ,  and  excellent 

delivery  cither  of  recitative  or  aria  v/on  her  instant  praise 


41 


and  admiration.        A  veteran   of   the   pcriodj   Walter     I.i.      Loman, 

v/roto    about   hor   in     Tlomorlcs   of   an   Old  Actor      (1886),    as   fol- 

lov/s; 

"She  was  mistress  of  every  stylo,  and  perhaps 
as  a  linguist,  hor  equal  was  ncvor  knovm. Twenty 
dlffc3:'ent  tonguos  v/erc  Toy  hor  married  to  music 
with  purity  and  grace;  v/hether  Russian,  French 
or  Hottentot,  their  roughness  became  smooth 
and  liquid.  Vinioever  heard  the  duet  from  'Linda,' 
as  given  by  Madam  Bishop  and  Reeves,  csu\  never 
forget  it.  S]ie  died  at  an  advanced  age  and  sang 
until  the  last,  'fading  from  life  in  music.'" 

PBRFOi:?.lANCE  IN  SAN  FRANCISCO 

Waen  she  arrived  from  the  East  by  v;ay  of  Panama  on 
February  2,  1854  San  Francisco  v/as  already  the  center  of 
opera  in  the  V/OLit.  Accompanied  by  the  celebrated  harpist 
Bochsa,  she  gave  ner  fir^t  concert  on  tlie  7th  at  the  Musical 
Hall  on  3ush  Street  near  f.Iontgomcry.  Seats  sold  at  five  and 
three  dollars.  The  adraission  price  v;as  reduced  for  the  per- 
formances which  follovi;ed.  Her  first  operatic  appearance  was 
Moriaa  which  opened  at  the  I.Ietropolitan  on  April  30th.  This 
was  followed  by  the  i^opular  La  Sonnambula  and  Don  Pas  quale. 

She  gave  ten  opera  seasons  during  her  first  year. 
In  her  third  season  she  sang  Per  Frcischutz:  in  German  on  Au- 
gust 10th,  the  night  when  the  gas  v/ont  out  at  the  end  of  the 
second  act,  and  the  audience  was  forced  to  leave.  3h.o  intro- 
duced the  Biblic.'J.  opera  Jiidlth  in  hi..r  fourth  seasonj  Martha 
in  hor  fifth;  then,  Lucre zia  Sorgia.  Dtiring  hor  sixth  sea;,on 
she  presented  for  the  first  time-  in  the  State,  Iloyorbeer '  s 
grand  opera  Robert  the  Devil;  a  little  later,  Lticia  di  Lammor- 
moor ,  and  La  Favor ita.   In  her  ninth  series  she  introduced  to 


no 


J  ^Ic 


?T0^9tf^-     C^>Sip- 


<>.i!  mcf/?5{ 


•  .ta9£i.;i^9'i<)Jf::dsiiil.-n(>.  L£is>h 
)rict.'  ;^i: -bpfifrijo  -.doijPfw  •^/ggjl. 

>BSW' 


,rOX;;tf8«/p 


42 


a  grateful  pulolic  Plandel's  great  oratorio  The  Creation;  in  her 
tenth,  Rossini's  Stabat  Mater. 

Such  introduction,  by  an  artist  like  Mine.  Bishop,  of 
operas  and  oratorios  not  previously  heard  in  San  Francisco, 
met  v;ith  approval  and  enthusiasm.  They  were  added  evidence  in 
the  life  of  a  young  city  that  it  v/as  growing  in  culture  as 
well  as  in  material  v/ealth. 

Robert  the  Devil  v/as   reviewed  in  an   article   on 

"Foreign  Music  Lovers"   which  appeared  in  the  Golden  V/est  on 

February  11,  1855,  as  follows: 

"On  Sunday  this  theatre  was  filled  by  the  music 
lovers  among  the  foreign  population,  drawn  to- 
gether by  the  representation  of  'Robert  le 
Diable . '  Mme.  Bishop  as  the  Countess  and  Alice, 
sang  sjxLendidly.  In  'Robert  toi  que  j'alme,' 
she  created  a  furore,  in  accomplishing  vdiich,, 
Bochsa's  masterly  accompaniment , on  the  harp, had 
no  small  share . 

"That  the  enthusiasm  exhibited  by  the  audience, 
so  different  from  the  comparatively  cool  recep- 
tion given  to  talent  even  when  fully  appreciat- 
ed by  an  American  assemblage,  had  something  to 
do  v/ith  it,  is  not  unlikely.  Roncovieri ,  as 
Bertram,  exhibited  pov/er  which  he  had  not  hith- 
erto manifested,  etc.  The  scene  in  the  lobby 
during  the  intervals  between  acts  v/as  a  curious 
one,  evidencing  the  Individuality  of  national- 
ities, even  in  California,  where  all  national- 
ities might  be  expected  to  blend  in  one.  Ac- 
customed to  long  'v/aits'  between  curtains,  our 
foreign  friends  had  liglited  cigars,  and  v;ere 
collected  in  groups  discussing  the  merits  of 
the  opera.  The  difference  between  this  and  the 
American  style  of  rushing  out  for  a  drink  and 
speedily  returning  to  the  theatre  to  pass  an 
impatient  five  minutes  prior  to  the  rising  of 
the  curtain,  was  quite  manifest  and  amusing. 
The  intervals  between  tibo  acts  'belhg  much  short- 
er than  they  anticipated, the  chatting  and  smok- 
ing of  the  foreign  gentleman  was  siommarlly  in- 
terrupted, greatly  to  their  chagrin  and  aston- 
ishment ." 


The  only  rival  she  had  during  her  early  days  in  San 

Francisco  v/as  the  always  popular  Kate  Hayes,  who  returned  to 

the  city  April  2,  1854  after  her  tour  in  South  America.    The 

critic  of  the  Golden  Era,  always  ready  for  the  public  stimulus 

engendered  by  comparisons  and  controversies,  published  these 

lines  under  the  caption  "Bishop  and  Hayes"  on  May  7,  1854s 

"The  friends  of  these  celebrated  vocalists  are 
getting  considerably  warmed  up.  The  peculiar 
friends  of  Madame  Anna  Bishop  laugh  at  the  idea 
of  Instituting  a  comparison  between  her  musical 
abilities  and  those  of  Miss  Kate,  while  the  ad- 
mirers of  the  latter  lady  have  no  hesitation  in 
pronouncing  their  favorite  altogether  the  most 
talented  of  the  two." 

Miss  Hayes  soon  loft  this  budding  controversy  by  departingfor 

Australia. 

Besides  singing  in  numerous  operas,  Anna  Bishop  also 

participated  in  the  Gormania  Vi/oekly  Concerts  at  the  Turnvereln 

Hall,  in  benefits  for  Junius  Brxitus  Booth,   Herr  Mcngis,  Mme . 

Thierry,  Signer  Bochsa  among  others,  and  for  the  San  Francisco 

Orphan  Asylum,  the  Mercantile  Library,  the  Firemen's  Fund, and 

the  German  Benevolent  Society. 

JOURNEY  TO  AUSTRALIA 
Finishing  a  crowded  year,  she  gave  a  farevi/cll  bene- 
fit concert  on  August  27,  1855  and  sailed  for  Australia  on 
the  30th.  On  December  3  she  reached  Sydney,  New  South  Wales. 
Ten  years  were  to  elapse  before  she  visited  San  Francisco 
again. 


44 


Ngvit  triumphs  wore  hers  before  new  audiences  and  on 
June  17,  1857  the  citizens  of  Melbourne  presented  her  with  a 
|600  gold  nugget.  After  making  a  tour  of  the  world  she 
stopped  in  Wev;  York  and  v;as  married  to  Martin  Schultz  of  that 
city  on  April  30,  1858.  Together  they  visited  London  and 
stayed  till  August  17,  1859.  Then  they  returned  to  America. 
Madame  Bishop-Schultz  sang  in  nearly  every  important  city  on 
the  globe. 

SECQIID  VISIT  TO  CALIFORNIA 
She  returned  to  San  Francisco  on  September  24,1865 
and  was  promptly  serenaded  at  the  Occidental  Hotel  by  the  San 
Francisco  Philharmonic  Society.  She  v/as  given  a  welcome  by 
the  press.  On  September  30th,  the  San  Francisco  Wasp  report- 
ed; 

"Anna  Bishop  has  returned  to  California.  Many 
of  us  are  still  here  v;ho  remember  1854,  and  the 
glorious  treat  of  operatic  and  lyrical  music 
that  this  talented  child  of  song  afforded  us* 
We  say  child  of  song  advisedly,  for  not  only  by 
inheritance,  but  by  early,  painful  training  in 
the  most  severely  classical  school,  by  study  of 
the  great  masters,  did  this  finisht^d  artiste 
arrive  at  the  perfection  which  achieves  (sic) 
difficulties  without  effort,  and  charms  without 
a  sensation  of  overcoming t  We  look  forward  with 
pleasant  anticipation  to  the  series  of  concerts 
promised  by  this  lady." 

Under  the  section  "Musical  and  Theatrical,"  v;o  find 
in  the  Town  Crier  of  October  7,  1865s 

"MADAME  BISHOP'S  CONCERT 

"The  v/olcome  given  to  Anna  Bishop,  last  V/cdnes- 
day,  on  the  occasion  of  her  reappearance   after 


45 


an  absence  of  nearly  ten  years,  v/as  an  ovation. 
Before  the  concert  comrAcnoed,  every  seat  In  the 
Academy  of  Music  was  filled,  and  raany  ladies 
wore  obliged  to  content  themselves  v;ith  places 
in  the  parquet.  The  storm  of  applause  that 
shook  the  v/alls  on  the  appearance  of  the  fair 
cantatrice,  appeared  to  affect  her  deeply,  and 
her  opening  notes  of  the  'Casta  Diva'  bore  evi- 
dence of  the  emotion  that  swelled  her  bosom. 
The  artiste,  hov/evcr,  soon  triumphed  over  the 
viToman,  and  never  was  the  chef  d'oeuvre  of  Bel- 
lini more  correctly  interpreted  than  on  that 
evening.  To  our  ears,  Madame  Bishop  has  lost 
nothing,  and  her  duet  v;ith  Mr .  Lascellcs,  called 
'SuxiBot,'  composed  by  Stephen  Hassett,  v/as  the 
gem  of  the  cvcningi  so  sweetly  and  chastely  ren- 
dered was  it,  thL.t  it  struck  upon  the  senses  like 
the  refinement  of  song." 

And  in  the  scone  periodical  a  week  later,  on  October  14th  ap- 
pears ; 

"The  second  concert  last  week  v;as  infinitely 
more  successful  than  the  first.  The  lady  has 
evidently  recovered  from  her  last  severe  indis- 
position, and,  in  consequence,  sang  with  that 
sweetness,  pathos,  and  brilliancy  for  v/hlch  her 
youthful  performances  were  always  remarkable. 
Indeed,  her  rendering  of  one  or  two  morceaux  in 
particular  was  so  beautifully  truthful  and  ear- 
nest, and  v/as  v/ithal  so  ingenuous,  as  to  cause 
the  audience  to  almost  forget  the  fact  that  so 
many  years  had  elapsed  since  they  last  heard 
her.  The  \yoll-morited  burst  of  applause  must 
have  assured  the  vrarld-renoYmed  cantatrice  of 
the  high  regard  entertained  for  her  by  Califor- 
nians . " 


TRIP  TO  CHI'M 
During  her  three  months'  stay  she  gave  concerts  at 
the  Academy  of  Music,"  sang  in  benefits  at  Grace  Cathedral ,  and 
St.  Ignatius  Church,  and  for  the  British  Benevolent  Society^ 
made  appearances  at  San  Jose  and  Oakland.  During  this  visit 
she  appeared  only  once  in  opera.  After  three  farewell  con- 
certs she  left  for  China,   via  Honolulu,  on  January  13,1866. 


Sho   continued  hur  musical   activities   on  the   v/ay  and 

v/as  hoard  .from   in  Hav/aii   through  the   3 an  Fr.'-.ncisco   Hev;s   Letter 

of  February  24,  1865: 

"Miidanio  Anna  Bishop  is  said  to  have  mot  with 
groat  succoss  at  the  Sandv/ich  I s. lands  ,  and  her 

concerts  vjzrc   attended  by  the  royal  family." 

SEIPWRECKJJID  AT  VifAEE  ISLAND 
One  of  the  most  hazardous  experiences  of  her  career 
occurred  v/hon  her  ship  Libolle  v/as  completely  wrecked  on  Wake 
Island,  i/larch  5.  136G.  Madame  Bishop ^  toflv-ither  with  the 
tv/enty  survivorr.,  s alloc'.  1400  milus  in  an  open  boat,  reaching 
the  Island  of  Guam  on  April  5th.  Here  t]ie  irovernor  and  the 
natives  laelped  them  during  the  month  in  vmich  they  had  to 
wait  for  a  boat  to  take  then  to  Ivlanila-  On  July  28th  the 
San  Francisco  Ne>.ts  Letter  printed  a  letter  from  Anna  Bishop 
addressed  to  a  mueic  publisher,  I.ir.  Gray. 

■  ^^'•REGIl  OF  THE  bark:  LI3ELLB 

"Mr,  Gray, the  music  publisher,  613  Clay  Street, 
has  received  the  following  from  Madam  Bishop, 
the  best  evidence  of  her  safety: 

'Gucim,   Mariana,  Islands, 

May  7,  1866- 

'You  \/ill  be  shocked  to  learn  wo  have  been 
wrecked  on  Wake  Island,  on  the  5th  of  March, 
and  lost  all.  V/e  ^n'ere  three  weeks  on  this  -un- 
inhabitable Island c  No  water,  and  had  to  v/ait 
three  days  before  -'e  could  set  any  from  the 
ship.  We  had  no  clothing  but  what  v;e  stood  in 
up  to  arriving  on  this  island. The  Governor  and 
inhabitants  have  been  most  kind,  and  furnished 
UE  v,'it}i  a  few  materials  to  make  up  a  little 
cloth.infr.   We  have  no  stores  here.    Y/e    came. 


Yfc^bJ^- 


47 


tvirenty-one  of  "uS;  In  an  open  boat,  1400  miles. 
How  we  wished  it  was  to  San  Francisco!  A  per- 
fect miracle  our  safe  passage  to  this  place .  The 
captain  of  the  Libelle  left  at  the  same  time  vi/e 
did  from  V/ake  Island,  In  a  small  boat,  with  four 
of  his  men  and  three  Chinese,  but  up  to  this  time 
vife  have  not  heard  of  them.  We  are  here  a  month 
today.  The  Governor  has  sent  a  schooner  to 
Wake  Island  for  the  specie  saved  from  the  vio?eck, 
and  we  had  to  wait  its  return  to  take  us  to 
Manila,  where  we  hope  to  commence  operations.  Mr. 
Van  Reed  and  the  Japanese  are  allov^fsd  to  go 
with  this  to  Hong-Kong.  You  cannot  imagine  how 
vire  suffered  all  one  night,  from  9  o'clock,  P.M. 
till  8  A.M.,  thinking  every  moment  would  be  our 
last^  but  the  Almighty  viras  watching  over  us  poor 
sinners.  Mr.  Schultz,  Mr.  Lascelles  and  Maria 
are  with  \is  . 

Truly  yours , 
Anna  Bishop  Schultz.'" 


CAREER  COMTIiroED 

In  spite  of  many  hardships  and  approaching  ago. 
Madam  Bishop  who  traveled  more  extensively  than  any  singer  of 
her  day,  bravely  continued  making  tour  after  tour,  giving  con- 
certs in  many  places.  There  is  a  notice  of  her  successful 
appearance  in  Salt  Lalce  City,  Utah,  in  June  1873.  In  her 
sixtieth  year  she  returned  once  more  to  San  Francisco  and  on 
July  17th  was  serenaded  at  the  Cosmopolitan  Hotel  by  the  Am- 
phion  Quartette. 

During  this  final  year  in  San  Francisco  she  inau- 
gurated a  concert  series  at  Piatt  Hall,  in  company  with  Alfred 
Wilkle,  tenor;  L.  G.  Gottschalk,  baritone,  and  Frank  Gilder, 
pianist,  and  afterwards  made  a  tour  of  the  Pacific  Coast. 


ir 


48 


Says  the  Evening  Bullotin  of  January  16,  1874; 

"Tonight  Ina  A.  Coolbrith,  California's  peerless 
poetess,  vifill  receive  a  complimentary  benefit  at 
Piatt's  Hall.  The  prospects  of  a  good  house 
are  excellent,  despite  the  unpleasant  weather. 
The  performance  comprises  two  comedies , an  orig- 
inal poem  by  Mr.  Bovraian,  singing  by  Madarae  Anna 
Bishop  and  others,  and  other  attractions." 

During  the  v/intor   she   took  part   in  the   oratorio 

Esther,  presented  at  the  California,  and  sang  at  benefits  for 

Alfred  Wilkic,  George  Evans,  Ina  Coolbrith,  and  Frank  Gilder, 

among  others.    Preparing  to  leave   San  Francisco,  she  gave  a 

farov/ell   concert  concerning  v/hich  The  Evening  Bulletin   of 

February  17,  1874  announced; 

"Farev;cll  concert  by  liadanc  Anna  Bishop.  This 
great  artist,  acknowledged  to  be  one  of  the 
world's  greatest  singers,  vdll  give  a  farewell 
concert  on  the  evening  of  February  26th,  previ- 
ous to  her  departure  for  Australia.  This  \/ill 
probably  bo  the  last  opportunity  a  San  Francisco 
audience  v/ill  have  of  hearing  Mrs-  Bishop." 

A  PINAL  FARE^Ji/ELL 
But  she  was  not  quite  ready  to  leave  yet.  She  was 
identified  v;ith  a  scries  of  rather  second-rate  concerts  under 
Frank  Gilder's  management  for  six  months  following  the  above 
announcement.  After  a  brief  tour  of  Oregon  and  British  Colum- 
bia during  the  sur.imer,  she  appeared  again  in  Gilder's  popular 
concerts,  and  on  October  7,  1874  gave  a  final  farewell  bene- 
fit performance.  She  left  for  Australia  on  the  12th  in  com- 
pany vidth  her  husband.   Her  death,  due  to  apoplexy,  took  place 


49 


In  l:^o\!  York  on  Mc.rcli  18,    1884. 

In  ordor  to   give   the   v/orld  tlio  knowlod;::.:,   of      such     i. 

rich  :-.nd   .jve-ntful   life,   hor  v/idowor        L'r.rtin  Sohii.ltz,    end^?.v- 

orod  -bo  publish  l\^r  incinoirG.      In  this    att-vinpt  ho  mot  v/ith  some 

difficulty,    according   to   an  itom  \;hich  appoarod  in  tho   Morning 

Call  on  Novorib..r  25,    1888; 

"Martin  Schultz,  Mrao .  Aiu'iC.  Bishop's  \!±6.o\-r^i% 
proposed  to  publish  hyr  neraoirs,  p.nd  gcve  tho 
job  to  Hov/ard  Carroll,  who,  Schultz  Gh?j?grts  in 
a  suit  for  $5,000  dfiraagcs  in  the  coim'.ion  pleas, 
H.  Y. ,  recently,  appropriated  th,;  ll-^orature 
and  racKioranda  to  his   ov/n  use." 

LE3SER  LUIvjIKaRIES 
Thfc  gold  rush  dGCi'.dc  nay  btt  consid-.rod  as  the  great 
period  of  grand  opera  in  San  j^'rancisco.  'Oosides  the  world 
fcj-.ious  singers  already  r.ientioned,  therr  was  a  host  of  less  i:n- 
portLint  but  n^..v jrtholess  •/idoly  acclaimed  prxina  donnas  and 
opera  companifes  ...ctlve  at  this  time-  Anong  these  Y/ers  the 
Bianchls,    Ann-.  Thill  on   and   Slgnorina  Br^>.mbill.- . 

AiJNA  TJiILLOH  (1812-1905) 
LittJ.e  is  knovm  of  Anna  Thillon,  though  she  gave 
several  popular'  local  seasons  during  1853  and  1854.  Born  in 
Calcutta  of  English  parents  in  1812,  she  was  riarried  at  fif- 
teen to  a  Preiich  gentlevian,  M.  Thillon.  Her  debut  took  place 
at  Clement,  Franco,  In  Le  Rossignol,  (The  Nightingale).  Her 
first  appearance  in  Kew  York  v/as  as  La  Catarina  in  The  Crown 
of  Dianonds   or.   oOijtenbor  18,    1831. 


;fr 


>i<-;   i^' 


:v:-v^^iC.^ 


:P   -Vo 


•'  ^..V'^.> 


50 


She  came  to  San  Francisco  fron  the  Ea^t  via  Nica- 
ragua, arriving  on  Decerabor  31,  1853  in  her-  fortj-flrst  year. 
Illnesses  repeatedly  Torced  her  to  cancel 'oonefit  aprjearances, 
though  she  sang  regularly  with  the  French  Opera  Company  at  the 
Metropolitan.  During  the  aprinr^  she  played  to  full  houses  in 
Cinderella  and  The  BohOiiian  Girl.  In  i'ay  1054  she  attoupted 
a  tour  of  the  interior,  but  raot  with  poor  success  in  the  moiui-- 
tains.  "Our  rough  friends,"  says  the  GoldonEra  on  Hay  14, 
"just  didn't  sabo."  On  Hay  18,  after  her  return  to  3an  Fran- 
cisco she  was  so.i'enaried  by  the  Turnvorein  Society.  On  the 
first  of  Juno  l'if)4  she  r^;turned  to  tlie  East,  gang  in  Now  York 
at  Wlblo's  in  English  opera,  and  shortly  afterwards  retired 
from  the  stage.  She  died  at  Torquf?y,  England,  May  5,  1903 • 

THE  BIANCHIS 
Impresario  Tom  Maguir©  engaged  the  Bxanchis  early 
in  1858.  Eugenio  and  Giovanna  had  coiiie  fron  ll3:cico  in  October 
1857  and  started  reviving  Italian  opera.  They  gave  several 
grand  concerts  in  ccslume  at  his  Opera  Konse  and  rere  v/ell 
received*  San  Francisco  at  this  time,  lacking  the  pres- 
ence of  the  great  stars  of  the  earlier  pai^t  of  the  decade, 
settled  davn  to  the  conviction  tl'-at  the  Dianchis  would  suffice 
until  more  prorainent  talent  had  venturcvd  out  from  the  East* 
In  1859  Signer  and  Signora  Bianchi  augmented  their  troupe  and 


■;.'''.'^' 


.  -     ^^.  J  a; 


T  oJttfc 

j')e  tone 


51 


for'iod  the  Italian  Opora  Company  v/iiich  at  various  times  in- 
cluded Elvira  3rainbilla,  Eliza  Blscaccianti ,  i.ijue .  Klebs,  and 
I.Iossrs.  Grcg3,  Killer j  Roncovieri,  Leacli^  and  Xlcbs.  Tlie 
Biancliis  foil  out  v;itix  riaguiro,  cancelled  their  schedules  and 
contracts,  -raid  hcgan  to  piit  on  opera  inde]X)ndcntlj  at  the 
ilmerican  Theatre,  "'iaouire  si:ed  theiii  then,  claiming  that  Eu- 
genlo  Bianchi  had  appropr^.ated  and  './as  using  Maguiro's  operat- 
ic scoroE,  valued  at  .400. 

The  cou.plcj  continued  successfully,  however ^  and  gave 
season  ui'ter  season  of  op  ratic  ontortainment  i  Of  their  per- 
sonal appearance  we  learn  from  the  critic  in  the  Daily  Evening 
Bulletin  who  wrote  on  May  20,  1862; 

"There  is  no  vor;-  marked  change  in  Signer  3ian- 
chi.  \/o  see  the  old  sturdy  and  rather  fussy 
figure,  wc  hoar  the  same  beautiful  voice  that 
was  familiar  two  years  ago.  Signora  Bianchl  is 
as  stout  as  ever~-perhaps  a  little  stouter j  she 
has  the  old  'gu.shing'  style  of  doing  things, and 
she  takes  the  eyes  if  not  the  ears  by  storm. 
Her  voice  seemed  at  times  somevirhat  fatigued, and 
lacked  freshness.  There  is  little  of  a  sjoipa- 
thetic  character  about  her  singings  but  opera- 
goers  will  no  doubt  soon  get  used  to  h.er  tones 
and  take  delight  in  them." 

After  a  decade  of  activity,   Bianchi  and  his   wife 

gradually  retired  from  the  opei'a  to  become  singing  teachers. 

Respectably  i.indiocre,  thoy  occasionally  got  up  oxieratic  porfonn- 

ancos.    Critics  have   called  Madam  Bianchi  "the  mother   of 

music"  of  the  city  —  a  title  which  seems,  hov/cver,   a  little 

exaggerated. 


^lvX^i>' 


sTLJ  fl  —  vi;.. 


52 


ELVIRA  BRAMBILLA 

Elvira  Brambllla,  one  of  the  most  popular  young 
singers  of  her  time,  began  her  San  Francisco  career  with  the 
Bianchls'  Italian  Opera  Company,  and  after  several  successful 
seasons  organized  and  managed  her  ov/n  company.  She  was  listed 
in  Langley's  City  Directory  for  1865  as  follows;  "Brambilla, 
Elvira;  artiste,  Italian  Opera ,  diva  726  Vallejo." 

A  clever  and  modest  little  Sicilian  girl,  she  was 
forced  to  do  housework  all  day  fnr  those  dependent  on  her, yet 
sang  nightly  v/ith  a  fresh  vibrant  clear  soprano  as  though 
the  back  breaking  exorcise  of  the  day  had  done  her  good. 

She  was  apparently  a  favorite  of  the  critics  for  all 
the  noticus  of  her  are  eulogies.  For  exaraplc,  the  San  Fran- 
cisco News  Letter,  reviewing  Srnani,  presented  by  the  Italian 
Opera  Company  on  their  opening  night,  writes  on  July  21,1866; 

"As  gourmets  reserve  their  choice  dish  to  the 
last,  so  have  wo  deferred  our  notice  of  Signo- 
rlna  Brambilla,  whoso  pardon  wo  crave  for  the 
seeming  want  of  good  manners;  but  she  sang,  as 
over,  dcliciously.  It  is  a  real  treat  tohoar 
her,  and  one  never  fears  disappointment  when 
she  undertakes  a  part  in  an  opera.  Her  notes 
flov/  on  in  their  melody  without  effort,  and  her 
vocalization  is  finished.  One  cannot  but  notice 
with  admiration,  and  remember  v/ith  pleasure , her 
trill  in  the  solo,  'Tutto  sprezzo,'  which  v/as 
performed  admirably.  She,  as  well  as  the  other 
artists,  v/as  w:.rmJ.y  received;  and  v;c  may  thank 
Signer  Bianchi  for  his  efforts  and  good  taste 
in  our  behalf  as  v/oll  as  congratulate  him  on 
his  success.'' 

Her  rendition  of  Desdomona  in  Verdi's  masterpiece 
Otello  was  one  of  her  most  highly  praised  creations.  She  in- 
augurated her  own  opera  season  on  January  27,  1866  with  the 


5^- 


t    Bja    c. 
.o(,6>XxjaV  92V  n 


-.ri:^ 


:o>-'..L 


53 


tragic  Lu".la  dl  Lajraucrinoor .  At  various  times  she  porforrnGd 
in  La  Ti-aviata,  Norma ,  Faust,  Attila,  Martha,  Don  Pas  quale ,  and 
others. 

After  nearly  four  years  of  successful  appearances 
in  San  Francisco,  in  1867  she  decided  to  return  to  Sicily 
where  she  was  happily  married  to  a  man  of  rank.  The  high  re- 
gard in  which  she  was  held  is  well  expressed  by  the  "Bon  Voy- 
age" notice  in  the  San  Francisco  News  Letter  October  26,1867s 

THE  DEPARTURE  OF  AN  ARTISTE 

"Signorina  Elvira  Brambilla,  the  favorite  prima 
donna  soprano  of  the  operatic  vrorld  of  San  Fran- 
cisco, will  leave  on  the  steamer  Sacramento  next 
Vi/ednesday,  30  inst.,  for  New  York,  en  route  for 
Europe.  With  her  departure  fades  the  last  hope 
of  Italian  opera  here  again  until  nev/  artistes 
arrive.  She  has  been  a  resident  of  our  city 
three  and  a  half  years,  and  has  earned  and  mer- 
ited the  title  of  the  best  prima  donna  that  San 
Francisco  has  been  favored  with,  possessing  as 
she  docs  rare  attainments  as  an  artiste,  among 
which  should  bo  mentioned  particularly  her  great 
roportoiro  and  most  perfect  intonation  and  mem- 
ory, which  have  always  enabled  her  to  stand 
first  in  all  the  troupes  with  which  she  has  been 
connected.  Her  career  hero  has  boon  marked  by 
a  strict  attention  to  her  professional  duties, 
declining  all  Invitations  of  society  and 
cliques.  She  loaves  with  a  name  as  artiste  and 
lady  which  can  bo  won  by  those  who  deserve  it. 
Her  friends,  and  their  name  is  legion,  wish  her 
success  wherever  she  may  go,  and  v/ill  be  grat- 
ified if  the  future  brings  her  again  to  those 
shores." 


OTHERS  IN  THE  MINOR  CHOIR 
Thci'C  v/crc  many  less  talented  songsters   v/ho  came  to 
San  Francisco  during  the  feverish  gold  rush  daySj  remained  for 


a  soason  or  tv;o ,  tlion  left  for  other  fields  of  tri-uinph  or  fi- 
asco. Araong  those  raay  bo  mentioned  Signora  Abalos,  Madame 
Barili-Thornc,  Madame  Cailly;,  Signora  Garato,  Miss  Lizzie 
Parker,  Madame  Agatha  States,  and  Madame  Von  Gulpon.  Active 
mostly  during  the  fifties,  they  left  posterity  little  in  the 
\?ay  of  memoirs,  anecdotes,  or  any  other  information. 

DAUGHTERS  OF  THE  VffiST 
Possibly  because  of  the  strong  and  widespread  In- 
terest in  grand  opera  at  this  period,  a  younger  generation 
grow  up  in  the  sixties  with  a  predilection  for  the  operatic. 
Then  girls  --  like  the  present  generation  who  long  to  become 
movie  stars  —  yearned  for  the  glamorous  life  of  the  prima 
donna.  There  were  several  native  daughters  of  California  who 
won  vrorld  renovm.  Most  famous  perhaps  were  Sybil  Sanderson, 
born  in  Sacramento  in  1865 j  Emma  Nevada,  born  in  1861  in  Alpha 
near  Nevada  Gltj,  California;  and  last,  Caro  Roma,  born  in 
Oakland  in  1869,  v./ho  won  recognition  not  only  as  a  prima  donna 
but  as  a  composer. 

SYBIL  SANDERSQIJ  (1865-1905) 
Her  career  reads   like  a  popular  novel.    Leaving 
San  Francisco  in  her  teens,   she  soon  had  Paris   at  her  feet 
and  became  one  of  the  most  fascinating  women  in  Europe.   The 


SYBIL   SAITOERSON 
(1865   -   1903) 


Miss  Sanderson  in  the  Title  Role  of  Manon. 


PHOTO   COURTESY  M.    H.    do   YOUNG  MUSEUIVl 


55 


celGbratcd  composei'  Massenet  fell  in  love  vifith  lior  and.  wrote 
Esclarmonde ,  Thais  and  Man on  expressly  for  her.  She  sang  for 
the  Czar  of  Russia,  v/as  rj^lnted  by  Benjamin  Constemt^  married 
a  Cxiban  m.illionaire ,  and  died  while  still  young  and  beautiful. 

In  1873  her  father  S.  \7.  Sanderson,  one  of  Cali- 
fornia's -sxiGn  of  law  and  Judge  of  the  Supremo  Court  of  the 
State,  moved  his  family  from  Sacramento  to  San  Pranolscoo 
Sybil  was  then  about  eight  years  old.  The  Sandersons  were 
well-to-do  and  maintained  a  large  residence  on  Holiday's  Hill 
at  Laguna  and  Sacramento  Streets.  At  the  family's  social 
affairs  Sybil  frequently  displayed  her  vocal  talent  and 
charmed  the  gviests  virith  a  voice  possessing  wonderful  bell- 
like  tones.  The  guests  encouraged  the  girl  and  she  began  to 
nurture  secret  ambitions  to  become  a  prima  donna.  Ufhen  those 
desires  boccjne  kno\m  to  her  father  she  found  him  strongly  op- 
posed. However,  in  most  matters  the  high-spirited  and  ener- 
getic Sybil  tyrannized  over  her  family  and  had  her  viray. 

Gertrude  Athorton, the  novelist ,  one  of  Sybil's  chums 
recollects  hov/  the  two  girls  took  long  "despairing"  Vi/'alks 
over  the  hills  of  the  city,  expressing  their  dreams  andambi- 
tions  to  each  other  and  virondoring  if  they  v/ould  ever  find 
their  \;ay  to  the  larger  world  beyond  the  hills. -"- 

Sybil,  v/ith  her  beauty  and  talents,  v/as  very  popular 


-'C-Athc rto n ,  Gertrude   Adventures,  of  a  Novelist,  p.  112 


56 


in  San  Francisco  society  and  a  favorite  of  the  young  men  of 
the  city.  AmonQ;  then  was  a  younc  tenor  of  a  local  opera  com- 
pany who  fell  madly  in  love  with  her.  They  expected  to  marry 
--  a  i)lan  v/hich  mot  \/ith  no  more  parental  approval  than  her 
stage  ambitions.  She  was  offered  a  trip  to  study  in  Paris  as  an 
alternative . 

Hiss  Sanderson,  now  a  yoking  woman  of  eighteen,  had 
never  appeared  in  any  public  r^orformance  but  had  displayed 
her  talent  only  among  i'riends  of  the  home  circle.  A  few  days 
before  her  departiire  for  Europe  a  musicale  viras  arranged  at  the 
Baker  residence  at  Prf.inklin  and  l/ashington  Streets.  Sybil 
\/as  the  guest  of  honor  and  sang  to  a  largo  group  of  leaders 
of  the  city's  musical  \/orld.  Her  singing  created  a  sensation, 
and  for  days  was  the  talk  of  those  present.  They  predicted 
the  brilliant  future  \.'hich  she  afterward  attained. 

STUDY  III  PARIS 

Her  fsmily's  position  made  her  acceptable  in 
the  most  select  circle  of  Parisian  artists,  and  soon  her 
t&lent,  her  charm,  and  frank  Americanism  made  her  much 
sought  after.  Grc;at  things  were  predicted  for  La  Bellu  Amer- 
icaine.   She  did  not  disappoint  these  expectations. 

Groat  music  masters  and  voice  specialists  in  Paris 
vifere  consulted  to  aid  in  developing  her  amazingly  clear,  high, 
bcll-likc  soprano.  Her  m.othor  lavishly  contributed  whatever 
was  necessary  for  the  full  flowering  of   Sybil's  gift.   She 


studied  with  Jean  and  Jidoiiard  de  Resz'-ke,  Sfint-Yves  Dax,  Ftnie  • 
Marchesl,  La  Grange,  and  Lime.  Sbriglia,  among  others,  at  the 
Conservatoire   of  ?.1u3ic« 

?.'IASSEI!ET  '  S   I\^"5E 

The   p-'iroiital   objections   to    Sybil's      oporatxc   caroor 

\>rorc   i\G   strong  ?.s   over  i-ind  her  toacho-rs  woru   not    able   to  ovor- 

coi'iio   then.      Thoy  tried  cvory  moans  of  persuasion.      Finally  as 

a  last  resort   3t.  l''ves  Bax   arranged  to  have  her  sxng  at   a 

ruisical   gathering   at   \/hich  Massenet,    the   colcbratt;d     composer 

;rnd  inpr^^sario,   v:r.s  to  bo  one  of  the  guests.    This   meeting 

was  of  .nonuinont al  importance  in  the  life  of  the  young  Amoricaji 

songstress   and  in  the  c  •reer  of  the  co.aposei'.   lie  found   in 

her  the  inspiration  for  sone  operas  that  wore  at  this  time  only 

ideas  in  his  mind.   A  fG\/  years   after  this  meeting  liaissenct 

said,  as  quoted  by  Th^   iiorning  Call  of  June  2,  1889: 

''I  have  carried  the  idea  of  'Esclarnondo  '  about 
v;ith  i:io  for  nan;/  years.  As  every  debutante 
presented  herself,  I  carefully  scanned  her.  3ut 
nov/hcre  could  I  find  my  Tisclarmonde.  So},icthlng 
over  two  years  ago,  at  a  reception,  I  i.iot  Hiss 
Sanderson,  ajid  inmodiatcly  recognized  in  her  my 
heroine.  The  papers  have  all  anno-anced  that  Miss 
Sanderson  created  the  titl'^  role.  I  thinl--:  they 
should  know  that  in  reality,  she  created  the  op- 
era, for  j.t  \;ould  not  have  buen  put  on  paper  but 
f<jr  our  ch'^-L'iGO  ■•.leeting  .  " 

The  objections  ox    tlie-  f:'nlly  were  no\-  si/opt  ■^.way  and 

Miss  S-:indorson  becaiao  th..;  pupil  of  '.Ip.ssonet  wllo   rehearsed  her 

for  hours   find  gave  hei'  voice   tnat  :.iost  rigorous   training, 

bringing   it  up   to  high  G.    Operas   like  Manon  and   Tha is 


58 


p.s  v/cll   P.Li   Esclo.rr.iondo  v/ox'c    composod  for  lior,   to   \iilcli     Snlnt 
Saens   added  Ph^/rne   in  1893. 

DEBUT  AT  THE  HAGUE 

Sybil  Sanderson,  in  spite  of  her  nev;  influential 
cliamplon,  Massenet,  could  not  be  persuaded  to  make  her  debut 
in  Paris  where  Eimna  Eames  was  captivating  the  opera-goers  with 
her  singing  of  ilarguerite.  Sybil  traveled  to  The  Hague  and 
appeared  in  Maiion.  The  city  wont  wild  over  the  young  Ameri- 
can whose  beauty,  charm,  acting  and  voice  v/ere  a  revelation. 
The  press  carried  the  good  nev;s  to  Paris  before  the  return  of 
the  composer  and  his  protege  and  created  an  air.  of  expect  - 
ancy  so  favorable  m  preparing  for  a  new  opera  season. 

San  Francisco  was   keeping  close  watch  on  her.   The 

issue  of  The  Argonaut  March  10,  1838   states: 

"Sybil  Sanderson,  upon  the  occasion  of  her  debut 
sang  first  night  at  The  Hague,  and  the  second 
night  in  Amsterdam.  She  received  four  hundred 
dollars  for  each  performance,  and  is  in  great 
gloo  over  her  first  'wages.'  The  opera  was 
'Manon  Lcscaut,'  which  Minnie  Hauck  sang  inSan 
Francisco.  Massenet,  the  composer,  gave  to  Miss 
Sybil  Sanderson  for  a  Christmas  present,  the 
score  of  'ilanon,  '  bound  in  v/hite  vellum,  and 
vifith  the  young  singer's  natne  v/rittcn  across  the 
volume  in  gold  in  facsimile  of  the  composer's 
handwriting . " 

And  on  April  18,  1888: 

"Sybil  Sanderson's  smallpox, paralysis , and  scar- 
latina turns  out  to  have  been  a  mild  attack  of 
measles.  She  hopes  to  make  a  Paris  debut  in 
October." 


PARIS  DBBUg^ 

Tho  season  of   1889  was  of  special  irapor-tanoo,  for 

it  was  tlio  year  of  tho  Paris  Exposition.  Pai\avcy,  tiio  director 

of  tlic  Op-jru  Comiquc,  had  asl.od  Massenet  for  a  now  work  to  bo 

poif  ornod  during  the  Exposition.   Werthor  v/as  suiTgostod  by  tho 

r;iana[';u-rs  but  tho  coraposor  pin;forrod  to  give  then  Esclarmondo . 

Tho  r..asons  for  this,  ho  stated,  ":-r'Q   that  the  opera  v/as: 

"  • » ta  very  spectacular  drama  which  lent  itself  far 
better  to  the  unfolding  of  a  fine  niise- en- scene, 
to  the  magnificence  of  stage  decorations  and 
costuraes,  rnd  for  wh.ich  I  had  a  wonderful  in- 
terpreter Miss  Sybil  Sanderson,  gifted  with  a 
miraculous  voice,  capable  of  rising  to  any 
heights  •"-''^ 

Ilasr.on^.t  porsuad'Vd  the  r.rinagi;rs  ;it  tLio  Opera  Comiquo 

to  talco  Escl'irmonde  .'^iid  to  lot  oaiid-rson  malco  hor  dobut.   The 

public  or  dross  rehearsal  took  place  in  th^c  presence  of  a 

select  nuinb;.r  of  invited  giie:';t3,   among  tliom  m^^Liy  Americans. 

On  tnat  d^^y  the  composer  wrote  to  Misr;  Sraicl^rson:-"--;;- 

■'It  is  for  you  that  I  hn.ve.  v/ritton  Esclarmondo; 
I  h'\d  faith  avid  you  proved  at  th,.  public  re- 
hearsal to-day,  May  11,  1889,  that  I  have  con- 
fided my  role  unique  in  its  dif f icultio;i  of  all 
sorts  to  a  unique  artist.  You  are  making  your 
debut,  but  I  predict  for  you  a  future  also 
unique.  Later  on,  x&ion  speaking  of  thu'itrical 
glory,  people  will  name  Sanderson. 

Yours  v/ith  much  appreciation 
Massenet" 

Pour  d.Tys  latei'  th(j  premiere  ^".'as  given  vdth  much 


-"-Fink,  I-Tonry  T.   Llassenet  tmd   His  Oooras   n.  147 
■;:""-Ibid.  p.  64 


eo 


glamour  and  attended  by  such  grc-.t  ovntlons  that  the  critics, 
who  h'ld  boon  severe  in  their  rcm'^.rks  about  the  drees  rehearsal, 
ohrixiged  their  vonomous  notes  to  praise.  3y  the  ^nd  of  the 
^Exposition  she  had  sung  the  I'olo  nj.nety-nine  times. 

EUROPEAN  SU( JCSS3 
La  Belle  Sybille  was  suasational.  Paris  adored  the 
CalifoiTiia  girl  and  considered  h;.r  typically  Pi^.rlsian.  Women 
copied  her  v/alk,  her  voice,  her  manner.  Over  night  she  made 
her  fortune  and  also  I/Iassonet '  s.  She  crowded  the  Opera  Comiquo 
v;henever  she  sang  and  for  a  decade  held  an  unrivaled  position 
in  tho  city.  But  the  composer  v/hom  she  had  fascinated  was  not 
altogeth':;r  pleased  with  her  fame.  He  v/as  in  love  vifithher, 
wanted  to  raarry  lior,  and  was  consequently  jealous  of  the  at- 
tentions lavished  on  her.  His  muse  did  not  reciprocate  -- 
Sybil  would  not  marry  the  great  musician. 

THE  CUBAN  MILLI0MIR3 
One  of  her  admirers  v;as  the  handsome  Antonio  Terry, 
son  of  an  Irish  father,  v/ho  had  made  millions  in  Cuba  and  had 
mai-'ried  a  Spanish  v\rife.  Antonio  v/as  captivated  by  the  new 
prim;  donna  r.nd  he,  \vho  had  boon  idolized  by  women, 
bivcrm^;  h^,r  slave.  A  t.^mp^stuous  lov^r,  ho  wooed  her  and 
v;on  hk^r  con':.r,nt  to  marry  him.  Though  s^parat^^d  from 
hor  husband  for  some  tim^,  the  first  Mrs.  Ti:;rry,  when 
she  h.ard   that   Antonio  was  ^namourod   of  Sybil   Sanderson, 


'.     Qjtti    AttiX 


a? 


■■■■'■'    ■-    >•►•;■'' 

•■  f>«xi  ocfs.   ,fi»riJat  ttel'tl  no  lo  no- 


61 


wculd  not  agree  to  a  divoroe.  Mille  the  iav.'yera  wrangled  and 
the  case  v/ent  from  court  to  court,  Sybil  "anderson  toured 
iLiropo . 

EMCHAImTS  the  czar  of  RUSSIA 
She  sang  at  St.  Petersburg  (Leningrad)  and  accord- 
ing to  report,  Russia's  Czar  Alexander  III  ".'as  enchanted  by 
her  to  the  extent  of  arousing  the  jealousy  of  the  provincial 
Goriiian  princess  \/ho  had  bocorae  tlio  Czarina.  Sybil  .v/ent  from 
royal  house  to  royal  house,,  winning  adrairation  everywhere. 
One  morning  in  1893  The  Built; tin  of  December  18  stated  that  a 
yomig  Gcrriaia  n.obl.einan  had  the  bad  taste  to  shoot  hiraself  on 
her  doorstop.  There  v;a3  a  rumor,  too,  that  she  v/as  to  marry 
Count  Paul  Tolstoi,  cousin  of  tho  llussian  novelist* 

IvlARRIAaE  TO  TICRjg 
Antonio  Terry  was  free  at   last  and  in  1897  married 
Sybil  Sanderson.   They  spent  their  honoyraoon  in  Italy.    lime. 
Sybil  Sanderson  Terry  v/as  to  retire  from  the   operatic  stage. 
Sh<';  declared  she  would  never  sing  In  public  agio  in. 

ILLI'IESS  AIJD   3EREAVEMEITO 

In  the  following  year  came  the  sad  nov/s  that,  strick-- 

on  v/ith  paralysis,  the  world  fai.io-ar.  px'i-.Via  donna  v/as  near  death. 

lier  devoted  husband  gave  her  cv.^ry  jare  and  for  laontlis  he  l:ept 

vigil  at  her  bedside-   "Anion  slowly  she  returned  to  he;\lth,  he 


.'.lA 


himself  fell  fatally  ill.  In  1898  "ybil  Sanderson  v/as  a  widov/, 
possoc3or  of  millions,  beautiful  in  her  raoixrningj  and  in 
seclusion  at  the  Chateau  do  Chenonceaux,  '..'ith  its  racmorios  of 
Cathorxno  do 'Medici,  the  lovely  diva  •v./s  the  cynosure  of  all 
Parisian  eyes. 

REAPPEARAMCE  II'  AMERICA 

Contr'x:''3.  to  \v..v  prcviovu.;  pl-ui^  Syloil  Sanderson  re- 
turned to  the  stage  sb.(;  loved  althougli  hear  voic.  had  lo^;t  much 
of  it^;^  orillijuo.cu . 

She  o-.u;!!;  to  .fVinorica  in  1901  to  s  i.ng,  t^/untyporfo  rm - 

anccs  \.'ith  the  .iotropolitan  Opera  Company  under- the   dlroctlon 

of  I'aur.ico  Grau.    She  appc-'.rcd  in  o'.ui  Fraaoisco  at  the  old 

Grand  Op.or'i  Hor.sc  on  Mission  Street.    But  San  .'.''ranciaco  v;as 

then  under  V'/agn:.j:''s  spoil;   her  ligi:it  Trench  roles  Wi.o-.^e  not 

received  wannly.   The  critics  vircro  unf lattorfing.  She  was  hurt 

\)j   the  cool  rCiOOption  accorded  hf;r.   Blanche  Fartiii.a-ton  in  the 

San  Frmicisco  Call  November  11 j  1901   tolls   of  the  eager  and 

elegant  audioiice  v/hich  greeted  the   California  girl  after  her 

sixteen  years  •  a.osonoe  but  as  to  h(jr  singing  of  Manon  she 

states : 

"There  is  aothing  'to'  the  opera,  as  the  phrase 
goes  and  j.t  has  no  place  on  a  grand  opera  pro- 
gramMC.  Still  v/o  had  to  have  Sybil,  and  the 
opera  wan  vvritton  for  her.  She  aas  sung  it  some 
250  times  in  Paris  and  St.  Petersburg,  and  she 
was  drilled  to  J.ts  exigencies  by  ilassenet  him- 
self...  .Mr.io.  ojiQiderson  certainly  knows  'Manon' 
upside  do-rn;  yet  she  was  nervous  enough  last 
night  to  need  the  assistance  of  the  prompter 
fseveral  times  ^  so  .perhaps  a  certain  leeway  must 


T-j-  -^rT' 


iorf;t 


•iTi+S 


be  gi-^anted.  her.  '3ut  Judged  from  her  work  In 
'rianon'  last  night,  lime.  Sanderson  oannot  sing 
nov: ,  vmatever  she  may  have  done  once.  The  voice 
has  gone,  the  control  has  gone, and  only  once--in 
her  duet  in  the  chapel  at  St.  Sulplce  with  Des 
Grioux — did  hor  song  give  any  evidence  of  the 
Jcind  of  thing  that  drew  Paris  and  St.  Petersburg 
to  he  I'  feet  but  a  few  years  ago.  There  she  v/as 
at  hor  best  vocally ,  but,  though  she  is  'of  ours,' 
It  must  bo  regretfully  o'v/ncd  that  Sybil  Sanderson 
has  no  ulacc  in  grand  opijra,and  that  even 'M anon' 
overyjoights  tier  so  far  as  voice  is  concerned." 

The  San  Francisco  Call  on  Deccmbc;r  6,  1901  declared: 

"Sanderson  \'.'lll  not  sing  vith  the  (.rrau  Company 
in  Kansas  City  next  week-  She  has  decided  to 
have  an  operation  performed  on  her  throat  and 
v;ill  prob.Hbly  remain  in  California  for  a   few 

weeks." 

And  in  the  December  21st  issue  of  the  same  yt.ai': 

"liadame  Sybil  Sanderson  Terry  v;as  the  guost  of 
honor  at  a  tea  given  yoi^torday  afternoon  bi'"  Mrs . 
George  C.  Boardman  at  hor-  elegant  homo,.  corner 
of  Sacramento  and  Franklin  Streets. . .about  150 
ladies  v;crc  asked  to  meet  the  singer.  Most  of 
those  invited  were  old  friends  of  Mrs.  Terry 
and  the  reunion  was  a  most  pleasing  one." 

Sybil's  health  failing  her,  she  soon  retired  to  her  villa  at 

Cannes.   T\/o  years  later,  having  become   a  hopeless  invalid., 

she  died  May  17,  :i.903. 

The  S  a::i_  F  ran  Cisco  C  al  1  announced  oji  May  17,  1903; 

"Death  forever  stills  the  voice  of  beautiful 
Sybil  Sandoi'son.  Great  tjriir.a  doniia  v/hom  Cali- 
fornia gave  to  the  world  expires  unexpectedly 
in  Paris  from  an  attack  of  pnouMonia,  contracted 
at  Nice,  follov/ing  a  long  P'^riod  of  failing 
health. . . . 

"Sybil  Sa^Uorsori,  the  v;oll-kno'v/n  American  opera 
singoi',  diet?  suddenly  bo-doy  of  pneioriionia,  ro- 
sultxng  from  an  attacl:  of  grip. 


64 


"The  announcement  of  the  death  of  the  i'^.mous 
artist  catised  a  profound  shock  in  the  .f^i.iericar; 
colony  here,  where  she  was  we.ll-ki:ioY.n,  and 
throughout  musical  and  theatrical  circles.  She 
returned  to  Paris  from  Nice  si.x  wooks  ago  suf- 
fering from  a  slight  attack  of  the  grip.  Her 
condition  v/as  not  regarded  as  serious,  but  she 
gradually  grew  worse  and  her  sickness  finally 
developed  into  pneumonia. 

'*The  doctors  continued  to  hold  out  hopes  forher 
recovers'",  but  the  singer  sank  and  finally  suc- 
cumbed this  morning.  Miss  Sanderson's  mother, 
tho  widov/  of  Judge  Sanderson  of  California ^ with 
v;hom  she  lived  in  apartments  at  I  Avonuo  do  Bois 
de  Boulogne,  and  other  relatives  and  friends 
were  present  at  the  time  of  her  death, including 
her  sisters,  Edith  and  f.larion,  .and  Mary  Garden 
of  Chicago,  the  soprano  of  the  Opera  ComJ.que. 

"The  funeral  will  be  held  at  the  Church  of  3t. 
flonorc  d'  Eylau." 

So  ended  the  career  of  one  of  the  most  romantic  personalities 

of  the  operatic  stage   Jiassenet  wrote  of  hor: 

"She  was  ideal  as  Manon  at  the  Comique,  and 
never  to  be  forgotten  as  Thais   at  the  opera." 


EMMA  ^lEVADA  (1861- 


Daughter  of  the  noted  physician  William  Wallace 
Wixon  of  Nevada  City,  California,  Emma  Wixon,  born  in  1861, 
became  one  of  America's  outstanding  prima  donnas.  Her  father 
sent  her  when  a  young  girl  to  Mills  College,  California. 
Later  she  studied  in  Vienna  v/ith  noted  teachers,  including 
Mme .  Marchesi;  adopted  Nevada  for  her  stage  name  and  made 
her  debut  at  the  age  of  nineteen  at  the  Italian  Opera  House 
in  London.   She  sang  in  La  Sonnambula   on  that  occasion,  but 


)afl;t?   ^/ 


her  venture  was  a  little  premature;  she  Avas  received  coldly. 
Leaving  England  for  Italy,  Emma  Nevada  sang  in  var- 
ious opera  hoases,  developing  her  stage  presence  and  her  un- 
usually high,  clear,  flexible  soprano  during  the  next  tv^ro 
years.  In  I880  she  appeared  at  Paris  in  Mignon  and  The  Poarl 
of  Brazil.  By  this  time  she  had  achieved  a  reputation.  When 
she  Sr-^jig  with  the  Italian  Opera  in  Paris  the  following  year 
in  Lucia  di  Lammermoor,  she  was  invited  to  the  Norwich  Festi- 
val in  England. 

SAN  FRANCISCO  DEBUT 

She  returned  to  her  native  West   in  1884  --  still  in 

hor  early  tv/enties  --  and  appeared  on  San  Francisco's  operatic 

stage  under  Colonel  Mapleson's  management.   Previous   to  her 

concert,  the  critic  of  The  Morning  Call  wrote   on    Kovomhur 

23,  1884; 

"This  young  lady,  known  to  old  California  and 
Nevada  people  as  Emma  IVixon,  has  arrived  in  New 
York,  undur  Mapleson's  management,  to  create 
the  principal  character  in  DelibeO,^,  'Lakmo.  ' 
Her  repertoire  embraces  'Lucia, '  'Mignon, ' 
'Mirclla'  and  the  oratorio  of  the  'Piose  of 
Sharon.'  Already  her  agunts  and  managers  have 
taken  tho  precaution  to  all<iy  the  ardor  of  the 
public  expectation  in  regard  to  Mile.  Nuvada. 
We  are  now  told  that  those  who  expect  to  hear 
loud, robust,  singing  will  be  disappointed;  that 
her  voice  is  more  sweet  than  powerful,  but  has 
the  quality  of  carrying, so  that  the  lowest  note 
can  be  clearly  heard  at  the  furthest  part  of  the 
hall.  The  fact  is,  according  to  the  testimony 
of  those  who  have  heard  Miss  Nevada,  her  voice 
is  weak,  with  no  possibilities  of  brilliant  ex- 
ecution. The  lady  sang  on  the  continent  for  a 
short  season,  under  the  management  of  Signers 
Camblaggio  and  Siena,  and  the  verdict  then  was 
that  her  vocal  capacity  was  limited  to  one  or 
two  niimbers  in  'La  Sonnambula. '" 


IIER  SOUVENIR  BOOK •:;- 

Miss  ITevada  had  many  friends.  Her  autograph  album 
is  fiill  of  flattering  sentiments  from  great  musicians  and 
artists. 

Charles  VMdor,   knov/n  in  Paris  as  "the  nev;  Gounod" 

v;ro  te : 

"V'/ith  one  thousand  v/ishes  for  your  SjDeedy  re- 
turn. Your  faithful  and  devoted  friend.  Charles 
Widor . " 

Coquelin  of  the  Comedie  Francaise  after  she  had  made 

her  debut  in  the  Pearl  of  Brazil,  said  about  her  voice: 

"It  is  the  'Pearl  of  Brazil'  and  you  are  ri^^ht 
in  taking  good  care  of  it.  Respectfully, 
Coquelin." 

Faure,  the  noted  singer,   inscribed  under  a  portion 

of  his  "Ave  Maria": 

"Dear  Little  Emna  Nevada:  An  affectionate 
friend.   F.  Paure." 

Baron  Haussmann  of  Paris,  the  first  time  he  heard 

her  sing,  composed  a  little  verso: 

"Nevada  is  the  name  of  a  rocky  chain  of  Moun- 
tains covered  with  snow.  But  if  you  should 
sing  to  those  Mountains  the  snow  would  molt." 

Ambroise  Thomas  tlie  composer, with  v/hom  she  studied, 

wrote  uu-idur  a  portion  of  a  duet  from  the  opera  Hamlet ; 

"To  my  charming  little  Ophelia  Nevada:  An  af- 
fectionate souvenir.   Ambroise  Thomas." 


:;-From  article   in  liulletin,    Ilarch   19,    1S05 


67 


Jules  Barbicr,    who  was  the  librettist  of  Faust, 

Mignon,  and  other  operas,  wrote  a  little  sentiment: 

"V/hen  you  see  and  hear  Enima  Nevada  you  forget 
all  about  the  artist  completely  and  sec  and  ad- 
mire only  the  young  girl." 

Gounod  was   one  of  her  closest  friends.   She   v/as 

studying  his  opera  Mi  re  11  a  when  he  v;rote  in  her  album: 

"V/e  cannot,  alas, notv/ithstanding  all  our  efforts 
give  to  the  public  ovTr  flame .  Confessing  is  giv- 
ing to  notes  their  body,  but  singing  gives  to 
them  their  soul.  Go  then,  nightingale,  pure  and 
melodious,  rock  our  charmed  ears,  and  let  the 
life  pass  from  your  impassioned  heart  in  your 
voice  as  well  as  from  your  eyes-" 

ftoe .  Marchesl  whom  Mile.   Nevada  considered  the 

greatest  of  teachers,  inscribed: 

"Dear  Emma:  I  am  proud  of  your  talent,  and  love 
you  with  all  my  heart.   Mrtilda  Marchesl." 

Others  among  her  admirers   incltided  Massenet,  De- 

libes,  Rubinstein;  I/tme  •  Essipoff,  the  pianist;   Toffanel,  the 

flutist;   Ardlti,  and  Edwin  Booth. 

SECOND  SAN  FRANCISCO  APPEARANCE 

Emma  Nevada  visited   Paris  in  1885   and  was  married 

there  to  Dr.  R.  E,  Palmer.   She  made  another  appearance  in 

San  Francisco   the  same  year.   Her  voice  was  too  delicate  for 

grand  opera  virtuosity,  she  had  discovered,  so  this  time  she 

limited  herself  to  concert  singing.   The  New  Alcazar  Theatre 

was  to  be  dedicated  and  she  was  engaged  as  soloist.   The  San 

Francisco  News  Letter  of  November  14,  1885  reports: 

"Nevada's  first  concert,  next  Monday  evening, 
villi  fill  the  Alcazar  with  a  most  representative 
audience.   By  voice  and  art,   Nevada  belongs 


.■i    uii   il 


iX. 


r»  - 


68 


properly  to  the  concert  stage.  She  need  there 
fear  no  living  rival.  The  purity  of  her  voice, 
its  delicacy  and  its  wonderful  flexibility, 
\'j±ll  tell  far  more  vmder  purely  lyric  conditions 
than  they  do  when  subjected  to  the  heavy  in- 
fluences of  dramatic  surroundings  ... .The  Alca- 
zar which  is  to  be  dedicated  by  this  troupe, 
is  a  most  beautiful  little  theatre.  Its  deco- 
rations are  In  exquisite  taste.  The  only  im- 
provement that  could  be  suggested  to  the  place 
is  in  the  substitution  of  the  incandesent  elec- 
tric light  for  gas." 

An  even  more  enthusiastic  writer  in  the  Chronicle 

states  on  November  10,  1885: 

"As  anticipated;  the  rush  yesterday  morning 
for  single  tickets  for  the  Nevada  concerts  at 
the  opening  of  the  Alcazar  Theatre  was  some- 
thing to  remember.  In  spite  of  the  v/retched 
weather  a  long  line  of  ladies  and  gentlemen 
stood  for  over  four  hours  in  the  rain  awaiting 
with  what  patience  they  might,  a  turn  to  secure 
tickets.  Mrs.  C  Crocker  secured  four  seats 
and  a  long  list  of  others  might  be  given  who 
wish  to  hear  the  'California  song-bird'  on  her 
return  to  her  native  country.  Speculators  are 
already  getting  from  ijpS  to  .97.50  for  first- 
night  tickets. 

"Altogether  the  indications  are  that  the  open- 
ing of  this  magnificent  theatre  will  be  a  suc- 
cess and  that  the  reception  accorded  to  Kime . 
Nevada-Palmer  v/ill  be   a  tri\imphant  ovation." 

Soon  afterv;ard  she  went  back  to  England  and  in 
1887  joined  the  Italian  Opera  Company  of  Covent  Garden,  Lon- 
don. Her  daughter  Mignon  was  bom  there  and  was  herself  well 
received  as  a  soprano  at  Lisbon,  Brussels,  and  London  in  1905. 

LETTER  FROM  IffiVADA 
The  search  for  the   correct  date   of  Enuua  Nevada's 
birthday  resulted  in  the  discovery  of  a  recent  letter  from  the 


■  ciCi.^r^\ 


>1   et'.:  "10 


i^ntmoitr    vni 


.  i  ncf  t  o  t 


i^*i 


69 


great  prima  donna  herself.   She  wrote  on  April  2,  1938  to  a 

Mr.  Lombard  of  San  Francisco  as  follows: 

"59  Greencroft  Gardens 

London,  N.  Vi/.  6 

April  2,  1938 

Dear  Mr.  Lombard:-  That  you  should  find  it 
difficult  to  know  where  and  when  I  was  born 
does  not  surprise  me  in  the  least--for  never 
from  any  book  or  newspaper  have  they  ever,  in 
my  own  dear  country, America,  hit  on  the  correct 
date.  I  wonder  why?  Well,  never  mind J  Here 
is  the  true  date  biography.  I  vrould  have  much 
to  tell  you,  but  I  am  afraid  that  it  would  not 
arrive  in  time  for  your  book. 

I  v/as  born  in  Alpha,  California,  and  celebrated 
my  seventy-ninth  birthday  on  February  7th  this 
year  (less  than  two  months  ago).  Prom  Alpha, 
still  a  baby  in  arms,  I  went  to  Austin,  Nevada 
v/ith  my  parents.  I  was  educated  and  graduated 
from  Mills  College  in  1876. 

The  next  move  was  to  Vienna,  where  I  studied 
for  the  operatic  stage  with  the  celebrated 
Mathilde  Marchesi.  My  debut  in  opera  was  in 
London  at  Her  Majesty's  Theatre  in  1880  and 
after  the  engagement  I  sang  nearly  all  over  the 
world--  although  my  permanent  home  was  in  Paris. 

There  is  one  little  story  that  I  will  be  grate- 
ful if  you  v;ill  correct  and  put  an  end  to  it. 
Books  and  California  papers  have  said  that  Mrs. 
John  W.  Mackay  was  responsible  for  my  musical 
education.  Vfliy  and  who  invented  this  story  I 
have  never  been  able  to  understand  for  I  never 
saw  or  even  heard  of  this  dear  lady  until  I  had 
been  on  the  operatic  stage  for  two  years  and  had 
already  made  my  name.  'Alien  I  met  Mrs.  Mackay 
while  I  v/as  singing  at  the  Opera  Comique  in 
Paris  I  was  about  to  become  a  Catholic  and  Mrs. 
Kackay  offered  to  and  became  my  Godmother.  My 
education  musical  and  classical  and  everything 
I  owe  to  my  beloved  father  who  never  left  me 
from  the  time  I  made  my  debut,  travelling 
everywhere  v/ith  me,  up  to  the  last  years  of  his 
life.  To  him,  to  my  adored  father,  and  to  him 
alone  I  owe  it  all.  My  father  was  a  celebrated 
physician,  Dr.Wixon,  son  of  the  great  Dr.  Wlxon 


\r'*m    -^Tr'.Nifi 


CARO  ROMA 
(1866  -  1937) 


PHOTO  COURTESY  MRS.  R.  E.  REVALK 


70 


(both  from  Michigan)  the  first  doctor  to  per- 
form the  operation  of  the  hip  joint. 

i,Ira.  Mackay  v/as  a  real  lovely  friend  and  an 
Ideal  Godmother  and  tliere  it  ends--  as  I  hope 
the  absnrd  story  will  end. 

With  nil  the  best  of  good  wishes  for  you  and  for 
the  book  and  my  love  co  all  the  dear  California 
friends ,  I  am 

Yours  sincerely, 

(Signed)  Emma  Nevada  Palmer 

"Jai  Pol"  -::• 


CARP  ROIviA   (1863-1957) 
M?.kin(£:  her  debut  at  the  a^^o  of  throe,  when  she  sang 

a  little  song  of  her  ovm  invention  at  Piatt's  Hall  in  San 

Francisco  in  1869,  Caro  Roma  hod  a  crowded  career  as  composer, 

author,  ^tnd  prima  donna.   She  was  born  in  East  Oakland   on 

September  10,  1866;   educated  in  Oakland   and  at  the  Now  Eng- 
land Conservatory  of  Music  in  Boston. 

THE  BLACKSMITH'S  DAUGHTER 
She  maintained  a  home  in  Oakland  all  her  life.  Her 
parents,  Vernon  S.  and  Mary  Louise  (Boynton)  Northey,  were 
pioneers  of  th'-t  city;  her  ovm  real  name  was  Carrie  Northey. 
Her  ffther  w^s  the  town's  blacksmith.  Changing  her  name  to 
Caro  Roma,   she  quickly  was  launched  on  her   career.    Her 


-"•Music  Room,  San  Francisco  Public  Library 


no 


alf. 


7UQ9b 

/at     nwo  Tori  i 


-*•  r(rtr"i.'r\i'^  r,  '     A>  '  i" 


rodflto^c 


iU^    00..  ,/2oOfl 


71 


natural  endcvments  opened  every  door  to  her. 

SINGS  BEFORE  ^JEBIJ  VICTORIA 

In  Boston  she  appeared  as  prima  donna  v/ith  the  Cas- 
tle Square  Opera  Company.  Lo.ter  she  sang  vn".th  the  Tivoli 
(1888-1898)  and  as  guest  prima  domia  performed  the  role  of 
Santuzzi  in  1903  under  Pietro  Mascagnl's  baton. 

Touring  Europe  axid  singing  in  its  principal  cities, 
she  was  honored  by  a  command  performance  before  Queen  Vic- 
toria, during  the  Boer  War.  The  Queen  not  only  gave  her  a 
medal  of  musical  recognition,  but  also  showered  gifts  upon 
her.  She  sang  also  for  Emperor  Franz  Joseph  and  for  others  of 
the  royalty. 

Caro  Rom.a's  last  professional  appoai'ance  on  the 
stage  took  place  at  the  Lyric,  in  New  York,  in  1906.  During 
the  World  V«ar  she  contributed  hor  services,  playing  and  sing- 
ing willingly  and  Indef atigably  for  the  Allied  cause. 

ORIGINAL  COMPOSITIONS 
Of  the  four  hundred  songs  she  composed,  the  most 
popular  have  been  "Oh,  Can't  You  Hear  Me  Calling,  Caroline?" 
and  "In  the  Garden  of  my  Heart."  The  latter,  written  in  1908, 
sold  some  2,000,000  copies.  "Caroline"  composed  very  casu- 
ally in  1914,  sold  over  300,000  copies.  She  wrote  more  tho.n 
one  thousand  poems,  the  best  kno\m  perhaps  being  "The  Birth  of 
a  Lie."   Many  orchestral  v/orks  are  also  listed  to  her  credit. 


bnBuffnc 


'^p,    Off' 


^r(.+  no 


oho   was   a     member   of   the      California      Composers      anol     V'Jritcrs 
Society. 

LAST   DAYS 

During  her  final  illness-*  she  was  paralyzed  the 
last  eighteen  months  of  her  life--  Caro  Roma  kept  her  radio 
near  her.  On  September  10,  1937  on  her  seventy  -  second 
birthday,  special  broadcasts  of  her  songs  went  through  the 
air  lanes.  She  received  hundreds  of  letters  and  numerous 
telegrams  to  remind  her  that  her  creative  efforts  v;ere  still 
appreciated. 

She  died  two  weeks  later j  on  September  22,  1937  at 
the  Merritt  Hospital,  Oakland,  California. 

MAUDE  FAY  (1883-  ) 
Native  Daughter 
Though  many  great  singers  sailed  into  the  Golden 
Gate  to  win  new  triumphs ,  Maude  Fay  is  the  only  world-famous 
prima  donna  whoso  birthr)lace  ^-s  actually  the  city  of  San 
Francisco.  She  had  her  early  musical  training  here,  gave 
recitals  here,  and  after  earning  European  applause  and  uni- 
versal recognition,  returned  to  make  her  home  in  the  Bay  re- 
gion. John  P.  Young  in  his  History  of  San  Francisco,  refers 
to  the  years  of  1833-1906  as  "A  Period  of  Groat  Progress." 
Coinciding  with  that  epoch,  Maude  Fay  v/as  born  on  April  18, 
1883  to  Mary  L.  (McSwiggen)  Fay  and  Phillip  S.  Fay,  a  promi- 
nent paving  contractor.  In  1906  she  made  her  world  debut  in 
Munich • 


73 


3AII  FHAHCISCO    SCHOOLING 

Possessing  from  early  girlhood  a  voice   of  strength 

and  heauty  Maude  Pay,  upon  graduation  from  the  San  Francisco 

Girls  High  School,  determined  to  become  an  opera  singer.   She 

enrolled  in  Mme .  Anna  von  Heyerlinck's   School  of  Music,  then 

located  on  Fulton  Street.   Ker  progress  v;as  rapid.   Referring 

to  this  period,   the   San  Francisco  Chronicle  of  February  6, 

1916  wrote : 

"Having  had  the  advantage  in  early  years  of 
careful  teachers,  Miss  Fay  had  nothing  to  undo 
when  she  aoproached  Gadski,  Damrosch  and  Bis- 
phara,each  of  whom  told  her  she  must  go  into  the 
German  'nursery'  for  the  proper  cultivation  of 
her  young  voice." 

On  the  advice  of  these  noted  pedagogues  Maude  Fay 

left  for  Dresden,  the  cradle  of  that  'nursery'  to  perfect  her 

voice . 

DFiESDEN  DISCIPLINE 
Arriving  in  Dresden,  Miss  Fay  approached  Frau  Prof. 
Aglaya  Orgini,  eminent  teacher  of  German  operatic  roles.  De- 
spite her  credentials,  Miss  Fay  v;as  not  accepted  at  once. 
l\1me.  Orgini  could  not  spare  the  usual  half -hour;  her  roster 
was  full.  But  Miss  Fay  had  come  to  Dresden  to  study  with 
Mme.  Orgini,  and  her  persistence  gained  her  an  audition.  Af- 
ter three  years  of  intense  discipline  under  Hlme .  Orgini,  Miss 
Fay  decided  to  attempt  her  operatic  debut. 


ii  oBt  oiia 


'  taooL 

J 
e:fc.t\ 


xov 


^  yt  I   <  nQbao'\ 


74 


EITRYDICE   AIID  ARIADNE 

To  detail  the  various  rolea  essayed  by  Miss  Fay  and 

her  subsequent  triumphs  v/ould  be  superfluous.  Oscar  Hiompson's 

The  American  Singer  summarizes  her  early  career  as  follows  i 

"In  190S  she  sang  Tosoa  at  the  Munich  premiere 
of  Puccini's  opera  and  appeared  as  Eurydicc  in 
a  revival  aftur  many  years  of  Gluck's  Orfeo. 
Other  important  roles  created  by  her  in  IvAinich 
premieres  v;ero  Diomut  in  Strauss 's  Peuorsnot, 
which  she  sang  in  Berlin  and  London  prcmiurcs; 
and  Ariadne  in  the  composur ' s  Ariadne  and  Nafos. 
She  appeared  as  Amelia  in  a  Masked  Ball  with 
Battistino ,whcn  the  great  baritone  made  a  guest 
appearance  in  Munich.  Included  rijiiong  hv.r  roles 
were  The  Countess  in  The  Marriage  of  Figaro, 
Donna  Anna  in  Don  Giovanni,  Leonora  in  Fidelio, 
Eva  in  Die  Meistersinger,  Elsa  in  Lohengrin, 
Elisabeth  in  Tannhauser  and  Sleglinde  in  Die 
Walkure.  Beside  guest  appearances  in  various 
German  opera  houses,  she  san^j,  in  St.  Peters- 
burg and  in  London." 

RED  CROSS  SERVICE 

At  the  outbreak  of  the  World  IVar  Miss  Pay  engaged 
in  Red  Cross  work.  She  served  under  the  German  Red  Cross  and 
the  San  Francisco  Chronicle  of  January  2,  1916  reported  that 
Miss  Fay  "sang  frequently  for  the  benefit  of  the  wounded." 

Following  Miss  Pay's  spontaneous  successes  in  Ger- 
many, came  many  royal  honors.  A  fev;  of  these  are  cited  by 
Oscar  Thomp)Eoni-"- 

"Konl^glice  Bayerische  Hofopern  Sangerin  was 
iviaude  Fay.  The  title  was  bestowed  upon  her  by 
the   Prince  Regent  of  Bavaria.   Hers  v;ere   the 


•»-The  American  Singer.  Dial  Press,  New  York 


75 


years  of  docorations  for  opera  singers  in  Ger- 
many, Americans  included.  Among  other  honors, 
the  Order  for  Art  and  Science  was  bcstov/cd  on 
her  after  a  court  concert." 

Besides  the  foregoing  the  San  Francisco  Chronicle 

of  February  16,  1916  added:   "She  has  been  given  the  order  of 

the  'Lippische  Rose,'   and  has  for  some  time  been  a   'Eammer- 

sangerin. '"   Miss  Pay  v/as   "the  only  American  who  has  ever 

gained  these  honors." 

HOME  TOrrJ  DEBUT 

Through  press  reports,  the  San  Francisco  public  had 
followed  Miss  Pay's  ascendancy  into  Europe ' s  "charmed  circle." 
Thus  it  was  with  pleasure  and  curiosity  that  this  public 
learned  in  January  1916  that  Charles  V/.  Fay,  Postmaster  of 
San  Francisco,  had  left  for  the  East  to  escort  his  sister 
home . 

For  several  days  a  sign  displayed  on  the  box  office 
window  of  the  Cort  Theatre,  San  Francisco  read:  "Maude  Fay  to 
sing  on  February  18th  as  guest  soloist  with  the  San  Francisco 
S^^nphony,  under  the  direction  of  Alfred  Hertz."  To  Miss  Fay, 
now  Internationally  recognized,  this  was  a  most  difficult  and 
trying  appearance.  Usually  the  audience  present  at  the  home- 
coming concert  of  a  celebrity  represents  a  cross  section  of 
the  comr,aunity.  Josephine  Hort  Phelps  in  the  San  Francisco 
Argonaut  of  February  26,  1916  wrote: 

''A  perceptible  rustle  swept   over  the  audience 

when  it 'was  time   for  Maude  Fay  to  appear. 

During  the  period  of  her  girlhood  in   San 

Francisco,   at  the  friendship-forming  time  of 


life,  Miss  Fay  had  known  many  people,  who  were 
keenly  interested  many  sympathetically,  others 
morn  judicially,  and  perhaps  inquisitively,  as 
to  what  kind  of  an  appearance  she  was  going 
to  make  "before  the  public,  the  interest  being 
stimulated  by  the  tale  of  her  European  success. 

"The  instant  she  appeared  on  the  stage,  Miss 
Fay's  Americanism  was  patent.  She  carries  her- 
self with  a  kind  of  independent  swing  and  has  a 
decidedly  informal  air. 

"Miss  Fay  was  down  for  two  numbers,  both  long 
and  taxing  ones,  and  neither  in  my  judgment,  a 
good  selection.  The  "Dich  theure  halle"  from 
Tannhauser  and  the  Oberon  aria,  'Ocean,  thou 
mighty  m.onster,  '  demanded  such  sustained  physi- 
cal and  emotional  energy  of  expression  that 
there  seemed  to  be  a  certain  monotony  to  the 
singer's  vocal  contribution,  more  especially  as 
she  gave  no  encore.  And,  besides,  in  purely 
physical  outflow  of  voice,  Miss  Pay  is  almost 
not  sufficiently  equipped  for  'Ocean, thou  mighty 
monster,'  which  requires  a  certain  grandeur  of 
vocal  equipment  such  as  Mmo .  Schumann-He ink  has 
possessed.  And  the  other  aria, for  some  reason, 
is  not  a  good  choice  for  a  concert  selection. 
At  all  events,  in  spite  of  a  most  enthusiastic 
reception  vjhich  followed  the  singer's  two  con- 
tributions, a  certain  proportion  of  the  less 
personally  interested  auditors  expressed  some 
disappointment.  None  the  less  Miss  Fay  is  a 
superior  vocalist  with  a  voice  and  mein  well 
adapted  to  dramatic  delivery.  She  has  plenty 
of  temperament  of  its  kind,  and  sings  with 
compelling  energy.  TV^at ,  however,  is  one  of 
hor  defects.  It  is  a  peculiarity  of  American 
singers  that  they  run  to  energy,  instead  of 
emotional  depths. 

"To  describe  Miss  Fay's  voice  more  precisely, 
it  is  a  high  powerful  soprano,  which  seems  to 
require  over -abundance  of  gesture  to  assist  in 
delivery.  Its  principal  defects  are  a  slight 
hollowness  of  tone;  its  value  is  that  in  these 
taxing  arias  it  proved  without  cavil  the  just- 
ness of  its  classification,  as  a  dramatic 
soprano . " 


a 


77 


CRITIQUE  BY  REDt'ERN  MASON 
Redfern  Mason  in  the  San  Francisco  Ex.?jnlner  of  Feb- 
ruary 19,  1916  reported  Miss  Fay's  appearance  at  the  s-^-mphony 
concert  as  being  "before  the  largest  audience  that  has  ever 
attended  one  of  the  organization's  resular  concerts."  Also 
that  "not  even  Madame  Schumann-He ink  drew  so  large  a  crowd." 
Mr.  Mason  placed  his  stamp  of  approval  upon  the  numbers  se- 
lected: 

"She  sang  them  with  manifest  satisfaction  of  an 
operatic  artist  rejoicing  in  her  prima-donnaship. 
She  made  no  -ittompt  to  adapt  herself  to  the 
concert  stage,  ond,  perhaps  she  was  v;iso  iii  her 
attitude,  for  the  audience  v;as  one  of  friends 
who  wanted  a  manifestation  of  the  artist  on  her 
operatic  side. 

"Vocally  Miss  Pay  gfive  evidence  of  an  efficiency 
that  will  always  vifin  her  favor.  Her  voice  is 
vmrm  ond  of  agreeable  quality;  it  has  not  con- 
spicuous blemishes  iTnd,  v/hile  it  lacks  that  ex- 
pressive finality  one  looks  for  in  an  artist  of 
the  first  rank,  it  preserves  throughout  a  uni- 
form emotional  persuasiveness." 

SAN  FRANCISCO  OVATION 


On  Saturday  night,  February  19,  1916  Miss  Fay  ap- 
peared in  a  joint  recital  at  the  Scottish  Rite  Auditorium  in 
San  Francisco.  With  her  for  the  first  time  in  San  Francisco 
vvas  Nikolai  Sokoloff,  loader  of  the  Innisfail  String  Quartet 
and  a  violin  virtuoso  of  international  reputation.  Both  were 
accompanied  at  the  piano  by  Gyula  Ormay.  Miss  Fay  was  her- 
alded for  th.is  recital  by  ti:e  San  Francisco  Bulletin  of  Febru- 
ary 18,  1916  as  the  "Greatest  singer  over  born  tero  to  appear." 


;bodooi 


■  f 


'.   nl    1)0130'; 


'.-.■^r.': 


IGI    ,BI 


78 


The  exaggerated  cvation  was  graphically  doscribod 
by  Anna  Cora  Wlnchell  i.n  the  San  Francisco  Examiner  of  Febru- 
ary 20,  1916: 

"The  v/ealth  of  adulation  and  approval  that  v/as 
bestov/ed  upon  Miss  Fay  last  night  affected  her 
to  tears,  and  to  such  an  extent  that  she  left 
the  platform  with  a  brcal:lng  voice  returning 
only  to  plead  for  an  abeyance.  'I  can't  sing,' 
she  said  sweetly,  to  her  excited  house:  'It  is 
too  much,  I  can't  bear  it,'  And  she  disap- 
peared to  recover  her  composure,  after  v.hichher 
songs  were  filled  with  a  deeper  tenderness." 

Miss  Phelps  of  the  Ar,n;onaut  v/rjte :   (of  the  samo  performance) 

"She  seemed  to  have  the  quality  of  dividing  her 
listeners  into  two  cranps.  'How  do  you  like  her?' 
I  asked  one.  'She  is  a  wonder,'  was  the  reply. 
Others,  although, who  were  avifare  of  her  European 
triumphs,  expressed  disappointment;  btit  vi^hena 
singer  v/lth  a  perfectly  magnificent  press  agent 
v/ho  has  down  to  a  fine  point  the  art  of  stirring 
up  anticipation  sings  for  the  first  time  in  her 
home  tovm  she  must  expect  to  disappoint  in  some 
quarters.  I  have  an  idea  that  on  Friday  the 
nervous  excitement  which  the  singer  manifestly 
and  very  naturally  was  laboring  under  robbed 
her  tones  of  some  of  their  color, and  that  those 
who  heard  her  on  Saturda3'-  night , discovered  much 
more  of  what  she  is  capable  than  the  audience 
at  the  symphony  concert." 

The  rest  of  Miss  Fay's  Northern  California  engage- 
ments v/ere  cancelled  in  response  to  an  urgent  request  to  ap- 
pear at  the  Metropolitan  Opera  House  in  Nev/  York. 

HER  3EST  ROLE 

Shortly   after  hor  arrival  in  New  York  City,   Miss 

Fay  made  her  ap-J!)earance  on  February  28,  1916.   In  the  role  of 

Sieglindo,  in  V/agner '  s  Die  Walkure ,  a  part  which  the  Nev;  York 

Herald-Tribune  of  February  29,  1916   reported  to  be  "her  best 


79 


role."    Her  appearance  at  the  Metropolitan  v^-as   somewhat  in- 
auspicious.  The  Herald-Tribune  stated: 

"lb  v/as  said  officially  that  she  was  slightly 
indisposed,  which  may  account  for  the  exceeding 
weakness  of  her  middle  tones." 

Later,   the  Herald-Trib\H^e   judged  of  her  in  the   following 

terms : 

"Miss  Fay  proved  herself  to  be  a  woman  of  stat- 
uesque beauty,  possessed  of  charm,  graciousness 
of  manners  and  much  temperament.  Her  diction 
was  clear,  her  poses  plastic,  her  conception  of 
the  character  clear  cut,  yet  imaginative 

"Under  the  circumstances  it  v/ould  be  manifestly 
unfair  to  judge  finally  her  vocal  powers.  She 
is  certainly  an  artist  of  sound  schooling,  and 
the  possessor  of  a  keen  histrionic  sense.  She 
was  warmly  greeted  after  the  first  act  and 
called  before  the  curtain  numberless  times.'' 

The  Now  York  Times  of  February  29,  1916  after  re- 
lating the  unfavorable  circumstances  under  which  the  Metro- 
politan debut  was  made,  rom'j.rked: 

"Miss  Fay  made  it  plain  that  she  possessed  ex- 
cellent qualifications  as  an  actress.  She  was 
a  sympathetic  figure  as  Sioglinde--tall ,  grace- 
ful, plastic  in  poso,  expressive  in  gesture  and 
in  facial  play.  She  has  a  skill  in  stagecraft, 
and  something  more  and  better  than  routine.  Her 
impersonation  was  not  without  emotional  express- 
iveness, tenderness,  vi/istful  longing.  Her  ap- 
pearance even  under  the  handicap  that  was  laid 
upon  her  was  promising  and  her  further  disclo- 
sure of  her  art  will  be  observed  with  interest." 

On  December  Ist  of  the  same  year  Miss  Fay  sang  the 

role  of  Elsa  in  Lohengrin.   Thompson  in  The  American  Singer, 

v/rote  : 

"Miss  Fay's  voice  was  an  ample  soprano  of  ex- 
cellent natural  quality  but  in  her  New  York  ap- 
pearances her  use   of   it  was   criticised   in  a 


manner  to  Indicate  fundamental  differences  be- 
tween American  and  German  requirements." 

Participating  in  the  cost  of  Die  V/alkure  \/ith  Miss 
Pay  was  a  galaxy  of  Internationally  known  artists,  among  whom 
were  Louise  Homer,  Kmc .  Gadski,  Johannes  Sembach  and  Karl 
Draun.   Bodanzky  conducted. 

During  the  summer  of  1916,  Kiss  Fay  was  selected  as 
the  leading  singer  for  the  stadium  of  the  Coliseum  in  Kevif  York 
City.  During  the  season  she  also  made  g:uest  appearances  v/ith 
the  Chicago  Grand  Oporn  Comp.any,  and  v/ith  the  Philadelphia 
Symphony  Orchestra.  Ifcr  concerts  in  Washington,  D.  C.  were 
a  series  of  triumphs.  Despite  these  activities  she  found  time 
for  intensive  study  of  Italian  oj'Cratic  roles  with  Signore 
Valorl.  Fresh  from  these  Eastern  triumphs  she  returned  to  her 
native  city. 

SECOND  LOCAL  APPEARANCE 
Miss  Pay's  second  appearance  in  San  Francisco  v/as 
given  under  the  direction  of  Frank  Vil.  Kealy  at  the  Columbia 
Theatre,  on  April  1,  1917.  Gyula  Ormay  was  again  her  accom- 
panist. After  a  reviev;  of  the  aixdlence  and  of  the  ovation 
accorded  the  singer,  the  Argonaut  of  April  7,  1917  remarked 
that  "some  of  the  enthusiasm  was  due  to  Miss  Pay's  personal 
charm  and  popularity."  Also  that  "there  was,  in  fact,  a 
noticeably  personal  note  in  some  of  the  applause."  Continu- 
ing v/ith  a  description  of  the  singer's  charm.,  the  Argonaut 
pointed  out  that  "one  can  read  in  her  pleasant,  frank,  sousie 


XlBOii 


(slo)  American  countenance  th.e  absence  of  the  genuine  operatic 

temporainent . '''    To   Illustrate   thia   belief   The   Argonaut 

continuod  i' 

"In  the  Scandinavian  and  Teutonic  singer  it  is 
depth,  in  the  Latin  magnetic  fervor  of  sentl- 
■nent .  Miss  Pay  has  neither.  Temperturient  she 
has,  of  a  sort,  but  it  is  the  frank,  forth- 
putting,  unsubtlo,  unromantlc  Ainerlcan  express- 
iveness and  vlt'^'lity.  Her  audience  like  her 
and  wish  her  vi-ell.  As  to  her  voice, it  is  a  big 
but  not  full -bodied  orcsi.n,  v;ith  a  suggestion  of 
hollovnioss  to  its  core." 

The  program  dcmonstratod  the  versatility  of  Miss 
Pay.  Her  group  of  fifteen  song.s  v/ere  sung  in  Gorinan,  Prench 
and  English.  Familiar  v/ere  "Vol  cho  sapete"  from  Figaro,  the 
Jewel  aria  from  Faust  and  "Kathleen  Mavourneen. "  Freely  in- 
terspersed were  works  of  Brahms,  Handel,  Richard  StraiASS, 
Spohr,  and  Tchaikov;sk7/. 

"NO  SACRED  FIRE" 
Continuing  with  a  diatribe  on  Hiss  Pay's   shortcom- 
ing s,TlieA£gonaut  critic  compared  her  with  a  popular  actress, 
saying  : 

"Neither  ha:,  really  the  soul  of  an  artist,  yet 
both  are  likable,  popular,  and  successfvil.  You 
can  see  success  stamped  in  the  cut  of  Miss  Fay's 
features,  particularly  in  the  line  of  her  chin. 
But  with  both  of  these  professionals  part  of  the 
success  is  due  to  hard  v/ork  and  energy  of  tem- 
perament and  part  to  American  hustle.  Neither 
has  the  sacred  fire." 

American  hustle  and  artistic  temperament  seemed  in- 
compatible in  the  eyes  of  The  Argonaut . 


82 


WORLD  WAR  ACTIVITIES 

Upon  America's  entry  into  the  World  War,  Miss  Fay 
became  associated  with  the  Emergency  Fleet  Corporation.  She 
was  given  the  responsibility  of  doing  social  reform  v;ork  for 
the  Corporation's  women  employees.  At  this  time  she  became 
the  wife  of  Captain  Powers  Symington,  an  American  naval  of- 
ficer and  a  native  of  Baltimore. 

The  heroine,  Margaret  Styr,  of  the  novel  Tower  of 
Ivory ,  by  Gertrude  Athcrton,  is  said  to  have  boon  modeled  from 
the  incidents  connected  v/ith  Miss  Fay's  early  life. 

MARIN  MUSIC  CHEST 
Shortly  after  her  m_arriage  Mrs.  Symington  retired 
from  the  operatic  and  concert  stage.  By  this  decision  she 
displayed  admirable  judgment.  Ko  longer  active  on  the  con- 
cert platform,  Mrs.  Sj-mington  is  nevertheless  affiliated  with 
many  of  the  trans-bay  societies  of  music.  Most  recently  the 
San  Francisco  Nev/s  of  September  14,  1938  reported: 

"Supplementing  the  annual  dinner  of  Marin  Music 
Chest  at  Meadow  Club  tomorrow  evening  will  be  a 
program  of  music  arranged  by  Mrs.  Pov/ers  Sy- 
mington, president  of  the  Chest." 

In  these  affiliations   Mrs.  Symington  is  tin  active 

force,  advancing  the  interests  of  music  in  the  V/est. 


G"a»i' 


von  orfct   Ic  oaon  orii 

mcn'i  ooi  DJborn  nopcf  OViBri 

.  o'ill  '^l«fio  :Qnt  Qri' 

•  •  J"'  'I I'*  "."■.■  t'. 

- .^zloob  ulrI;J    ,_  .^^■'  i-io-- 

-n..r.   'ftr!.:t  no      »vi'-'o..',   -r-  ._^. . 

^>'^'^'f     •  'I-':    -.-"'•ti-enRid'     ...     ..    ^.-^ 


^tXly 


35 


COI.IFANIES  AND  PEPSRT0IRE5 

Adcjllna  Patti  v;as  announced  to  appear  "positively 
the  last  time  on  the  Coast"  in  March  1885.  She  sang  at  the 
Grand  Ooera  House  •.vith  Her  Majesty's  Opera  Co:rippny  in  Faust, 
La  Traviata,  Martha,  Aida,  Seiniramide,  and  Eli  sir  d' Amour. 

Nordica  cane  in  188S  under  Colonel  Maplesori's  man- 
agement and  sfng  at  the  Grand  Opera  Hoiase  in  Aj^ril  •  Her  reper- 
toire included  P'aust,  La  'rraviata,  and.  Ri^oletto . 

In  opite  of  her  manager's  annoi,\ncern.enr  of  her  "last" 
appearance  in  San  Francisco,  Patti  retiirned  two  ye?rs  later, 
in  1887,  and  appeared  again  at  the  Grand  Opera  House  in  Jan- 
uary. The  Emma  Abbott  New  Opera  Comnany  followed  her  and  gave 
a  grand  opera  :^eason  of  two  weeks.  The  National  Opera  Company 
came  in  April,  stayed  a  month,  and  performed  among  other  v/orks, 
Lakme,  Orpheus  and  Eurydice,  Galatea,  Lohengrin, The  Huguenots-, 
Nero,  Die  Fledermaus,  and  Co-oT)8lia. 

In  1888,  the  next  3'"ear,  the  Abbott  Opera  Company  per- 
formed at  the  New  Baldwin  Theatre  in  opera  of  a  lighter  vein — 
The  Boheiiilan  Girl,  Mikado,  The  Rose  of  C-istilo,  and  the  Yeo- 
man of  the  Guard.  The  Madrid  Spanish  Opera  Coraoanj  nlso  vis- 
ited the  city  the  same  ^re^r  and  gave  Boccaccio,  Crispino  e  la 
Comare,  La  Tempos tad,  and  The  Little  Tycgon,  at  the  New  Bush 
Street  Theatre. 

Presenting  a  novelty  Suaette  and  an  old  favorite 
Don  Pasquale,the  Bostonians,  an  English  opera  coiupany,  appeared 
at  the  Baldwin  Theatre  in  May  1889.  They  moved  to  the  New 
California  Theatre  the  following  month,  and  gave  Fra  Diavolo, 


84 


The  Bohemian  Girl,  Pygmalion  and  Galatea,  and.  Mignon. 

SEASONS  IN  THE  NINETIES 

The  Hess  Grand  Opera  Company  came  In  December  1890 
to  the  Orpheum,  follov/ed  by  the  Sinma  Abbott  troupe,  and  put 
on  Robert  the  Devil,  The  Flying  Put  oilman,  and  Carmen*  In 
1891  the  Emma  Juch  English  Grand  Opera  Company  made  its  ap- 
pearance and  presented  a  diversified  program  of  standard 
works  —  Wagner,  Verdi,  Gounod,  and  Bizet.  The  next  year  the 
Bush  Street  Theatre  v;as  visited  by  the  New  York  Opera  Company. 
The  Emma  Juch  Company  returned  to  the  Grand  Opera  House  in  the 
spring  and  gave  a  'veek's  season  in  May. 

The  Tivoli,  San  Francisco's  miisic  mill  which  ground 
out  light  opora  and  musical  comedy  night  after  night  for  near- 
ly three  decades,  continued  to  hold  its  monopoly  on  the  genre 
through  the  nineties.  Its  history  is  outlined  in  another  chap- 
ter. (See  THE  TIVOLI,  in  this  voliune,  and  Vols.  XII  and  XIII 
on  THEATRE  BUILDINGS.) 

While  the  Beggar  Student  was  playing  to  crowded 
houses,  at  the  Tivoli  in  February  1894  the  announcement  was 
made  that  Manon  was  to  be  presented  v;ith  Alice  Nielson  in  her 
first  appearance  there  as  Gaston.  Grade  Plaisted  was  to 
play  the  lead  with  Tlllie  Salinger  as  Manon,  Fannie  Linniard 
as  Madame  de  Maintenon,  and.  Caro  lioma  as  De  Frontenai. 

The  Tavary  English  Opera  Company  c?me  in  1895  to 
the  Baldwin.  In  1896  the  Carloton  Opera  Troupe  played  at  the 
Alcazar.  The  Italian  Grand  Opera  Company  and  the  French  Op- 
eratic Troupe  appeared  at  the  California  Theatre  in  1897. 


-id' 


_.-_m   0 

-f;h  .rn    T:-:-f'- 


/ifT, 


85 


Visiting  the  West  Coast,  the  Thalia  German  -  Hebrew 
Opera  Compsny  came  to  the  Bush  Stroet  Theatre  in  1898  and 
gave  such  novelties  as  Sulamita^  Kol  Nidre,  The  Fall  of 
Jerusalem,  and  The  Vtendering  Jew»  The  Ellis  Grand  Opera  Com- 
pany also  performed  that  year  at  the  Mission  Street  Opera 
House, and  Melbn,  Gadskl,  and  Do  Lussan  wore  in  the  cast, with 
Damrosch  as  conductor. 

THE  DSCLINE  OF  GRAND  OPERA 
Grand  Opera,  hovvev.'r,  was  definitely  relegated  to 
the  background  by  the  popularity  of  musical  comedy  and  opera 
bouffe  presented  by  the  Tivoli.  Looking  through  the  records 
of  perf orm-^nces  in  the  eighties,  nineties  and  up  to  the  great 
fire,  one  finds  th^t  the  Tivoli  had  almost  complotoly  usurped 

the  place  of  more  ambitious  lausic  drama  in  San  Francisco. 

Grand  Opera  seemed  to  siA.it  the  tempo  of  life  in 
the  early  days.  There  v/erc  drama  and  passion  in  the  atmos- 
phere. Groat  fortunes  vv'Gro  mado  over  night.  Vigilantes  band- 
ed to  preserve  law  and  order.  The  entertalninent  had  to  match 
the  intense  and  almost  melodramatic  mode  of  daily  life.  Mien 
the  tension  relaxed  and  a  more  normal,  mor'c  humdrum,  more  su- 
perficial atmosphere  enveloped  the  city,  the  taxpayers  patron- 
ized musical  comedy  instead  cf  opera,  as  today's  mechanical 
singing  oiferf^d  by  motion  picture  houses  drav/s  the  multitude. 


Uiq 


•o'f 


THE        GRAND        OPERA        HOUSE 
1873   -    1906 


PHOTO  COURTESY  M.  H.  de  YOUNG  MUSEUM 


86 


MUSIC  HALLS  AND  OP'RY  HOUSES 
The  First  Decade;   Opera  Takes  Root 

Gaudy  auditorixims,  temples  of  the  Muses  and  acad- 
emies of  art  —  often  architectural  monstrosities  that  com- 
bined baroque  Renaissance  styles  ■■vith  the  Greek, Roman,  Gothic 
and  Sarpcen  orders  --  rose  rapidly  to  house  the  lovers  of  op- 
eratic entertainment  in  early  San  Francisco.  Frequent  fires 
destroyed  many  of  the  first  theatres,  but  they  vrere  in  most 
cases  promptly  rebuilt.  The  second  and  third  editions  were 
usually  more  elaborate  and  ornate  than  the  first .  The  Jenny 
Lind  III,  the  most  elegant  building  in  the  city,  was  sold  as 
a  City  Hall. 

During  the  fifties,  a  period  when  grand  opera  was 
most  warmly  welcome  in  San  Francisco,  the  important  houses 
were  the  Adelphi,  the  American,  the  Metropolitan  I,  and  the 
San  Francisco  Hall  which,  on  November  29,1856  became  Maguire  '  s 
Opera  House . 

THE  ADELPHI-::- 

Jolan  H.  McCabe,   in  his   Journal,   stated   that  the 

Adelphi  I,   on  the  south  side  of  Clay  Street  betv/een  Kearny 

and  Montgomery,   was  opened   on  November  9,   1850 --  and  later 

historians  copied  the  error;   but  the  correct  date,   Oct.  17, 

1850,   is  established  by  the  folloviang  item  in  the   Evening 

Picayune  of  October  18,  1850: 

"The  Adelphi.  -  The  beautiful  little  theatre  of 
the  above  name,  recently  erected  on  Clay  Street, 


-"-See  also  Theatre  Buildings.  Vol.  XII,  this  series. 


87 


by  Drt  Collyer,  v.^as  opened  last  evening,  with 
an  exlilbition  of  the  'Model  Artists,  '  and  a  di- 
versity of  other  entertainments t  The  house  was 
crowded,  as  might  have  been  expected  from  the 
appreciation  that  has  been  so  generally  placed 
upon  Dr»  Collyer's  efforts  and  means  to  please, 
and  we  learn  that  the  highest  satisfaction  was 
given.  We  understand  that  the  Doctor  desires 
to  offer  through  the  season  a  variety  of  at- 
tractive ariusements,  and  to  render  his  estab- 
lishra^nt  a  scene  of  diversion  that  shall  always 
have  a  salutary  tendency." 

The  first  opera  ever  performed  in  California  was 
Bellini's  La  oonnanbula,  which  opened  at  the  Adelphi  on  Feb- 
ruary 12,  1351,  inaugurating  the  Pellegrini  Opera  Season. 

The  price  of  tickets  ranged  from  one  to  four  dol- 
lars --  much  higher  than  theatre  admissions,  but  opera  held 
its  own.  The  Adelphi,  like  most  of  the  early  houses,  was  de- 
stroyed by  the  great  fire  of  I.Iay  4,  1851  v/lthin  six  months  of 
its  premiere. 

Another  Adel"ohl  was  quickly  built  and  on  August  1, 
1851  the  second  one  opened  on  Dupont  Street  between  Clay  and 
Washington  Streets,  under  the  auspices  of  Planel's  French 
Opera  Company.  The  operas  performed  here  in  1851  included  La 
Sonnambula.  Ilorma  and  "^rnani .  all  given  the  first  time  west 
of  the  Rockies.  In  1853  the  Planel  Company  introduced  La 
Fille  du  Regim-ent,  La  Favorlta,  La  Dame  Blanche,  Gilles 
Ravasseur,  and.  The  Barber  of  Seville. 

THE  AMERICAN 
Constructed   in  haste,   the  first   American  Theatre 
had  its  corn^irstone  laid  on  September  15,  1851.   This  theatre 
v\fas  located  on  the  northeast  corner   of  Halleck   and  Sansome 


betv^reen  California  and  Sacr^.mento  Streets.  The  opening  took 
place  a  month  later  on  October  20th  under  the  management  of 
James  Stark.  It  was  to  become  one  of  the  most  important 
pioneer  theatres. 

Since  the  location  was  formerly  a  part  of  San  Fran- 
cisco Bay  and  the  artificial  foundation  v/as  built  over  a  bed 
of  mud,  fear  was  expressed  as  to  the  safety  of  the  structure* 
On  the  opening  night  a  great  crowd  pressed  into  the  large 
brick  and  wooden  house  which  seated  about  2000.  The  walls 
sank  tv/o  inches,  but  that  was  all.  Afterwards  the  theatre 
continued  to  settle  but  so  gradually  as  to  be  unnoticeable . 

GALLERIES 
Small  and  close  to  the  stage  so  that  every  sound 
could  be  he"rd  in  the  back  rovi,  galleries  in  the  early  thea- 
tres were  built  very  competently.  Peanuts  were  sold  in  the 
aisles  during  intermissions.  It  was  permissible  during  per- 
formances for  audiences  to  remove  coats  and  munch  peanuts.  V/e 
learn  from  Pauline  Jacobson's  article  in  the  Bulletin  of 
August  25,  1915: 

"In  the  American  Theatre  the  gallery  gods  oc- 
cupied the  pit,  the  'high-toned'  being  assigned 
to  the  balconies  above.  And  they  came,  these 
gallery  gods,  from  Rincon  Hill,  Telegraph  Hill, 
Tar  Flat  and  even  the  far-distant  Hayes  Valley, 
in  droves  to  the  theatres  to  enjoy  and  to  sit 
in  judgment.  They  knew  their  Shakespeare  as 
many  an  actor  doesn't  today." 

RENOVATIONS 
The  American  Theatre   suffered  several   reconstruc- 
tions. We  read  of  an  opening  on  May  15,  1853  in  the  Golden  Era; 


89 


"The  opening  of  the  American  on  Thursday  night 
last,  under  the  management  of  Messrs.  Baker  and 
Thoman,  was  an  auspicious  epoch  in  the  history 
of  Drama  In  this  State.  The  building  as  it  now 
appears  since  its  complete  renovation  is  by  far 
the  most  tastefully  arranged  and  comfortable 
temple  that  has,  as  yet,  been  dedicated  to  the 
divine  muses  on  the  Pacific.  Indeed  there  are 
but  fev;  theatres  in  the  Union  which  can  boast 
a  more  brilliant  interior,  while  the  corps 
dramatique  has  but  few  equals.  The  play  prod- 
uced for  the  opening  v/as  Bulwer's  sterling 
drama  of  'The  Lady  of  Lyons,'  which,  for  the  oc- 
casion, was  a  most  happy  selection,  affording 
Mrs.  Baker  an  opportunity  of  impersonating  a 
part  in  which  she  has  no  superior,  to  the  larg- 
est and  most  refined  audience  that  v/as  ever  as- 
sembled within  the  walls  of  a  theatre  in  this 
State." 


A  CRITIQUE  OF  THE  PAINTED  SHIP 
Torn  do7m  and  rebuilt,  the  second  and  more  elabo- 
rate American  was  opened  on  December  4,  1854  by  A.  J.  Neafie. 
Unfriendly  critics  remarked  on  the  poor  taste  displayed  in 
the  interior  decorations.  The  Pioneer  Magazine  of  January 
1855  condemns  it  in  the  following  terms: 

"We  are  forced  to  say,  v/ith  regard  to  the  in- 
terior of  this  nev/  structure,  that  it  does  not 
bear  evidence  of  an  educated  taste.  It  is 
spacious,  its  general  effect  is  brilliant,  and 
we  suppose  it  will  seat  as  large  an  audience  as 
the  Metropolitan.  But  there  is  a  want  of  har- 
mony in  its  internal  architecture.  The  prosce- 
nium soems  to  be  a  mixture  of  the  Grecian  and 
the  Oriental.  It  is  neither  the  one  nor  the 
other.  From  the  stage  to  the  ceiling,  its  gen- 
eral effect  is  fine;  but  those  i-;endant  nonde- 
scripts, that  project  from  the  celling  over  the 
footlights,  cannot  but  be  regarded  as  bad  taste* 
They  are  clumsily  executed,  in  themselves,  and 
in  addition,  are  entirely  out  of  place.  The  act 
drop  is  only  less  objectionable  than  that  at  the 
Metropolitan.  It  is  a  sad  hodge-podge,  made  up 
of  a  representation  of  the  Golden  Gate,   a  far 


90 


suggestion  of  a  clipper  ship,  ^-  step.mchlp,  such 
as  v/e  venture  to  say  has  not  Its  counterpart 
upon  the  surface  of  the  Pacific, Atlantic,  Indi- 
an or  Frozen  oceans,  tv/o  pillars,  and  between 
them  a  melancholy  Washington  upon  a  pedestal." 


THE  C/iKMQN  ON  WASHIIIGTON'S  TOES 

The  critic  in  the  Pioneer  continues  with  a  reference 

to  a  sarcastic  review  in  a  current  issue  of  the  Wide  West: 

''The  Wide  Vifcst  facetiotisly  remarks  that  the 
cannon  at  Washington's  feet  v/as  unfortunately 
located  by  the  painter  upon  one  of  his  little 
toes;  which,  it  must  be  admitted,  sufficient- 
ly accounts  for  his  lugubrious  countenance. 
We  join  in  its  recoiTKiendation  that  the  piece 
or  ordnance  be  speedily  rolled  off.  In  short, 
the  entire  painting  means  nothing.  But  there 
it  is,  and,  if  we  are  to  judge  anything  from 
the  past,  there  it  will  be, with  its  fellow  at 
the  Metropolitan,  for  the  next  tivo  years,  — a 
species  of  chronic  interm.it tent  eyesore, visit- 
ing the  co;-nmimity  five  times  nightly.  The 
stage  is  lighted  by  gas  fror.i  above;  and  the 
effect  of  the  burners,  comitejracting  as  they 
do  the  unnatural  lights  and  shades  produced 
upon  the  face  by  the  footlights,  is  far  pre- 
ferable to  the  effect  of  lamps  at  the  wings. 
The  seats  are  comfortt-ble  and  ;vell  arranged 
for  vision,  and,  in  general,  the  auditory  has 
an  agreeable  and  social  air." 

There  are  no  available  records  of  operatic  per- 
formance till  1855  v/hen  an  Italian  troupe,  the  Darili-Thorne 
Opera  Com-oany,  together  with  the  Montplaisir  Ballet  Troupe, 
performed  from  March  18th  to  March  25.  In  1859  the  Bianchis 
gave  a  season  of  Itnlian  grand  op-'ra.  In  July  of  that  year 
they  gave  Lucrezia  Borgia,  Norma,  II  Trovatore,  and  Ernani . 
During  their  third  season  that  year,  the  Bianchis  performed 
La  Traviata  and  Attila. 


91 


THE  FIRST  METROPOLITAN 
Although  the  life  of  this  house  was  brief  (opened 
in  December  1853,  it  burned  to  the  ground  in  1857)  the  Metro- 
politan was  one  of  the  most  popular  of  early  show  places. 
Considered  among  the  finest  and  most  elegant  in  America,  the 
theatre  was  praised  even  by  the  hard-to-please  critic  of  the 
Pioneer  whose  estimate  of  it  in  the  January  issue,  1854,  was 
as  follows: 

"The  first  impression  received  on  entering  the 
house  is  one  o f  airiness,  breadth, and  richness. 
The  parquette  rises  gradually  from  the  orches- 
tra, while  above  hang  the  graceful  curves  of 
the  dross  circle,  and  second  and  third  tiers. 
The  decorative  artist  has  struck  the  happy  mean; 
while  the  effect  of  the  whole  is  rich  and  bril- 
liant, the  eye  v/anders  in  vain  for  any  evidence 
of  gaudiness.  The  proscenium  particularly  is 
rdvanced  in  adrairable  taste.  If  there  be  fault 
about  the  appearance  of  the  house  when  the 
green  curtain  is  down,  it  is  the  unnecessary 
hugeness  of  the  balustrade  that  separates  the 
orchestra  from  the  parquette.  It  strikes  us 
that  it  is  all  out  of  character  with  the  light- 
ness and  grace  of  the  rest  of  the  v/ork.  However, 
whether  we  are  right  or  v^rong  in  this  instance, 
we  must  enter  a  decided  exception  to  the  drop 
curtain.  Wiat  are  the  figures  in  the  foreground 
(with  their  excruciatingly  bronze  legs)  trying 
to  do?" 

The  artistic  merit  of  drop  curtains  caused,  and  was 
to  continue  to  cause,  a  great  deal  of  critical  ink  to  run  in 
spirited  debate.  It  v/as  the  one  chance  for  the  artist,  or  the 
artiste  as  he  v.'as  generally  called,  to  express  without  stint 
his  inspiration  upon  the  vast  surface  of  the  curtain.  He  sel- 
dom overlooked  the  opportunity. 


'cT«*o:t— * 


92 


BP.ILLIi^NTLY  LIGHTlED  WITH  GAS 

The  Metropolitan  I  was  located  on  the  west  side  of 
Montgomery  Street,  between  Washington  and  Jaclcson  Streets,  and 
was  part  of  a  group  of  buildings  known  as  the  U^tropolitan 
Block.  The  theatre  proper,  from  statistics  ^^-iven  in  the  Golden 
Era,  was  67  feet  wide  by  120  feet  deep,  the  sta^^e  being  50 
feet  deep  by  40  feet  in  width  at  the  oroscenium.  The  audi- 
torium consisted  of  three  tiers  of  boxes,  a  parquet,  a  rovir  of 
sixteen  private  and  -ix  proscenium  boxes,  sufficing  to  hold 
about  2000  persons.  The  seats  vi/ere  roomy;  the  entire  build- 
ing sumptously  furnished  and  brilliantly  lighted  with  gas. 

The  city  was  first  lighted  with  gas  on  February  11, 
1854  and  a  few  weeks  later  the  Metropolitan  replaced  its  whale 
oil  lamps  with  this  nev;  lighting.  The  walls  of  the  building 
v;ere  three  feet  thick  at  the  base,  tapering  to  20  Inches, 
while  the  proscenium  walls, for  greater  strength  of  the  build- 
ing, v;ere  built  of  brick  which  joined  the  horseshoe  form  of 
the  auditorium, and  gave  additional  effect  to  the  transmission 
of  sovmd.  The  stage  was  said  to  have  been  fitted  with  con- 
veniences not  to  be  r.et  v/ith  in  any  other  theatre  in  the 
country*  The  dressing  rooms  and  wardrobe  were  located  in  an 
adjoining  building. 

The  entire  cost  of  the  theatre,  designed  and  built 
by  Mr.  Trench,  was  $250,000.  "Thv.  style  of  the  plan  is  of  the 
Ronai'^.sance,  being  partly  of  the  Grecian  and  Norman  Gothic 
orders."   The  Golden  Era  reported  the  entrance  to  the  theatre 


^   drfT 


0009 


brw^mis 


93 


was  approximately  in  thu  middlo  of  the  block,  and  it  was 
flanked  on  either  side  by  stores  and  a  saloon  v^hich  vv-ere  part 
of  the  theatre  buildingt  Should  one  enter  the  saloon,  it 
would  be  found  to  be  one  of  the  "most  roomy,  complete  and 
tasty  establislmients  in  the  town,  as  is  evidenced  from  the 
gorgeousness  and  completeness  of  its  arrangements •" 

THE  BLOOMING  SIXTIES 
During  the  sixties  the  principal  houses  of  operatic 
entertainment  ^vere  offsprings  of  the  theatres  mentioned  above. 
There  v;aG  the  Second  American,  the  Second  Metropolitan,  Ma- 
guire's  Opera  Plouse  and  his  Academy  of  Music.  French,  Italian, 
Spanish, English  and  German  opera  v/ere  given  here  season  after 
season.   The  oj?ferings  v/ere  amazingly  diversified. 

TPIE  SECOND  METROPOLITAN 
San  Franciscans  were  repeatedly  assured  between 
1857  and  1861  that  the  once  glorious  Metropolitan  would  again 
rise  phoenix-like  from  its  ashes  and  open  its  doors  to  welcome 
them.  Finally,  on  the  first  of  July  1861,  the  New  Metro- 
politan celebrated  its  resurrection.  It  was  to  be  the  most 
important  opera  house  of  the  decade. 

FIRST  IMPRESSIONS 
Prtrvious  to  the  opening,   a  humorist  from  the  Bul- 
letin  visited  the  theatre  and   reported  his   impressions  in 
the  June  26th  issue,  as  follows: 

"Know  all  men  by  these  presents,  then,  that  the 
Metropolitan  Theatre   is  rebuilt.   To  reach  it, 


'94 


you  enter  by  MontgOi.iery  Str..-ot,  lu.xt  door  to 
paint  shop,  between  Washington  and  Jackson 
Streets,  west  side*  Just  now  there  is  a 
great  pile  of  old  wall  in  the  street  before 
the  ..-ntrance  which,  when  you  havu  scaled,  you 
v.-ill  find  'no  admittance'  stretched  across  your 
path.  One  can't  go  in  before  Monday  night, when 
the  institution  opens.  Then  entering  the  broad 
hall,  to  which  there  arc  throe  doorways,  you 
pu3h  due  v/est,  descend  threo  stups,  and  are  in 
a  semicircular  hall.  Directly  under  your  feet 
is  the  bar  of  the  establishment.  Three  door- 
ways are  now  bcifore  you,  the  central  one  leads 
you  by  a  descent  of  7  ot./os  to  thj  pit  and  the 
parquette . . .  .On  either  rjide  r'ise  0  steps,  and 
you  are  in  the  dress  circle. 

"In  the  rear  of  the  pit  --  that  is,  flanking  the 
main  entrance,  and  quite  concealed  from  the 
dress  circle  and  galleries  —  are  8  dingy  boxes, 
v/hlch  ladies  will  never  mak-e  the  mistake  of  en- 
tering. A  straight  railing  is  to  divide  the 
pits  fro'H  the  parquette  or  dollar  seats.  These 
seats  are  nov;  being  converted,  by  virtue  of 
hair, wool  and  enameled  cloth,  from  plain  bench- 
es into  sofa-seated  lounges.  The  orchestra  is 
just  having  its  fence  erected  about  it. 

"The  dress  circle,  which  as  we  have  scid  is  en- 
tered by  two  jtairv/ays  from  thu  front  hall,  oc- 
cupies the  whole  of  the  first  gallery.  It 
slopes  gently  from  the  rear  v;oll,  so  that  its 
wings  reach  within  3  feet  of  the  stage,  and  are 
about  4  feet  above  its  level.  There  are  7  cir- 
cles of  seats  in  its  greatest  depth,  all  cush- 
ioned and  covered  with  purple  onameled  cloth. 

"The  entmnce  to  the  second  Gallery  is  by  a 
st^-.irway  on  the  southwest  corner,  from  a  hall 
entirely  separate  from  the  main  passage.  It  too 
has  7  circles  of  seats  fiarnished  like  the  dress 
circles,  except  that  the  backs  of  the  seats  are 
bare.  In  the  ceilings  near  the  cornice  4  win- 
dows provide  for  th.^j  exit  of  the  heated  air. 

"The  v.'orld  of  pullies,  cords,  belaying  pins, 
cranks,  windlasses,  gas  pipes  and  scene  frames 
that  make  up  the  mysteries  behind  the  curtrin, 
is  in  abou.t  the  third  day  of  its  creation  --  the 
herbage  beginning  to  appe^rr  on  the  c-'nvas.  The 
carpenters,  pointers,  -oroperty  malters,  gilders, 
gas  men  are  driving  things  on  to  a  speedy  com- 
pletion. By  S:\turday  evoning  all  will  be  done-- 


95 


the  paint  will  not  rub  ofi,  the  varnish  will 
stick  to  the  wood  —  not  your  coat,  and  the  gas 
will  be  ready  to  turn  on.  This  is  the  promise 
of  the  proprietors  --  who  added  that  never  was 
a  theatre  lighted  as  this  is  going  to  be,  and 
speaking  of  the  ventilator,  they  add, that  never 
was  a  theatre  so  ventilated  before.  New  Iron 
rods  descending  from  the  roof  help  sustain  the 
weight  of  the  upper  gallery.  On  the  4th  of 
July  a  great  crowd  of  our  fellov/  citizens  will 
visit  the  institx;tion  to  hear  Mr.  Tompkin's  o- 
ration  and  Mr.  Ridge's  poem,  when  the  strength 
of  the  building  will,  doubtless,  be  publicly 
proven. 

"The  lot  on  which  the  theatre  stands  is  180 
feet  by  65  feet  in  dimensions;  the  theatre  prop- 
er is  120  feet  deep,  65  feet  wide.  The  interior 
v;alls  will  be  left  white  for  the  present  to  be 
frescoed  when  the  first  refitting  is  necessary. 
The  front  of  the  dress  circle  will  be  orna- 
raented,  on  a  white  ground,  v;3.th  a  running  vine 
of  poison  oak  --  than  which  what  can  look  sim- 
pler or  prettier?" 


THE  FIRST  NIGHT 

There  were  over  2000  people  present  at  the  opening 
on  July  1,  1861.  Everyone  admired  the  spacious  audito- 
rium, the  brilliant  act-drop,  and  the  general  ornateness  of 
the  decorations.  They  were  so  awed  by  the  decor  that  they 
almost  completely  ignored  the  play  wliich  was  tiie  old  favorite. 
The  Love  Chase. 

Throughout  the  sixties,  opera  was  given  at  the  Met- 
ropolitan. The  visiting  troupes  Included  the  Howson  English 
Opera  Company,  the  Bonheur  Italian  Troupe,  the  companies  of 
the  Lystcr,  Adelaide  Phillips,  Anna  Bishop,  together  with 
French,  Spanish,  and  German  organizations. 


lovtsl  Wo 


MAGUIRE'S  OPBRA  HOUSE 

Tor.!  Maguire,  Napoleon  of  impresarios  in  the  West, 
took  over  the  old  San  Francisco  Kail,  enlarged  it  by  tvvo 
stories,  and  naraed  it  Maguire's  Opera  House  in  136-5-.  Said  to 
be  one  of  the  handsomest  outside  Nev/  York,  the  tlieatre  was  a 
center  of  operatic  prod\)ction  in  the  sixties.  Attracted  by 
the  spectacular  quality  of  opera  and  dete^rmined  to  put  it 
across,  Maguire  gf.ve  San  Francisco  opera  on  a  grand  scale,  im- 
ported the  best  companies,  paid  lavishly,  and  halted  only 
v/hen  nearly  bankrupt,  having  sunk  several  fortunes  in  his 
Opera  Housg.--- 

THE  BLB;vK  SiCVt^HTIES 

Because  of  the  successive  v/aves  of  depression  v>rhich 
sv/ept  the  country  in  the  sov~;nti3s,  San  F::'  ncisco  heard  com- 
paratively fev;  oporas  betv/eun  1870  and  1380.  Tliere  were  in 
all  434  opora  nights  in  this  ten  year  period.  The  preceding 
dec'de  witnessed  nearly  eight  hxindrc-d  perfcrmances,  (751), 
while  the  decade  following  (1880-1890)  sa".'  ov^r  a  thousand 
(1105). 

The  center  of  theatrical  activity  in  San  Francisco 
\7as  around  "Washington  and  i'.iontgomery  Streets  until  the  street 
cutting  in  the  early  seventies  v/hich  ran  Coluinbus  Avenue  di- 
agonally across  the  section  and  put  Maguire's  Opera  House  and 
the  Metropolitan  out  of  comi:iis3ion.  An  ordinance  went  into 
effect  for  v/idening  Kearny  ::^)treet.  Property  ^vas  condemned; 
the  bright  lights  -^'hifted  toward  Market  Street. 


•"-  See  Tom  Maruirej  vol.  2,  n.  25 


^3'-  Xk}  J 


ein     ne; 


.  t 


97 


Transient  ectors,  singers,  circu"  foil:,  and  prima 
donnas  lived  within  a  few  blocks  of  Washington  and  Mont£;;omery . 
Prrepa  Rosa  staved  at  the  Occidental;  Thorne,  o.t  the  Russ 
House;  others,  at  the  International  Hotel  and  at  the  tradi- 
tionally bohemian  Montgomery  Block* 

The  Metropolitan  and  Mar;Tiire 's  were  separated  only 
by  a  brick  vail.  The  International  Hotel  v/as  just  back  of 
them.  It  v-as  at  this  hotel  that  the  famous  quarrel  ending  in 
a  fatal  duel  began  between  Terry  and  Binderick. 

THE  CHANCtIHG  THEATRE  DISTRICT 
At  Montgomery  and  Jackson  v/as  the  old  Circus  Lot; 
at  Montgomery  and  Pine,  the  Academy  of  f.iusic;  at  Montgomery 
and  California,  the  >jurekG;  at  Montgomery  and  Rush,  Piatt's 
Hall.  As  the  town  grew  south\vestv/ard,  the  theatre  district 
shifted  toward  Bush  Street  and  later  to  Powell  and  Market. 
The  most  popular  houses  in  the  jtilddle  seventies  were  the  Bella 
Union,  the  Tivoll,  F3aldv.'in '  s,  snd  the  Bush  Street  Theatre. 
Wade's  Gr-^nd  Opera  House  opened  in  1876;  its  career  was  an 
unhappy  one • 

BALDWIN '3  ACADEMY  OF  MUSIC 
E.  J.  ("Lnclv/")  ?3oldwin,  ''vhose  numerous  financial 
successes  earned  him  that  sobriquet,  came  \7est  in  1853; engaged 
in  brick-making;  became  a  foreman  of  a  brickyard  at  Port 
Point  in  1855,  a  job  \.-hich  netted  him  an  income  of  ^'51000  to 
V1400  a  month;  opened  a  livery  business  in  1857;  purchased 
real  estate;   speculated  in  mining  stock,   and  became  a  very 


98 


v/ealthy  man  --  a  millionaire  in  fact. 

FIRETRAP  OPENS 

As  8  cultural  and  financial  investment,  he  financed 
the  Academy  of  Llxinic  v/hich  opened  on  Liarch  5,  1875 •  The  the- 
atre v/as  set  in  the  ceiiter  of  a  £]'A''eat  v/ooden  building  called 
Baldwin's  Hotel.  Six  stories  high,  the  building  fronted  on 
I'iarket,  Po^vell  and  liJllis  Streets  #  JoJin  A.  Remer,  designer  of 
the  Lyceum  and  Union  Square  Theatres  in  New  York,  vvas  the 
architect.  It  v/as  a  fire-trap  of  the  worst  sort  and  music 
lovers  risked  tholr  lives  every  time  they  entered  the  long 
narrov/  passageway  that  led  to  the  theatre  hidden  in  the  center 
of  a  vast  V'ooden  structure. 

John  -icCullou-gh  opened  the  season  on  March  2,  1877 
v;ith  the  Hess  Opera  Company.  He  retired  five  months  later. 
Tom  Magulre  presented  concerts  in  September,  \vith  Clara 
Kellogg  and  Annie  Gary.   He  also  produced  Aida« 

SPLENDORS  ALMOST  BS'A'ILD.JiRING 
The  3aldif;in  enterprise  foimd  an  enthusiastic  ad- 
mirer inBen.iamin  Estelle  Lloj''d  v/ho  wrate  in  Lights  and  Shades 
in  San  Francisco; 

"Baldviin's  Academy  of  Music  is  the  finest  the- 
atre building  in  the  city.  It  is  not  large;  its 
seating  capacity  accommodating  1700  persons; but 
for  elegance  and  style  of  finish,  for  comfort 
and  cheer,  it  doubtless  has  no  superiors,  even 
in  art-loving  Europe.  It  is  characterised  for 
its  substantial  embellishments;  every  ornament 
that  is  used  in  its  decoration  having  been  ap- 
plied by  skilled  hands.  It  is  modelled  after 
Booth's  Nev  York. 


o 


99 


"At  the  grand  entrance,  on  Market  Street,  two 
liandsoriie  chandeliers,  pendent  from  the  richly- 
carved  moldings  Illumine  the  sidewal^cs  and 
street,  and  sparkle  invitingly  to  the  passers- 
by.  Jxist  v/ithin  the  vestibule  stands  the  of- 
fice, w/hich  is  faced  with  French  walnut  panel- 
ing, carved  in  exquisite  designs.  A  double 
staircase,  massive  and  beautiful,  of  the  same 
material,  leads  to  the  balcony  circle.  Upon  the 
richly  carved  nev/els  stand  pedestal  torches, 
brilliantly'-  lighting  up  the  room  and  revealing 
the  delicate  fresco  of  the  canopied  ceiling* 
Pushing  back  the  crimson  doors,  and  entering, 
the  visitor  is  confronted  by  large  mirrors, that 
seem  to  invite  him  into  raazy  halls  and  corri- 
dors infinite.  Following  along  the  corridor, 
the  auditoriiun  is  reached,  and  the  splendors 
that  meet  his  gaze  are  almost  bewildering. 

"The  prevailing  color  of  the  upholstery  is  crim- 
son which  gives  to  the  room  such  a  warmth,  and 
cheerful  air,  that, whether  the  seats  are  filled 
or  occupied  by  but  fev/,  there  is  no  feeling  nor 
appearance  of  desolation.  The  woodwork  is 
painted  in  imitation  of  diTq-iery,  ^nd  the  ceil- 
ings are  resplendent  with  fresco.'' 

TIIE  FIRETRAP  SPRINGS 

The  curtain  dropped  on  the  last  performance  at  the 

Baldwin  on  ilovember  21,   1898»   '^arly  the  next  morning  at 

three  o'clock,  flames  and  smoke  poured  out  of  the  great  Vi'ooden 

pile.   It  burnt  to  the  ground. 

WADE'S  OPERA  HOUSE 


On  Mission  Street  between  Third  and  Fourth  --  to- 
day a  grir:Ty,  industrial  quarter  —  Doctor  Thomas  '.Vade,  a  den- 
tist, built  in  1873  what  vifas  at  that  time  reputed  to  be  the 
third  largest  and  most  elegant  opera  house  in  America.  Its 
auditoriiim  seating  nearly  4000,  the  building  was  110  by  275 
feet.    It  had  great  lobbies  and  vestibules,   an  enormous  Art 


100 


Gallery,   and  a  colossal  stage,   built  in  removable  sections, 
and  87  feet  deep  by  106  feet  wide. 

WHITE  ^^LEPHANT 

Wade  r-c<n  out  of  money  before  the  building  v;ns  fin- 
ished, 30  James  0.  Flood  and  John  Mackay,  two  laembers  of  a 
bonanza  firm,  advanced  the  dentist  funds  on  mortgage  and 
presently  foreclosed,  the  gigantic  opera  house  passing  out  of 
Wade's  control.  It  became  Jaiown  soon  after  as  the  Grand  Opera 
House • 

I/Iillionnire  mining  men  --  v/ho  secured  their  fortunes 
by  speculation  and  wore  apparently  determined  to  lose  them 
by  the  same  route  --  v;ere  patron"  of  many  op'ry  houses,  music 
halls,  and  theatrus  in  early  San  Francisco^,  W.  C.  Ralston, 
Jasper  McDonald,  "Lucky"  Baldwin  and  V/ado '  s  sponsors  among 
these.  None  of  their  cultural  speculations  turned  out  profit- 
ably. The  tides  of  depression  in  the  seventies,  the  Bank  of 
California  crash  in  1875,  the  general  axr  of  bankrur^^  ^- 
fected  the  amusement  v;orld  most  ruinously. 

The  Grand  Opera  House  proved  to  be  a  white  elephant. 
Managers  lost  money  on  their  ventures.  It  never  paid  steadily 
except  for  a  period  toward  the  end  of  its  days  v.'hen  sensa- 
tional melodrama  was  shov.Ti  by  Manager  Morosco  at  very  popular 
prices.  According  to  contemporaries,  such  a  house  was  too 
extravagant  for  a  city  of  loss  than  300^000  people. 

THE  OPENING  NIGHT 

The  resplendent  first  night  took  place  on  January 
17,  1876.   Snowflake,  a  Gei-^man  fairy  play  in  five  acts, crowded 


S   N   0  W  F   L  A  K  E 


A      FAIRY        OPERA 


18  7    6 


^Ve'>^  ^P^^^*«  l«.i,,^ 


Htimton   Stre«t,   above   Third. 
Fkl-UFRICK    W.    RKRT.  l,e-..,-e  an. I  Manager 

+ 

Monday  Evening.  January  17th.  1876. 


fi  J-  Q  W  F'  l'  A  K  1 1 


Dtak 


Ml--     '     -^^    ^ 
.JtIK  '       I"    '    •"*''■' 

mi:    ivii.i.i^     •^>'": 

MISS  nEi,i.ii;  i>myh> 

...MA.ST.     >  ll~     PAM1.I 

M.VST.     .11.^-      MKllHV 

.  M.V-T.     IIAHKV    D^.A^I■^ 


Prp^.'fKBu  ibv  l'l«^  'hi-  F'lhliri  0|.«m  Troviim  will  «lrgt  i>»'  >''*'i'>"«' 
,\..llien..    n/>-       ^r.'tt      -/•-l.Vi./.ti.      )i.^^^).'l 


SOUVENIR    PROGRaVmI 


Matinee  on  Wednesday  and  Saturday  Afternoons. 

"■undaj  Evening.  January  23d.  Fabbri  Opera  Companj. 
In  MeyerV-eer  s  Grand  (Jpera,  The  HmenolS. 


PHOTO  COURTESY  M.  H.  de  YOUNG  MUSEUM 


101 


with  ballets,   songs,   and  transformations,  v/as  the  offering. 

Theodore  VVachtel,  the  famous  German  tenor,  headed  the  troupe* 

We  read  in  the  Alta  California  of  January  18,  1876: 

"The  appearance  of  Mission  Street,  long  before 
the  hour  announced  for  the  opening  of  the  doors 
of  Wade's  Opera  House,  was  an  exciting  one.  An 
immense  and  curious  throng  was  crowded  into  the 
street  and  on  the  sidev/alks,  rendering  passage 
to  and  fro  an  impossibility.  An  extra  force  of 
police  was  sinnmoned  from  the  city  hall,  and  in 
a  short  time  a  passage  was  cleared  and  the  peo- 
ple poured  in;  by  half  past  seven  the  theatre 
was  full." 

A  DEDICATORY  'POIVIE';  1876 
Precisely  at  8  o'clock  Mr.  Thomas  Newcomb  appeared 
upon  the  stage,  boforo  tho  gruen  baize,   and  read  the  follow- 
ing effusion: 

"V/olcome,  thrice  welcome,  all  who  rro  now  here. 
In  Box,   parquette,   dress  circle,   up-oer  tier, 
Welcome,  fair  dames  and  damsels,  vvelcome,  too, 
Ye  Gods,  w]io  from  the  topmost  gallery  view 
The  play,  and  by  your  cat-call  plaudits  kill 
The  wretched  actor  vmo  doth  play  ill; 
Welcome,  boiianza  princes;  welcome,  those 
Who  have  more  ancestry  to  boast  then  clothes; 
'Velcome  to  merchant,  clerks  and  artisan, 
Artist  or  bootblack,  fop  or  laundryman. 
Blacksmith  or  banker,  broker,  rich  or  poor, 
Doctor  and  tailor,  so  that  at  the  door 
You  tender  that  which  ooet,  wit  or  sage 
Can  do  without  in  this  our  golden  age. 

Welcome  to  all,  on  this  opening  night. 

And  may  the  'Snowflske'  fill  you  with  delight 

It  is  no  great  heroic,  tragic  play. 

Replete  with  faithless  love  and  bloody  fray; 

No    jealous  Moor  with  bolster  kills  his  v/ife, 

No  Jew  usurious  ^-^eks  the  Christian's  life; 

No  self-sufficient  Brutus  trios  to  show 

His  love  for  Rome  by  laying  Caesar  low; 

No  Thane  of  Cawdor's  wife,  impelled  by  night 

With  dirls  ti.irns  Banquo '  s  self  to  Banquo's  cprite-- 

In  short,  the  '*Snowf  lake '  is  but  played  to  please. 

And  not  to  make  your  rapid  pulses  freeze 


■ll-,.. 


102 


With  pictures  dr'awn  from  models  cruel,  base. 
The  types  of  degeneration  in  our  race. 

Av/ay  vd  th  Tragedy  --  at  least  tonight. 

When  all  around  is  fresh  and  fair  and  bright, 

Resign  yourselves  to  be  amused  this  eve. 

And  let  the  lightsome  play  your  hearts  relieve. 

For  who  is  here  that  hath  not  care  and  pain? 

Some  sorrov;  (to  forget  he  strives  in  vain). 

Some  ghastly  skeleton  he  guards  v/ith  care? 

Some  treasured  trinket,  some  fair  tress  of  hair? 

Some  wish  that  once  was  hope,  but  now,  alas. 

Is  but  a  wish  that  ne'er  can  come  to  pass? 

We  all  have  cares;  'tis  but  the  common  lot i 

Happy  is  he  who  has  a  care  forgot; 

And  now,  in  here,  for  tv;o  brief,  fleeting  hours, 

Through  artists'  pictures  and  actors'  powers, 

You  lose  all  memory  of  care  and  pain." 


FAMOUS  GUEST  ARTISTJ 


For  several  years  the  Grand  Opera  House  v/as  the 
most  important  operatic  house  in  the  city.  Among  the  celeb- 
rities who  appeared  here  were  Patti,  Melba,  Nevada,  Sembrich, 
Nordica,  Hauk,  Di  Murska,  RSze^  Albani,  Gerstcr,  and  Ravelli. 

Charles  Wheatleigh  acted  as  house  manager  till  May, 
1877.  But  the  house  v/as  not  in  great  demand.  It  had  a  few 
short  seasons  of  brilliance,  v/as  leased  to  visiting  opera  com- 
panies for  -a  fev/  weeks  at  a  time,  then  remained  closed  for 
increasingly  longer  periods. 

AI.IATEUR  PERFORMANCES 

The  Bohemian  Club  put  on  several  quasi-operatic 
performances  --  operas  composed,  staged,  sung  and  acted  by 
club  members  —  and  met  with  moderate  success* 

On  November  27,  1888  Madame  Fabri-Miiller,  a  retired 
prima  donna  and  teacher  who  held  sporadic  seminars   at  the 


'  £  :taom 

'cr'ri  betsaqqa  oriw  Beld.ti 


103 


theatre,  put  on  p  rarely  performed  masterpiece,  Mozart's 
Magic  Flute*  It  attracted  the  city's  music  lovers  and  was 
creditably  rendered. 

DECLIIIE  OF  Vv'ADE'S  OPERA  HOUSE 

There  vore  long  periods  of  darknes.-p .  Towards  the 
end,  'Yr^lter  Morosco,  former  circus  acrobat  and  ballyhoo  agent 
par  excellence,  leased  the  enormous  building.  He  put  on  melo- 
dramas at  prices  rsnjing  from  fifteen  to  seventy-five  cents. 
There  vere  no  movies  as  yet,  and  jiis  thrillers  drew  their 
public . 

Still,  it  w?"  the  Gri^nd  Opera  'House  which  accom- 
modated many  of  the  ii^i-^ortant  companies  v/hich  came  to  San 
Francisco.  Early  in  1906  the  lietropolitan  Opera  House  began 
its  unfinished  season  here  with  artists  such  as  Caruso,  Sem- 
brich,  Scotti,  Fames,  de  F.eazke,  and    Fremstadt. 

CApy,^Q  SANG  IN  GARIVIEN 

The  night  before  the  great  fire  of  1906,  Caruso 
sang  in  C a riiien  st  the  Grand  Opera  House.  Others  in  the  cast 
V''ere  Olive  ''^remstad  as  Carmen,  Marcel  Journet  as  Fscpmillo, 
Bessie  Abbot  as  I'"icaela,  and  Eugene  Dufrlche  as  Dancairo. 

Scheduled  for  Wednesday  was  Figaro  at  the  matinee, 
and  in  the  evening  Lohengrin .  ..If red  Hertz  ws.s  to  conduct; 
bu.t  the  concert  never  took  place. 

One  of  the  advertisements  carried  on  the  nrogram 
was:  "Studebaker  furnished  90  per  cent  of  the  carriages  you 
see  at  tonight's  -'erformance ." 


■I        »-v  «  rV^ 


'^KiiJ^mJi.' 


104 


The  advance  sale  of  tickets  v^as  nearly  1 200, 000. 
Lster  this  v/as  ref-unded  to  ticket  holders.  All  in  all,  how- 
ever, in  its  thirty  year:',  existence  the  Grand  Opera  House  gave 
only  255  nights  of  opera.  Over  a  similar  period,  the  Tivoli 
put  on  more  than  d-OOO  performances* 

THE  .^ND  OF  THE  GRAND 
The  Grand  Opera  Plouse  dissolved  in  dust  and  ashes 
in  the  great  holocaust  of  1906.  ifterv/ard,  for  nearly  three 
decades,  San  Francisco  had  no  adequate  opera  houce  though 
seasons  v.rere  i^xven  at  the  Civic  Aviditoriuni,  a  huge  gtadiioin- 
like  building  more  suited  to  food  rjliovi's  and  political  rallies 
than  opera. 

MUI'JICIPaL  OF.-.JRA 
San  Frpncisco's  Duolic  s^jxrited  citizens  wanted  an 
oncra  house,  lobbied  for  itr.  but  it  -vasn't  until  1923  that 
the  San  Francisco  Opera  Association  was  formed,  and  not  till 
1932  that  the  War  Memorial  Opera  House  on  Van  Ness  Av.^nuo  at 
Grove  Street  opun^jd  its  doors.  The  history  of  municipal 
opera,  however,  belongs  to  another  chapter. 

THE  TIVOLI;   A  BEER  G;.K.OEN  BLOSSOMS 

A  small  wooden  f irotr;'.--)  wliich  became  famous   all 

over  thu  world,  the  Tivoli  novor  clf)?;;od  its  doors  for  a  period 

of  twenty-five  y^ars.    From  1879  till  1906  this  was  the  best 

lovod   ther^trc.   in  San  Francieco.   The  millionaire   came  and 


m  rco-  "ti 


Tii 


""f.'  O'T" 


f  f 


"t^-l 


OT?^*--- 


105 


drop'oecl  into  a  seat  beside  the  laborer,  the  coraaon  love  of 
r,iusic  drawing  both.  More  perhaps  than  any  other  theatre  in 
America,   the  Tivoli  <aade   opera  a  democratic  entertainment. 

It  began  in  1675  as  a  nublic  beer  garden  where 
citizens  <^athf  red  to  drlnv  wine  and  beer  to  the  strains  of 
the  Vienna  Ladies'  Orchestra.  Joe  Krding,  then  but  twenty 
years  old, had  recently  arrived  from  I'Jew  York  with  liis  father, 
and  it  was  he  who  started  the  Tivoli  Gardens  by  renting  the 
Bowie  home,  northv/est  corner  of  Sutter  and  Stockton  Streets, 
surrounding  it  with  a  beer  garden,  and  hiring  inexpensive  en- 
tertainment • 

Aftor  the  Vienna  Ladies,  who  stayed  here  on  their 
first  American  visit,  the  vSpanish  Students  appeared  --  tv;enty 
rnusici'ms  from  Mexico  v/ho  performed  on  banjos  and  mandolins. 

The  quarters  became  too  crowded,  so  young  Kreling, 
together  with  his  brother  from  I'Jev/  York  who  had  lately  joined 
him,  leased  the  lot  on  ■•.'Viich  the  Tivoli  vj'as  to  sttnd.  They 
built  a  concert  hall  here  v/ith  a  small  gallery,  accommodating 
1000  persons,  and  opened  with  the  Vienna  Orchoctra.  But 
success  was  doubtful  --  thu  ntw  thertre  did  not  attract  the 
public.  So  Joe  liroling  decided  on  something  spectacular.  He 
would  offer  o^-jera. 

ENTER  PINAFORE 
Gilbert  and  Sullivan's  Pinafore  --  at  this  time  all 
the  rage   in  'England   and  the   English  s-oeaking  world  --  had 
been  produced  previously  in  the  Bush  Street  Theatre  under 


aloirr. 


.«cth'«r-.:;.  cOo-^B"^- 


vrj .'}    . ,.. ;.■ . .:'■'■    .roinoraA-  d:fei ±1  ■ 


JX'li/rf 

•.)CfO    fjnr  •       ^JJ-IMV-fRTtiC    0001 


'ii-      \'^-'. 


106 


Emelie  Melville's  direction,  but  played  to  poor  houses.  Sev- 
eral other  Pinafore  companies  on  tour  from  the  East,  includ- 
ing a  juvenile  Pinafore  comoany,  v/ere  unsuccessful  in  attract- 
ing much  interest.  Kreling  picked  the  best  talent  from  these 
troupes  to  create  his  own  company.  The  Tivoli,  as  an  opera 
house,  opened  on  July  3,  1879.  V/ith  Pinafore  it  scored 
the  longest  consecutive  run  of  anything  ever  presented  on  the 
Tivoli  boards,  or  elsewhere  in  San  Francisco.  It  ran,  always 
to  a  full  house,  for  84  nights. 

She  came  next  with  51  nights.  Now  fallen  into  ob- 
livion, this  romantic  fantasy  was  based  on  Rider  Haggard's 
celebrated  novel,  W,W,  Fiirst,  better  known  as  "Billy"  Purst, 
later  general  musical  director  of  the  Frohman  Syndicate,  com- 
posed the  music, •»-<• 

Light  opera  and  musical  comedy  were  most  popular  as 
the  appendix  reveals.  The.  Geisha  was  put  on  200  times  within 
tv/o  years.  Ship  Ahoy  had  108  representations;  Said  Pasha, 
77;  The  Widow  O'Brien.  91  nights  in  all. 

After  the  long  run  of  Pinafore,  the  management,  de- 
siring to  present  a  little  more  variety,  broke  away  and  on 
September  25,  1379  offered  a  bright  little  parody  of  the 
opera  by  Mrs.  Cliurch,  a  local  writer,  entitled  The  Wreck  of 
the  Pinafore.  This  ran  for  17  nights.  Then  Eichberg's  The 
Doctor  of  Alcantara  v/as  produced.  Though  this  was  politely 
received,  the  public  clamored  for  more  Pinafore.  The  Tivoli 
tried  to  olacate   it  by  offering   that  feeble  product   of  the 

*  Fiirst  died  in  1937, 


.........  '  -■^Tyty 

'iH  nt&'nt'  i>iBod  lIoviT 

■'■Sii  *  :*x»n  oniBb  pdS- 

oilti  X/iro/ftyra  Xa^stnog  ie^«X 
«.'h>l8um  axlct  betoq 

-  X&   ,/• i.ft^T  .:"•" 


.••i-n:— i'i'.affrt 


107 


British  firm,  The  Sorcerer.  For  21  nights  John  Wellington 
V'/ells,  the  dealer  in  magical  spells,  v/ove  his  dramatic  illu- 
sions on  the  stage »  Then  the  Kreling  brothers  capitulated. 
H.  M«  S«  Pinafore  returned,  ushered  by  Trial  by  Jury,  closed 
the  old  year  and  opened  the  new  one  in  a  blaze  of  glory.  It 
completed  an  almost  unprecedented  run  of  112  nights  in  a  sea- 
son to  v/hich  might  well  be  added  the  17  nights  of  Mrs  • 
Church's  play* 

TliE  SETUP 

At  this  time  there  v/ere  no  electric  lights;  only 
gas  lamps.  The  seats  were  from  25(/  to  SO^zf,  the  price  includ- 
ing a  lOf^  coupon  for  refreshments. 

Williarii  and  Martin  Kreling  tended  the  long  bar  down- 
stairs, the  most  popular  gathering  place  during  intermissions. 
Upstairs  was  another  bar,  presided  over  by  John  Kreling  and 
Sam  Sonnenfeld.  Joe  Kreling  selected  the  operas  and  worked 
long  into  the  night  on  translations.  A  distinguished  gather- 
ing packed  the  house  nightly.  ''Gentleman  Jim"  Corbett  and 
Jolon  L.  Sullivan  'vvere  among  the  regular  patrons. 

According  to  Jerome  Hart's   ■  In  Our  Second  Century; 

"Its  performances  were  never  quite  as  good  as 
old  San  Franciscans  like  to  believe;  but  it  had 
a  fine  orchestra,  and  a  chorus  which  was  rather 
mechanical  but  quite  dependable." 

Alice  Nielson,   who  later  starred  at  Covent  Garden, 

used  to  sing  in  this  chorus.    And  Madame  Tetrazzini,   v/ith  a 

substantial  reputation  in  Mexico  and   in  parts   of   Europe, 


v^l 


C-'ila     ft©-" 

1^_     ...  -. 


.ico©3  t. 


.'T'- 


\'  >  ^^-^naq 


THE   TIVOLI    OPERA   HOUSE 
1879  -  1906 


^^• 


PHOTO  COURTESY  M.  H.  de  YOUNG  MUSEUM 


108 


established  her  American  fame  first  through  the  Tlvoli.%:-  Cara 
Roma  sang  here  in  1903  with  Mascagni  conducting. 

GRAND  OPERA 

Opera  in  the  grand  style  began  with  Gounod's  Faust, 
revived  v.dth  great  enthusiasm  in  1880.  The  perfcrrnances  vi^ere 
so  popular  that  the  t-bles  had  to  be  removed  to  install  more 
seats.  F;-ust  ran  for  42  consecutive  nights  and  Verdi's  Qtello 
for  34  consecutive  nights.  The  principal  singers  at  this  time 
were  Hattie  Moore,  Harry  Gates,  G'^orge  Knight,  Joseph  Messner, 
and  Joe  Fogarty*  Later  c£ime  Gracie  Plaisted,  Ferris  Hartman, 
Teddy  Webb,  Edwin  Stevens, Annie  Heyers  and  Arthur  Cunningham. 

With  the  introduction  of  opera,  the  whole  theatre 
was  reconstriicted.  It  now  had  a  large  stage,  satisfactory 
dressing  rooms,  galleries,  boxes .  and  a  seating  capacity  of 
almost  2,000. 

In  all  its  history  it  v/ss  closed  only  40  nights,  25 
of  these  for  alteration,  13  on  account  of  deaths,  2  becatise 
of  dress  rehearsals.  The  first  closing  was  in  honor  of  Presi- 
dent Garfield's  death;  another  on  the  death  of  Joe  Kreling, 
the  foiander  of  the  famous  institution. 

FROM  UPKOLSTr^RER  TO  IMPRESARIO 
The  management  in  1895  went  into  the  hands   of  Mrs. 
Ernestine  Kreling,  but  the  active  work  v/as  carried  on  by  "Doc" 
Leahy.   Charles  H.  Krauso  v;as  treasurer;  Goorge  E.  Lask,  stage 


i^Vw-i-''*-    ilfe'^J-flT' 


109 


director;  and  Max  Hirschf ..Id,  mucical  dii-Gctor. 

\i>Aien  Vi'idov.'  Krcling  became  proprietor  of  the  Tivoli, 
3h6  selected  as  general  manager  a  young  man  who  had  started 
as  an  upholsterer  in  the  Kreling  furniture  firm.  This  young 
man  was  'Villiam  H.  Leahy  vdio  became  the  familiar  ''Doc"  Leahy, 
identified  with  the  Tivoli's  subsequent  fortunes. 

The  Tivoli  never  adopted  the  star  system;  its  plays 
v/ere  cast  from  its  own  -r.tock  coi.ipany*  Special  talent  vias 
featured  at  times,  but  its  ov/n  memi^ers  received  equal  consid- 
eration. Stranded  opera  singer. ■:  coi'.ld  usually  find  an  open- 
ing at  the  Tivoli  providing  their  qualifications  were  up  to 
Tivoli  standard. 

LOCAL  COMPOSERS 

But  the  Tivoli  had  another  mission  besides  fui^nish- 
ing  entertainjfient  to  the  city;  it  also  provided  an  outlet  for 
local  composers.  Among  these,  we  have  already  mentioned  Mrs. 
Church  v/hose  parody  The  Wreck  of  the  Pinaforej  performed  in 
1879,  was  loerhaps  the  e-irliest  production  to  receive  attention. 

Dan  O'Ccnnell,  the  poet  of  Marin  County,  wrote  the 
libretto  of  Bluff  King  Hal  for  K.  J.  Stewart,  musician  and 
composer*  Peter  Robinso-n  was  the  author  of  His  Ma.iesty.  Rich- 
ard Stahl  wrote  his  poi-iulr.r  operetta  Said  Pasha  in  San  Fran- 
cisco and  the  Tivoli  firot  prod\iced  it.  It  was  requer'ted  77 
times.  Ridor  Haggard's  nov^l  She  v/as  madu  into  an  opera  by 
v;.  W.  Furst,   It  ran  79  nights. 


■-fp'v"'    x^  rt- 


9na\. 


•ft 


■■(     > ; ;  ;i     i  o 


110 


Two  Oakland  men,  Page  &  Wise,  produced  their  First 
Lieutenant  in  1889.  Jolm  P.  Wilson,  librettist  of  many  operas, 
is  a  San  Franciscan  and  was  for  many  years  a  member  of  the 
Tivoll  chorus.  I.  S.  Darling,  another  Calif ornian,  wrote  The 
Gentle  Savage  vhlch  ran  for  14  nights  at  the  Tivoli  on  its 
first  production  in  1896. 

MA3CAGNI  CONDUCTS 

One  of  the  greatest  events  in  the  history  of  the 
Tivoli  occurred  in  February  1903,  when  Pietro  Mascagni,  the 
world  lenownGd  composer  of  Cavalier ia  Rustic ana  stepped  into 
the  orchestra  pit.  Mascagni  stated  at  tlxi  s  time  that  "only 
in  San  Francisco  do  I  find  the  America  of  my  dreams." 

He  conducted  8  performances  of  his  Cavalleria 
Rusticana  and  his  one -act  opera  Zanetto  written  for  Collamar- 
ini,  "The  greatest  Carmen  who  ever  graced  the  Tivoli  stage." 

To  quote  music  critic  Ashton  Stevens  in  the   San 

Francisco  Examiner  of  Feb.  11,  190S : 

"No  leader  has  ever  been  bravoed, boot-thundered 
and  hand-crashed  by  San  Franciscans  as  was 
Mascagni  last  night.  One  person  more  packed 
into  the  theatre  would  have  cracked  the  old 
building  that  for  more  than  22  years  has  been 
the  most  faithful  music  teacher  of  the  Vtest." 

THE  THIRD  TIVOLI 
Condemned  as  a  flretrap,   the   old  Tivoli  closed 
in  November  1903  with  a  farewell  performance   in  honor  of  the 
Verdi  Memorial  Fund. 


etflir   I 


■v-.^:^'   -ic    y.i::^iiii'.juu 


Ill 


The  third  Tivoli  was  built  In  1904  at  Mason  and 
Eddy  Streets  across  from  the  popular  Poodle  Dog  Restaurant. 
An  old-tine  San  Franciscan,  Mr.  N.  J.  Lyon,  was  the  architect. 
According  to  Mr.  Lyon,  it  was  built  over  the  Panorama  Building 
that  used  to  stand  at  the  corner  of  Eddy  and  Mason  Streets. 
The  stage  floor  v/as  the  original  floor  of  the  Panorama.  Mr. 
Lyon  contrlbiated  the  plans  and  drawings  from  which  the  authen- 
tic sets  were  built  for  the  Holl^mood  film  San  Francisco ^whida 
was  a  box  office  hit  in  1936. 

But  the  days  of  the  Tivoli,  as  a  familiar  institution, 
were  nimibered.  Underneath  thj?  city,  deep  in  the  interior  and 
in  utmost  secrecy,  the  earth  was  rehearsing  a  geological 
drama  and  preparing  for  a  scene  which  was  to  change  the  city's 
landmarks. 

THE  NEW  TIVOLI 


Destroyed  by  earthquake  and  fire  in  1906,  the  ITe\7 
Tivoli  rose  like  a  phoenix  fror-  its  ashes  seven  ye-^rs  later. 
It  opened  its  doors  in  1913  under  "Doc"  Leahy's  managership, 
presenting  Tetrazzini  and  Mary  warden  with  the  Chicago  Opera 
Company . 

Much  maneuvering  v/ont  on  before  this.  Mr.  Leahy 
announced,  according  to  the  San  Francisco  Chronicle  of  March 
31,  1911  o'  "if  the  ground  occupied  at  present  by  the  City  Jail 
is  cleared  during  the  next  fo-.;  weeks  by  the  Supervisors,  San 
Francisco  will  have  grand  opera  next  winter."  He  planned  to 
build  a  house  to  seat  2,800  and  to  bring  the   great  operatic 


L'_ 


-n^d^uM  Bdicitittiyi  atcyil  n: 

br^::   10  •; 


112 


stars  from  the  East. 

A  veteran  manager,  S.  H.  Prledlander ,  in  the  the- 
atrical business  on  the  coast  for  a  generation,  returned  from 
the  northwest  after  a  long  absence  and  leased  the  theatre 
which  vifas  to  be  built  on  the  site  of  the  fonner  Tivoll  at 
Eddy  and  Mason  Streets.  He  named  the  new  play  house  The  Cal- 
ifornia and  organized  a  circuit  of  grand  and  comic  opera  and 
musical  comedies  with  Ferris  Hartman  of  Tivoli  fame  as  director . 

LEONCAVALLO  COI^lDUCTS 

Among  the  most  important  events  in  the  new  Tivoli ' s 
history  for  1913  was  the  farewell  performance  of  November  23 
at  which  Leoncavallo,  composer  of  Pagliacci,  conducted.  The 
program  was  a  testimonial  to  the  managing  directors,  Ettore 
Patrizi  and  Eugene  d'Avigneau.  The  Western  Metropolitan  Opera 
Company  was  leaving  "after  a  most  artistic  season  of  six 
weeks." 

Lulgi  Monte santo  sang  the  Prologue  to  I  Pagliacci, 
the  composer  conducting.  The  Polish  soprano,  Maria  Mosciaska, 
sang  an  aria  from  Lohengrin.  The  Sextette  from  Lucia  was 
sung  by  Simzio,  Cocohatti,  Schiavazzi,  Modesti,  Sessna,and 
Carpio.  The  third  act  from  La  Tosca  v/as  given  under  the  di- 
rection of  Nini-3ellucci  with  Carmen  Melis  and  Lucca  Bottaj 
then  the  third  act  of  Leoncavallo's  work  Zaza  with  the  same 
principals,  and  finally,  the  third  act  of  Rigoletto  with 
Simzis,  Anitua,  Botta,  and  Modesti  —  an  evening  of  third 
acts. 


..l?>?.a   9ji-J  moil 

■■•■•.  ..:,;.:m..I;.      a   to::?-'!;^.-   -^■.ov/iv 


iTf^i-     efi:s  ~;:'iBe.  f'.'^'iift.^  »*«:!■  •    ^;;.  .  '.I 
-  •  .QUiinA      .  eisni '. 


113 


TRANSFIGURATION 

Breaking  a  tradition  of  thirty- seven  years  standing, 

San  Francisco's  old  mxislcal  landmark  changed  face  in  1913. 

We  read  in  the  Chronicle  on  November  18th  of  that  year i 

"After  the  fire  a  building  leased  as  the  Hall 
of  Justice  occupied  the  present  site.  This  was 
abandoned  and  the  present  Tivoli  was  begun  in 
October  1912.  It  was  finished  in  four  months 
and  opened  to  the  public  on  March  12,  1913, 
since  when  it  has  run  continuously  with  the  ex- 
ception of  a  tv/o  weeks  hiatus. 

"San  Francisco's  Tivoli  Theatre  --  almost  as 
indelibly  associated  with  the  city  since  1876  as 
the  Bay  and  Golden  Gate  —  soon  v/ill  be  no  more; 
at  least,  it  v/ill  cease  to  exist  as  the  home  of 
opera  and  real  music.  On  or  about  Decembor  1, 
(1913)  the  Tivoli  will  open  its  doors  to  the 
public  as  a  moving  picture  house  under  the  di- 
rection of  Turner  and  DanJcln,  and  the  owner 
and  manager,  W.  M.  Leahy. 

"It  is  the  'Movies'  that  are  responsible  for 
the  change,  as  'Doc'  Leahy  sees  it. 

"'It  has  been  put  squarely  up  to  the  people  of 
San  Francisco'  said  Leahy  last  night , discussing 
the  matter.  'They  have  signified  by  their  lack 
of  support  that  they  do  not  v;ant  opera  and  opera 
comique.  Still,  I  think  that  instead  of  raising 
!;ii850,000  for  a  municipal  opera  house  it  would 
be  more  consistent  to  support  the  house  already 
open  in  their  midst. 

"'Yet  there  must  have  been  people  v/ho  v.'anted mu- 
sic,' he  went  on. ... 'After  the  fire  when  the 
Tivoli  was  destroyed,  the  public  gave  me  no 
rest ,  .  .  ."V/hen  are  you  going  to  give  us  Tivoli 
back?"  Then  someone  would  exhort  me  not  to  let 
the  old  traditions  go  by  the  board,  but  to  open 
a  new  Tivoli  which  should  stand  for  all  that 
the  old  one  had  come  to  stand  for.  It  largely 
V'/as  to  meet  these  importunities  that  I  opened  it 
again,  but  I  cannot  get  support  and  that  is  all 
there  is  to  it.  I  intend  to  go  East  to  look 
after  my  interests  in  connection  with  the  con- 
cert tours  of  Tetrazzini  and  Ruffo.' 


..i  _.•.,-. 3- 


Bi3 
eft     r 


+t»WT       Tf^Wjl       -.A»f    ,->7.l'"'- 


■  J'.  .  ..  ^  *.,.  ri 


114 


"Leahy  and  his  wife  are  the  sole  owners  of  the 
present  Tivoli,  built  at  a  cost  of  'ii^350,000  and 
opened  last  March.  Mrs.  Leahy  was  the  v/ldov;  of 
one  of  the  Kreling  Brothers,  who  owned  the  orig- 
inal Tivoli.  Her  present  husband  became  assoc- 
iated with  the  management  in  1884." 

And  so,  in  December  1913,  the  Tivoli  Opera  House  was 

turned  into  a  "high-class  movie  palace." 

EKD  OF  AN  ERA 

But  this  v;as  a  new  world.  The  familiar  intimate 
atmosphere  of  the  old  Tivoli  had  gone  up  in  smoke  during  the 
great  catastrophe  which  marked  the  end  of  an  era  in  San  Fran- 
cisco ' s  history. 

Today,  one  may  see  a  bronze  memorial  tablet  in  the 
lobby  of  the  new  Tivoli  at  Eddy  and  Mason  Streets.  It  is 
about  3 J  by  4-g-  feet  in  size,  and  shows  in  the  center  a  design 
of  the  original  Tivoli  Opera  House  done  in  relief.  Under- 
neath, It  carries  the  melancholy  inscription  v/hich  rouses 
nostalgic  memories  in  countless  San  Franciscans .  "Old  Tivoli 
Opera  Houise  1877-1904." 


ElE)   OV   PAi;T 


oAi  flit    ^fJi^;..--.?    I«l"  *5>9    'i«,«   flujc      ,'£/i.bcT 


115 


THE  HISTORY  OF  OPERA  IN  SAN  FRANCISCO 

BIBLIOGRAPHY 

Alverson,  Margaret  Blake.  Sixty  Yeara  of  California  Song  (San 
Francisco:   Sunset  Press'i  1913)  • 

Armsby,  Mrs.  Leonora  Wood.   Musicians  Talk   (New  York;   Dial 
Press,  l''i35). 

Atherton,  Gertrude.   Adventures   of  a  Novelist    (New  York; 
Liveright,  Inc.  1932) .  p.  112 

Finck,  Henry  T,  Massenet  and  His  Operas  (New  York:  John  Lane 
Co.,  1910).   pp.  64,  147. 

i-letcher,  R.H.  Annals  of  the  Bohemian  Club  (3 on  Francisco:  1900). 

Grau,  Robert.    Forty  Years   Observation  of  Music  and  Drama 
(Nev;  York:   Broadway  Pub.,  Co.,  1909). 

Greene,  Clay,   Memoirs  (A  collection  of  his  contributions  to 
various  newspap-^rs )  • 

Hart,  Jerome.   In  Our  Second  Century   (San  Francisco:  Pioneer 
Press,  1931).  pp.  877-85 

Langley,  Henry  G.,  comp.   City  Directories    (San  Francisco: 
Commercial  Steam  Presses,  S.D.Valentine  &  Son.  1862,  1895). 

Leman,  Walter  M.   Memories  of  an  Old  Actor    (San  Francisco: 
A.  Roman  Co.,  1886) . 

Mapleson,  James.  Mapleson's  Memoirs  (Chicago:  Bedford  Clarke 
and  Co.,  1888)  . 

Marquis,  A.  L.,  ed.  Who^a   V/ho  in  America   (Chicago:  A.N.  Mar- 
quis &  Co.,  1918-1919) .   Vol.  10,  p.  890 

Neville,  Mrs.  Amelie.   The  Fantastic  City   (Boston;  Houghton, 
Mifflin,  1932). 

Pratt,  Waldo.  S.  The  New  Encyclopedia  of  Music  and  Musicians 
(New  York:   The  MacMillan  Co.,  1924)  .  p.  34 

Stein,   Gertrude.   Lectures   in  America   (Nev/  York:   Random 
House,  1935). 

Thompson,  Oscar   The  American  Singer    (New  York:    The  Dial 
Press,  Inc.,  1937)  • 

Young,  John  P.   History  of  San  Francisco    (San  Francisco: 
The  S.  J.  Clarke  Pub.  Co.  1912)  Vol.  2  p.  546 


dIX 


"fAVOY  B    lo 


J...'.  ■■'■!"■ 


91    tooeiajt- 


Tt- 


rcs8) 


..^/.■aaI  .^.  ■ 

' "■   .•l^Ad-T,^. 

«■ 
«     I. 

.2.. 


. .    • 


f 


115a 


THE  HISTORY  OF  OPERA  IN  SAN  FRANCISCO 
BIBLIOGRAPHY  (Cont.) 


Dl  Bekker,  L.J.,  ed.  Stokes'  Enoyclopedia  of  Music  and  Mu_si- 
ciflns.    (New  York:   Frederick  A*.    Stokes' "CoiTip any,    Tt'OST  p.66*5 

Whelborne,  Hubert.  Celebrated  Musicians  Past _  and_  Present 
(Garden  City,  Nev;  York  J  Garden  City  Publishing  'Co'. ,  Inc., 
1937)  p. 278 

Enclclopedia  Italianl,  Foundata  Da  Giovanni  Treccani.  (Rome: 
Institute  Delia  Enciclopedia  Italian!,  1937)  vol.33  p. 737 

Enciclopedia  Universal  Ilustrada  (Madrid,  Barcelona:  1928) 
vol.  61  p.  268 

V 

Formig2;ini,  A.  F.,   ed.    Chi E      (Rome:   1036)    p.  896 

Tetrazzini,  Luisa.  My  Life  of  Son^q  (Kev;  York:  Cassell  and 
Co.,  Ltd.  1921) 

Colles,  H.  C,  M.A.  (Oxon.)  Grove's  Dictionary  of  Music  and 
Musicians   (New  York:  The  I/IacMillan  Co.,  T9'2'e')'  vol.5  p. 310 


NEWSPAPERS  AND  PERIODICALS 

Alta  California  (San  Francisco)  Feb.  3,  1S51;  March  21,  24, 
30,  31,  July  3,  Oct.  21,  27,  31,  Nov.  30,  Dec.  1,  1852; Oct. 
27,  1863. 

Argonaut  (San  Francisco)  March  10,  April  18,  1888;  Jan.  1900; 
April,  1910;  Feb.  20,  26,  1916;  April  7,  1917. 

Evening  Bulletin  (San  Francisco)  July  3,  1852;  May  20,  1862; 
Jan.  16,  17,  1874;March  19,  1885;  March  7,  21,  Sept. 9,  1896; 
Feb.  18,  1916;  May  5,  Jvxie  2,  1917,  article  by  Pauline 
Jacobson. 

Morning  Call  (San  Franci:;co)  Nov.  23,  1884;  Nov.  25,  1888; 
June  2,  1889;  Nov.  11,  Dec.  6,  21,  1901;  May  17,  1903. 

Musical  America  (New  York)  Feb.  19,  1910. 

New  York  Herald  Tribune  Feb.  29,  1913. 

New  York  Tines  Feb.  29,  191S;  Sept.  '^ ,    1930;  Nov.  10,  1934. 

Pacific  Coast  Musical  Review  ( San  Fraici;!Co)  1908-1909;   1910-14; 
Dec. 31,1910, 

The  CGtlix'ornia  Cl^ronicle  July  3,  1_52. 

Can  Francisco  Chronicle  Nov.  10,  1S65;  Nov.  2<^  ,    1913;  Feb.  6, 
1916;  Sept.  31,  1931;  Jnn.  20,  1933;  J-^.n.  12,  1905;  narch  12, 

igi'^. 

San  rrancisco  News   ku-.  22,  1917;  Sept.  14,  1938. 

San  Francisco  News  Letter  and  California  Advertiser  Sept. 30, 
1865;  Feb.  24,  July  21,  28,  1866;  Oct.  26,  1867;  Nov.  14, 
1885. 

The  Examiner  (San  Francisco)  Feb.  19,  20,  1916;  June  25,1917; 
Oct.  15,  16,  1932;  Dec.  3,  1936;  July  17,  1938;  Jan.  12,  1905. 

The  San  Francisco  Call  Feb.  10,  1927;  Jan.  12,  1905. 

Town  Crier  (San  Francisco)  Oct.  7,  14,  1865. 

Wasp  News-Letter  (San  Francisco)  Sept.  5,  1931. 

Golden  Era  (San  Francisco)  Dec.  19,  1852;  Feb.  13,  27,  March 
30,  1853;  May  7,  14,  1854;  Feb.  11,  1855. 


loisn7i 


.3381    .    • 


117 


APPENDICES 


Part      I 


Tivoli  Opera  House  Record 

1.  Works  Presented  (1880-1900) 

2.  Operas  Presented  (1880-1881) 

3.  Composers  and  Operao  (18S0-1900) 

4.  Personnel:   Chorus  and  Prima  Donnas  (1880-19001 

Singing  Actors 
Singing  Actresses 
Musical  Directors 
Stage  Managers 

5.  Operas  and  Composers  (1900-1906) 


••?[/ 


3t.      \ 
!J-L!\         "* 


.>■.■...  ...■».  ..   ■    ■,  --^l 


N'TPV 


•rT'^.^^-r-. 


.-)-^q    -i.. 


(soGi-ocK/: 


118 


APPENDICES 

TIVOLI  OFERA  HOUSE  F^CQRD  (1880-1900) 
1.  Works  Presented 


COMPOSERS  I'imiBER  OF  TI?.ES 

Sullivan  391 

Offenbach  580 

Lecocq  550 

von  Suppe  393 

Verdi  329 

Balfe  305 

Strauss  278 

Audran  238 

Planquette  191 

Ilillocker  182 

Wallace  156 

Donizetti  147 

Goiinod  139 

E.  Solomon  124 

Donnelly  &  Miller  122 

Plotow  120 

Genee  119 

Sidney  Jones  113 

Rossini  110 

Auber  107 

W.  W.  Fur St                            '  79 

Richard  Stahl  77 


araaoH' 


ro- 


■':i 


119 


TIVQLI  OPERA  HOUSE  RECORD  (1880-1900) 
Works  Presented 

COMPOSERS  NUMBER  OF  TIMES 

Von  Weber  70 

Wilson  &  Bauer  05 

Walte  63 

Chassaigne  49 

Itzell  49 

Varney  46 

Bellini  46 

Bucalossi  42 

Edwards  &  3tangG  ^2 

Benedict  35 

Jakobowskl  35 

Morse  35 

Mozart  31 

Herve  29 

Boleldieu  26 

A.  Czibulka  28 

Ferris  Hartman  27 

L.  Searelle  25 

Wap;ner  24 


i^r 


iijj  i-i'S^'- 


iEM^'L^   mE^T'M  (t^J^BC^Wn'"' 


6\ 


rvtu;iiasH  el' 


120 


TIVOLI   OPEx^A   HOUSE   RECORD    (1880-1900) 


2.   Operas 

Presented 

(1880) 

Date 

of 

Norof  Per- 

Title 

Composer 

Opening 

formances 

Girofle-Girofla 

Lecocq 

Jan. 

7 

28 

Le  Petit  Due 

Lecocq 

Feb. 

25 

24 

La  Grande  Dvches 

se 

Offenbach 

Mar. 

1 

28 

Fatinitza 

von  Suppe 

Mar. 

22 

28 

Le  Petit  Due 

Lecocq 

Apr . 

19 

14 

Barbe  Bleue 

Offenbach 

May 

3 

21 

La  Perichole 

Offenbach 

May 

24 

24 

Girofle-Girofla 

Lecocq 

June 

17 

18 

Die  Fledermaus 

Strauss 

July 

3 

23 

Les  Cloches  de  Corneville 

Planquette 

July 

26 

28 

Light  Cavalry 

1 
von  Suppe 

Aug . 

23 

17 

Fatinitza 

von  Suppe 

-- 

-- 

18 

Mar it ana 

Wallace 

Sept. 

.27 

28 

Fra  Diavolo 

Auber 

Oct. 

25 

21 

The  Pretty  Persian 

Lecocq 

Nov . 

25 

28 

Cinderella 

Rossini 

Dec. 

23 

63 

•V.1 


-IC  V 


rf'?'/?,'^ 


a^l^teH  '.\- 


121 


TIVOLI  OPERA  HOUSE  RECORD  (1880-1900) 


Operas 

Presented 

(1881) 

Date 

of 

No . 

of  Per- 

Title (as  performed) 

Composer 

Opening 

formances 

The  Bohemian  Girl 

Balfe 

Feb. 

23 

37 

Olivette 

Audran 

Apr. 

2 

42 

Rose  of  Castile 

Balfe 

May 

14 

23 

The  Fakir  of  Travai 

acore 

Searelle 

June 

6 

17 

Martha 

Plotov; 

June 

23 

23 

Satanella 

Balfe 

J-aly 

18 

63 

The  Crown  Diamonds 

Auber 

Sept. 

.19 

14 

Lurline 

Wallace 

Oct. 

3 

37 

Donna  Juanita 

von  Suppe 

Nov . 

9 

29 

Olivette 

Audran 

Dec. 

8 

16 

Bronze  Horse 

Auber 

Dec. 

24 

21 

These  first  tv/o  annual  programs  v;hen  compared 
v/ith  the  programs  of  the  subsequent  eighteen 
years  reveal  a  definite  standard  of  taste. 
Every  composer  (save  Eichberg)  figiiring  on  the 
programs  of  1880  and  1881,  and  almost  every 
opera, are  found  to  have  oeen  in  frequent  demand 
af  terv/ards . 


Vf" 


^^:'t:r::ri^      ( 


i\v 


^I 


^:^'^*=^f^i^  ^■ 


'•I'-V'^A-e?'        ^nc- 


H 


;•;    ^  fob 


j't:  '.v^-fi 


122 


TIVOLI    OPERA   HOUSE   FJ'CORD    (1830-1900) 
3»      Composers   and  Operas 


No .  of  per- 


Composor        Title  (as  performed)       formances 

Sullivan           Pinafore  178 

Mikado  179 

Patience  66 

Pirates  of  Penzance  55 

lol'-nthe  55 

Yeoman  of  the  L^uard  42 

The  Gondoliers  35 

Trial  by  Jury  31 

The  Sorcerer  21 

Ruddigore  17 

Princess  Ida  12 

Offenbach           The  Brigr^nds  70 

La  Grande-Duchesse  65 

Orpheus  in  Hades  63 

A  Trip  to  the  Moon  57 

Priricesse  do  Trezbizonde  42 

La  Pe'richole  38 

I\1ine.  Favart  32 

La  Bc-lle  Kelene  28 

Genevieve  d-a   Brabant  28 

Marriage  by  Lanterns  21 

Robinson  Crusoe  21 

Blue  Be?rd  21 


SI 


123 


TIVOLI  OPERA  HOUSE  RECORD  (1880-1900) 


Composei's  and  Operas 

No. 

of  Per. 

Composer 

Title 

formances 

Of'feRbach  (cent.) 

The  Bridge  of  Sighs 

18 

The  Tales  of  Hoffmann 

17 

La  Perlchole 

14 

La  Vie  Parlsienne  • 

14 

The  Pretty  Poacher 

11 

The  Driitu  I;!ajor's  Daughter 

14 

Rose  of  Auvrivsne 

7 

The  Giorgiennes 

7 

Lecocq 

Girofle'-C-irofla 

123 

La  Fille  de  Itae .  Angot 

100 

Le  Petit  Due 

75 

Manola 

54 

The  Hoolah 

42 

Heart  and  Hand 

33 

The  Pretty  Persian 

28 

All  Bab a 

27 

Circus  Queen 

21 

Pearl  of  Peking 

14 

Mar jolaine 

14 

The  Red  Bird 

14 

Pepita 

7 

von  Suppe 

Fatinitza 

88 

Boccaccio 

87 

"J 
II 


:[-l^    1. 


'Mj'  ••■.'■■.!  f:  ■•-  ".''      ■■^I'^-'     ■•.■^. 


(,^.io-j) 


^,  > 


124 


TIVOLI  QPKRA  H0US3  RECORD  (1880-1900) 
Coriiposers  and  Operas 


Composer 
von  Suppe  (cont.) 


Balfe 


Strauss,  Johann 


Audran 


No.  of  Per. 

Title 

formances 

Donna  Juanlta 

85 

The  Pretty  Galatea 

38 

A  Trip  to  Africa 

35 

Clover 

28 

Light  Cavalry 

17 

The  Gascon 

14 

Bohemian  Girl 

157 

Sato.nella 

105 

Rose  of  Cantlle 

23 

The  Enchantress 

21 

Die  Pledermaus 

61 

The  Merry  War 

59 

Prince  Methusalem 

56 

The  '^'ypsy  Baron 

39 

Night  in  Venice 

28 

The  Queen's  Lace  Handke 

3rchle 

f     21 

Indigo 

14 

Olivette 

133 

The  Mascot 

58 

The  Golden  Hen 

35 

Aquilo 

28 

Gillette 

14 

3S 


9UsS 


125 


TIVOLI  OPERA  HOUSE  RECORD  (1880-1900) 


Composers  and  i 

Operas 

Composer 

Title 

No.  of  Per- 
formances 

Planquette 

Les  Cloches  de 
Rip  Van  Winkle 
Nell  Gv/yn 
The  Privateer 
The  Voltljcnirs 

Corneville 

79 
43 
33 
25 

21 

V/nllace 

Marltana 
Lurline 

105 
51 

Flo tow 

Martha 
Stradella 

103 
17 

Rossini 

Cinderella 

William  Tell 

84 
14 

The  Barber  of  ; 

Seville 

14 

Auber 

Fra  Diavolo 
Bronse  Horse 
Crovm  Diamonds 

72 
21 
14 

Searelle 

Fal:ir  of  Travancore 

17 

Estrella 

8 

ov 


■^T.■i  ?T 


eoBlX?' 


NT 


iiiletjc. 


126 


TIVOLI  OPERA  HOUSE  RECORD  (1880-1900) 
Composers  and  Operas 


Chief  among  the  remaining  authors  of  classic  and 
comic  operas,  whose  productions  have  figured  on  the  Tivoli 
boards  during  the  term  of  years,  are  the  following,  showing 
the  number  of  nights  each  opera  has  been  on; 


Composer 


Verdi 


Millbcker 


Donizetti 


Gounod 


Donnelly  and  Miller 


No.  of  Per- 


Title 

formances 

11  Trovatore 

98 

La  Traviata 

50 

Ernani 

56 

Un  Ballo  in  Haschera 

54 

Aida 

44 

Rigoletto 

35 

The  Beggar  Student 

54 

The  Vice-Admiral 

42 

The  Black  Hiissar 

33 

Gasparone 

27 

Maid  of  Belleville 

14 

Lucia  di  Lairmiermoor 

78 

Lucrezia  Borgia 

28 

Linda  di  Chamounix 

14 

La  Favorita 

11 

La  Fille  du  Regiment 

9 

Paust 

125 

Romeo  et  Juliette 

14 

Ship  Ahoy 

108 

Dick  Turpln 

14 

.'lal.,v.t 


e«i«r:-,- 


.:^:;;v^-'.-c:' 


•'•flfeiA 

(iJ-^-hi  f,"  ■  . 

iihellui''-'' 

'  'f.r-  >■: 

■;!*:^vrr>l;.":r  ;'.' 


•y-^-1  Vol  ~..,.  ■ 


.;-.i2iiflii£iL 


■-,.•*   ^,^     ;,J-P  . 


127 


TIVOLI  OPERA  HOUSE  RECORD  (1880-1900) 


Composers  and  Operas 

No.  of  Per- 

Composer 

Title 

formances 

Genee 

Nanon 

68 

Royal  Middy 

33 

Prince  North  Pole 

18 

Sidney  Jones 

The  Geisha 

92 

The  Isle  of  Champagne 

21 

Wilson  &  Hirsohbach 

San  Juan  (ad»  lib.) 

35 

Lalla  Roolch 

35 

Little  Robinson  Crusoe 

14 

Solomon 

Paul  and  Virginia 

86 

Billee  Taylor 

21 

Claude  Duval 

10 

The  Grenadiers 

7 

W.  W.  Fur St 

She 

51 

Theodora 

28 

Richard  Stahl 

Said  Pasha 

77 

Von  Weber 

Der  Freischutz 

42 

Oberon 

28 

Wilson  and  Bavier 

Island  of  Jewels 

30 

Mister  Montecristo 

21 

Beauty  and  ';ho  Beast 

14 

White 

The  Wonderful  Lamp 

63 

Chassaigne 

Falka 

49 

.rfn<-h-'\i"-i< 


01 


Irj 


::S^'-5I^- 


.!.'■  'ifOoI. 


cTe  Tij  1    •  ft    •  it 


'£60  6 ■'  no \ 


128 


TIVQLI  OPERA  HOUSE  RECORD  (1830-1900) 


Composers  and  Operas 

Composer 

Title 

No.  of  Per. 
formances 

Itzell,  Jr. 

The  Tar  and  Tartar 

49 

Bellini 

La  Sonnambula 
11  or  ma 

28 
18 

Varney 

Thr e  e  du  ard  siiien 
The  Musketeors 
Coquelicot 

14 
11 
21 

Bucalossi 

Tliree  Black  Cloaks 

42 

Edv/ards  arid 

Stance 

I.ladelaine 
Wedding  Day 
Brian  Borxi 

14 

14 
14 

Benedict 

Lily  of  Ki Harney 
Jupiter 

14 
21 

Jakobowski 

Ei>minie 
Paola 

21 

14 

Morse 

Wang 

35 

Mozart 

Magic  Flute 
Don  Giovanni 

24 
7 

Herve 

Little  Faust 
Chilperic 

22 
7 

Boieldleu 

Little  Red  Riding  Hood 

28 

Czlbulka 

Amorita 

28 

Hartman,  Ferris 

Babes  in  the  'Vood 

27 

Wagner 

Lohengrin 
Plying  Dutchman 

17 
7 

H 


'■IBirifi'i     UtP     la?    a*!'/  .  ■:■■      ,.xc.w:. 


''  j.;"j;V"«.oK? 


.;0 


-U-. 


129 


TIVOLI  OPERA  HOUSB  RECORD  (1880-1900) 
4.   Personnel:   Chorus  and  Prima  Donnas 


Abramoff,  Slgnor 
Avedano,  Fernando 
Baldanza,  Slgnor 
Barbareschi,  Nlci 
Barrows,  James  0» 
Borneman,  Fred 
Branson,  Philip 
Eroderick,  George 
Brooks,  FredEmerscn 
Campobello,  Si^nor 
C ashman,  Harry 
Cassell,  Tom 
Castelano,  Emanuel 
Connell,  M. 
Cunningham,  Arthur 
Dado,  Agusto 
D'Albore,  Emelio 
d'Arcy,  Maurice 
de  la  Motta,  Miro 
de  Larme,  Harry 
de  Padova,  Michele 
de  Vries,  Maurice 
Dunbar,  Robert 


Singing  Actors 

Eckert,  Wilmot 
Pelch,  Stanley 
Plgman,  Max 
Fornari,  Vincenzo 
Frillman,  H.  W. 
0-anor,  Warv/ick 
Gates,  Harry 
Gerome,  Gerald 
Gordon,  Harold 
Green,  Tom 
Gregoretti,  Adtxmo 
Guille,  M.  A.  L. 
Hamilton,  Wm.  H» 
Hartman,  Ferris 
Plenderson,  Al 
Ischierdo,  Emanuel 
Kelly,  James 
Kni ght ,  Edward 
L'Alboro,  Emelio 
Leary,  Thomas 
Lennox,  Fred 
McCollln,  A.  W.  F. 
McWade,  John  E. 


Martens,  William 
Messmer,  Arthur 
Michelena,  Fernando 
Nicolini,  Alessandro 
Norman,  Henry 
Olmi,  George 
O'Sullivan,  Dennis 
Pache,  Martin 
Parolini,  Slgnor 
Peakes,  Harry 
Pearson,  Frank 
Perthold,  Barron 
Pyke,  CM. 
Powers,  Francis 
Pruett,  William 
Raffael,  John  J. 
Rattenbery,  H» 
Repetto,  Vittorio 
Ricketts,  Tom 
Risdale,  Frank 
Rochester,  W.  F« 
Roraback,  Frank 
Russo,  Domenico 


V--','* 


-y:i^9U  ■ 

ioiiilitV    4  0'i6rtoS-- 

'r<ir^v•  IE-  , . 

'iVi'i...  j.v     ^•j.etf.P.p.BK 

•^:o.r^f^^tf^    ,tf6-T9T- 

O'fcjti^  ,-!*!' ?!      tC 

•••-^•^iAsrWiflirr-A-lM 

•••-         •      ■         r 

miA  ^inii6cm 

OKI'iV'^Cj-i    i-V        ^?i'l':" 

i-o^iH-,i; 

•ifteH'  ,;.- 

•  •    *       '.rAitf.iai'/- 

<'    8-^lHffit     ,«i 

d'^'trr-fi)    ^tLtnLij 

.lO'J^  '  •"  ■  "  .*;"• 

it>0^    ,fti>.n56n'fc. 

MiTdG    ^«C7lIIw^'-5 

^j^-^j^K'  je&i^iV' 

q'lXitri'^ 

■i^IsM    ^ador'i 

f^'X^is*©-'  ,fci>yT©i> 

e-8*x<?>'«>0  ^al&iTbiOo'i.a 

:t  ,2nlI6^B'5 

biif'fm   ,r.ttD'b«x?ff:''' 

me'ri^rH^=lxda:'3 '■  ,»; 

r?-':^'"  t£fif«6>r«;  ■ 

tc;'ni:i-E^'  ,oIXe; 

»'. 

.vA-\  ^io'if*''!'^ 

•yrL'tel'i-   ^  p.  ^i  i  ii: ;  .i  **  >.' 

-   ■  ■  ■ 

t?J   .A  •••M    »©^'I-  '• ; 

-M'!  •   ,£-1-68 8>f1 

•     r^  ■ 

,\\    .nt'A-  4«6*i- 

C/)i;»*nTa'   ,. 

1- 

^'   ' 

.ii.,i'> 

:;:<'.t.  'J  c,  •    ,ti  j.'.'t.ril'- 

i->  ■  t«-<^8'i'    ■ 

^trrt^TTk'  ,r'  ■ 

^ilynli:-  ' 

r:Vb-.T-«-.i:-'.^'''  ,©■*%«/:     -  ■ 

o^cif^;s    ^ot'.'-" 

•.^^•f^Ji 

c"ejr{r " ' 

■  liiMftLi--  ^ei- 

1 

tHh^rif^i     • 

i^^i•i«•■■•■*ft^    »"i 

«   ' 

ofl-lo^^       .               '^^ 

0*tl-f^       ,<»v 

'i-                         :                   ■ 

X^fK^L-   ,*tJTf 

- 

u&i'- 

.*f>.«f   .A-   ,< 

B fe^a'tV    tj I > 

130 


TIVOLI  OPl^RA  HOUSE  RECORD  (l8P.n-1900) 
Pe r s onne 1 :   Chorus  and  Prima  Donnas 


Salassa,  Gaudenzio 
Schultz,  Ferdinand 
Schustsr,  V/illiam 
otovens,  Edwin 
Stev;art,  Melville 
Tedeschi,  Alfredo 


Annandala,  Lizzie 
Baker,  -''abolla 
Beckwith,  Charlotte 
Brand! s,  Mary 
Carle,  Alice 
Clement,  Laiira 
Collamarini 
Connall,  M. 
Crawford,  Bertie 
d'Arville,  Camille 
de  Benedetto,  Lina 
de  Frata,  Ines 
de  Lussan,  Zelle 
Deloro,  Hattle 


Sin.Alnp;  Actors  (Cont.) 

Tennery,  George 
Thomas,  ^^^hys 
Trava3llnl,  Baldo 
Valcrga,  Richard 
Venerando,  Pietro 
Villani,  Signer 
Graham,  Francis 

Sinking  Actresses 
de  Pacili,  Pilade 
de  Spada,  Tina 
Dingeon,  Helen 
Estefano,  Miss 
Evans,  Tellula 
Lg  Fevre,  Miss 
Fleming,  Katherine 
Galliard,  Alice 
Godfrey,  Carrie 
Woodthorpe,  Edith 
Hall,  Fanny 
Holmes,  Eve  mice 
Humphrey s ,  Nina 
Intropidi,  Josie 


Viviano,  Ludovico 
Wanrell,  Signer 
Webb,  Edward 
V/est,  William  H. 
Wheel an,  Alfred C. 
Zanini,  Guiseppe 
Zernl,  Edgardo 

Kronold,  Selraa 
Leighton,  Louise 
Lester,  Louise 
Lichter,  Anna 
Liddiard,  Fannie 
Li nek,  Mary 
Lynton,  Ethel 
Manfred  Louise 
Marchesinl,  Clio 
March! ,  Kate 
Melville,  Emelie 
Merill,  Helen 
Meyers,  Annie 
Millard,  Laura 


0  fe& 


131 


TIVOLI  OFSRA  HOUSE  RECORD  (1830-1900) 
Personnel:   Chorus  and  Prina  Donnas 


Moore,  Hattie 
Morella,  Ilyra 
Hulle,  Ida 
Natsli,  ixine . 
Neville,  Miss  li. 
Nielsen,  Alice 
Peletinl,  Lia 
Plaisted,  Oracle 
Pozzl,  ilarle 
Roma,  Caro 


Sinp:ing  Actresses  (Cont.) 

Royce,  Lonise  Thorne,  Bolle 

Salinger,  Lena  Tromben,  Adeline 

Salinger,  Tillie  Valeria,  Si^nora  Ida 

Sesfc(rook0,Elvia  Crox  Vernon,  Grace 

Scpellle,  Si:;nora  Vincent,  Alice 

Soldene,  Ulniily  Walker,  Ada  Palmer 

Sorners ,  Ada  Welch,  Mary 

Sordelli,  ?l^nora  V^'lley,  Dora 

Stewart,  j]ffie  Williams,  Maud 

Taylor,  Mamie  I'Volcott,  Florence 


■JH 

.7 


132 


TIVOLI    OPERy.  HOUSE   rJICCRD    (1880-1900) 


Personnel:   Musical  Directors 


Bauer,  Adolph 
Dohrmann,  J.  H» 
Furst,  W.  W. 
ilinrlchs,  Gustav 
Hirschbach,  Joseph 


Hirchfeld,  Max 
Homeycr,  T» 
Loesch,  George 
Martens,  Carl 
Navone,  M. 


Schmldtz,  E. 
Searelle,  Luscom 
Stahl,  Richard 
.Steindorff,  Paul 


Bachrach,  M» 
Barrov;s,  James  Oi 
Brooks,  F.  E. 
Coventry,  G. 
Craven,  Walter 
Evans,  Robert 


Personnel:   Sta^^o  Managers 

Gates,  Harry 
f  Henderson,  Al 

la  Fontain,  Fritz 
Lask,  George  E. 
Lloyd,  R.  C. 
Nash,  John  Et 


Norcross,  I.W.,  Jr. 
Pyke,  Chas.  M. 
Rochester,  W.  F. 
Urban,  Fred 
Witt,  Joseph 


Rfi ....      !.Lianu':^jlic5i- 

,...  -  :  '  -   rr^ 


133 


TIVOLI  0F:^RA  house  record  (1900-1906) 
5.   Operas  and  Composers 


Composer 
Verdi 

Jones,  Sidney 
Czibullca 
Kerker 
von  Suppe 
Bizet 
Mascagni 
Massenet 
Dalayrac 
Giordano 
Donizetti 
Lehar 
Meyerbeer 
Jakobowski 
Verdi 
Sousa 
Gounod 
Auber 
von  Suppe 
Verdi 

Stuart,  Leslie 
De  Koven 
Planquette 


Title 
Alda 

A  Geiety  Girl 
Amorita 

Belle  of  New  York 
Boccaccio 
C  armen 

Cavalleria  Rusticana 
Cinderella 
C ami lie 

Andrea  Chenier 
Don  Pasqviale 
Der  Rastelbinder 
Dinorah 
Errainie 
Ernani 
El  Capitan 
Paust 

Era  Dlavolo 
Fatinitsa 

La  Forza  del  Dsstino 
Plorodora 
Foxy  Quill^jr 
Nell  Gwyn 


No.  of  Per- 
formances 

21 

15 

15 

13 

13 

76 

34 

21 

2 
20 

5 
20 

3 
14 

8 
33 
25 

6 

6 

1 
29 
20 
14 


J^dciXa 


134 


TIVQLI  0P3RA  HOUSB  RECORD  (1900-1906) 


Operas  and  Composers 

Coni'ooser 

Title 

No.  of  Per- 
formances 

Ileyerbeer 

Les  Huguenots 

3 

Verdi 

11  Trovatore 

26 

Leoncp-VHllo 

I  Pa^:liacci 

32 

Cai-r 

In  Town 

•4 

Sullivan 

lolanthe 

7 

Fur St,  W,  W. 

Isle  of  Champagne 

10 

Schindler,  P. 

Isle  of  Spice 

25 

Bellini 

I  Puritani 

5 

.Srskine 

Jack  and  the  Beanstalk 

21 

Luders 

King  Dodo 

14 

Piiccini 

La  Boheme 

33 

Donizetti 

La  Pavorita 

13 

Ponchielli 

La  Gioconda 

7 

Bellini 

La   Sonnambula 

7 

Verdi 

La  Traviata 

25 

Puccini 

La  Tosca 

15 

Little  3o  Peep 

14 

Beckett,  (Mrs. 

Gloss op)   Little  Red  Riding  Hood 

3 

Donizetti 

Lucia  di  Larainermoor 

43 

Donizetti 

Linda  di  Chamounix 

4 

Donizetti 

Luc  re  z  if'  ;';orgia 

4 

Edwards 

Madelaine 

24 

Flotov/ 

Martha 

4 

Boito,  A. 

Mefistofele 

8 

tiyinV 

•io.asAJ  c.:ljr/r,onr.8j 


135 


Composer 
Thomas 
Puccini 
Verdi 
Bellini 
Verdi 
Offenbach 
Bizet 
Sullivan 
Klein 
Sullivan 
Verdi 
de  Koven 
de  Koven 

Millocker 

Balfe 

Wagner 

Rossini 

Millocker 

Luders 

Varney 

Jones,  Sidney 


T I VOLT  OPERA  HOUSE  RECORD  (1900-1906) 
Operas  and  Composers 

Title 
Mignon 

Manon  Lescaut 
Nabucco 
Norma 
Otello 

Orpheus  in  Hades 
Pe;'rl  Fishers 
Patience 
Mr.  Piclr'vvick 
H.  M.  S.  Pinafore 
Rigoletto 
Rob-Roy 
Robin  Hood 
Sergeant  Kitty 
The  Black  Hussar 
The  Bohemian  Girl 
Tannhauser 

The  Barber  of  Seville 
The  Beggar  Student 
The  3u  r  g  oma  s  t  e  r 
The  Three  Guardsmen 
The  Geisha 
The  Messenger  Boy 
The  Toreador 


No»  of  Per- 
formances 

22 

4 

8 
17 
27 
18 

3 
14 
10 
25 
24 
32 
14 
12 
14 

9 
10 
21 
13 
19 
13 
31 
21 
48 


f>'. 


136 


TIVOLI  0P:^:RA  house  RgCORP  (1900-1906) 
Operas  and  Composers 
Com-ooser  Title 


No.  of  Per- 
formancea 


Verdi 

Hertz,  H.  L. 
Herbert,  Victor 
Edwards 
de  Koven 
Edvi^ards 
Linley 

Hartman,  Ferris 
Herbert,  V. 
Herbert, V. 
Herbert,  V. 
Herbert,  V. 
Sullivan,  A. 
Donizetti 
de  Koven 
Burnand,  F.  C« 
Halevy 
Herbert  V. 
Offenbach 
Morse,  S.  W. 
Edv;ards,  J» 
Leoncavallo 


A  Runav/ay  Girl  gi 

Un  Ballo  in  Mascliera  12 

The  Tenderfoot  35 

The  Wizard  of  the  Nile  40 

The  Jolly  -lusketoer  26 

The  Fencing  Master  13 

The  Wedding  Day  2 

The  Toy-Makei  52 

The  Babes  in  the  V/ood  22 

The  Ameer  97 

The  Serenade  74 

The  Fortune  Teller  11 

The  Singing  Girl  27 

The  Mikado      '  31 

La  Fille  Du  Regiment  5 

The  Highwayman  54 

Miss  Timidity  12 

La  Juive  3 

The  Idol's  Eye  24 

The  Brigands  8 

Wang  27 
When  Johnnie  Comes  Marcliing  Home  61 

Zaza  6 


Offenback,  and  others   Ixion,  or  The  Man  at  the  Wheel  12 


.-H 


e^- 


'  ■f: 


'0 


.'te 


L2 


*■■'  *- 


*Y   ^:^ 


PROJECT  EDITORIAL  STAFF 


Research  Director .... »Jack  W.  Wilson 
Research  Assistant  3r . . .  .Mathev;  Gately 

MONOGRAPH  WRITERS 


George  Ducasse         Cornel  Leng^'-el 
Hector  Rella  Alan  Harrison 

Michael  Krepshaw        Eddie  Shlmano 


RESEARCH  ASSISTANTS 

Dorothy  Phillips        Lenore  Legere 
V/yland  Stanley 


BIBLIOGRAPHY         PHOTO  REPRODUCTION 
Gretchen  Clark         M.  H.  I.lcCarty 

PRODUCTION 

William  K.  Noe      Elleanore  Staschen 
Clara  Mohr 


Although  the  entire  research  and  sten- 
ographic staff  on  the  project  assisted 
in  the  preparation  of  this  monograph 
at  various  stages  in  production,  par- 
ticular credit  should  be  given  to  Mr. 
Cornel  Lengyel  for  his  rewrite  work  on 
the  bulk  of  the  two  volumes,  to  Mr. 
Mathew  Gately  and  Mr.  Rudolph  Erick- 
son  for  their  rewrite  work  on  bio- 
granhical  sections,  and  to  Mrs.  Gret- 
chen Clark  for  her  painstaking  re- 
search work. 


Lawrence  Estavan 
Project  Supervisor. 


i'y.i.':iK  r}.  I 


ISffOCte'-: 


MONOGIL''.PHS   TO  BE   IJ'CLUDED  INTKIS   SERIES   -  BIOGR;vPHICAL  AilD  HISTORICAL 


VOLUME   I. 

INTRODUCTIOVT  TO  THE  SERIES 

SaN  FR';HCISC0«S  E.'diLIF.ST  E-'TERTAIi^RSi 

STEPI-IEF  C,  MASSETT 

JOSEPH  A,  nnvvE 

VOLUJ.re  II. 

PIONEER  IMPRES::.RIOS : 
TOM  mGUIRE 
DOC  ROBIV'SON 
M,   B.  LE.WITT 

VOLUlffi  III. 

FAMOUS  EiJlLY  FxU-lILIES: 
THE  STARKS 
THE  BAItiRS 
THE  CKAPM-vNS 

VOLUT.'iE   IV. 

THE  BOOTH  FAIilLY: 
JUNIUS  BRUTUS  BOOTH  SR. 
JUNIUS  BRUTUS   BOOTH  JR. 
EDVriN  BOOTH 

VOLUlffi  V, 

LOLA  liONTEZ 

ADAH  ISAACS  MENKEN 

MS.   JUDAH 

VOLUlffi  VI, 

LOTTA  CR3TREE 
JOm^  HCCULLOUGH 

VOLUlviE  VII, 

THE  HISTORY  OF  OPERii     IN 
SAN  FPu.NCISCO      (P..RT   l) 

VOLUME  VIII. 


THE  HISTORY  OF  OPERiV  IN 
SAN  FRANCISCO  (P-.RT  2) 


VOUJIffi  IX. 

FOREIGN  TI-IEiiTRES    (FART  l) 
THE  FRENCH  THE,  TRE 

VOLUlffi  X. 

FOREIGN  THE,'Vi'RE3    (PART  2) 
ITALIAN 

VOLUlffi  XI. 

FOREIGN  THE.\TRES    (P.iRT  3) 
RUSSIAN 

VOLUlffi  XII. 

FOREIGN  THEjlTRES    (PART  4) 

GERMAN 
SPANISH 

VOLUlffi  XIII. 

THEATRE  BUILDINGS    (PART  l) 

VOLUlffi  xrv, 

THEATRE  BUILDINGS   (PART  2) 
VOLUlffi  XV, 

MINSTRELSY   (PART  l) 
VOLUlffi  XVI. 

MINSTRELSY    (PART  2) 
VOLm/ffi  XVII. 

BURLESQUE 

VOLUlffi  XVIII 

PERIOD  COSTUlffiS 
STAGECRi'iFT 

VOLUlffi  XIX 

LITTLE  THEiiTRES 


San  Francisco  Theatre  Research 


Vol,  8  Second  Edition 


MONOGRAPH  VIII 

THE  HISTORY  OP  OPERA 
IN 
SAN  FRANCISCO 
PART  II 


First  Impression,  December  1938 
Second  Impression,  May  1939 


Lawrence  Estavan,  Editor San  Francisco^ 

Monograph  XVIII  from  Theatre  Research,      ~ 

This  edition  produced  by  W.P.A.  Project  10677^0. P. 665-08-3>167 


TABLE  OF  CONTENTS 
HISTORY  OP  OPERA  IN   SAN  FRANCISCO 
PART  II 

PAGES 

Faust  and  the  Toymakor ..«...«.  1 

Two  Docades  of  Comedy  (1900-1920) 1 

Nielsen  at  the  Columbia 2 

Grand  Opera  in  the  Background. 3 

LUISA  TETRAZZINI  ( 1874-     ) 4-13 

"Caro  Nome"  of  the  Stairs. 4 

i'henomonal  Student 5 

Debut  at  Florence 5 

Experience  s  in  Mexico 6 

Leahy's  Greatest  Find 6 

San  Francisco  Triumph 7 

Evaluations  of  Local  Debut '8 

Bart  e  r ,  Feud ,  and  Re  s  cue 9 

Singing  in  the  Street 10 

The  Last  Rose  of  Slimmer 10 

A  Pioneer  Broadcast 11 

The  Fourth  Tivoli  Dedication 11 

Purple  Paragraph  in  History 13 

Luisa '  s  Acknowledgment 13a 

Marriage ,  Later  Studie s 13b 

Another  Dome stic  Experiment • 13b 

Predecessor  of  the  Movies ioc 

Opera  at  the  Tivoli  :.........  ^ 14 

The  Exposition:  1915 15 

Burlesque  on  Salome 16 

The  Year  of  the  Armistice 17 

Broken  Blossoms ..........  18 

One  More  Decade  ( 1920-1930 ) 19 

Chinese  Operetta 20 

Ali  Baba 21 

Mary  Garden '  s  Company 21 

Give  and  Take 23 

Civic  Opera  Season 24 

Fay  Yen  Fah 24 

Casiglia  '  s  Company 25 

The  I'.'iracle 25 

Death  of  a  Pioneer 26 

Dean  of  Directors 27 

The  Beggar  '  s  Opera 28 

A  Naughty  Boy '  s  Dream 29 

Pari  s  in  Spring . , 29 

Der  Rosenkavalier 30 


<•  ^ .     ..  - ,  V  •.  •  •  •  •  ^  • 


''.%:,% 


'"''■■•''•»«.. 


^ ,:  \;f*.v)f;}i: 


;;::-.  I  t  .•...,, ; 


TABLE   OF   COOT EFTS    (Cont.) 


PAGES 


The  End  o  f  the  Je  s t er 31 

Ferris  Hartman  Takes  the  Pinal  Curtain 32 

Doldrums 33 

Of  Thee  I  Sing 33 

A  Noel  Covirard  Musicale 34 

The  1938  Season 35 

B.PRESARIOS:  MAGUI.iE,  MAPLESON,  MEROLA 36-46 

'DOC  LEAHY  (1862-1936) 37 

COLONEL  iuAPLESON  ( 1850-1901) 38 

Maple  son  in  San  Francisco 38 

The  Patti  Epidemic 39 

Nailed  Boots  on  Harmoni'oms 39 

Magnificent  Opening 40 

Campstools  and  Coffee 40 

Rates  to  Shame  Shylock ♦ ♦ .  41 

Acrobats  in  the  Gallery 41 

The  Opera  Swindle 41 

Maple  son's  Trial 42 

Second  Trip  to  the  West 42 

The  Last  Visit 43 

Maple  son's  Demise 44 

GAETAFO  MEROLA  ( 1881-   ) 44 

Permanent  Director r •  45 

From  Barn  to  Temple 46 

A  Glimpse  of  the  Ballet 46 

The  Dance  in  San  Francisco 48 

Great  Dancers 48 

ISADORA  DUKCAN  ( 1880-1927  ) 50-53 

Overpeers  '.ler  Sisters 50 

An  Ecstatit  Review. 51 

Ivo  Delsartean  Porm.ulae 52 

Only  Vi  sit 52 

MAUD  ALLAH  ( 1875-   ) 53-56 

The  First  and  the  Last 54 

"Take  Me  to  Your  Hearts" 55 

Amblings  and  Wrl things.  •  - • • 56 


TABLE   OF   CONTENTS    (Cont.) 

PAGES 

San  Francisco  Opera  Ballet 57 

Ballet  Masters 58 

AMATEUR  OPERA "  THE  BOHEMIAN  CLUB 59-53 

Early  Participants. 60 

First  Outdoor  Jinks « 61 

The  Bohemian  Grove 61 

The  Cremation  of  Care 62 

Annals  and  Reviev/s 63 

The  Dollar  Opera 53 

Gertrude  Stein 64 

On  the  Apathy  of  the  Capitalists 64 

Af ter  the  Fire '. 65 

FORTUNE  GALLO. . ' 65 

The  San  Carlo  Outfit 66 

Nielsen  at  the  Chutes. 66 

Depression  Outwitted 67 

Training  School 67 

North  Beach  Grand  Opera 67 

Cast  and  Bills '. 68 

The  Genius  Behind  it  All 69 

Interviewed  By  Redf ern  Hason 70 

"Death  to  the  Germans" 71 

Trail'  s  End , 72 

Uncle  Sam '  s  Opera  :  PMP 72 

Take  Your  Choice 73 

The  Impre  sario .' 74 

The  Caliph  of  Bagdad 74 

Opera  in  Tabloid 75 

The  Municipal  Opera  House 75 

Legality 75 

Foiled  By  the  Mayor 76 

The  Campaign  of  1918 77 

Plans  for  a  War  Memorial 77 

Drive  for  Funds 77 

Trustees  and  Architects ^ 78 

Merola  on  the  Scene •  79 

The  San  Francisco  Opera  Association 79 

Civic  Auditorium  Opera 80 

The  Vifarehouse  in  Civic  Center 81 

Juggling  the  Sites * 82 


*  f  i:  t  i  i  ii  .  , 


'i-i'i^I^i^ir^JV:.  i  i' 


••••'•.•. 'I- 


'ii'i 


^•m^m  ••mm  ••%*  «•*••'       ^  , 


TABLE  OF  CONTENTS  ( Cont . ) 


PAGES 


The  Veterans  Want  a  Building 82 

Controversy  v/ith  the  Veterans 82 

The  Opera  House  Materializes* 83 

The  Interior 83 

The  Stage 84 

The  Lighting 84 

The  First  Night 85 

Merola  Honored 85 

A  Gushing  Review ,  86 

Condensed  Blue  Book.  * , 87 

Subsequent  Seasons  :  1933-1938 87 

The  Nibelungen  Ring , 88 

Fidelio 89 

ilektra  in  the  West :  1938 90 

Finale;  The  Future  of  Opera 93 

BIBLIOGRAPHY 95 

NEWSPAPERS  AND  PERIODICALS 97 

APPENDICES 98-165 

General  Opera  Record.. 99 

Most  Popular  Operas  and  Opera  Houses  (1850-1938) 102 

Most  Popular  Operas:  Decade  by  Decade  (1850-1938) 103 

Complete  Repertoire:  Decade  by  Decade  (1850-1958) 107 

Civic  Opera:  Ten  Seasons  (1923-1932) 140 

War  Memorial  Opera  House  (1933-1938) 151 

Opera  Companies:  Visiting  and  Local 159 

Opera  Houses.  .  .  * 161 

Grove  Plays  of  the  Bohemian  Club 162 

Project  Editorial  Staff 166 

Acknowledgment 167 


•  «•••• 


: ; ; :  ?.•••» 


•t*'*  •  • 


»*ff,'i  .'*.-} 


ILLUSTRATIONS 

San  Francisco  Municipal  Opera  House Frontispiece 

FOLLOWING  PAGE 
Ferris  Hartrnan 30 

'  Do  c  '  Le  ahy 36 

Gaetano  Merola 43 

San  Francisco  School  of  Ballet  Performance 56 

San  Francisco  School  of  Ballet  Rehearsal 84 


TK3  VETERANS  WAR  MEMORIAL  OPERA  HOUSE 
OPENED  OCTOBER  15,  1932 


THE  ONLY  MITNICIPALLY  OWNED  OPERA  HOUSE  IN  AMERICA 


HISTORY  OF  OPERA  IN  SAN  FRANCISCO 
PART  II 
FAUST  A^m  THE  TOYMAKER 

Vvith  the  turn  of  the  century  San  Francisco's  chang- 
ing taste  in  opera  became  most  apparent.  V>/hile  the  public  in 
the  fifties  and.  sixties  found  in  the  gaudy  and  grandiose  art 
of  the  Italian  opera  a  fit  expression  of  its  emotional  world, 
the  new  twentieth  century  theatre  going  bourgeoisie  turned 
away  from  even  the  operatic  dilution  of  Faust  to  give  whole- 
hearted support  to  The  To7/maker . 

The  annual  season  of  grand  opera  dv/indled  to  a  week 
or  tvifo;  the  works  of  De  Koven,  Offenbach,  and  Herbert  v^^ere 
favored  all-year-round.  Gilbert  and  Sullivan,  of  course, 
could  always  be  relied  upon  by  the  Tivoli.  The  many  revivals 
never  failed  to  attract  a  faithful  public. 

TWO  DECADES  OF  COMEDY   (1900-1920) 

Ferris  Kartman,  knov/n  as  the  King  of  Jesters  to  two 

generations  of  the   city's  musical  comedy  patrons,  was  one  of 

the  stars  of  the  old  Tivoli.    In  January  1900  he  appeared  in 

Bo-Peep,  a  highly  successful  shov^  follov;ed  by  the  sensational 


comic  thriller  The  Idol ' s  Eye  which  ran  for  ten  weeks  and 
played  to  an  audience  of  more  than  150,000.  The  Wizard  of 
the  Nile  was  his  next  popular  hit;  and  in  March,  Hartman  and 
company  appeared  in  the  extravaganza  Manila  Bound.  One  of 
Kartman's  most  popular  roles  v;as  the  Toymaker  in  The  Tpyma!ker 
of  Muremborg  v/hich  he  played  every  Christmas  in  the  Tivoli 
days.   Plis  last  appearance  in  the  role  was  in  1922. 

The  famous  "Sostonians"  came  in  the  spring  to  the 
Columbia  and  put  on  De  Iloven's  Robin  Hood,  Victor  Herbert's 
Serenade  and  The  Viceroy.  Columbia's  next  attraction  was  the 
musical  farce.  The  Floor  V/alker,  followed  by  The  Evil  Eye 
v/hich  featured  an  elaborate  electrical  butterfly  ballet.  In 
June  the  Tivoli  revived  an  old  favorite  The  Geisha  v;hich 
roused  much  enthusiasm,  and  in  July  the  grand  opera  season 
introduced  La  Juive . 

NIELSEN,  AT  THE  COLUIViBIA 
Alice  Melsefi  made  her  first  appearance  as  a  star 
in  San  Francisco  at  the  Columbia  in  November  1900,  when  she 
appe-ired  in  Victor  Herbert's  The  Singing  Girl,  written  espe- 
cially for  her.  She  had  loft  the  Bostonians  and  had  been 
playing  to  crowds  in  the  East.  Among  her  associates  were 
Eugene  Cowles,  Ritchie  Lang,  Viola  Gillette,  Hay  Boley,  and 
Henry  Dale.  Her  musical  director  was  the  popular  Paul  Stein- 
dorff  v/ho  had  conducted  previously  for  the  Alice  Nielsen  Grand 
Opera  Company.   Steindorff  became  identified  v/ith  the  Tivoli. 


■  ■  J  m/^i       X  * ' 


GRAIID  OPERA  IN  THE  BACKGROUND 

After  the  Christmas  prod'action  of  Cinderella ,  the 
Tivoli  put  on  The  Fencing  Master,  Nell  Gwyr,  and  The  Wedding 
Day  v;hich  \/as  a  forraer  New  York  Casino  show.  The  Columbia 
produced  De  Koven's  Highv/ayman  in  March  1901.  Other  light 
offerings  during  the  year  included;  The  Babes  in  the  Vi/oods, 
A  Royal  Rogue,  In  Tov/n,  The  Belle  of  New  York,  A  Gaiety  Girl, 
Floi odora,  and  the  very  popular  new  extravaganza,  Little  Red 
Riding  Hood.  Among  the  revivals  v/ere  The  Idol '  s  Eye ,  The 
Toyr.iaker   and  The  V/izard  of  the  Nile  > 

At  the  Grand  Opera  House  the  season  in  November  In- 
troduced Emilia  Sames  who  sang  Elsa  in  Lohengrin.  The  cast  in- 
cluded Scliumann-Heink,  Van  Dyck,  and  Edouard  de  Resake. 
Walter  Danrosch  conducted.  Previously,  the  great  soprano, 
Marcella  Seiiibrich  appeared  in  The  Barber  of  Seville  .  Septem- 
ber saw  the  first  Western  performance  of  Verdi's  old  opera, 
Nabucco.  The  brief  two-v/eek  season  at  the  Grand  offered 
Carmen  in  which  Emma  Calve  made  her  first  San  Francisco  ap- 
pearance, supported  by  Salignac,  Journet,  and  Scott i.  Tann- 
hausor  was  given  v/ith  Eames;  Sembrich  appeared  in  La  Travi- 
at a ;  Gadski ,  Homer,  Sembrich,  Journet  and  Scotti  in  Les 
Huguenots.  Sybil  Sanderson  made  her  debut  at  the  California 
in  Man on. 

During  the  next  few  years,  up  to  the  catastrophe  of 
1905,  opera  passed  through  the  same  cycle:  grand  opera  was 
pushed  into  the  background;  comic  opera  and  musical     comedy 


!'i-\'  i    :  '•.oil-'.' 


supplied  for  the  public  the  place  of  today's  cinema.  An  out- 
standing event  in  1903  v/as  Mascagni  '  s  appearance  to  conduct 
his  Cavalleria  Rustlcana  and  Zanetto  from  the  Tivoli's  pit. 
Ten  years  later  Leoncavallo  was  to  do  the  same  for  his  world- 
famous  Pagliacoi.  In  1905  Tetrazzini  made  her  memorable  de- 
but in  San  Francisco. 

LUI3A  TETRAZZINI  (1874-  ) 
Of  the  galaxy  of  singers  brought  to  the  Tivoli  by 
'Doc'  Leahy,  none  received  a  warmer  reception  than  Luisa 
Tetrazzini.  The  ovations  she  received  represented  the  spon- 
taneous appreciation  of  a  city  internationally  known  for  its 
love  of  music.  Tetrazzini  understood  that  response  and  later 
expressed  her  gratitude  by  saying:  "I  love  no  city  more  than 
San  Francisco . " 

»CARO  NOME'  OF  THE  STAIRS 
Luisa  Tetrazzini  was  born  June  29,  1874  in  Florence, 
Italy.  She  came  of  a  musical  family,  and  manifested  early  in 
life  an  aptitude  for  music.  Her  eldest  sister,  Eva,  an  opera 
singer  of  note  and  wife  of  Cleofonte  Carapaninl,  the  conductor, 
was  her  first  teacher.  Waen  but  twelve  years  old,  she  had 
learned  many  difficult  roles,  among  them  the  aria  "Caro  Nome." 
The  story  of  her  early  mastery  of  "Caro  Nome,"  a  selection 
later  to  become  outstanding  in  her  repertoire,  is  related  by 
Hubert  V.Taelbourn,  in  his  work,  Celebrated  Musicians  Past  and 
Present : 


■jl-  ox. 


.J^  -f 


"According  to  her  autobiography  'My  Life  of 
Song,'  published  In  1921,  she  sang  most  of  the 
operatic  arias  when  a  girl  helping  her  mother 
in  their  Florence  home.  'Caro  Nome'  vi/as  her 
particular  selection  to  sing  v/hen  sweeping  the 
stairs.  And  because  she  sang  it  so  well  and 
delighted  her  parents  so  much,  this  domestic 
duty  was  performed  by  her  alone." 


PHENOJffiNAL  STUDENT 
Still  at  an  early  age,  Tetrazzlni  enrolled  in  the 
Liceo  Musicale  in  Florence.  For  her  entrance  she  sang  arias 
that  were  usually  the  test  for  graduation.  Under  the  tutor- 
ship of  Contucci  and  Ceccherini  she  completed  in  three  months 
the  usually  allotted  four-year  course. 

DEBUT  AT  FLORENCE 
A  celebrated  prima  donna  had  been  engaged  in  1895 
to  sing  the  role  of  Inez  in  L'Afrlcaine  at  the  Teatro  Pagliano 
in  Florence.  Tetrazzlni,  then  a  slender  girl  of  twenty-one-;;- 
was  present.  The  conductor  approached  his  stand.  He  v/as  met 
by  a  messenger  v;ho  handed  him  a  letter.  Turning  to  the  au- 
dience he  announced  that  ov/lng  to  a  cold  the  great  prima  donna 
could  not  appear.  Tetrazzlni  had  practiced  the  role  of  Inez 
many  times  with  her  sister  Eva.  As  the  disappointed  patrons 
were  leaving  she  asked  the  conductor  to  let  her  substitute. 
He  hesitated.  Many  in  the  audience  knowing  Tetrazzlni,  in- 
sisted that  she  be  given  the  chance.   But  opera  in  Italy  has 


-"-  The  Encyclopedia  Americana  and  the  Nev/  International  Ency- 
clopedia and  Pratt  and  Grove's  dictionaries  of  music  give  Tet- 
razzini's  debut  as  1895.  Her  autobiography  states  itwasgi\©n 
during  her  16th  year,  1890. 


C^-Ili 


is   oi 


-1  >■ 


its  traditions.  A  compromise  in  keeping  with  them  was  reached : 
she  would  have  to  rehearse.  Within  a  fev/  days  the  young  girl 
essayed  the  stellar  role  of  Inez  and  sang  it  brilliantly. 

Events  moved  sv^riftly  in  the  life  of  Tetrazzini  fol- 
lowing the  Florence  debut.  Ovations  greeted  her  in  other 
cities  and  countries  —  Spain,  Portugal  and  Russia.  Buenos 
Aires  beckoned  to  her  and  the  memory  of  her  triumphs  still 
linger  there. 

EXPERIENCES  IN  MEXICO 
The  company  in  which  Tetrazzini  toured  Mexico  in 
1904  met  with  adverse  circumstances.  The  impresario  absconded 
and  the  company  found  itself  stranded  in  an  out-of-way  town. 
Tetrazzini  assiuned  the  responsibility  of  the  company  by  be- 
coming diva-im.prosario.  In  this  dual  role  she  partially  re- 
couped the  losses  sustained.  Still,  the  troupe  fared  miser- 
ably in  Mexico. 

LEAHY'S  GREATEST  FIND 
Visiting  in  Mexico  City  in  1904  'Doc'  Leahy,  man- 
ager of  the  Tivoli_,met  the  conductor  of  the  stranded  company, 
Giorgio  Polacco,  who  spoke  in  glowing  terms  of  Tetrazzini  and 
insisted  that  Leahy  hear  her.  He  did  —  and  decided  at  once 
that  she  must  come  to  San  Francisco.  But  the  diva  refused  to 
come  v/ithout  her  entire  company  of  160.  Leahy  had  to  comply. 
He  chartered  a  train,  disappointed  the   Governor  of   Jalisco, 


^  T^*^  ^  iTfik^ 


who  tried  to  effect  a  comriiand  performance,  and  arrived  in  San 
Francisco  the  day  of  the  scheduled  opening,  after  a  final  18 
hours'  delay  due  to  a  Colorado  River  flood. 

SAN  FRANCISCO  TRIUMPH 

Prior  to  Tetrazzinl's  advent  in  San  Francisco,  the 
third  Tivoli  had  run  only  a  series  of  light  opera  productions. 
Ixion  given  on  December  24,  1904  had  been  doomed  to  failure; 
perhaps  the  first  in  the  history  of  the  institution. 

Leahy  elaborately  advertised  his  newest  discovery. 
The  diva  vias  to  sing  the  part  of  Gilda  in  Rigoletto.  The 
telephone  of  the  Tivoli  rang  busily  the  week  preceding  the 
opening  night.  The  demand  for  tickets  exceeded  the  supply. 
Among  the  purchasers  were  many  Italians,  some  skeptical  of 
Tetrazzinl's  ability  to  meet  the  glov;ing  promises  of  her 
manager . 

On  the  night  of  d'anuary  11,  1905,  after  a  dull  first 
act  in  v;hich  she  did  not  appear,  Tetrazzini  stepped  forth  in 
the  second  act  to  present  San  Francisco  vi/ith  a  ne\/  and  bril- 
liant Gilda  and  to  v/in  their  hearts  forever.  The  San  Fran- 
cisco Call-Bulletin  years  later  (June  12,  1936),  glorified 
the  performance  in  these-  v;ordst 

"Rigoletto  that  night  met  v/ith  almost  sleepy 
reception  until  the  second  act,  vrtiere  Tetrazzini 
first  appeared.  As  she  began  the  duet  with  the 
tenor,  the  audience  sat  paralized.  And  v;hen 
she  sang  'Caro  Nome'  there  was  an  ovation  like 
the  roar  of  three  Big  Game  crov/ds  in  one.  The 
Italians  in  the  top  gallery  went  wild." 


So  it  was  in  San  Francisco  --  not  in  New  York  as  it 

has  been  claimed  --  that  the  Araorican  debut  of  Tetrazzini  tcck 

place  .-"- 

EVALUATIOHS  OF  LOCAL  DEBUT 

Ashton  Stevens  in  the  San  Francisco  Examiner  Jan- 
uary 12,  1905  evaluated  that  first  San  Francisco  appearance 
of  Tetrazzini  in  an  article  entitled,  "A  Star  Blazes." 

"At  first  you  resented  it  as  an  obtrusion.  The 
previously  sufficient  tenor  began  to  sound  hol- 
lovi  by  comparison  J  his  acting  becaine  inflated. 
And  by  the  time  Tetrazzini  had  run  into  'Caro 
Nome,'  that  song  of  sighs  and  laces  the  crowd 
vi/as  hers. 

"Tetrazzini  is  a  wonder  coloratura  singer.  Her 
voice  is  not  large,  but  she  seems  never  to  ex- 
pose its  limitations.  And  by  no  means  are  her 
vocal  charms  confined  to  embroidery.  There's 
heart  in  her  voice  as  in  her  acting.  I  have 
heard  nothing  since  Sembrich  so  bird-like,  so 
pure  yet  warm,... .And  under  Gilda's  gilded  wig 
she  is  almost  beautiful.'' 

No  less  affected  v/as  Blanche  Partington,  v/ho  in  the 

Call  of  Jantiary  12 ,  1905  remarked  i 

"One  is  almost  afraid  to  own  to  the  depth  and 
character  of  the  impression  that  the  singer 
made.  To  me,  however,  the  voice  has  all  the 
crystalline  purity  and  freshness  of  the  Melba 
voice,  while  the  r^iethod  much  m^re  approaches 
that  of  Sembrich.  The  voice  la  flawless.  It 
is  perfectly  sweet,  perfectly  clear,  perfectly 
even  —  up  to  a  full  E  in  Alt  —  and  perfectly 
round.  It  runs  as  easily,  lightly  as  a  lark. 
There  is  a  trill  that  shames  any  lark  I  ever 
heard  and  a  scale  even  as  a  string  of  pearls. 
It  is  the   pvirest  bel  canto.   Just   three  notes 


-"-  Stokes  Encyclopedia  of  Music  and  Musicians  (Page  665)  says; 
"Tetrazzini  was  first  hailed  as  a  great  artist  during  an  en- 
gagement at  San  Francisco  but  thereafter  both  New  York  and 
London  vigorously  claimed  to  have  'discovered'  her." 


Qdi 


It  took  the  audience  to  discover  vifhat  was  be- 
fore tliGin  in  the  'way  of  voice  and  the  Tetrazzinl 
cigar  is  as  good  as  labeled." -"- 

Announcing  that  Tetrazzini  had  made  an  "instanta- 
neous and  electrifying  success"  the  San  Francisco  Chronicle 
of  January  12,  1905  said: 

"Tetrazzini ' s  voice  is  the  absolutely  pure  so- 
prano, liquid^ ineffably  sweet,  produced  with 
bird-like  ease,  never  losing  its  bell  quality 
even  in  the  most  attenuated  pianissimo  tones. 
Melba's  famous  C  in  'La  Boheme ,  '  by  comiiion  con- 
sent regarded  as  an  absolutely  perfect  tone, 
was  not  one  v/hit  better  than  the  one  Tetrazzini 
sang  as  she  walked  back  in  the  garden  after 
'Caro  Nome.'  \^at  will  she  do  with  the  Bell 
song  in  'Lakrde'  and  the  Jev/cl  song  in  'Paust'? 
Surely  the  unfolding  of  the  voice  that  sang 
Gilda  last  evening  should  be  a  revelation." 

BARTER,  FEUD,  AND  RESCUE 
Triumphs  in  Nev/  York  and  London  during  the  next  five 
years  followed  for  Tetrazzini.  But  before  her  roapijcarance 
in  1910  in  San  Frai:icisco,  she  encountered  managerial  diffi- 
culties. Oscar  Harrriorstoin,  impresario  of  the  Manhattan  Opera 
House,  New  York,  had  disposed  of  his  interest  to  the  Metro- 
politan Opera  Company.  The  deal  included  the  contract  of 
Tetrazzini  who  v/as  in  London  at  the  tixvie .  The  diva  strongly 
resented  being  bought  and  sold  by  impresarios.  Hat'nmerstein 
Ignored  her  protest  and  declared  unless  she  sang  for  the 
Metropolitan  she  should  not  sing  in  Am^erica.  The  diva,  ob- 
durate, swore  she  would  sing  in  the  street  si 


-»-  As  m.embero  of  the  older  generation  vifill  remember,    it   was 
the  custom  to  name  cigars  after  fartious  prima  donnas. 


10 


Learning  of  Tetrazzini's  difficulty,  'Doc'  Leahy 
hurried  to  London  and  signed  her  for  the  Tivoli.  On  her  ar- 
rival in  San  Francisco  she  was  greeted  by  a  swarm  of  reporters 
v/ho  inquired  if  she  was  in  earnest  about  singing  in  the 
streets. 

SINGIHCr  IN  THE  STREET 


Not  in  retaliation,  but  for  charity,  Tetrazzini 
sang  in  the  streets.  Lotta's  Fountain,  standing  in  the  gore 
at  the  intersection  of  Geary,  Kearny  and  Market  Streets,  op- 
posite Third  was  the  site  selected.  Over  250,000  people  con- 
gested the  streets  about  the  Fountain. 

To  maintain  order,  soldiers  from  the  Presidio  under 

the  direction  of  a  young  colonel  Virere   assigned  to  the  area. 

Tetrazzini   in  her  book   My  Life  of  Song,   relates  of  the 

young  colonel: 

"During  the  proceedings  the  young  colonel  came 
up  to  me  and  said;  'Madam  Tetrazzini,  I  do  not 
know  your  language,  but  I  will  speak  to  you  in 
the  language  that  all  the  v;orld  understands.  ' 
With  that  he  took  my  fingers,  bent  his  head, and 
implanted  a  kiss  on  my  hand.  That  young  colonel, 
then  unknown,  has  now  a  v/orld  reputation.  I 
read  of  him  and  the  exploits  of  his  army  during 
the  Great  War... he  had  become  the  great  General 
Pershing, ..." 

THE  MST  ROSE  OF  STOiMER 
An  orchestra  under  the  direction  of  Paul  Gteindorff 
lead  the  vast  audience  in  singing  Christmas  carols.   Tetraz- 
zini,  introduced  by  Mayor  McCarthy,   was  given  an  ovation. 


"•xi^t  3& 


11 


"Never  in  the  history  of  Music,"  said  the  Pacific  Coast  Mu- 
sical Review,,  (December  31,  1910)  "has  there  been  such  a 
demonstration  in  America  in  behalf  of  a  great  singer."  Tet- 
razzini  chose  for  her  numbers  "The  Last  Rose  of  Summer"  and 
the  V/altz  song  from  Gounod's  Romeo  and  Juliet  •  Her  voice  was 
heard  distinctly  for  a  radius  of  four  or  five  blocks. 

A  PIONEER  BROADCAST 

Radio  was  then  in  its  infancy,  and  broadcasting  as 
done  today  unknown,  yet  San  Francisco  pioneered  in  the  field, 
for  Tetrazzini's  voice  was  transmitted  by  telephone  to  Los 
Angeles. 

The  diva  was  deeply  moved  by  the   ovation  accorded 

her.   Eric  Howard  in   California  and  Californians   quotes  her 

as  saying ; 

"Vi/here  else  could  I  sing  on  Christmas  Eve?  This 
I  shall  always  remember  as  my  night  of  nights. 
No  setting,  no  audience,  no  scene  has  ever  so 
deeply  moved  me.  I  shall  carry  the  memory  of 
it  with  me  always . " 

The  memorable  event  has  been  recorded  permanently. 
A  bronze  tablet  at  the  base  of  the  Fountain  —  v/hich  Lotta 
Crabtree  presented  to  the  city  in  1875  —  carries  the  inscrip- 
tion; 

"To  remember  Christmas  Eve,  1910,  when  Tetraz- 
zlni  sang  to  the  people  of  San  Francisco  on 
this  spot." 

THE  FOURTH  TIVOLI  DEDICATION 
Tetrazzini  spent  the  three  years  following  her  great 
open-air  concert   in  touring  the  United  States  v;ith  various 


blPil 


12 


concert  troupes.   She  returned  to  San  Francisco   in  1913  v/lth 
the  Chicago  Grand  Opera  Company  to  dedicate  the  fourth  Tivoli. 

The  Chicago  Company  v/as  under  the  direction  of 
Cleofonte  Campanini,  Tetrazzini's  brother-in-law.  Ca:iipanlni 
was  making  his  first  how  locally.  This  company  struck  the 
highest  note  in  the  long  opera  history  of  the  Tivoli.  Three 
special  trains  were  required  to  transport  the  cast  of  325 
members.  They  brought  the  entire  equipment  as  used  on  the 
Auditorium  Stage  in  Chicago,  as  well  as  that  of  the  Metropol- 
itan Opera  House  of  New  York.  It  was  to  be  the  first  genuine 
opera  season  since  the  fire  of  1906. 

The  dedication  of  the  fourth  Tivoli  by  Tetrazzinl 
on  March  12,  1913  was  a  notable  event.  Rigoletto  was  the 
work.  Dignitaries  and  the  elite  of  the  city  packed  the  new 
edifice  from  pit  to  upper  gallery.  Mayor  James  Rclph  deliv- 
ered the  address,  rehearsing  the  Tivoli 's  colorful  history. 
A  special  curtain  bearing  the  inscription, "Our  Luisa," 
formed  a  backdrop  as  the  audience  aviiaited  the  '  golden  voice'' 
of  their  favorite  singer.  Tetrazzinl  never  sang  more  delight- 
fully. Her  rendition  of  '  Caro  Nome?'  elicited  applause  that 
mounted  to  v^'lld  enthusiasm.  To  calm  her  adrairers,  she  sang 
at  the  opera's  conclusion  '  Home  Sweet  Homo." 

The  following  day  critics  vied  with  each  other  in 
describing  the  event.  Full  pages  exliausted  the  hyperbole  of 
musical  acclaim. 


1^^ 


13 


PURPLE  PARAGRAPH  IN  HISTORY 

The  Exanlner  of  March  13,  1913  proclained  the  event 
to  be  "a  purple  paragraph  in  the  City's  history." 

The  sane  paper  gave  the  story  five  full  pages,  as 
did  the  Gan  Francisco  Call;  the  San  Francisco  Chronicle, 
three  pages;  the  rest  of  the  dailies  in  proportion  to  their 
size  and  circulation. 

In  the  :i]xar;iiner ,  Thomas  Nunan  vifrcte  : 

"Tetrazzini  v;as  by  no  means  the  entire  show  at 
the  opening  of  the  ne\¥  Tivoli,  but  the  devoted 
San  Francisco  public  seei.ied  to  think  she  was-- 
so  lavish  the  applause  in  v;elconing  her  home  to 
the  place  \vhere  she  v/on  her  earliest  celebrity." 

WaldGiuar  Young  in  the  Chronicle  diagnosed  the  affair  as  a 
"New  epoch  in  San  Francisco."  Harvey  Vjicloian  in  the  sane  is- 
sue under  the  heading  "Sweetheart  and  Sunrise"  declared; 

"It  was  an  event  of  such  ir.iportance  to  San  Fran- 
cisco and  all  so  good  that  he  who  would  find 
fault  with  it  v/ould  pick  flaws  in  a  sunrise  and  ■ 
discover  inperf ectlons  in  the  complexion  of  his 
sweetheart.  Besides,  speaking  of  sweethearts, 
Tetrazzinl  is  some  sweetheart  herself." 

Walter  Anthony  in  the  Call  described  the  diva's  voice; 

"Swoct  bolls  never  wore  clearer  than  tones  from 
throat  of  prima  donna." 

Mr.  Anthony  shewed  the   city's  love  of  the  diva  by  remarking 

that  Tetrazzini  c-uld  have   "achieved  a  success   if  she  had  a 

cold  in  her  head." 

D.  N.  Tayl.r  in  the  Call  gives  this  picture  of  the  reaction  of 

the  Italians  in  the  top  gallery; 

"Bravol  brava-anccra,  anco^ra-Luisa,  Luisa,  —  La 
nostra  Luisa.  The  cries  of  the  Italian  r.iusic 
l':vers  reverberated  through  the  gilded  alcuvcs 


and  rccosnos  of  the  brilliant  playhcuse.  Eiuo- 
ti'-'ns  ran  riot." 

The  San  Francisco  Dcll^/  No_v/s  r c p o r t e d  : 

"The  v/ondcrful  voice  of  our  Luisa  and  the  sense 
of  being  present  at  an  'occasion'  clainod  every- 
one and  enthixsiasn  flai'.ed  spontaneously.  Vuhen 
Tetrazzini  stepped  forv;ard  out  of  the  'picture' 
in  the  first  act  and  sang  a  bit  of  recitative, 
the  uproar  drowned  the  notes  and  halted  the 
opera. " 


LUISA'  S  ACIaMpy/LEDGMELTT 

Tetrazzini,  in  a  letter  to  the  Call  headed  "My  Poor 

Heart  Beats  With  Joy"  said: 

"I  an  overwhelraed  by  r;y  feelings #  It  is  wonder- 
ful, this  audience.  Never  in  the  wide  world 
have  I  r-et  such  folk  as  in  this  city.  They  re- 
spond as  if  by  r.iagic.  Hy  po:-r  heart  just  burst 
■  with  yjj  at  the  reception  accorded  to  r.ie  and  tiie 
other  ricnbers  of  the  cov.ipany.  Ever  since  the 
great  fire  of  1906  I  have  felt  there  was  sone- 
thing  -wanting  v/ithin  ny  heart.  Tonight  I  kncv/ 
v/hat  it  wast  It  was  the  applause  fror.i  a  Tivoll 
audience.   I  shall  never,  never  forget  it — never. 

"Mien  I  appoarod  m  the  stage  the  outburst  of 
the  audience  took  no  with  such  surprise  that  I 
nearly  forget  ny  lines.  At  first  I  did  not  knov/ 
what  had  occurred.  It  was  such  a  terrific  noise. 
Then  I  felt  ny  poor  little  heart  beat--oh,  so 
very  fast.  I  did  not  know  what  to  do. 

"Little  by  little  it  dawned  upon  ne  that  I  was 
the  center  of  attraction  as  everyone  liad  left 
the  stage.  Vfliat  could  I  do  but  rush  to  the 
footlights  and  wave  ny  handkerchief  to  ny  dear 
San  Francisco  friends.   Oh,  I  an  so  happy." 

Tetrazzini  continued  with  the  Chicago  Conpany  until 
the  outbreak  of  the  World  War.  She  then  returned  to  Florence, 
Italy,  and  was  active  In  relief -work.  In  1919-20  she  returned 
for  another  A;;ierlcan  tour.  Upon  its  highly  successful  con- 
clusion slie  again  returned  to  Italy  and  tcok  up  her  residence 
in  Roue. 


"•iTfttjie^ 


MARRIAGE,    LATER   STUDIES 

I3t) 

Grove's  Dictionary  of  Music   reveals  Tetrazzini  to 

have  been  the  v;lfe  of  a   J.  G.  Bazelll.    No  Information  Is 

given  as  to   v/hen  or  where  the   marriage  occurred,   nor  as  to 

its  termination.    The  diva   also  falls  to   mention  it  in  her 

autobiography. 

In  her  palatial  home  in  Rome,  Tetrazzini  practiced 
dally  and  added  new  roles  to  her  already  extensive  repertoire. 
She  is  credited  v/ith  having  mastered  33  operas.  Her  power- 
ful notes  filled  the  largest  houses. 

ANOTHER  DOMESTIC  EXPSRIMEMT 

Slgnor  Pletro  Vernatl  came  under  the  spell  of  Tet- 
razzini 's  voice.  Their  romance  began  In  1924  In  a  house  which 
the  diva  owned  in  Rome.  Vernatl,  who  was  Tetrazzini 's  tenant, 
fell  In  love  with  her  voice.  Though  tv/enty  years  her  junior 
he  declared  his  love  for  her  and  proposed  marriage.  They 
were  married  October  23,  1926  by  special  permission  of  the 
Italian  Government  in  the  singer's  native  city  of  Florence. 
The  civil  marriage  was  performed  in  the  Palazzo  Vecchlo,  the 
government  seat  of  the  m-unlclpallty.  This  v;as  followed  by  a 
religious  ceremony. 

Characteristic  of  Tetrazzini 's  life  has  been  her 
generosity.  On  numerous  occasions  she  has  donated  the  re- 
ceipts from  her  concerts  to  the  less  fortun-ite.  At  times  she 
gave  freely  of  her  purse.  Apparently  this  generosity  failed 
to  meet  the  plans  of  Vernatl.  To  prevent  her  from  giving 
money  'right  and  left,'  he  had  the  diva  hailed  Into  court. 
His  suit,  filed  In  Rome  June  26,  1926,  charged  that  the  anger 
was  incompetent  to  handle  her  estate  and  that  she  was  dis- 
sipating her  fortune.  Tetrazzini  in  turn  charged  Vernatl 
with  extortion.   The  Now  York  Times   of  November  10,  1934  re- 


was  bested;   for  to  continue  v/ith  the  Times : 

"Council  for  the  singer  countered  recently  with 
allegations  that  Slgnor  Vernatl  had  offered  to 
withdraw  his  suit  for  a  sum  of  money." 

Returning  to  America  in  1932  Tetrazzlni  gave  a  se- 
ries of  farewell  concerts  in  the  larger  eastern  cities.  Her 
voice  at  this  advanced  stage  of  her  career  still  held  its 
strength  and  brilliance.  Excessive  weight  seriously  affected 
her  legs  but  not  her  voice.  The  farev/ell  tour  v/as  highly 
successful,  and  she  returned  to  Rome  in  1933. 

Remembered   and  beloved  by  thousands  Tetrazzinl  is 
firmly  fixed  in  the  history  of  San  Francisco  opera. 
PREDECESSOR  OF  THE  MOVIES 

Many  v/ell-knov;n  film  actors  first  gained  their 
reputation  in  musical  comedy.  Between  1910  and  1918  smart 
musical  shows  appealed  to  the  popular  fancy.  Kolb  and  Dill 
had  a  great  following.  King  Dodo,  The  Mikado ,  and  The 
Chocolate  Soldier  drev/  the  crowds.  In  1910  Louise  Dresser 
and  De  Wolf  Hopper  held  sway  at  the  Savoy  in  A  Matinee  Idol. 

November  brought  Texas  Guinan  in  The  Kissing  Girl 
and  in  1911  Lew  Fields'  mammoth  spectacle  Midnight  Suns  was 
produced  at  the  Savoy  after  a  36-week  run  in  i^^ew  York. 
Madame  Sherry  cane  to  the  Colurabla  in  March. 

Marie  Dressier  in  Tllllo's  Nightmare  was  the  phe- 
nomenal attraction  at  the  Savoy  in  April  1911.  Puccini's 
Girl  of  the  Golden  West  was  presented  the  first  time  In  the 
ViTest  at  the  Cort  Theatre  in  January  1912  under  George  Pol- 
acco's  direction.  The  next  year  Oscar  Hariimerstein' s  Company, 
featuring  Florence  V/ebber,  was  heard  at  the  Cort  In  Naughty 
Marietta,   The  Prince  of  Pllsen,   and  The  Merry  Vifldow.   Then 


Gilbert  and  Sullivan's  Pirates  of  Penzance,  Pinafore,  and 
The  Ilikado  were  successfully  revived  in  1913.  The  Chimes  of 
Normandy,  Hank'y-Panlc^f ,  and  Maritana  v/ere  also  very  popular  at 
this  time. 

Al  Jolson  was  featured  in  Honeymoon  Express, a  great 
favorite  at  the  Cort  in  April  1914.  The  saine  year  sav/  the 
production  of  Rudolph  Friml ' s  The  Firefly,  the  Maeterlinck- 
Debussy  fairy  tale  The  Bluebird,  and  audiences  heard  the 
Scotch  comedian,  Harry  Lauder. 

OPERA  AT  THE  TIVOLI;   1915 
The   Chicago  Grand  Opera  Company  gave  a  successful 
season  at  the   New  Tivoli  Opera  House  in  February  and  March, 
1913.   A  curious  analysis  of  a  now  opera  appeared  in  The   Pa- 
cific Coast  Musical  Review  on  April  15,  1913: 

"At  the  tirae  the  Pacific  Coast  Musical  Review 
went  to  press  last  week,  we  were  able  to  review 
'Salome'  v/lth  Mary  Gsirden  in  the  title  role. 
This  work  was  presented  on  Tuesday  evening, 
March  25th.  On  V/odnesday  afternoon  Tetrazzini 
appeared  for  the  last  time  during  this  engage- 
ment in  her  extremely  successful  role  of  'Lucia 
dl  Lammermoor.'  On  Wednesday  evening,  a  v/ork  en- 
tirely new  to  San  Francisco  v/as  presented, 
namely  V/olf -Ferrari '  s  exceedingly  beautiful 
'The  Jewels  of  the  Madonna. '  Having  heard  pre- 
viously the  same  composer's  delightful  little 
gem  'The  Secret  of  Suzanne'  v;e  were  prepared  to 
hear  something  out  of  the  usual  modern  school 
of  composition.  Our  readers  will  have  noticed 
that  we  stand  pat  on  the  proposition, that  there 
should  be  melody  in  music.  Vifithout  melody  vie 
cannot  concede  any  particular  value  to  a  musi- 
cal composition,  except  from  a  technical  stand- 
point of  view.  Melody  is  that  phase  of  a  musi- 
cal composition,  that  touches  the  heart,  that 
sticks  to  memory  after  one  has  witnessed  a  per- 
form.ance.   It  is   therefore  no  exaggeration  to 


■■n    •^1•.v 


lb 


state  that  music  \i^lthout  melody  misses  the  very 
ohject  for  which  it  v/as  intended.  Wolf -Ferrari 
is  one  of  the  few  modern  composers  that  have 
not  permitted  technical  intricacies  to  mar  the 
melodic  beauty  of  a  v\rork.  The  entire  opera 
'The  Jev/els  of  the  Madonna'  is  redolent  with 
melodic  charm.  And  notwithstanding  this  decided 
wealth  of  melody,  there  is  also  prevalent  a 
most  ingenious  richness  of  orchestration  and 
instrumentation  and  no  effort  has  been  omitted 
to  gain  certain  climaxes  v;hich  represent  such  a 
unique  characteristic  of  modern  Operatic  school. 
The  three  acts  of  this  delightful  work  v;ere  so 
lavishly  endov;ed  v;ith  a  musical  charm  that  v;e 
have  not  the  necessary  space  to  enumerate  all 
the  beauty  spots  of  the  work.  Throughout  the 
opera  there  runs  a  graceful  flov/  of  melody." 

TIIE  EXPOSITION:   1915 

The  thousands  of  visitors  during  the  Panama-Pacific 
International  Exposition  of  1915  naturally  stimulated  the 
city's  entertainment  life.  V/eek  after  week  Kolb  and  Dill 
went  through  their  tricks  at  the  Alcazar  in  A  Peck  of  Pickles, 
This  Way  Out  and  The  Hicyh  Cost  of  Living.  Al  Jolson  appeared 
at  the  Cort  in  June  in  Dancing  Around  and  Charlotte  Greenwood, 
the  comedienne  with  the  elongated  limbs,  performed  at  the 
same  place  for  five  weeks,  starting  in  October.  The  next  year 
Kolb  and  Dill  began  to  make  pictures  and  appeared  in  the 
eight-reel  comedy   Glory   at  the  Alcazar  in  April  1916. 

The  Passing  Show  of  1915  with  a  cast  of  125,  in- 
cluding George  Llonroe,  Marilyn  Miller,  and  the  Hov;ards,  came 
to  the  Cort  from  the  Winter  Garden  in  May  1916.  In  July  the 
Cort  offered  a  modernistic  extravaganza,  Canary  Cottage,  with 
Trixie  Priganza,  Charles  Ruggles,  and  Eddie  Cantor. 


Xb 


BURLESQUE  QI-?  SALOME 

Eva  Tanguay  came  to  the  Pacific  Coast  for  the  first 
time  in  October  and  did.  her  popular  burlesque  of  Salome  at 
the  Cort  Theatre.  Victor  Herbert's  Princess  Pat  opened  at 
the  Cort  in  January  1917  v/ith  Blanche  Duffield  playing  the 
Princess  and  it  ran  for  two  v/eeks. 

Futurism  v/as  a  novelty  in  1917,  and  the  year  of 
America's  entry  into  the  Vi/'orld  War  was  marked  by  futurism  in 
stage  design,  fviturism  in  art  and  manners,  futurism  in  idool- 
,ogies  --  instances  of  vulgar  fantasy  and  popular  escapism  in 
a  hard-pressed  vi/orld.  Stein's  The  Blue  Paradise  came  to  the 
Cort  in  March  1917,  after  a  long  run  at  the  New  York  Casino. 
Other  popular'  operettas  during  the  year  Included:  the  Rudolph 
Friml  opus  Katinka  containing  the  hit-songs  "Rackety-Koo" and 
"Allah's  Holiday;"  Robinson  Crusoe,  Jr.  in  which  Al  Jolson 
played  "Friday";  ^JhatJIext?  starring  Blanche  Ring  and  Charles 
V'/innlnger,  and  done  in  a  brilliant  futuristic  manner;  and 
Florabella. 

Geraldine  Parrar  appeared  in  the  movie,  Joan  the 
Woman,  at  the  Cort  in  April.  There  was  a  25-piece  atmospheric 
orchestra  in  the  pit  to  render  the  elaborate  score  composed 
for  the  film  by  William  Furst.  The  movie  cast  included  Wal- 
lace Reid,  Hobart  Bosworth,Har jorie  Daw, and  Theodore  Roberts. 

After  two  years  of  making  pictures,  the  tv/o  famous 
comedians  Kolb  and  Dill  returned  to  the  Alcazar  in  July  1917, 
and  put  on  their  former  Broadvmy  hit,  The  High  Cost  of . Loving 


r    rrnTfs-.'    --f  I    .+• 


17 


vdilch  ran  for  nine  v/eeks.  So  Long  Letty  came  to  the  Cort  the 
samu  month.  On  Labor  Day  the  Alcazar  featured  George  M. 
Cohan's  Fievue  of  1916.  Richard  Gsrle  headed  the  company. 
The  Revue  was  followed  by  Nobody  Home  containing  Cohan's  song 
hit  "Over  There." 

With  Madame  Gadskl  singing  the  title  role,  Aida  was 
presented  at  the  Civic  Auditorium  in  October,  under  Josiah 
Zuro '  s  direction.  Clarence  V/hitehill  sang  Amonasra.  At  the 
Cort  Theatre  the  La  Scala  Opera  Company  put  on  the  ever  pop- 
ular Lucia,  featuring  Nina  Morgana.  Apparently  for  the  sake 
of  variety,  a  week  later  the  Cort  introduced  Anna  Held  whose 
eyes  "just  wouldn't  behave"  in  the  musical  comedy,  Follov;  Me . 

THE  YEAR  OF  THE  ARI.IISTICE 

Tonight '  s  the  Niglit  vdtii  Charles  Ruggles  and  Dorothy 
Vveob  was  produced  at  the  Aloasar  in  the  orrly  spring,  while 
The  Show  of  .bonders  played  at  the  V/inter  Garden.  In  April 
1913,  Oh  Boy,  a  smart  musical  comedy  by  P.  G.  Vi'odehouso  and 
Guy  Bolton  opened  i\t  the  Cort,  starring  Lavlnla  V/inn  and 
Joseph  Santlcy.  Kolb  and  Dill  came  back  to  the  Alcazar  from 
Chicago  in  May.  The  next  month  Lombardi,  Ltd.  v/ith  Leo 
Carillo  was  featured  at  the  Cortj  the  show  had  over  300  per- 
formances in  New  York.  Up  in  the  Air  had  its  world  premiere 
in  San  Francisco  in  August.  The  cast  included  May  Cloy, 
Myrtle  Dingvt^ell,  Eleanor  Henry,  and  Francis  Young. 

Opera  performances  were  given  by  the  San  Francisco 
Grand  Opera  Company  at  the  Vi/ashington  Theatre  during  April 


18 


and  May,  v/lth  G-uiseppe  Mauro,Lina  Regglanl,  and  Elena  Avedano 
ill  leading  roles.  Gluclc's  rarely  performed  Orpheus  v/as  put 
on  at  the  Tivoli  under  Paul  Steindorff 's  direction  on  August 
11,  after  a  first  production  in  Berkeley,  /imong  the  performers 
were  Lydia  oturtevpnt,  Lois  Patterson  Vifessitch,  and  Anna 
Young;  the  premiere  danseuse  was  Paith  St.  Denis,  the  ensemble 
the  Anita  Fotors  IVright  dancers. 

An  influenza  epidemic  during  October  and  November 
forced  all  theatres  to  close  their  doors.  You're  In  Love,  a 
Friml-Clark-Auerbach  concoction,  starring  Max  Figman,  opened 
at  the  Currsji  in  December,  and  the  v/inter  season  was  again  in 
swing. 

3R0ia:M  BLOSSOLIS 

Of  the  more  important  productions  in  1919,  mention 
must  be  made  of  May time ,  which  came  to  the  Curran  on  May  19, 
with  a  cast  headed  by  John  Charles  Thomas,  Carolyn  Thompson, 
and  John  T.  Hurray.  Previously,  the  San  Carlo  Opera  Company 
put  on  a  tvi/o--./eeks '  season  at  the  Curran,  bringing  out  for  the 
first  time  Q,ueena  Mario  and  the  tenor  Sala^ar.  Doria  Fernanda 
of  San  Francisco  made  her  operatic  debut  at  this  time  as 
Amneris  in  Aida.  And  preceding  this,  Kolb  and  Dill  drev/  the 
crowds  with  As  You  '/ere,  a  military  farce  which  played  through 
January. 

Broken  lilossoms,  the  famous  early  Griffith  film 
starring  Richard  BartheL.iess  and   Lillian  Gish,  opened  at  the 


ly 


Currcm  in  August.  There  was  rauslc  vvritten  for  this,  a  the- 
iri'itlc  overture,  composod  and  conducted  from  the  pit  of  the 
Curran  by  Louis  P.  Gottschalkt  The  movie  was  a  tremendous 
success.   Its  lacrimose  qualities   were  a  popular  attraction. 

Trixie  Priganza,  however,  also  \vas  an  attraction 
and  as  a  poor  widow  v^rith  five  children  she  merrily  went 
through  her  turns  in  Poor  Mama ,  a  musical  coiaedy  put  on  at 
the  Cort.  Other  fall  features  included  the  Fanchon-Marco 
revue  Let's  Go.  with  Harry  Hines,  Donalda  Ayer,  and  Phil 
Harris  at  the  Curran  in  October j  while  in  November  at  the 
same  house,  Harry  Lauder,  now  Sir  Harry,  entertained  his  en- 
thusiastic followers. 

An  interesting  performance  of  The  Chimes  of  Norman- 
dy was  given  by  the  Players  Club  Theatre  on  November  12, 
1919.  The  highly  competent  cast  of  yoiing  people  v/as  headed 
by  Miriam  Elkus  v;ho  played  the  leading  role  alternating  with 
Ellen  Page  Fressley.  Eunice  Mary  Oilman  played  Serpolette, 
while  Benjamin  Purrington  acted  the  Marquis.  It  played  until 
January  3,  1920.  The  same  light  opera  v/as  put  on  by  the 
Perrier  Opera  Company  from  December  27  to  February  22,  1920. 
Andre  Ferrier,  well- knovm  in  local  art  theatre  circles, and 
a  director  of  the  French  Theatre,  played  Gaspard;  I^dme.  Fer- 
rier rendered  Serpolette. 

ONE  MORE  DECADE   (1920-1950) 
The  San  Carlo  Opera  opened  its  annual  two-week  sea- 
son at  the  Curran  on  February  2,  1920.   The  singers  included 


t'l-.'*- '' 


20 


Alice  Gentle,  Queena  Mario,  Marcella  Craft,  Johanna  Kristofy, 
and  Manuel  Salazar.  The  conductor  v/as  Gaetano  Merola  who  pre- 
sently was  to  play  such  an  important  part  in  organizing  a 
permanent  civic  opera  group  for  San  f-^ancisco.  The  company 
produced  Verdi's  La  Forza  del  Destine. 

The  next  company  at  the  Curran,  the  Gallo  English 
Comic  Opera  Company,  came  in  March  with  The  Mikado ,  The 
Gondoliers ,  H.M.S.  Pinafore  and  The  Chimes  of  Normandy.  Hana 
Shimoshumi  of  Berkeley  made  her  dehut. 

Massenet's  saccharine  spectacle  Cinderella  v/as  put 
on  by  the  Players  Club  in  P'ebruary, featuring  Lillian  Birming- 
ham, Ellen  Page  Pressley,  and  N.Chorpenning  McGee.  Ferrier's 
opera  troupe  performed  the  comic  French  operetta.  La  Jalousie 
de  Barbouille  by  Felix  Fourdrain,  in  May  and  June  at  the  Al- 
cazar. 

Other  shows  during  the  summer  included  Ladies  First, 
Lombard!,  Ltd. ,  The  Passing  Show,  So  Long  Letty,  The  Firefly, 
and  a  Fanchon-Marco  Revue. 

CHIMESE  OPERETTA 
Records  were  broken  during  the  first  week  of  Octo- 
ber 1920.  The  Scotti  Opera  Company  played  before  50,000  opera 
enthusiasts  who  brought  to  the  box  office  nearly  s!>90,000  dur- 
ing a  season  of  seven  days.  Besides  the  regular  repertoire, 
the  troupe  offered  a  novelty  in  the  form  of  a  Chinese  musical 
play,  L'Oracolo,   v/hich  proved  highly  popular.   The  singers 


o<; 


,      o^rIt)?  ij;  narfol.   tCflfiiO  BlIeoi*'.M  tOliBM  Bnoot;^   ^olitneO  ©oI/A 
,  orfw  aXorrsM  oxxfi^tefix)  saw  rco^t^oubnoo  erfT     .ibshI&B  l9<m«M  Jbna 

•  ooelonc^  :9qo  oJtvlo  ineoB.meq 

al   ©mco      ,YnBqni,  oimoO 

£llo-x3j!?ni0     aXoBitooqe  anlinriooj'sa  e'ctanssQaM 
-jjninnia  noiXlU  3nliw:tG8l,YiJ3tnt<<o'i  til  cfwXO  anaYiiX'i  srict  ^^  no 
3'ioiTi8i     .ddOoM  snJtnnQqiorfO.W  liofi   ^YoJ^^aei-  t>XXa  ^raari 

ctct-^ioqo  xiono'^x'i  olmoo  odi  Jberaac"; 
-XA  eri*  iB     ecuj\»  bcm  -^fl?4  ni   ^nlamSntsQ  [d  elXiuodxeS  sib 

tvleila  E9xJbi;a  fio&t/XonX  lonfltujE  srft  gni'iJ-fb  awoxle  TftrflO 

.  0.  odoaB"^  B  boB 


-oioO  lo  jfQow   .....J..    ,...  .   ,  a.,  ...     .....    .      .■  i   ..   .. 

anoqo  OO'J.OQ  otolocf  X>e"^Xq  ^jxtfiqflioO  «i©qO  l;trfor) 
-'"/b  000,00^:  Y-tiBoa  eolllo  xod  ocW   oi   difei/oio' 
,  .:Llo:fi©qs;T  taluaoi  afl:t   r^^f----'  =»  .<   ,r..., 

Xroleuii'  eesnlrlO  a  lo  •-■ 


.0S9X  lotf 

-oaalauxi^t-T? 

rtoaaee   s  31;! 


21 


included  Scottl,  Easton,  Harold,  Sunderlin,  Chamlee,  and  An- 
anlan.  A  gorgeous  spectacle  of  Scheherazade's  Bagdad  was  put 
on  at  the  Curran  In  November.  For  this  extravaganza,  Chu 
Chin  Chov/,  nearly  900  costiimes  were  imported  from  London. 
Like  most  pageants,  its  interest  v/as  hut  momentary. 

Other  offerings  in  the  v;lnter  1920-21  included 
Hello,  Alexander,  The  Little  V'/hoppor,  and  the  Greenwich  Vil- 
lage Follies, a  musical  coinedy  of  New  York's  Bohemian  section, 
featuring  Ted  Lewis,  the  Jazz  King.  All  these  v;ere  put  on  at 
the  Curran  which  had  been  establishing  itself  during  the  past 
two  decades  as  a  successor  of  the  Cort  and  the  Tivoli. 

ALI  BABA 

Andre  Ferrier's  theatre,  La  Gaite  Francaise,  pre- 
sented  Romeo  and  Juliet,  The  Weddin^^  of  Jeannette,  .  L'Amico 
Fritz ,  and  All  Baba  and  the  Forty  Thieves  during  February, 
1921.  Andre  Ferrlor  and  Anna  Young  were  the  stars.  In  June, 
Ferrier  introduced  to  3an  Francisco  an  opera  jouffe,Les  Trois 
Bossus . 

The  Players  Theatre  v/as  again  active  and  offered 
Lecocq's  ever  popular  Girof lo-Girof la  in  March  with  Miriam 
Elkus  and  Reginald  Travers  heading  the  cast.  At  the  Columbia 
Adolph  Bolm  performed  with  his  Russian  Ballet,  vi/hlle  at  the 
Curran,  Al  Jolson  was  starred  in  Sinbad.  Irene  follov/ed  Sin- 
bad  v/ith  Dale  '/inter  in  the  title  role. 

MARY  GARDEN'S  COMPANY 
A  most  successful  opera  season  opened  in  April  v/hen 
the  Chicago  Grand  Opera  Company  under  Mary  Garden's  direction 


looj?.    i<    .: '•    a' 


bnp.   B  V 


'd(^ 


came  to  the  Civic  Audit  or  iuxii.  Eighty  thousand  persons  came 
for  14  performances  and  poured  over  ';p250,000  into  the  com- 
pany's coffers  1  The  cast  included  Olivero,  Cimini,  Mojica, 
pascova,  Hempel,  I.iuratore,  Raisa,  and  Salazar.  I.'iary  Garden 
herself  sang  Carmen. 

The  3an  Carlos  Company  had  already  appeared  in  Jan- 
uary; in  .September  came  the  ocotti  Opera  Company,  bringing 
Geraldine  Farrar,  Alice  Gentle,  Queena  Mario,  Antonio  Scotti, 
and  Mario  Ghamlco.  Parrar  was  outstanding  in  Zaza  and  in 
i.Iadpjne  Butterfly.   Scotti  \?:is  trivmphant  in  La  Navarraise. 

'"Vliile  there  v;as  a  scarcity  of  musical  comedy  for  a 
short  period  in  1G22,  opera  had  a  sudden  revival.  The  Russian 
Grand  Opera  Company,  in  January  1922,  introduced  su.ch  seldom- 
heard  master  works  as  Tschaikowsky ' s  Eugene  Onogin  and  Pique 
Dame;  i.ioussorgsky '  s  Boris  Godounoff;  and  The  Tsar's  Bride  by 
Rimsky-Korsakof .  The  San  Carlos  people  made  their  annual 
visit  bringing  many  stars  recruited  from  the  Metropolitan  and 
Chicago  companies.  The  San  Francisco  Community  Opera  Company 
(North  Beach  group)  put  on  several  old  Italian  favorites  in 
January,  featuring  such  local  artists  as  Blanche  Hamilton  Fox, 
Plor^nco  Ringo,  Erinnanuel  Porcini,  and  Evaristo  Alibertini. 

The  Chicago  Grand  Opera  Company  returned  to  the 
Civic  Auditorium  in  Karch  1922.  Their  repertoire  included: 
Girl  of  the  Golden  '.Vest,  Amore  de  Tre  Re,  and  Tannhauser  in 
German. 


23 


GIVE  AND  TAKE 

A  burlesque  of  labor-capital  controversy,  Give  and 
Take ,  v/as  Kolb  and  Dill's  newest  offering  at  the  Curran.  May 
Cloy  and  Thomas  Ghatterton  headed  the  cast;  an  orchestra  fea- 
turing symphonic  jazz  furnished  the  music. 

Madame  Sherry  was  the  popular  first  production  of 
the  Hartman-Steindorff  Company  in  April  1923,  at  the  Tivoli 
Opera  House,  with  Myrtle  Dingwell  in  the  title  role.  The 
Firefly  came  next, then  The  Only  Girl.  During  the  latter  part 
of  J£inuary  1924,  the  Hartman-Steindorff  troupe  put  on  King 
Dodo  and  Wang  at  the  Casino  Theatre,  a  season  so  popular  that 
it  was  continued  with  The  Chocolate  Soldier,  The  Prince  of 
Pilsen,  May time,  and  High  Jinks ♦ 

The  Players  Club  presented  Patience  under  Eugene 
Blanchard's  direction  in  October  1923.  Blossom  Time  came  to 
the  Curran  in  November.  Hollis  Davenny,  Teddy  Vifebb,  Gertrude 
Lang,  and  Ralph  Soule  wore  in  the  cast.  Porrier  put  on  Of- 
fenbach's Rostora  Chez  Lui  with  Mario  Vecki,  the  Forriers, 
Constance  Montclaire,  and  Martha  Combette. 

A  newly  formed  group,  the  Pacific  Operetta  Company, 
headed  by  Myrtle  Dingwell,  opened  with  Sweethearts  at  the 
Capitol  Theatre  in  April  1924.  Ferris  Hartman-Onslow  Steven's 
S;i'mphonists  and  a  cast  of  forty  composed  the  organization. 
Their  next  productions  were  Mary's  Lamb  by  Richard  Carle  and 
the  familiar  Irene . 

The  Caliph,  a  gaudy  Oriental  musical  comedy  pastic- 
cio, featuring  Raymond  Hitchcock  came  to  the  Alcazar  in  June 


D-.ufl     .ifiXxrq.o-a   od^  r.^nv     ■Yiie.ffS   9rasf)J3M 
j-'.i   <.'L^t:f     oxicf  nl     IXdw^,ai:Ci   i5X^*i'.;H  ri^trr     «eax/oH  B^^qO 

-Q  oonl'iH  &rfT  ,  leXfcXoo     od'BXoourfO  o4T    diHv  b&sjaliaoo     anw  cfX 

.!i.o>j.i     -jfijiTAj.  oc'j;--jj.-j    ■:'-     J:)vJn>j3,pi;q-     cf.t.fXv)   BioxaX'i  ariT 

rt.  Oiaco   omll!  fgoagioXS      .^^.GX     aocfo-taa  aX  ctol&ooiib^  a'bifiisa  vu. 

/Oyi:ti'jr   tC^o'oV'  -^dijeT   ^-{na3VpQ,  aXXXoH.     ..if»cffliDvoIi  n-X"  flCTiwO   odi 
>xjrq     •joXiio'5      .cteco  o4^  ai  a'lo^y    oXtroC  rfqXayi  Xmn   fj^oJ 

,  -  i.j  -.••lo'a  arict-     tXofooV  oiir-rj  rf^iw     J^yJ.  soffP^j  i:?Xi>inoH     c ' rfoflcfxio'l 

.'nev9Jc    •r.-iur^-iL::-,' i>iH  aliie.si.. -I^Sex  XX^«>A  nX.  ©icfii-sriT  XoctiqaO 
.iioXctijsXiXflSio  ©flct.    Xwsapqmoo-- Y-;t'5[f''i     It:  Jt/i/jo-..  b  .bfiB  •    ei^tlnotiiyr-cB' 

.  &njsrtlTaXXXnj8l  ©ri^ 

'. .>jr.i;q  -;:•  V.  ,0  .i.Moi;ai/f.T  i>- jii^x^i.-  •;! yi;i;  . '^ . •  i Ac^lXaO-.  ortT : 


24 


1924,  and  played  for  five  weeks  to  appreciative  audiences. 

CIVIC  OPERA  SEASOM 
After  considerable  delay,  the  first  season  of  the 
San  Francisco  Opera  Company,  a  newly  organized  civic  group, 
opened  at  the  Civic  Auditorium  in  September  1923.  The 
sinr^ers  included  Martinclli,  Mario,  Didur ,  Johnson, Saroya, 
Lazelle,  and  Young.  The  novelties  v/ere  II  Tabarro,  Mefisto- 
felc,  and  Andre  Chenior, 

Outstanding  in  the  1924  season  viras  Tito  Schipa  v/hose 
performances  caused  a  local  sensation.  Gaetano  Merola  di- 
rected. 

Early  in  1925  the  Spring  Music  Festival  created 
considerable  interest.  Many  artists  from  the  Metropolitan 
and  Chicago  Grand  Opera  Companies  participated,  besides  the 
San  Francisco  Symphony  Orchestra  and  the  Municipal  Chorus  of 
600. 

FAY  YEN  FAH 

Monte  Carlo,  the  world's  most  exclusive  rendezvous, 
saw  the  premiere  of  the  Redding-Crocker  opera,  Fay  Yen  Fah,ln 
the  spring  of  1925.  It  was  highly  successful.  Californians 
followed  the  developments  closely,  since  the  com.posers  v/ere 
San  Franciscans. 

It  had  its  local  premiere  in  January  1926,  under 
Merola' s  direction.  Maison,  Martino,  Warnery,  Schwarz,  and 
Bertrand  were  in  the  cast.  Forty  players  from  the  San  Fran- 
cisco Sj^phony  made  up  the   orchestra.   Both  Redding   and 


;0-;j.- 


tw. 


'dCi 


Crocker  have  v.-rltten  inuslcal  plajs   for  the   Bohemian  Club. 


CASIGLIA'S  COMPANY 

Arturo  Caslglia  directed  the  new  Pacific  Coast  Opera 
Company  \;hlch  presented  Madarae  Butterfly  at  the  Capitol  Thea- 
tre in  January  1926,  v/ith  ohimozTJunl-Iki  in  the  title  role  and 
with  James  Gerard  as  Pinkerton.  Resident  artists  made  up 
most  of  the  cast.  In  their  May  production  of  La_Traviata, 
Charles  Bulotti,  Vera  Didenko,  Piotro  Costo,  and  Flora  Shan- 
non virero  the  featured  singers.  The  troupe  gave  another  sea- 
son in  November  v;hen  they  put  on  Cavalleria  Rusticana  and 
Pagliacci  with  Bulotti,  Anna  Young,  and  Giovanni  di  Martini. 

With  a  chorus  composed  mostly  of  Ol^mipic  Club  men, 
John  Gay's  sequel  to  his  perennially  popular  Beggar's  Opera 
a  prototype  of  down-to-tho-carth  comedy,  was  performed  by  the 
Players  Guild  in  November.  The  work  was  directed  by  Reginald 
Travcrs;  Charles  Hart  conducted;  Junius  Cravens  designed  the 
sots.  The  chief  singers  included  Rodolphine  Radel,  Carlos  Se- 
bastian, and  Beatrice  Bennderet. 

THE  MIRACLE 

Before  an  audience  apparently  more  liberal  than  the 

one  v/hich  so   strenuously  objected  to  The  Passion  --  Morse's 

Biblical  drama  denied  production   in  the   seventies  —  Max 

Reinhardt  put  on  The  Miracle  in  the  crowded   Civic  Auditorium 


— ftsriT 


kdb 


in  January  1927.  The  incidental  music  for  the  spectacle  was 
composed  by  Huitiperdinck  and  the  production  was  directed  by 
Einar  Nilson.  The  Municipal  Chorus,  under  Dr.  Hans  Leschke, 
sang  the  Plain  Chants  especially  well. 

Chaliapin  came  the  same  month  to  the  Civic  Auditori- 
um and  sang  the  great  comic  role  of  Basilio  in  The  Barber  of 
Seville .  Other  novelties  in  January  were  Puccini's  post- 
humous opera  Turandot  and  Verdi's  great  work  of  his  last  pe- 
riod, Falstaff .  Among  the  stars  were  Martinelli,Tibbett , 
Bori,  Scotti,  and  Alson. 

Again  the  San  Carlo  Company  appeared  in  February, 
introducing  to  San  Francisco  two  new  singers,  Lorenzo  Conatl 
and  Gino  Lulll.  The  repertoire  included  Andre  Chenior ,  Forza 
del  Destine,  and  The  Jovifcls  of  the  Madonna,  in  which  the  ever 
popular  San  Carlo  prima  donna  Blanca  Saroya   sang  the  lead. 

DEATH  OF  A  PIONEER 

Paul  otoindorff,  a  pioneer  in  Son  Francisco's  musi- 
cal life,  long  identified  with  light  opera,  a  director  and 
musician  of  great  ability,  died  on  February  18,  1927.  He  had 
been  associated  with  the  Alice  Nielsen  Company  and  other 
opera  companies.  The  San  Francisco  Symphony  Orchestra  in- 
terrupted its  program  and  stood  in  silent  tribute  to  his  mem- 
ory Vifhen  his  death  was  announced. 

A  brief  biography  in  the  San  Francisco  Call  of  Feb- 
ruary 18,  1927  gives  the  following  informations 

"Paul  Steindorff  was  born  at   Dessau,  Germany, 
January  29,  1864.  In  1883  he  was  graduated  from 


eH 


the  Royal  Conservatory  of  Music  at  Leipzig, 
Germany.  He  was  raarried  four  years  later  to 
Miss  Paula  Bechner,  the  woman  who  was  to  share 
his  fame  and.  work. 

"The  chronology  of  Stoindorff 's  life  is  diffi- 
cult to  obtain.  He  was  a  close  friend  of  Victor 
Herbert,  famous  composer,  and  thirty  years  ago 
assisted  Herbert  in  the  production  of  his  first 
operatic  v/ork,  'The  Singing  Girl-  '  Herbert  did 
not  like  the  finale,  and  sat  up  an  entire  night 
rov/ritlng  the  melody  from  the  waltz  into  snap- 
pier time.  Steindorff  sat  beside  him  and  or- 
chestrated as  Herbert  composed.  The  opera  was 
rehearsed  and  given  its  premiere  the  following 
night . 

''Steindorff  produced  the  first  grand  opera  in 
English  in  Araerica.  He  vi^as  choragus  at  the  Uni- 
versity of  California  for  twelve  years, director 
of  the  Treble  Clef  Society  for  ten  years,  and 
since  1915  has  been  director  of  the  Oakland  mu- 
nicipal band.  Prior  to  that  he  was  director  of 
the  Golden  Gate  Park  Band  in  San  Francisco." 


DEAN  OF  DIRECTORS 

"He  was  closely  associated  for  many  years  with 
Ferris  Hartman  and  the  famous  Idora  Park  light 
opera  company,  the  foremost  exponent  body  of 
light  opera  on  the  Coast  and  which  developed 
many  famous  stars.  Roscoe  Arbuckle  got  his 
first  speaking  part  from  Steindorff,  and  Al 
Jolson,  Vi/alter  Catlett  and  Jack  Sheehan,  star 
of  the  'Greenwich  Village  Follies,'  all  found 
their  beginning  with  this  dean  of  directors. 

"One  of  Steindorff 's  last  efforts  was  v;ith  the 
KGO  radio  liglat  opera  company.  By  a  queer  fil- 
lip of  fate  Steindorff  was  scheduled  last  nigjit 
to  have  given  over  KGO  a  program  of  the  works 
of  his  late  friend  Victor  Herbert.  Instead  he 
sank  into  the  coma  which  took  him  along  the 
pathway  that  Victor  Herbert  had  already  gone. 

"Steindorff  presented  a  season  of  light  opera 
with  municipal  backing  at  the  Oakland  Auditorium 
last  year  v;hich  proved  a  financial  failure 
through  lack  of  popular  support.  Despite  the 
fact  that  the  city  was  behind  the  venture, Stein- 
dorff felt  the  failure  keenly  and  mortgaged  the 
home  he  had  saved  for  ;/ears  to  pay  the  debts 
•contracted  in  the  production. 


;x.'./  tj:  '.;;;'    ^c  : 


b  Bi  9 HI  a^Y^-itcy/  rVdiowo'irto  oilT" 


:;;ax-,.';i^..i.'  i 


ru.  B-iotro   qtibij^     ^tei.i'i  arid  be^ 


•    1! 


:it 


28 


"The  vanishod  conductor  Is  survived  by  Ills  wid- 
ow, Mrs.  Paula  Stelndorff,  a  noted  sopranos  two 
daughters  Lillian  and  Iroma, teacher s , and  a  son, 
Kurt . " 


THE  BEGGAR'S  OPERA 

After  a  period  of  quiencence  In  light  opera, Friml ' s 
The  Vagabond  King  was  warmly  received  and  enjoyed  a  long  run 
at  the  Ciirran.  Follovdng  this  canie  Romberg's  My  Maryland 
which  played  in  October  1927  starring  Dorothy  Donnelly. 

The  Beggar's  Ojoera  came  to  the  Coliirabia  in  December, 
after  a  four  years'  run  in  London.  The  Pacific  Coast  Opera 
Company  again  appeared  on  the  scene  in  the  winter.  It  pro- 
duced Norma ,  Cavallerla  Rusticana  and  Pagliacci  at  the  Cap- 
itol Theatre. 

Another  Romberg  hit,  The  Desert  Song,  drew  crowded 
houses  at  the  Curran  in  March  1928.  Frank  Mandel,  Harbach, 
and  Hammerstein  wrote  the  book;  Elvira  Tanzi,  Perry  Askam, 
and  Johnny  Arthur  played  the  leads. 

March  also  saw  a  novel  presentation  of  Hansel  and 
Gretel  by  the  Children's  Choral  Club  of  Berkeley.  The  only 
club  in  America  composed  of  children  under  14,  they  gave  a 
successful  performance  of  the  opera  at  the  Women's  City  Club 
Auditorium  on  March  10  ;^jid  17.  The  other  musical  comedy  at- 
tractions in  1928  wore  A  Night  in  Spain,  an  extravagant  revue 
in  40  scenes  headed  by  Phil  Baker,  Ted  Hoaly,  and  Aileon 
Stanley  which   came  to  the  Curran   in  June  vi/lth  a  company  of 


29 


150 J  including  the  18  Hoffman  Girls;  and  Good  News ,  the  cam- 
pus comedy  which  appeared  in  September  with  a  chorus  made  up 
of  University  of  California  students. 

A  KAUGHTY  BOY'S  DREAM 
Ravel's  A  Haughty  Boy's  Dream  with  Audrey  Farncroft 
v/as  one  of  the  novelties  In  the  eighth  season's  repertoire  of 
the  San  Francisco  Opera  Association.  Still  housed  in  the 
makeshift  Civic  Auditori'iim,  the  Company  presented  in  Septem- 
ber 1930,  Queena  Mario  and  Beniamino  Gigli  in  Massenet's 
I.'ianon;  Jerit:3a  in  Richard  r^trs.uss'  Salqrne ;  anJ  Hope  Hamp- 
ton --  supported  by  John  Charles  Thomas  and  sizlo  Pinza  --  as 
Marguerite  in  P'uust .  Miss  Hampton's  debut  aroused  much  in- 
terest but  was  not  considered  much  of  an  operatic  contribution. 

PARIS  IM  SPRING 

Presorted  for  tlie  first  time  in  Arr.orica,  Paris  in 
Spring  by  the  Hungarian,  Eiumurich  Kalman,  «yas  a  feature  at 
the  Curran  in  IToveinbor .  Among  the  leading  players  were  Allen 
Prior,  Janice  Joyce,  Max  Dill,  Russell  Scott,  Hal  Redus,  and 
R i  chai'd  P o v/e  1 1 . 

In  celebration  of  Pounder's  Day,  the  Pacific 
Musical  Club  put  on  The  Secret  of  Suzanne  at  the  Western 
VJomen's  Club  in  October.  The  principals  were  Alberto  Terrasi, 
Jeanne  Beslure,  and  Mrs.  Lillian  Birmingham. 

After  tripping  on  and  off  San  Francisco  stages  for 
a  generation.   Ho lb  and  Dill  reappeared  in  Apron  Strings  in 


■s^rJ-  ^• 


X'^liSri.. 


..nindla^ai    ^jr.;. 


February  1931  at  the  Geary  Theatre.  As  a  diversion  between 
acts,  the  1931  Girls  and  the  Miarai  Boys  virent  through  their 
stunts  under  Les  Flanders'  direction.  Since  the  formation  of 
the  San  Francisco  unit  of  the  WPA  Federal  Theatre,  Max  Dill 
has  been  in  charge  of  a  musical  comedy  and  vaudeville  project 
vi/hich  has  put  on  such  shov/s  as  Swing  Parade,  and  Lady  Say  Yes 
at  the  Golujnbia  and  Alcazar  Theatres. 

PER  R03EHKAVALIER 

In  spite  of  the  already  shaky  economics  of  the  time, 
the  year  1931  witnessed  a  sudden  revival  of  grand  opera  in 
San  Francisco.  There  were  four  seasons:  the  German  Grand 
Opera  Company  opened  at  the  Civic  Auditorium  with  Die  Walkuro 
in  January  v;ith  Johanna  Gadski  as  principal  prima  donna;  in 
April  the  Pacific  Opera  Company  featured  such  prominent  local 
artists  as  Bernice  van  Gelder,  Eleanor  Painter,  and  Henry 
Thompson  —  also  Shimozujni-Iki,  Mateo  Dragoni,  Audrey  Farn- 
croft,  Myrtle  Leonard,  and  Jose  Corrall. 

Based  on  a  Beaumarcho.is  comedy,  the  famous  Strauss- 
Hofmannsthal  opera  Per  Rosenkavalier  was  introduced  to  San 
Francisco  on  March  7,  1931  by  the  Chicago  Civic  Opera  Company 
vifhich  came  west  with  a  group  of  325  people,  including  a  full 
ballet,  symphony  orchestra,  and  chorus.  Outstanding  among 
the  singers  v;ere  Claudia  Muzio,  Tito  Schipa,  and  John  Charles 
Thomas . 


FERRIS        HART   MAN         (KING        OP        JESTERS) 

(1862   -   1931) 


PHOTO  COURTESY  OF  MRS.  W.  H.  LEAHY 


ox 


San  Pranclsoo's  civic  opera  group  opened  their 
ninth  season  in  September  at  the  Civic  Auditorium  with  the 
little-knov/n  Maroxj-T  of  Rahaud.  Among  the  featured  artists 
were  Mario  Chainlee,  Yvonne  Gall,  and  Eva  Atkinson.  Newcomers 
included  Mueller,  Petrova,  Plstor  Danise,  and  Silva. 

THE  Eiro  OF  TPIE  JESTER 

The  fall  of  1931  witnessed  the  tragic  passing  of  a 
beloved  favorite  of  the  opera,  Ferris  Hartman,  once  known  as 
the  King  of  Jesters.  He  was  found  in  a  starving  condition  in 
a  cheap  hotel  bedroom,  and  though  friends  rallied  round  him 
and  provided  food  and  medical  attention,  he  nevertheless  died 
on  September  1,  1931  at  the  San  Francisco  Hospital.  Death 
came  to  him.  on  the  eve  of  a  benefit  performance  v;hich  had 
been  arranged  by  friends.   He  was  69. 

Hartman  was  a  favorite  for  three  decades.  His  roles 
in  The  To^/maker,  The  VJizard  of  Qz,  The  Yankee  Consul  and  The 
Mikado  were  identified  v;ith  him  in  the  memories  of  countless 
San  Franciscans.  His  death  in  poverty  came  as  a  surprise  to 
many.  Joseph  Gumming,  an  executive  of  the  Down  Town  Associ- 
ation, said  of  him  in  the  Chronicle  on  September  1,  1931: 

"Ferris  Hartman  v;ill  always  remain  a  pleasant 
memory  to  me.  I  knew  him  v/ell  and  seldom  missed 
the  opening  night  of  his  shov/s  at  the  old 
Tivoli.  The  day  after  a  nev;  show  opened,  he 
was  the  talk  of  the  town.  Vi/hat  Ferris  Hartman 
said  and  did, was  good  for  an  audience  anywhere. 
It  was  v/ith  regret  and  surprise  that  I  read  ten 
days  ago  of  his  poverty.  I  knov;  he  saved  his 
money  for  I  was  teller  in  the  bank  when  he 
played  at  the  Tivoli.  He  had  a  savings  account 
with  us, and  he  seldom  missed  a  week  in  deposit- 
ing a  share  of  his  pay.  Any  poverty  he  suffered 
v/as  due  to  business  reverses  and  not  to  any  im- 
providence on  his  part,  I  feel  sure." 


Mayor  Rossi  voiced  the  whole  city's  sorrow  at  the 
passing  of  the  aged  actor.  The  proceeds  of  the  benefit  shovir 
at  the  Orpheum  Theatre  amounted  to  jipeOOO;  Joseph  0.  Tobln  v/as 
chairman  of  the  committee.  Many  artists  of  the  old  days  vol- 
unteered their  services.  The  box  office  receipts  were  turned 
into  a  fund  for  the  benefit  of  needy  actors. 

The  vYasp  News  Letter  paid  tribute  to  Hartman  on 
September  5,  1931  as  f  ollov^s  : 

FERRIS  HARTMAN  TAFvES  THE  FINAL  CURTAIN 

"Ferris  Hartman,  beloved  prince  of  comedy,  took 
his  final  curtain  Monday  and  passed  off  the 
stage  forever,  just  on  the  eve  of  the  great 
testimonial  which  was  staged  for  him  a  bare 
tv/enty-four  hoiirs  after  he  closed  his  eyes.  Ac- 
cording to  his  wish,  the  play  went  on  and  the 
proceeds  of  the  great  benefit  at  the  Orpheum 
last  Tuesday  night  will  go  to  save  other  needy 
ones  from  the  privation  which  he  suffered.  That 
is  as  he  wanted  it  to  be,  and  it  is  perhaps  his 
greatest  memorial. 

"This  brief  and  wholly  inadequate  tribute  to 
the  genius  of  laughter  v;ho  is  gone,  is  \;ritten 
by  one  who  never  saw  him,  nor  knev/  save  by 
hearsay  of  his  work.  But  it  is  Inspired  by  a 
very  sincere  conviction  that  the  v/orld  is  poor- 
er because  he  no  longer  lives.  It  is  easy  to 
win  attention  and  acclaim  by  facile  words — 
tricks  of  dress  and  manner — audacity — cleverness 
--skill.  But  it  is  not  easy  to  achieve  the  af- 
fection of  a  multitude,  and  harder  still  to 
retain  even  the  m.ost  exalted  place  in  the  hearts 
of  men,  once  one  passes  from  before  their  eyes. 
It  is  far  less  easy  to  be  remembered  than  to  be 
admired. 

"So  this  burst  of  enthusiastic  regard  for  Ferris 
Hartman  which  has  animated  everyone  who  ever 
knew  him,  since  his  misfortunes  became  known, 
tells  In  no  uncertain  terms  of  the  man  himself 
and  the  place  he  earned  in  the  years  of  his  ac- 
tivity. Time  has  not  dimmed  the  memory  of  him, 
nor  has  absence  lessened  the  appreciation  of 
his  genius  or  the  love  of  San  Francisco  for  the 
man  as  well  as  for  the  player." 


■<f.->--^r.' 


DOLDRUMS 
Depression  years  exact  a  penalty  from  music  and 
the  theatre.  Since  1931  musical  comedy  In  San  Francisco  has 
been  moribund.  The  Cat  and  the  Fiddle ,  put  on  at  the  Curran 
on  August  1,  1932  was  one  of  the  few  productions  of  the  year. 
Jerome  Kern  and  Otto  Harbach  composed  It;  Edgar  MacGregor 
staged  it;  Helen  Gahagan,  Paul  Gregory,  Armand  Kaliz,  Inez 
Courtney,  and  Oiga  Baclanova  were  included  in  the  cast.  Pre- 
viously, Love  Time  a  Viennese  operetta,  by  Hans  Llnne  and  W. 
H.  Clifford,  based  on  Die  Schoene  Rivalin  by  Okonkov;skl,  had 
its  American  premiere  at  the  Geary  Theatre  in  May.  The  singer 
from  Australia,  Adela  Crane,  and  Marie  V/ells,  Raymond  Marlowe, 
Myrtle  Crlnley,  Nathan  Stewart,  Virrio  Oliver,  Karl  Kroenke, 
had  leading  roles. 

OF  THEE  I  SIMG 

The  popular  Broadway  hit  and  Pulitzer  Prize-winner 
Of  Thee  I  Sing,  book  by  Kaufman  and  Ryskind,  music  by  George 
and  Ira  Gershwin,  came  to  the  Curran  Theatre  on  March  13, 
1933.  Donald  Meek  played  Throttlebottom;  Oscar  Shaw,  Winter- 
groen;  and  Harriet  Lake,  Mary  Turner.  Joe  Mielziner  designed 
the  sets. 

Other  shows  during  the  year  included  the  Victor 
Herbert-Henry  Blossom  collaboration,  The  Only  Girl,  adapt- 
ed from  Frank  Mandel's  farce  Our  Wives.  It  came  to  the  Col- 
umbia in  June  and  starred  Guy  Robertson,   Charlotte  Lansing, 


•tlj* 


f^Xix. 


■niix.      \ 


34 


and  v/yndhani  Standing.  Music  in  the  Air  by  Jerome  Kern  and 
Oscar  Hammerstein  was  performed  at  the  Curran  Theatre  In  July 
featuring  Vlvlenne  Segal,  Walter  Vi/oolf,  Montague  Shaw  and 
Christian  Rub. 

Another  Korn-Hainmer stein  opus  came  to  the  Curran  on 
October  30,  1933  when  Show  Bo  at ,  adapted  from  Edna  Perber's 
best-seller,  appeared  on  the  stage  with  Perry  Askam,  Estelle 
Taylor,   Charlotte  Lansing,  and  William  Kent  in  the   leads. 

Take  a  Chance,  a  New  York  hit  by  Lav/rence  Schwab 
and  Bud  de  Sylva,  had  a  brief  run  at  the  Columbia  in  May 
1934.  Olsen  and  Jolinson,  comedians,  Betay  Allen,  Jack 
McCauley,  Andrew  Carr,  and  Bobby  Joyce  v;ere  in  the  cast. 

A  NOEL  COWARD  MU3ICALE 
The  tvra  principal  shows  in  1935  v;ere  the  popular 
Bitter  Sweet  by  Noel  Cov/ard,  which  came  to  the  Curran  in  Oc- 
tober, featuring  Evelyn  Laye ,  Naom.l  Ray,  and  Vernon  Steele. 
It  was  followed  by  the  nostalgic  Blossom  Time  in  which  Sigmund 
Romberg  dramatized  both  the  life  and  music  of  Franz  Schubert. 
Paul  Kcast  played  Schubert;  Diana  Galen,  Mltzl;  Robert  Shafer, 
Baron  Schobcr;  and  Barnett  Parker,  Kranz .  Destined  for  peri- 
odic popularity,  another  revival  of  Lehar  '  s  The  Merry  V/idow 
appeared  at  the  Curran  on  May  18,  1936.  Helen  Gahagan  played 
the  Widow;  Richard  Pov^ell  v/as  Baron  Popoff;  and  John  Earle, 
Prince  Danilo.  Arthur  Kay  directed  the  music;  Ernest  Belcher, 
the  dance  ensembles.    This  was  followed  by  The  Desert  Song, 


V-;  I.,    ^r 


IBli 


the  Ronberg-Har  bach-Hammer  stein  opus,  which  carae  to  the   Cur- 
ran  in  June,  starring  George  Houston  and  Francis  Vfliite. 

Cocktail  Bar  by  Lloyd  Chase  had  its  world  premiere 
at  the  Geary  Theatre  on  January  13,  1937  with  Jack  Goode  and 
Ethelynd  Terry  in  the  leading  roles.  The  same  month  saw  the 
opening  at  the  Cur  ran  of  The  Great  Waltz  music  by  the  tv\ro 
Johann  Straus ses,  father  and  son,  book  by  Moss  Hart.  Desmond 
Carter,  Guy  Robertson  and  Ruth  Setman  being  featured. 

THE  1958  SEASON 

Hailed  by  too  enthusiastic  critics  as  the  first 
Aiaerican  Polk  Opera,  Porgy  and  Bess,  by  George  Gorsh¥/in  and 
DuBose  Heyvvard,  was  brought  by  Paul  Posz  to  the  Curran  on 
February  14,  after  a  Now  Y'^rk  success,  and  on  joyed  a  popular 
run.  The  show,  v;hich  treats  of  passion  in  Catfish  Row,  has 
impressed  some  as  being  a  jazzy  colored  version  of  _! 
Pagliacci.  Others  declare  its  folk  qualities  to  be  quite 
synthetic.  The  singers  however,  Todd  Duncan,  Anne  Brown, Ruby 
Elzy,  and  others,  revealed  genuine  interpretive  talent .  Rouben 
Mamoulian  directed  both  the  Nev/  York  and  the  local  perform- 
ances. 

A  parody  of  grand  opera  pomposities,  Fernando  del 
Nonsentsico  by  Felix  Borowski  opened,  after  a  IVPA  premiere  in 
Los  Angeles,  for  a  short  run  at  the  Geary  on  June  13,  1938. 
June  als:  saw  the  revival  of  Blossom  Time  v/hich  ran  for  a 
week  at  the  Curran, with  John  Charles  Thomas  as  Franz  Schubert. 


nl  e 


Pins  and  Needles,  a  left-wing  satiric  musical  revue 
performed  by  44  members  of  the  International  Ladies  Garment 
Workers  Union,  after  winning  a  popular  sviccess  in  Nev/  York, 
came  to  the  Geary  on  August  8,  1958  and  extended  its  run  in- 
to September.  Harold  J.  Rome  composed  the  score  and  the 
lyrics. 

IMPRESARIOS;  MAGUIRE,  MAPLESON,  ?ASROLA 
Earliest  among  Impresarios  of  renown  in  San  Fran- 
cisco, ex-gambler  Tom  Maguire  has  been  discussed  and  his 
operatic  exploits  recorded.-:.-  Following  the  grand  opera  fe- 
ver in  the  sixties,  and  the  barren  seventies,  opera  bouffe 
and  musical  comedy  becrjiio  increasingly  popular. 

Colonel  Mapleson,  jrand  opera  impresario  par  excel- 
lence, brought  Pattl  out  in  1884  and  caused  a  panic.  Ferris 
Hartman  tried  to  revive  light  opera  when  the  Tivoli  was 
turned  into  a  "high-class  movie  palace"  in  1913.  Alfred  Hertz, 
world-famous  conductor  of  IVagnerian  opera, v/as  director  of  the 
San  Francisco  Symphony,  1915-1930.  Latest  In  the  list, 
Gaetano  Merola,  director  of  the  San  Francisco  Opera  Associa- 
tion, was  instr'omental  in  creating  the  War  Memorial  Opera 
House  in  1932  and  in  organizing  regular  grand  opera  seasons 
for  San  Francisco. 


-;;-Sce  Volume  2,  this  scries. 


i9  fina 


«s:» 


WILLIAM        H.         "DOC"        LEAHY 
(1863   -   1936) 


MNAGER  OF  THE  TIVOLI  OPERA  HOUSE  IN  1893 
Photo  Courtesy  of  Mrs »  William  H>  Leahy 


'DOC  LEAIiY   (1865-1956) 

A  colorful  and  jovial  personality  virlth  countless 
friends,  William  H.  Leahy,  who  used  to  say  that  he  first  came 
in  contact  with  music  v/lping  pianos  for  the  old  Kohler  and 
Chase  Company , became  the  Tivoli's  manager  in  1895  and  prompt- 
ly proceeded  to  produce  light  opera  on  an  even  grander  scale. 

Ke  built  two  Tivolis  in  San  Francisco  and  imported 
the  stars  of  the  day.  In  1397  he  visited  Italy,  returning 
with  singers  such  as  Salassa,  Avedano,  and  Collamarino.  His 
most  famous  discovery  v/as  Tetrazzinl,  as  already  related  in 
her  biography. 

Ke  also  brought  Galll-G-urci  to  San  Francisco  for 
the  performance  of  Rigoletto, and  presented  the  first  American 
production  of  Leoncavallo's  Pa^liscci »  Among  his  close 
friends  were  such  persons  as  Edwin  Booth,  William  Sheridan* 
and  Alice  Nielsen,  the  later  singing  in  the  Tivoli  chorus 
before  climbing  to  world  fame. 

'Doc'  Leahy  died  at  his  residence,  2111  Hyde  Street, 
San  Francisco,  Nay  28,  1956  at  the  age  of  75.  His  widow, 
Mrs.  Ernestine  Leahy  survives  him.  Mr.  Leahy  v;ras  appointed 
by  Mayor  Rossi  as  a  member  of  the  Recreation  Coraraission  in 
1951,  and  was  vice-president  in  1956.  He  had  been  active  in 
the  Bohemian  Club  and  the  Elks  Club.-::- 


•ff  See  Opera,  Vol.  1.   The  Tivoli. 


38 


COLONEL  MAFLESOIJ   (1850-1901) 

James  Henry  ivlapleson,  impresario,  was  born  in  Lon- 
don, May  4,  1830  and  began  his  career  at  the  Royal  Academy  of 
Music.  He  was  first  a  vocalist,  then  became  a  violinist,  and 
losing  his  voice  and  desire  to  perform,  turned  to  managing 
opera.  He  put  on  II  Trovatore  at  the  Lyceum  and  viithin  a 
score  of  years  became  manager  of  half  a  dozen  London  theatres. 
He  introduced  such  singers  as  Nilsson,  Gcrster,  Mario,  Gamp- 
anini,  and  Patti. 

Other  stars  under  his  management  inclxided  Nordica, 
Hauk,  Di  Murska,  Albani,  Juch,  Nikita,  Nevada,  Do  Reazke, 
Costa,  Pohstrom,  Marimon,  Lehmann,  Del  Puente ,  Marie  Roze, 
Galassi,  and  Trebelli. 

H'n  first  American  visit  occurred  in  1876  when  he 
took  his  opera  company  to  New  York.  His  last  tour  was  in 
1886.  During  this  decade  of  transcontinental  tours  he  did 
much  to  raise  the  level  of  operatic  appreciation  in  America. 
His  last  season  in  ■'-'ondon  ended  in  1888  at  the  Covent  Garden 
Theatre.  His  life  was  full  of  ups  and  dovms,  sheriffs,  bill 
collectors,  temperamental  prima  donnas,  and  crowded  auditori- 
"oms.  His  career  is  told  best  in  his  autobiography.  (Maple- 
son 's  Memoirs,  Bedford  Clarke  &  Co.,  Chicago,  1888). 

MAPLE SON  IN  SAN  FRANCI3C0 
Maple  son  oome   to   San  Francisco   in  1884,   bringing 
the  operatic  sensation  of  the  generation,  Adelina  Patti.   The 
company's  funds  were  rather  low.   Wealthy  San  Francisco  was 


y.-'   ,- 


r^tii 


the  place  to  supply  the  need. 

THE  PATTI  EPIDEMIC 
Patti  v;a3  all  the  rage.  She  was  returning  to  Ameri- 
ca as  a  marquise  after  twenty  years.  There  was  hitter  rivalry 
for  her  between  impresarios  Henry  Abbey,  Maurice  Grau,  and 
Frederick  Gye ,  one  of  Maple  son's  lifelong  competitors.  It  was 
only  lipon  Gye  '  s  death  in  1878  that  Mapleson  was  sure  of  hav- 
ing Patti.  The  great  prima  donna's  Vi/estern  tour  was  prefaced 
by  managerial  duels  in  New  York.  Chicago  and  Salt  Lake  City. 
There  was  also  a  conflict  between  Mapleson' s  other  luminary, 
Etelka  Gerster  and  Patti,  a  rivalry  v;ell  played  up  in  the 
press  and  exploited  by  the  shrewd  Colonel. 

NAILED  BOOTS  ON  HARMONIUMS 
San  Francisco  was  gloriously  upset  by  Patti 's  com- 
ing.  Colonel  Mapleson  went  out  for  a  stroll  to  see  the  city 
the  morning   after  Patti 's  arrival.    Vi/hat  he  savii  he  records 
vigorously  in  his  Memoirs.  On  par.,e  50,  Vol.  2,   he  says  s 

''I  observed  a  vast  crowd  down llontgomery  Street. 
In  fact,  the  passage  within  hundreds  of  yards 
was  impassable,  vehicles,  omnibuses,  etc.  all 
being  at  a  standstill.  On  inq\.iiring  the  reason 
of  this  commotion  I  was  informed  by  a  policeman 
that  they  were  trying  to  buy  Patti  tickets. 

"On  forcing  my  way  gradually  down  the  street  and 
approaching  Sherman  and  Clay's  establisliment ,  I 
saw  to  my  great  astonishxiient  that  there  was  not 
a  single  pane  of  glass  in  any  of  the  windows, 
whilst  the  tops  of  the  best  pianos  and  harmoni- 
ums were  occupied  by  dozens  of  people  standing 
upon  them  in  their  nailed  boots,  all  clamoring 
for  Patti  tickets.  Messrs.  Sherman  and  Clay 
solicited  me  earnestly  either  to  remove  Patti 
from  the  town,  or,  at  least, not  to  entrust  them 
with  the  sale  of  any  more  tickets,  the  crowd 
having  done  over  fe  600  damage   to  their  stock." 


MAGNIFICEITO  OPEMING 

The  opening  night  at  the  Grand  Opera  House  was  one 
of  the  most  magnificent  in  the  city's  history.  The  auditori- 
iim  was  a  mass  of  dazzling  jewels,  lace,  and  beautiful  faces. 
Every  available  place  was  taken. 

Mapleson  gives  a  vivid  description  of   the  setting 

and  atmosphere  of  Patti's  first  San  Francisco   appearance  in 

La  Traviata. 

"On  the  day  of  the  performance  It  took  the  whole 
of  the  police  force  to  protect  the  theatre  from 
the  overwhelming  crowds  pressing  for  tickets 
although  it  had  been  announced  that  no  more 
were  to  be  had.  Long  before  daylight  the  would- 
be  purchasers  of  Patti  tickets  had  collected 
and  formed  into  line,  reaching  the  length  of 
some  three  or  four  streets;  and  from  this  time 
until  the  close  of  the  engagement  some  four 
weeks  afterwards,  that  line  was  never  broken  at 
any  period  of  the  day  or  night." 

CAMPSTOOLS  AMD  COFFEE 

"A  brisk  trade  was  done  in  the  hiring  of  corap- 
stools,  for  which  the  modest  sum  of  4  s.  was 
charged.  A  similar  amount  was  levied  for  a  cup 
of  coffee  or  a  slice  of  bread  and  butter.  A3 
the  line  got  hungry  dinners  were  served,  also 
suppers.  High  prices  were  paid  to  obtain  a  place 
in  the  line,  as  the  head  of  it  approached  the 
box  office;  resulting  only  in  disappointment  to 
the  intending  buyer,  who  was,  of  course,  unable 
to  procure  a  ticket.  Large  squads  of  police 
were  on  duty  the  whole  time,  and  they  Vi^ere 
busily  employed  in  keeping  the  line  in  its 
place,  and  in  defeating  outsiders  in  their  at- 
tempts to  make  a  gap  in  it.  Later  on  it  v/as 
announced  that  a  limited  nixmber  of  gallery 
tickets  v/ould  be  sold  when  a  rush  v/as  made, 
carrying  away  the  whole  of  the  v/indows,  glass, 
statuary,  plants,  etc" 


4J. 


RATES  TO  SHAME  SHYLOCK 

"Ticket  speculators  were  now  offering  seats  at 
from  i.  4  to  i  10  each,  places  In  the  fifth  row 
of  the  dress  circle  fetching  as  much  as  L  4  be- 
ing 400  per  cent  above  the  box  office  price* 
They  found  buyers  at  rates  which  would  have 
shamed  Shylock.  Hvmdreds  of  tickets  had  been 
sold  for  standing  room  only.  Meanwhile  the  po- 
lice, on  seeing  the  aisles  leading  to  the  or- 
chestra stalls  and  dress  circle  blocked  by  the 
vast  crov/d,  many  of  v/hom  were  seated  on  camp- 
stools  which  they  had  secretly  brought  v;ith 
them,  pi'ocured  a  warrant  for  my  arrest  the  fol- 
lovtfing  morning." 


ACROBATS  IN  THE  GALLERY 

"In  the  top  gal].ery  people  were  literally  on 
the  heads  of  one  another,  and  on  sending  up  to 
ascertain  the  cause,  as  the  numbers  were  still 
increasing,  the  inspector  ascertained  that 
boards  had  been  placed  from  the  top  of  an  ad- 
joining house  on  to  the  roof  of  the  Opera  House 
from  which  the  slats  had  been  taken  off;  and 
numbers  were  dropping  one  by  one  through  the 
celling  on  to  the  heads  of  those  virho  were  seat- 
ed in  the  gallery." 


THE  OPERA  SWINDLE 

"On  going  through  the  tickets  in  the  treasury, 
we  discovered  upwards  of  200  bogus  ones  taken 
at  the  door.  These  counterfeits  were  so  good, 
even  to  the  shade  of  colour,  that  it  was  almost 
impossible  to  detect  the  difference  from  the 
real  ones,  the  public  having  smashed  into  the 
opera  as  if  shot  from  howitzers.  Several  ladles 
declared  that  they  had  never  even  touched  the 
ground  from  the  time  they  got  out  of  their  car- 
riages; and  it  was  with  difficulty  that  the 
tickets  were  snatched  from  them  as  they  passed. 
Many  who  had  paid  for  ,  standing  room  brought 
little  campstoois  concealed  under  their  clothes, 
and  afterwards  opened  them  out,  placing  them  in 
the  main  passage  ways.  Had  any  panic  occurred, 
or  any  alarm  of  fire,  many  lives  must  have  been 
sacrificed* 


''Of  course  the  blame  for  all  this  was  put  upon 
me.  The  next  day  there  were  lov-i  mutterlngs  of 
discontent  all  over  the  city  against  my  manage- 
ment, whilst  the  newspapers  v/ere  unanimous  in 
attacking  me,  some  of  their  articles  being 
headed    'The  Opera   Swindle.'" 


MPLE SON'S  TRIAL 

Maploson  was  arrested  for  violating  the  Fire  Ordi- 
nance. General  H.  L.  Barnes  and  Judge  Evans  were  his  bonds- 
men. He  was  tried  in  court  and  fined  ••ylo  v/hich  the  judges 
agreed  to   take   out   in  opera  tickets. 

For  seventeen  nights'  performances,  Mapleson's  re- 
ceipts totaled  '",i>40,000t  His  bold  California  digression  had 
abled  him  to  recoup  his   earlier   losses. 

SBCOI'JD   TRIP  TO   THE    IffiST 

He  came  again  to  San  Francisco  the  next  year  and 
repeated  his  previous  triumph.  Emma  Nevada  was  the  star.  She 
was  received  most  enthusiastically  in  her  native  state.  In 
New  York  that  season  (1885)  she  had  made  her  debut  in  La  Gon- 
nambula  v/ith  great  success;  Patti  v;as  celebrating  the  25th 
anniversary  of  her  first  Nev;  York  appearance  and  began  her 
endless  serie s  of  "positive  farev/ell"  performances;  Massenet's 
Manon  Lescaut  received  its  Ai'aerican  premiere.  It  was  a  bril- 
liant   season. 

On  returning  from  the  West,  Mapleson's  Company 
stopped  at  Chicago  v/hcrc  a  Grand  Opera  Festival  v;as  put  on. 
The    audiences  were    tremendous.    After   the   Festival  many  polite 


,rrfTE  (^     ari 


ua'  QtiT 


ceremonies  of  imitual  admiration  took  place  between  Maple  son 
and  the  Mayor,  Mapleson  and  the  opera  association,  and  Maple- 
son  and  the  public  The  Colonel  departed  with  ^1^150, 000  in 
his  coffers  —  a  result  of  the  season's  efforts. 

Following  this,  the  climax  of  his  career,  came  the 
decline.  Conflicts,  difficulties,  bitter  animosities  and 
bickering  developed  within  his  company.  There  was  economic 
unrest  in  the  air  in  1886.  Riots  took  place  in  Cincinnati, 
Chicago  and  Detroit.  His  ovm  people  went  on  strikes  against 
him. 

THE  LAST  VISIT 

His  third  and  last  visit  to  San  Francisco  vi^as  not 
successful  to  say  the  least.  The  tenor  Ravelli  caused  him 
much  trouble,  instigated  legal  proceedings  against  him,  and 
finally  seized  all  of  his  property.  His  prima  donnas  refused 
to  sing.  His  conductor  Arditi  v/as  down  with  pneumonia.  Maple - 
son  himself  was  ill,  his  troupe  rebellious.  The  company,  un- 
able to  pay  its  hotel  bills,  was  forced  to  camp  out  in  the 
streets.  Maple  son's  money  was  tied  up,  pending  legal  proc- 
esses.  They  were  glad  to  leave  the  city. 

The  retreat  from  San  Francisco  v;as  made  in  Indian 
fashion.  Performances  were  pledged  in  various  cities  en  route 
to  pay  expenses;  the  railroads  were  promised  the  receipts  in 
exchange  for  transportation.  Finally  after  many  hardships, 
delays,   and  financial  difficulties,  what  was  left  of  the 


noc-sIqB.'  .^^ ?"'"*'.■  I-'     '" 


■  orfl^  bhB  no'e, 


oincrrooe  saw   si^rl _ 


^aqoXov 

IX    •XJtA    ■ 


;w      00; 


dri:t  i(B8  c 

:'bnoo 

ifenom  8 'no. 
■  bBlj)  errew 


ffoum 


OXtfjB 


olctfl^noqenBid 


G  A  E   T   A  N   0        M  2  R   0  L  A 
(1881   -  ) 


GEl^RAL  DIEECTOR   OF   TRE   SAN   FRAKGISCO    OPERA 

ASSOCIATION 

brilliant  company  reached  New  York.   Maple  son  sailed  for  Lon- 
don immediately,  escaping  v/rits,  attachments,  and  arrest. 

MAPLESON'S  DEMISE 
The  once  prosperous  Colonel  died  in  London  on  No- 
vember 14,  1901  of  Bright  '  s  disease.  His  funeral  v/as  a  sadly 
neglected  affair.  A  single  carriage  followed  the  hearse.  Not 
one  of  the  great  singers  who  had  been  associated  v/ith  him  at- 
tended or  sent  a  token.   He  died  almost  unremembered. 

GAETANO  MEROLA   (1881-    ) 

Hailed  by  his  admirers  as  the  creator  of  opera  in 
San  Francisco,  Gaetano  Merola  has  been  active  nearly  two  dec- 
ades in  making  municipal  opera  a  reality.  Mr.  Merola  came 
West  with  the  San  Carlos  Opera  Company  in  1921.  Born  in 
Naples,  he  studied  at  the  Royal  Conservatory  at  Naples,  made 
his  debut  at  the  Metropolitan  in  1899,  and  becar/ie  assistant 
conductor  of  the  Savage  English  Opera  Company,  the  Manhattan 
and  London  Opera  companies.  He  married  in  New  York  in  1907. 
After  the  war  he  formed  an  association  with  the  San  Carlos 
Opera  Company  and  toured  the  country. 

San  Francisco  attracted  him  and  he  remained  when 
the  San  Carlos  Company  departed.  Surprised  at  the  city's 
lack  of  opera,  he  promptly  began  to  survey  the  practical 
means  of  creating  it.  His  first  successful  local  effort  v/as 
the  producing  of  open-air  opera  at  Stanford  University,   Palo 


•  /oyl'  bo'rloRot:''- 

•  ■   fine-. '^f  .lfr»nalos.'*-to-.  ,e-cfJtw  .^nifi'-fr^*'. ?•.  \.v  i-fr:?.!*! ". 

-oK  no     no:  'b&'lij-X-siiibJ^Vjr    ■  iMf(<'vf>V^^''^Ci  ^'^. 

: ■:Jj;;s.?^:l.<ff!teAc 

■lie:' i'i>::         >      ^'i^£bfdtf^  •"';?fc^-l'^  .'eiH  •  ^^.;tI•.•^■i*aBi^o■' lo  '*fma/n 


45 


Alto,  in  1923.  V/ltli  a  chorus  rocrultGcl  frorii  the  neighborhood 
and  a  ballot  composed  of  San  Francisco  talent,  lucrola  put  on 
Faust,  Carriicn,  and  Pagliacci.  The  stars  included  Blanca  3ar- 
oya,  Vinconto  Dalle stor,  Ina  Bourskaya,  Giovanni  Martinelll, 
and  Loon  nothiert  Music  lovers  from  all  over  the  peninsula 
crowded  to  these  performances*  Merola  revealed  the  possibili- 
ties of  a  local  opera  organization. 

feriuanei-it  director 

His  efforts  '.;on  quick  recognition.   A  brief  record 

of  this  in  Pierre  Key's  Musical,  1923,  runs  as  follows: 

''Gaetano  Hcrola,  brilliant,  far-seeing  and  vi- 
sionary, had  presented  a  series  of  operas  at 
the  Stajiford  Bowl  of  Palo  Alto.  His  perform- 
ances then  captured  the  imagination  and  fired 
the  hopes  of  a  small  but  influential  group  of 
music-loving  men  and  women.  They  wanted  to  keep 
Mr.  Merola  with  them  alv/ays.  They  v/anted  San 
Francisco  to  enjoy  grand  opera  produced  under 
his  guidance,  not  for  a  season  but  through  the 
years. 

"No  amount  of  energy,  no  sacrifice,  seemed  too 
great  for  Merola  and  his  followers.  He  and  his 
supporters  worked  and  planned  night  and  day  for 
that  first  e:cperiment  at  Grand  Opera  Season, 
that  was  to  bring  Beniamino  Gigli,  Giuseppi  de 
Luca,  Claudia  Muzio,  and  other  Lietropolitan 
stars  to  San  Francisco*  To  save  e;:pense  they 
willingly  moved  art  treasures  from  their  homes 
and  converted  them  into  stage  properties. 

"The  first  grand  opera  season  comes  to  a  suc- 
cessful close  Oct.  8,  1923.  They  had  accumu- 
lated a  substantial,  and  unlocked  for,  profit. 
The  San  Francisco  Opera  Association  v/as  formed 
with  the  late  Mr.  Robert  I«  Bcntley  as  presi- 
dent." 


ul. 


46 


FROM  BARN  TO  TEi/iFLE 

Through  the  young  Neapolitan's  love  of  opera,  his 
artistry  and  business  acumen,  San  Francisco  at  last  had  its 
season  of  civic  opera.  But  the  Civic  Auditorium,  a  huge 
harn-like  hall,  unsuited  for  opera  architecturally  and  acous- 
tically v/as  looked  upon  as  a  makeshift  haven.  The  drive  for 
a  proper  municipal  opera  house  v;as  begun.  Merola  v/as  a  mov- 
ing agent  in  this.  For  nine  years  he  put  on  opera  without  an 
opera  house;  the  tenth  season  he  conducted  in  one  of  the 
world's  most  perfect  temples  of  music,  the  V/ar  Memorial  Opera 
House .  -"- 

Maestro  Merola  is  an  officer  of  the  Legion  d'  Hon- 
neur,  France;  Chevalier  and  Gommendatore ,  Crovm  of  Savoy, 
Italy;  General  Director  of  the  San  Francisco  Opera  Association 
and  past  director  of  the  Los  Angeles  Opera  Association.  He 
is  a  member  of  the  Bohemian  and  Family  clubs  and  resides  at 
the  Fairmont  Hotel. 


A  GLIMPSE  OF  THE  BALLET 
A  more  elevated,  lyrical  form  of  circus,  opera  has 
featured,   almost  from  the   very  beginning,   rhytlimic  contor- 
tionists, tumblers,   acrobats,  and  dancers  as  a  part  of  its 
divers  attractions.   Wagner  wanted  to  make  the  music-drama  an 


-"'•  See,  The  Opera  House  Materializes,  this  volume 


IJ       J  f> 


apotheosis  of  the  seven  arts  —  with  witchcraft  and  dragon- 
slaying  thrown  in  for  good  measure.  Waen  Tannhauser  was 
first  performed  in  Paris  about  1840,  the  opera-goers  who 
were  accustomed  to  elaborate  opera  ballets  expected  something 
similarly  v;onderful  in  the  draraa  of  the  Knight  of  the  Holy 
Grail.  Reluctant  at  first,  Wagner  found  it  necessary  to  in- 
corporate a  bacchanalian  interlude  in  the  opera  to  insure  its 
success.  A  part  of  court  entertainment  for  four  centuries, 
the  ballet  in  France  has  had  a  varied  and  long  history. 
Moliere's  comedies  were  often  interspersed  with  dance  spec- 
tacles. More  recently,  interesting  glimpses  of  the  Parisian 
ballet  have  been  preserved  by  the  artist  Degas  in  famous 
studies  of  backstage  rehearsals. 

The  great  imperial  school  of  Russian  ballet  of  Mos- 
cow was  subsidized  by  the  Tsar  and  furnished  diversion  to 
royalty  through  many  decades.  Its  training,  discipline,  and 
requirements  were  of  the  utmost  severity;  it  reached  its  cul- 
mination perhaps  in  the  dozen  years  preceding  the  World  V)/ar 
v/hen  under  the  direction  of  the  brilliant  impresario  Diaghi- 
leff ,  the  Russian  Ballet  appeared  in  Paris,  London,  New  York, 
with  such  dancers  as  Karsavina,  Nijinsky,  Mordkin,  Pavlowa, 
Geltzer,  Fokine,  Kosloff,  Feodosrova,  and  Bolm.  Kosloff  and 
Holm  were  later  to  play  an  important  part  in  San  Francisco 
ballet. 


Jiuoo 


19.^U. 


THE  DAl'TCE  IN  SAM  FRANCISCO 
ThG  dance  is  not  the  subject  of  this  volume,  nor 
can  more  than  a  word  or  two  be  devoted  to  it.  There  has  been 
during  the  past  five  years  a  national  revival  of  interest  in 
the  dance  as  a  popular  art-form.  A  current  of  this  revival 
has  stirred  San  Francisco  and  brought  into  being  nuraerous 
small  groups,  studios,  and  schools  of  the  dance.  Among  those 
locally  identified  with  the  movement,  r.iention  must  be  made  of 
Veronica  Pataky,  Ann  LIxxndstock,  Carol  Beals,  Lenore  Peters 
Job,  Beatrice  Lewis,  Marie  van  Sabern,  Vivian  Wall,  Myra 
Kinch,  Caroline  Chew,  Betty  Horst,  Mildred  Hirsch,  Tiaxine 
Cushing,  Iris  de  Luce,  and  the  Shoemaker  Sisters.  For  the 
most  part,  the  local  groups  follow  the  Mary  V/igman  tradition. 
Martha  Graham,  Angna  Enters,  Denishawn,  and  the  Humphrey- 
Vi/eidman  groups  are  models. 

GREAT  DANCERS 
Ann  Pavlowa  came  to  San  Francisco  with  the  Imperi- 
al Russian  Ballet  in  November  1910.  Her  first  night  ended 
in  a  semi-fiasco:  she  stopped  in  the  middle  of  a  ballet  and 
refused  to  continue.  The  curtain  was  drawn.  Mordkin,  her 
famous  partner,  tried  to  fill  in,  but  the  prograra  had  to  be 
concluded  nearly  an  hour  sooner  because  Pavlov/a  chose  to  be 
temperamental..  The  local  critics  coriimented  unfavorably  on 
the  exhibition.   But  not  for  long. 


•  ts'^r.;:  v''*^^S     \*i>to  .rConlX 


■:\i  a±-  '    6i&      :d08flJ[l-Im6e   a 

'■■■'C'ifj"  eHw     iiitBiflvo   S'A'. 


Alfred  Metzger  wrote  in  the   Pacific  Coast  Musician 

on  December  3,  1910: 

"The  imperial  Russian  Ballet  headed  by  Anna 
Pavlowa  and  M.  Mordkin  which  opened  so  In- 
auspiciously,  but  before  the  end  of  the  week 
redeemed  itself  in  every  way  and  ended  with  a 
genuine  triumph,  will  return  for  one  special 
performance  this  Sunday  afternoon,  Dec.  4th  at 
the  Valencia  Theatre.  The  prograra  will  include 
the  tv;o-act  ballet  'Giselle,'  the  'Bacchanale' 
from  'The  seasons'  by  Glazounow,  Rubinstein's 
'Valse  Caprice,'  Mordkins  'Arrow  Dance'  and 
others  of  the  nurabers  that  met  v;ith  such  great 
approbation  at  the  performances  last  week.... In 
justice  to  Messrs.  Rabinoff  and  Centanini,  Mr. 
GroenbaTom  wants  to  say  that  the  unfortunate 
opening  performance  was  not  in  any  way  to  be 
blamed  to  them.  The  whole  company  was  demoral- 
ized on  account  of  the  actions  of  a  few  members 
and  the  disaffection  even  extended  its  effects 
to  the  orchestra  and  stage  management.  Both  of 
these  departments  thoroughly  redeemed  themselves 
and  all  in  all  the  performances  have  been  the 
finest  spectacles  that  this  city  has  witnessed 
for  many  a  day." 

Pavlowa  visited  San  Francisco  frequently.  She  ap- 
peared almost  every  year  between  1910  and  1922.  In  December 
1916,  Dlaghileff 's  Ballet  Russe  came  to  the  Valencia  Theatre 
v;lth  Nijinsky,  first  dancer;  Bolm,  Art  Director;  and  Monteux, 
conductor.  The  ballets  in  Pavlowa 's  1921  repertoire  given 
with  Vollnlne  at  the  Curran  Included  Chopiniana,  Thai s > 
Eg7/ptian  Ballet,  Amarilla,  and  Snowflakes.  Her  program  at 
the  Century  Theatre  in  January  1922,  featured  Dionysus,  Fairy 
Tales   and  The  Polish  Wedding. 


I   s!'.ftw,t;,I,v£j''i    .  «i;-.e:t'3)j,iflc.''  . 


ISADORA  DUNCAII;       (1880-1927) 

3orn  in  San  Francisco  in  1880  and  spending  her 
childhood  here,  Isadora  Duncan  attained  world  fane  as  an  in- 
terpreter of  Greek  pastoral  dancing.  Countless  critics  have 
rhapsodized  over  her  art.  She  preached  a  gospel  of  freedom; 
her  dance  was  a  reincarnation  of  classic  ideals;  her  life, 
not  infrequently,  revealed  phases  of  unsubllr.iated  Bohemian 
abandon. 

Before  going  abroad  to  study,  Miss  Duncan  gave  danc- 
ing lessons  to  children  in  the  old  Castle  home  on  Van  Ness 
Avenue,  according  to  Charles  Caldwell  Dobie ' s  popular  book 
entitled  San  Francisco:  A  Pageant.  V/hen  she  came  back  to  the 
city  of  her  birth  in  1917,  after  numerous  Eurcpean  triumphs, 
her  adi^iirers  wore  legion. 

OVERPEERS  HER  SISTERS 

Redfern  Mason  wrote  in  a  lyric  vein  in  the  Examiner 

on  December  26,  1917  2 

"The  dance  is  of  the  spirit  as  well  as  of  flesh, 
and  it  is  because  she  has  a  great  soul  that 
Isadora  Duncan  outpeers  all  her  sisters. 

''Her  homecoming,  after  long  years  of  absence, 
and  her  first  appearance  in  the  art  which  has 
won  her  distinction  in  so  many  quarters  of  the 
v/orld,  must  have  been  an  ordeal.  'All  San 
Francisco'  —  using  the  phrase  in  the  sense  in 
which  the  French  say  'Tout  Paris'  —  was  at  the 
Columbia  to  see  her  dance  the  idyll  of  Iphigenia 
to  the  music  of  Gluck.  But  the  ordeal  acted 
upon  the  artist  as  the  cold  stimulating  vmter 
of  the  sea  at  dawn  acts  upon  a  sv/immer;  it 
buoyed  up  her  spirits.... 


i>t,  nl;/i^-9v   Off 


\j,\'. 


■'It  is  ten  years  since  last  I  saw  Miss  Duncan 
dance  and  the  joy  with  which  her  dancing  then 
filled  rae  was  renewed  yesterday.  .  . . 

''Miss  Duncan  has  come  back  to  her  own  people j 
they  pay  her   respect  due  to   inspired  art." 


AN  ECSTATIC  REVIEW 
Following  her  recital  with  Harold  Bauer   on  January 
3,  1918  at  the  Cclvunbia  Theatre,  Mr.  Mason  wrote  in  the  Ex- 
aminer on  January  4,  1916: 

''if  Isadora  Duncan  and  Harold  Bauer  could  give 
yesterday's  prograi-.Tnie  of  dance  and  music  all 
over  the  United  States,  they  v/ould  be  evange- 
lists of  a  nevv'  gospel  of  beauty. 

•'It  is  art  mere  of  the  spirit  than  of  the  flesh. 
The  sonorities  of  the  piano  and  the  movements  of 
the  dancer  interpreted  Chopin,  not  in  a  crude 
realism  reducible  to  specific  and  limiting 
images,  but  in  surges  of  psychic  ecstasy  and 
despair,  upliftings  of  the  spirit,  the  fantasy 
of  drearaing,  a  divine  drunkeness,  in  which  the 
mystery  that  veils  music  was  momentarily  up- 
lifted. 

"To  v;rite  of  such  a  performance  m  the  termi- 
nology of  critical  dissectxon  would  be  utterly 
to  misunderstand  it.  Harold  Bauer  poured  forth 
the  deep  things  of  Chopin's  soul  as  contemplated 
through  the  prisms  of  his  own  personality--a 
personality  august,  acute,  seer-like--and  that 
vision  Isadora  Duncan  made  manifest  in  a  sub- 
limated rhapsody  of  movement. 

"At  its  best  the  dance  is  a  mysteryj  the  body 
seems  to  put  off  its  corporeality  and  become 
flame.  Sometimes  the  flame  is  'darkness 
visible'  as  in  the  B  minor  and  D  flat  preludes 
and  the  tragic  vroe  of  the  Funeral  March.  The 
first  v/as  Death,  menacing  and  terrible j  in  the 
second  there  was  a  defiance  of  stony-hearted 
Olympians;  but  in  the  Funeral  March, the  bitter- 
ness of  the  grave  gave  place  to  the  ecstasy  of 
resurrection;  and  dancer's  art  became  symbolic 
of  the  rebirth  of  martyred  peoples;  she  spoke 
for  Poland;  she  envisaged  the  return  to  the 
sunlight  of  freedom  of  downtrodden  Erin;  she 
mirrored  the  hope  of  indomitable  Belgium. 


■  9uaa  IxCoiaH  r 


:f;^ 


MO  DEL3ARTEAN  FOmJULAE 

"San  Francisco  has  been  a  little  Hesitant  m 
its  attitude  toward  Miss  Duncan.  But  yesterday 
slie  came  Into  her  own.  Hers  is  no  art  of  Del- 
sartean  formulae;  it  is  godlike  beauty,  assert- 
ing Itself  through  a  technique,  which,  while 
subtly  inevitable,  eludes  definition. 

"The  tremulous  gyrations  of  the  'Minute'  Vi/altz, 
the  honeyed  idyll  of  the  E  Flat  Nocturne,  the 
epiphanies  of  a  nation's  anguish  and  triuriph 
adur:ibrated  in  the  G  minor  and  A  Major  Polonaises 
formed  so  many  chapters  in  the  scriptures  of 
choreographic  revelation. 

"If  Isadora  Duncan  could  dance  and  Harold  Bauer 
play  for  our  people  of  the  West  long  enough  for 
the  magic  of  it  all  to  sink  deep  into  the  popu- 
lar heart,  this  California  of  ours  v/culd  soon 
palpitate  with  a  new  and  joyous  life  that  would 
mal^e  the  land  such  a  Hellas  as  the  poet  Keats 
dreamed  of  in  his  'Endymion. ' 

"Suppose  America  were  to  disappear  in  some  dire 
catRclysn,  what  v/ould  it  be  remembered  by?  By 
the  Federal  constitution,  the  lines  wnich  a 
drunlven  poet  sang  to  Helen  of  Troy  and  the 
deathless  tradition  of  the  art  of  Isadora  Duncan 
....Such  an  afternoon  as  we  spent  yesterday  at 
the  Col-ar.ibia  will  live  in  our  minds,  a  source 
of  joy  and  strength  as  long  as  we  live.  Does 
not  Keats  sing:  'A  thing  of  beauty  is  a  joy 
forever;  its  loveliness  increases; it  can  never 
pass  into  nothingness'?" 


ONLY  VISIT 
This  was  Isadora  Duncan's  only  visit  to  San  Fran- 
cisco. Ten  years  previously  at  the  age  of  27  she  had  been 
associated  in  Leningrad  with  the  Russian  Ballet  and  was  in- 
struraental  in  giving  it  a  new  impetus.  In  1917  she  danced 
Euripides'  Iphigenia  in  Aulis  in  Athens.  In  1919  she  re- 
appeared in  Paris,  then  revived  classical  dancing  in  London. 


:^   Ari:t 


Tic. IV   YJHi- 
"f"'i'*  '  ruaoruXI  anobael   efiv;  ciriT 

rreed  bar*   .  i^   vga   &£i.J     ctfl  Y-^^uoivoiq     eiflsx  ff 


In  1921  she  went  to  Soviet  Russia,  on  Lenin's  invitation, 
raarried  the  poet  Yessenin,  and  after  a  storray  life  returned 
alone  to  Peris.   Yesoenin  killed  hinself. 

She  made  appearances  in  Boston  in  1922,  shocked  the 
Mayor  by  her  filmy  attire,  and  was  forbidden  to  reappear.  In 
1924  she  was  living  in  Berlin;  her  house  in  Paris  v/as  put  up 
for  auction  and  sold  to  pay  her  pressing  creditors.  After 
many  tragic  experiences,  she  met  her  end  in  1927  in  an  auto- 
mobile accident  near  Paris.  Her  scarf,  caught  in  a  wheel, 
strangled  her. 

MAUD  ALLAN   (1875-    ) 

Another  world-renowned  dancer,  Maud  Allan,  also 
spent  her  childhood  and  received  her  first  training  in  San 
Francisco.  Born  in  Toronto  around  1875,  she  came  to  San 
Francisco  with  her  parents  whose  name  was  Durrant. 

Maud  Allan  (Durrant)  graduated  from  the  Cogsv/ell 
Polytectaic  College  at  Folsom  and  26th  Streets,  San  Francisco 
in  1891.  After  her  graduation  she  went  to  Berlin  where  she 
studied  the  piano  with  Busoni,  v;inning  honors  at  the  Royal 
.Academy  of  Music  at  Berlin.  But  she  wasn't  satisfied  with 
one  art. 

In  search  of  the  true  rhythm  of  the  classic  dance. 
Miss  Allan  turned  to  studying  painting  and  sculpture  in  Italy. 
She  made  her  dance  debut   in  Vienna   in  1903,  and   afterwards 


^n-UAilv. 


ii  boLii&n 


■^  ■     ■      '^. 


nl     ••xBoaqusi  .pd 


•ocfi/B     aa  fii 


"on 


soex.  n. 


^'a  ->  f,_ 


appeared  regularly  in  the  capitals  of  Europe  --  1908  at  the 
Palace  Theatre,  London;  1909  at  Moscow;  1910  at  Carnegie 
Hall,  Nev/  York;  and  in  San  Francisco.  During  the  next  de- 
cade she  toured  the  Orient,  South  America,  Egypt  and  re- 
turned to  London,  her  present  home.  Miss  Allan  in  1928 
founded  a  school  for  teaching  very  poor  children.  She  has 
written  numerous  articles  on  the  dance,  published  My  Life  and 
Dancing  in  1908.  In  1932  she  appeared  as  the  Abbess  in  The 
Miracle  at  the  Lyceum  Theatre  in  London. 

THE  FIRST  AND  THE  LAST 

Miss  Allan  made  her  only  tour  of  the  V'/est  in  1910. 

En  route  she  gave  a  performance  in  Milwaukee  which  apparently 

shocked  the  local   connoisseurs.   A  Milwaukee  Correspondent 

v/rote  to  Mvisical  America  on  February  19,  1910: 

"The  first  part  of  i'liss  Allan's  program  was 
charming  but  the  Vision  of  Salome  was  a  little 
too  much  for  a  Milwaukee  audience.  The  fond- 
ling of  the  decapitated  head  and  the  impassioned 
kissing  of  the  dead  lips  seemed  to  inspire  as 
much  disgust  as  the  rest  of  the  program  did 
delight." 

Returning  to  her  girlhood  home  after  15  years  ab- 
sence Maud  Allan's  first  San  Francisco  recital  took  place  on 
April  5,  1910  at  the  Garrick  Theatre.  Paul  Steindorff  con- 
ducted the  45  piece  symphony  orchestra.  Miss  Allan  performed 
here  about  eight  or  nine  times.  Her  specialties  were  the 
Peer  Gynt  Suite   and  the  Vision  of  Salome- 


-oi  ij^  ■:■..;■■■.■"■■      ,  '  ■ 


"TAKE  ME  TO  YOUR  liEARTS" 

The  critics  were  divided  in  their  reactions.   Some 

scoffed  at  her  "art,"  her  exhibitionism,   her  supple  weavings 

and  wavings.   But  the  ecstatic  school  was  also  eloquent.   Mr. 

Ralph  E.  Renaud  wrote  in  the  San  Francisco  Chronicle  on  April 

6,  1910: 

"To  all  who  love  pure  beauty, to  all  who  v;orship 
the  loveliness  of  created  things,  to  all  v-rho 
seek  the  true  soul  of  music,  and  to  all  who  are 
awake  to  the  romance  and  emotion  v^hich  lie  just 
below  the  rough  surface  of  everyday  life,  last 
night  at  the  Garrick  Theatre  v/as  a  night  among 
10,000  to  be  remembered,  treasured,  and,  I  am 
tempted  to  say,  reverenced.  Maud  Allan,  an 
exiie  for  the  past  15  years  which  have  made  her 
one  of  the  world's  great  artists,  appeared  in 
the  home  of  her  girlhood  and  won  the  city  to 
complete  subjection.  Henceforth  San  Francisco 
v;ili  be  to  her  at  once  a  city  of  tears  .'ind  a 
city  of  laughter  and  love. 

"Within  my  time  no  such  personal  triumph  has  oc- 
curred here.  The  theatre  was  packed  and  fully 
half  had  come  merely  from  curiosity,  perhaps 
from  morbid  curiosity.  It  v/as  an  audience  of 
Americans,  and  not  exuberant  Italians  prepared 
to  applaiid  their  favorite  tenor.  Yet,  at  the 
conclusion  of  her  wonderful  interpretation  of 
Grieg's  'Peer  Gynt '  suite  the  v;hole  house,  from 
gallery  to  pit,  was  yelling  and  stamping  an 
ecstatic  approval.  If  they  had  not  lost  their 
senses,  they  had  at  least  abandoned  all  dignity 
in  a  frantic  appreciation.... 

"When  Miss  Allan  had  finished  the  last  n\imber 
on  her  programme,  she  crept  forward  to  the 
footlights,  with  moist  eyes  and  quivering  lips, 
to  make  a  little  speech.  Her  voice  trembled 
and  was  scarcely  audible  for  the  sobs  she  tried 
to  suppress,  hut  she  spoke  the  most  sincere 
touching  thanks  I  have  ever  heard.  She  referred 
to  the  happy  days  of  her  childhood  here,  and 
the  dark  days  which  had  so  tragically  followed. 
She  declared  that  when  she  left  San  Frtmclsco 
she  had  determined  never  to  return  until  she 
could  bring  back  v;ith  her  the  success  she  dreamed 
of,  and  that  of  all  cities  on  earth  she  yearned 
most  for  the  appreciation  of  this. 


imin-  in_nS        '=>r{.4-.  -  .  {-^ar'--- .  rtnl  ■ 


-  i?;*.  i''i:  Om    .^i'l :  ^'  ■  -fJ  1    ^fJ  I 


J 


"Take  me  to  your  hearts,"  she  erded,   v;lth  the 

catching  breath  that  just  preceded  a  hurst  of 

tears.   I  know  yoti  have,  hut,   oh,   keep   me 
there.  .  .  J' 


AIvIBLINGS  AND  VmiTHIMQS 
But  the  frankly  carping  school  was  also  vocal  in 
the  person  of  the  Argonaut ' s  business  manager,  George  L. 
Shoals,  \.ho  compared  her  unfavorably  with  the  Nautch  girls  of 
the  East  and  the  Havi/aiian  hula  dancers  and  weighted  his  dia- 
tribe v/ith  invective  against  dance  "interpreters"  of  symphonic 
music  in  general.  The  difficult  Mr.  Shoals  wrote  in  the 
Argonaut  of  April  16,  1910: 

"Seriously,  there  is  little  to  be  said  in  favor 
of  this  sort  of  stage  novelty.  It  has  even  less 
to  corr::iend  it  than  the  aesthetic  craze  of  a 
quarter-century  ago,  in  which  Oscar  Wilde  was 
so  prominent  a  figure,  and  v/hich  Gilbert  sat- 
irized and  burlesqued  in  'Patience.'  Some  of 
the  lines  in  that  comic  opera  ai*e  inevitably 
recalled  by  those  v/ho  have  seen  Miss  Allan  and 
read  the  gush  of  her  emotional  admirers : 
'purely  fragrant,'   'earnestly  precious'    and 

flhat   time  the  poet  hath  hymned 
The  writhing  maid,  lithe  limbed, 
Quivering  on  amaranthine  asphodel* 

"Surely  it  is  sufficient  to  say  that  Hiss  Allen 
poses  picturesquely  and  moves  gracefully,  that 
her  costume  in  the  numbers  so  far  given  is  above 
criticism  that  is  not  captious,  if  it  pleases 
the  wearer.  But  to  call  her  work  interpretation 
of  music  that  was  written  without  thought  of 
the  dance, n  revelation  to  those  who  really  know 
good  music,  is  as  far  removed  from  sound  judge- 
ment as  the  ecstasy  of  lingering  looks  on  lan- 
guid lilies  so  earnestly  aspired  to  by  the 
Vifi  Id  e  foil  owe  r  s . 

''It  is  not  believable  that  the  rising  generation 
will  be  taught  to  find  the  only  true  expression 
of  one  of  Mendelssohn's  'songs  without  words' 
in  the  amblings  and  writhings  of  a  barefoot  girl 
on  a  greon-curtrilned  stage." 


SAN        FRANCISCO        SCHOOL        OP      BALLET 


SCENE   FROM  THE   PERFORMANCE   OP  THE   BALLET   ROJffiO   AND   JULIETTE 


SAN  FRANCISCO  OPERA  BALLET 

Civic  opera  has  definitely  aided  the  development  of 
local  dance  talent.  Besides  furnishing  an  incentive  to  pros- 
pective ballerinas,  it  has  brought  into  being  several  schools 
and  studios  of  the  dance.  The  San  Francisco  Ballet  School, 
founded  in  1935,  has  gained  national  recognition  during  the 
past  three  years. 

A  brief  glimpse   of  ballet  activities  is  furnished 

by  the  following   item  from  the   Call^.- Bullet  in  of  August  13, 

1938: 

"With  the  conclusion  next  week  of  the  special 
sxommer  course  at  the  San  Francisco  Opera  Ballet 
School,  intensive  work  v/ill  begin  on  the  ballets 
for  the  coming   3an  Francisco  Opera   Company 

season. 

"The  special  course  at  the  school  has  been  con- 
ducted with  marked  success  under  the  personal 
supervision  of  Director  William  Christensen, 
teachers  and  advanced  students  from  all  parts 
of  the  country  having  been  in  attendance. 

"Operas  which  call  for  ballet  this  year  are 
'Andre  Chenier,'  'Don  Giovanni, •  'Martha,'  'Die 
Meistersinger, '  'Elektra,'  'La  Porza  del  Des- 
tine' and  'Le  Coq  d'Or.'  Choreography  for  the 
incidental  dances  in  which  the  ballet  is  to  be 
seen  will  be  creations  of  Ballet  Master  Claris- 
tensen. 

"Increased  activity  will  also  mark  the  chorus 
work  for  the  season  viihen  the  ensemble  singers 
take  the  Opera  House  stage  next  week  for  train- 
ing under  Armando  Agnini,  technical  and  stage 
director  of  the  opera  company. 

"Agnini  returns  from  Hollyiivood,  where  he  has 
stage-directed  the  operas  of  the  Hollywood 
Bowl  season.  The  present  season  is  his  fourth 
at  the  Bov/1  and  he  again  v/on  highest  critical 
praise  for  his  productions.  His  'Die  V^falkure  ' 
production,  in  the  broad  expanse  of  the  Bowl 
stage  with  towering  hills  for  background,  was 
impressibly  effective." 


exf;J  anltut  .  no  lct.i-n^^3.aa.'iBifio_tt  en '*>€<«/.£  v;     c.-/:    .icGI  nl  f)QX5nirbl 

•:8SGI 

M^aiv:--,^-^?!    .iiij.i-EJLfl^no'e    3ii:t.rfrfiV7" 

.noeaae 


acf   ft,t  e'a  -  j:*"57'o     .tj'.  .■.Jt.<Tf!J>n*'ii  .Liv-,  l 

-ziTxfo    ao:,'.:^„„.  JuXii^^    'flo  .aiToiYfiy'^ft)    fsir;  \ 

-jfX'Ofio  ■f'ri"*     >iW^"rtr   rtn.T-o    nf'f-iv  ■  T^ 'f."- ^J^Dy     ' ui'*/' ,"'*'"'' r*rf I" 

atftt  ' 


■z*A/-j.  •*yc7.ii*i7     >i(i£< 


BALLET  MASTERS 

Among  the  outstanding  ballet  masters  of  San  Fran- 
cisco Opera,  first  mention  must  be  made  of  Adolph  Bolm,  Theo- 
dore Kosloff  and  Serge  Oukrainsky.  Kosloff  and  Holm  were 
both  stars  of  the  famous  Imperial  Russian  Ballet.  They  have 
been  active  in  the  west  for  nearly  two  decades  in  artistic  as 
well  as  pedagogic  capacities.  Bothhave  initiated  innumerable 
thyrsus-bearers  into  the  mysteries  of  the  ballet. 

Kosloff  has  been  ospocially  active  m  Southern  Cali- 
fornia; Bolm  formulated  plans  for  a  dance  festival  at  the 
Golden  Gate  International  Exposition  of  lOSQ.-;!- 

The  ballet  master  engaged  by  the   San  Francisco 

Opera  Association  for  the  1937  season  was   Serge  Oukrainsky, 

the  celebrated  dancer  discovered  by  Pavlowa.   Concerning  his 

engagement,  The  Call  wrote  on  July  3,  1937: 

"Engaged  as  ballet  master  for  the  coming  season 
of  the  San  Francisco  Opera  Association  is  Serge 


The  widespread  movement  to  create  an  American  dance  began 
around  1930  and  has  been  gaining  more  and  more  active  par- 
ticipants. Paralleling  the  popular  swing  inventions,  the 
Suzie-Q,  the  Big  Apple,  Truckln',  and  the  Conga, the  serious 
dance  has  been  attempting  to  express  novel  social  ideologies, 
revolt  from  the  machine,  acceptance  of  science,  and  other 
pseudo-metaphysical  sentiments. 

Mills  College  has  been  giving  regular  courses  in  the  modern 
dance.  Among  younger  dancers  in  San  Francisco  there  is  sharp 
rivalry  between  the  Martha  Graijam  followers,  the  Hujaphrey- 
Weidman  clique,  the  outmoded  VYigman  faction,  and  the  neo- 
prolotarian,  socially  conscious  group.  But  the  story  of 
these  schools,  deserves  a  separate  volum.e;  it  lies  outside 
the  scope  of  the  present  one. 


.filitOP 


I 


Oukrainsky  announced  today  by  General  Director 
Gaetano  Merola. 

"The  internationally  celebrated  dancer,  dance 
director  and  choreographer  will  produce  the 
ballets  for  all  operas  of  the  season  virhich  will 
call  for  incidental  dance. 

"The  engagement  will  not  be  Oukrainsl^y '  s  first 
with  the  San  Francisco  Opera  Company.  He  pro- 
duced the  ballets  for  the  1929  season.  At  that 
time  he  appeared  with  his  own  company  and  with 
himself  as  principal  male  dancer.  The  coming 
season,  his  dancers,  both  principal  and  corps 
de  ballet,  will  be  members  of  the  San  Francisco 
Opera  Ballet . 

"Serge  Oukrainslcy  is  a  discovery  of  Pavlowa, 
vvho  brought  him  to  America.  After  successful 
tours  of  this  country  and  Europe  v;ith  that 
great  dancer,  he  became  associated  with  Andreas 
Pavley,  in  formation  of  the  Pavley-Oukrainsky 
Ballet,  the  original  American  Ballet. 

"For  seven  years  he  produced  the  Chicago  Opera 
Company  ballets  and  won  acclaim  in  three  conti- 
nents through  extensive  tours  at  the  head  of  his 
company.  More  recently  he  has  been  largely  en- 
gaged in  creating  and  producing  bellets  for 
major  motion  picture  studios  in  Hollywood. 

"Ballets  for  the  coming  opera  season  are  already 
in  preliminary  work  under  direction  of  Ballet 
Mistress  Mildred  Hlrsch  at  the  San  Francisco 
Opera  Ballet  School,  now  nev;ly  located  at  the 
Greenhouse  Club  in  Washington  Street,  and  at  the 
Oakland  and  Burlingame  branches. 

"The  opera  ballet  this  season  will  be  made  up  of 
dancers  from  a  production  group  selected  from 
the  professional  classes  at  the  ballet  school 
and  its  branches." 


MIATEUR  OPERA;   THE  BOHEMIAN  CLUB 
One  of  the  important  producers  of  amateur  opera  in 
America  has  been  the  Bohemian  Club.   Its  annual  outdoor  musi- 
cal plays  and  operettas,  its  midsummer  High  Jinks  and  festi- 
vals, have  attracted  nation-wide  attention. 


"VZ 


g3.:i?£' 


C.J-;; 


Founded  in  1372  in  an  informal  fashion,  the  Club  v/as 
composed  of  a  small  band  of  actors,  musicians,  writers,  and 
journalists  active  in  San  Francisco.  They  held  monthly  meet- 
ings at  the  Astor  House  on  Sacramento  and  Webb  Streets,  moved 
in  1877  to  Pine  Street  belovir  Kearny  over  the  California  Mar- 
ket, and  becoming  too  crowded,  popular,  and  prosperous,  built 
their  ovm  luxurious  four-story  building  on  the  corner  of  Post 
and  Taylor  Streets.  The  place  was  found  unsafe  in  1934  --  not 
being  earthquake  proof.  Demolished,  it  was  promptly  rebuilt 
at  the  cost  of  one  million  dollars.  The  present  membership  is 
made  up  mostly  of  retired  business  and  professional  men; 
bohemians  are  decidedly  in  the  minority.  Dinners  are  given 
to  guest  artists  at  frequent  intervals. 

EARLY  PARTICIPANTS 
The  first  High  Jin]<:s  on  record  was  "Tom  Moore  ajid 
Offenbach,"  held  on  November  30,  1872,  with  Daniel  O'Connell, 
the  poet  of  Marin  County  presiding  as  "Sire."  During  the 
next  few  years  the  entertainment  was  for  the  most  part  liter- 
ary. Recitations  were  given  by  famous  actors  such  as  John 
McCullough,  De  I'Volf  Hopper,  Lav/rence  Barrett,  Richard  Mans- 
field, and  Vi/illiam  Horace  Lingard.  Other  early  members  in- 
cluded Stephen  Loach,  Harry  Edwards,  James  C.  V'/illiairison, 
James  O'Neill,  Joseph  Maguire,  Vifalter  Campbell,  Ben  Clark, 
Gerard  Barton,  Samuel  D.  Mayor,  and  '/ixj-xam  Arm.=i  Fisher.  Among 
the  musicians  who  presented  programs  v/ere  David  W.  Loi-lx'^^,   of 


■f    rf'>   r.rt.^'-  ' 3 •«'<•:«■■  •■!   nuol.'il.'  ■      ■     ' 

-■e-hfl"M    •        ■  -    ■  . 


■!&ii::v>sl  ^-dw  ■>,;■# flit jj''«'i  '^^■■t''' 


I 


Loring  Club  fame;  Louis  Schmidt,  head  of  a  string  quartet; 
the  composer  Joseph  D.  Redding;  Major  John  Darling,  Edgar 
Stillman  Kolley,  H.  J.  Stev/art,  Theodore  Vogt,  J.H.  Rosewald, 
J.  E.  Tippett,  Henry  Heyraan,  VJilliam  McCoy  and  Wallace  I. 
Sabin.  More  recent  composers  of  music  to  the  Grove  Play  in- 
clude Henry  Hadley,  Harry  Weil,  Roderick  Vilhite,  Charles  Hart, 
Vifheeler  Beckett,  Domenico  Brescia,  George  Edwards,  Uda  Wal- 
drop,  Edward  Harris  and  Nino  M^rcelli. 

FIRST  OUTDOOR  JIMS 
Camp  Taylor  in  Marin  County  was  the  scene  of  the 
Club's  first  outdoor  festival  which  took  place  on  June  28, 
1878  with  Actor  Harry  Edv/ards  as  Sire.  Next  year's  midsummer 
High  Jinks  occurred  among  the  redwoods  of  Russian  River.  This 
spot  was  to  become  celebrated  as  the  more  or  less  permanent 
theatre  for  the  Grove  Plays. 

THE  BOHEMIAN  GROVE 
Hundreds  of  members  and  their  guests  attend  the  an- 
nual operatic  entertainment  given  in  the  Bohemian  Grove. 
Among  the  redwoods  -»  some  nearly  tv/o  thousand  years  old  -- 
the  Bohemians  have  built  about  160  small  camps.  There  is  a 
rustic  theatre  in  a  clearing,  and  built  on  to  the  flanks  of 
the  giant  trees  are  v^ooden  platforms  from  which  some  of  the 
world's  great  singers  have  entertained  an  informal  audience. 
From  a  small  affair  attended  by  thirty  or  forty  people, the 
Bohemian  Club  Jinks  has  grown  into  a  famous  institution 
widely  publicized  by  the  press. 


,1  -,'  •,  f 


5Vsl?:...  ^' 


Qtii  •rtj 


3niioJ 


■^  -rfoif 


■xoA  'jf^      ■  y- 


THE  CRBMATIQH  OF  CARE 
Original  contributions,  songs  and  skits  have  alv/ays 
been  a  feature  of  the  Club.  The  Jinks  In  the  beginning  was  a 
hodge-podge  of  impromptu  merrymaking.  Gradually  the  idea 
of  a  musical  play,  written  and  produced  by  members,  developed. 
Musical  satires,  parodies,  masques,  farces  and  burlesqiies 
becsjue  the  thing.  In  1881  a  new  ceremony  The  Cremation  of 
Care  was  introduced  by  James  P.  Bovman  and  Prank  L.  Unger 
and  became  a  regular  part  of  all  future  Grove  productions. 
\Vhat  might  be  called  the  first  authentic  operatic 
High  Jinks  took  place  in  1902  v;hen  The  Man  in  The  Forest, 
libretto  by  Charles  K.  Field  and  music  by  Joseph  D.  Redding, 
Vi/as  oerfcrmed.  Before  this  the  musical  plays  included  Twenty 
Minutes  of  Grand  0^:)era,  or  Camllle  Cured  by  J.  H.  Rosewald, 
Peter  Robinson  and  others;  Irish  Cantata  and  a  Faust  Jinks 
by  H.  J.  Stewart  who  also  contributed  the  music  to  Ye  Olde 
Colonial  Days,  Things  IVe  Do  Not  Understand  and  Gypsy  Camp. 
Other  subjects  were  Night ,  Art,  Misfits,  Traiiip,  Pan  (Allegori- 
cal) ,  The  Redv/ood  Bark,  and  The  V'/ooing  of  the  Muses. 

J.  D.  Redding  v^rrote  the  music  to  several  very  suc- 
cessful Grove  Plays  such  as  the  Sacrifice  in  the  Forest  and 
Our  Ancestors;  he  also  composed  the  Chine se  Opera  Fay-Yen-Fah, 
words  by  Templeton  Crocker,  which  v;as  produced  at  Monte  Carlo 
In  1924. •55-  Previously,  ITatoma  (Vlords  by  Redding,  music  by 
Victor  Herbert)  was  put  on  at  the  Metropolitan  Opera  House  in 
New  York. 

-''<■   See  p.  24 


.,.^.    ..     .      .-         ■-  •.;i1J^;.i^L.JS..^^■•iii-^..', 


ll 


The  Grove  Music  Play  of  1933-54,  Wallace  Sabln's 
St.  Patrick  of  Tara,  has  been  the  only  v.'ork  to  receive  a 
second  presentation.  The  Quest,  music  by  Rodericlr  '.Vhite 
and  te:ct  by  '-Vilbur  Hall  was  given  in  1935.  The  next  year 
Charles  Korris'  Ivanhoe  was  the  Grove  Play  —  the  composer 
Harry  'A'eil.  Usually  a  burlesqxie  of  the  Grove  Play  is  given 
at  the  High  Jinks  and  there  is  now  an  elaborate  Lov/  Jinks 
held  in  the  city  after  the  outdoor  festival* 

AHiiALS  AND  REVIEWS 
The  history  of  the  Bohemian  Club  up  to  1395  has 
been  compiled  in  throe  thick  voltmies.  The  Annals  of  the  Bo- 
hemian Club,  by  Robert  Fletcher.  In  1929  Clay  M.  Greene, 
veteran  actor,  playv;right,  and  Bohemian,  was  preparing  for 
publication  new  volumes  of  the  Annals  to  bring  the  Club's 
history  up-to-date.  The  Grove  Plays  and  musical  masques  and 
pageants  have  boon  reviewed  in  hundreds  of  newspaper  columns. 
The  plays  themselves  have  been  printed  and  are  on  sale  at  the 
Club. 

THE  DOLLAR  OPERA 
There  have  been  various  movements  tov/ard  establish- 
ing low-pricod  operatic  entertainment  in  San  Frraicisco.  The 
popularity  of  the  old  Tlvoll  was  in  large  part  duo  to  its  25- 
50-75  cent  admission  prices  which  put  light  opera  within  the 
roach  of  the   average  citizen.   The  San  Carlo  Opera  Company, 


'jOIw.  _. 


■■'•'ti,t  :^Tj- 


.-'■ict  d,u.  ;:.r'"i-p  410  onr*  fcrcr?  bo'*r',v!;'rcf  .rr">od   ■       .  . 


.  ooaxo/.  .  ;;.JXIpiim2pCfn;!g'.+I.: 


the  Latin  Quarter  Troupe ,  and  finally  the  Municipal  Opera 
House  are  cxojrplcs  of  this  trend.  The  latter,  the  raost  Ira- 
portant,  is  the  only  muni'jipal  opera  house  in  America. 

GERTRUDE  STEIN 

In  her  book  lectures  in  America    Gertrude  Stein 

speaks  of  her  early  theatregoing  days  in  San  Francisco.   It 

seens  everybody  went  to  the  theatre  in  those  days ,  the  golden 

Era  of  the  Tivolit   This  vi/riter  recollects  her  impressions  of 

opera  as  follov/s: 

"The  next  thin3  v;as  the  opera  the  twenty-five 
cent  opera  of  San  Francisco  and  the  fight  in 
Faust.  As  a  matter  of  fact  I  gradually  sav; 
more  of  the  opera  because  I  saw  it  quite  fre- 
quently. Then  there  was  Buffalo  Bill  and  the 
Indian  attack^  v^^ell  of  course  anybody  raised 
where  everybody  collected  arrovdieads  and  played 
Indians  ivoulil  notice  Indians.  And  then  thei'C 
was  Lohengrin,  and  there  all  that  I  saw  ^las  the 
swan  being  changed  into  a  boy,  our  insisting  on 
seeing  that  made  my  father  lose  the  last  boat 
home  to  Oakland,  but  my  brother  and  I  did  not 
mind,  naturally  not  as  it  was  the  moment*" 

ON  THE  APATHY  OF  THE  CAPITALISTS 

Even  before  the  great  fire  of  1906,  which  destroyed 

most  of  the  city,   tx:?re  was  a  cry  for  a  satisfactory  opera 

house.   Complaining  of  the  lack  of  strong  public  interest  in 

lyric   art,    George  E.    Barnes  wrote   in  The    Bvilletin  on  Sept.    9, 

1896: 

''A:-;  Ivx  1850  so  in  the  year  1896,  we  are  without 
'i.  properly  equipped  opera  house,  and  considering 
the  apathy  of  our  capitalists,  there  Ig  :uit  a 
dim  prospect  of  one  being  built  in  the  near 
future ." 


-«1  Si. 


Evidently,  the  Grand  Opera  House  on  Mission  Street, 
v.'here  most  of  the  visiting  troupes  performed,  was  not  con- 
sidered adequate. 

AFTER  THE  FIRE 
The  first  grand  opera  company  to  visit  San  Francisco 
after  the  fire  was  the  Lambardl  troupe  which  performed  here 
every  night  in  January  in  1906  and  1907.  Lambardi  died  sud- 
denly in  Portland  and  Fortune  Gallo  took  his  place  as  impre- 
sario. He  changed  the  troupe's  name  to  the  San  Carlo  Opera 
Company. 

FORTUNE  GALLO 
Gallo  had  been  manager  of  the  old  Ellery  band^  known 
on  the  West  Coast,  and  of  the  nationally  famous  Creatore  Band. 
He  married  a  singer,  Sofia  Charlehois  of  San  Francisco  in 
1913.  Becom.ing  owner  and  manager  of  various  opera  companies 
he  organized  the  Fortune  Gallo  Enterprises,  piloted  the  Ameri- 
can tours  of  Anna  Pavlov/a  and  her  Ballet  Russe  in  1920-21, 
and  of  Eleanor  Duse  in  1923-24.  He  is  a  pioneer  in  producing 
operatic  and  sound  films.  New  York  City  has  made  him  major 
of  the  Police  Reserves  and  Italy  has  honored  him  as  Chevalier 
and  Commendatore  of  the  Crown.  More,  perhaps,  than  any  other 
man  of  his  generation  he  has  popularized  grand  opera  in 
America. 


■Xil  bi\.,  :  oiiflT- 


66 


THE  SAM  CARLO  OUTFIT 
Touring  Canadp.  and  almost  every  state  in  the  Union, 
the  San  Carlo  Grojid  Opera  Company  vron  an  international  repu- 
tation although  it  is  not  quite  a  first-rate  company.  Its 
chief  nerit  lies  in  the  low  price  it  charges  for  tickets  and 
in  acquainting  a  public,  ordinarily  unaccustomed  to  frequenting 
opera,  v/ith  the  standard  classics.  Often  a  San  Carlo  pro- 
duction gives  the  impression  of  an  antiquarian  exhibit  by  a 
travelling  museum.  II  Trovatore,  La  Traviata,  Rigoletto  and 
the  rest  are  given  seasonally. 

NIELSEM  AT  THE  CHUTES 

Thirty  years  ago  one    of  the  perennial  favorites  of 

the  operatic  repertoire,  La  Scheme ,  received  an  unconventional 

rendition.   The  Chronicle  reports  on  March  23,  1907: 

"With  an  environment  only  a  fevir  degrees  better 
than  a  circus  tent,  for  a  blare  of  a  cheap 
brass  band  in  a  roller  skating  rink  could  be 
heard  in  the  lobby,  and  outside,  the  distant 
roar  of  the  lion,  Wallace  in  the  zoo,  was  oc- 
casionally audible.  La  Boh'eme  was  presented  by 
the  San  Carlo  Opera  Company  last  night,  and 
Alice  Nielsen  came  into  her  royal  own  in  the 
6stlmata»o'"  '^f  several  thousand  charmed  opera- 

gOex-s. 

"It  is  pleasure  to  record  the  distinct  success 
of  a  prima  donna  in  virhom  San  Francisco  may  just- 
ly feel  a  maternal  pride. 

"The  all  Important,  but  indefinable  something  we 
call  atmosphere,  which  Is  so  essential  for  the 
effective  presentation  of  such  a  musical  work  as 
La  Boheme  could  not  be  attained  in  a  great  bare 
barn  of  a  place  like  the  Chutes  Theatre,  with 
its  picnic  surroundings.  But  this  was  all  that 
was  lacking  in  the  performance  last  night.  The 
production  was  distinguished  by  the  same  musical 
perfection  of  ensemble  that  made  La  Gioconda  so 
remarkable." 


•aic^e" 


DEPRESSION  OUTWITTED 

"Dollar  Opera"  became  Gallo ' s  battle  cry  in  the 
mlcMle  of  the  depression  of  1934  and,  with  the  dollar  maximiim, 
his  opera  troupe  found  grateful  new  audiences.  For  a  while 
music  critics  s&w   in  it  the  revival  of  the  Tivoli  days. 

The  San  Carlo  troupe  performed  at  the  War  Memorial 
Opera  House  in  March,  1938,  on  its  tv;enty- eighth  annual  trans- 
continental tour.  The  well-knovm  conductor.  Carlo  Peroni, 
wielded  the  baton  as  he  had  during  the  seventeen  preceding 
seasons.  He  has  conducted  more  than  5000  performances  of 
grand  opera. 

TRAINING  SCHOOL 

For  many  singers,  hov/ever,  the  San  Carlo  has  served 
as  a  finishing  school.  Among  the  stars  who  graduated  from  it 
to  America's  foremost  opera  institution,  the  Metropolitan, 
mention  must  be  made  of  the  coloratura,  Queena  Mario;  the 
tenors,  Tommassini  and  Salazar;   also,  Ballester  and  Basiola, 

San  Franciscans  in  1935  heard  Hizi  Koyke ,  the  noted 
Japanese  prima  donna,  sing  with  the  San  Carlo  in  Madame 
Butterfly. 

Season  after  season  the  San  Carlo  visits  San  Fran- 
cisco; for  a  generation  it  has  served  as  a  training 
school,  not  only  for  singers  but  for  audiences  as  v;ell. 

NORTH  BEACH  GRAND  OPERA 
North  Beach,  squalid,  picturesque,  full  of  vigorous 
joie-de-vivre,   the  home  of   little  Italy  and  the  Telegraph 


^i3  ni  •di     8»"c- 

QXtdyr  ifcirfl' wan     Xx/loitia'xs  flncdl  eiq; 

CoviT  . 

-a  nan:?  XjB^aaAn  '  d^ii^X  f»--^:tft«\v.f  r  .-t l  r»o  ^  fe^^-GX    -  Ffo»t"fiM ' 

•  ■    ...    ...  A 

1o   ef^orWHTTo'i'i©  •,      0005' its rfct  •   sloni  f>6;fojcrf)ftoo  '   eari  .'.- 

.fiisqd  bfrfli? 

Jl  .moil-  X)©d;axffefl'i;si.  orfw  ete^tz    ari:t-  grtfthx^  '■■^'  ^ni/' 

taBvtlXoqcxtf.dM  erfct      ^noXiircfl^eril  •  js-iVq^   ;?Joi;id'iol  oc^ 

9rf.t  •  ioJtip'/i   sn'*)-':^;?      ^Bncirctje-i  lii^'lo  Bbim     9' 

♦  eXoisafl  ^ns  'x9:ffc9irftH=-tOeTi     i-x'^Hi-dlBE' brifl-ln^i ecj^.;i.tjr  »..":«. le.. 

_  -     •  _     rtJt  oXiaO  •  rusS  ■    <i£i;     dJiV    gfii-g'-  ■  ^e-nhob"  Bmi-sq     s. 


no,'  fftvlv-sb-eiot 


DO 


Hill  version  of  Bohemia,  was  the  scene  of  a  novel  experiment 
twenty  years  ago.  Vifhile  the  rest  of  the  City's  opera-loving 
public  vainly  hoped  for  some  form  of  su.bsidized  opera  —  since 
the  great  cost  of  production,  the  scenic  effects,  and  salaries 
of  stars  made  private  enterprise  in  this  field  unprofitable 
—  a  little  group  of  enthusiastic  Italians  \inder  the  direction 
of  Augusto  Serantoni  organized  the  Vi'ashington  Square  Opera 
Company.  They  began  to  put  on  25  cent  opera  in  1917  and  func- 
tioned till  1920. 

During  its  first  season  from  April  to  August  in 
1917,  this  one-cylindered  outfit  performed  thunderous  old 
Italian  melodramas  —  tliree,  four,  five  times  a  week.  The 
cast  v/as  not  difficult  to  procure.  According  to  some,  all 
the  director  had  to  do  was  to  stand  on  the  corner  of  Columbus 
and  Stockton  and  call  out  the  roles.  Some  among  the  passers- 
by  vifcre  sure  to  be  able  to  render  them.  As  the  rough-handed 
miners  of  the  gold  rush  decade  were  able  to  prompt  on  occasion 
actors  in  Shakespearean  vehicles,  so  the  average  Italian  was 
familiar  with  the  operas  of  his  native  land,  the  land  where 
almost  every  important  town  supports  municipal  opera. 

CASTS  kW  BIILS 
Among  the  operas  produced  by  the  Washington  Square 
Troupe  were  Alda,  La  Traviata,  La  Favorita,  Lucia  di  Lammer- 
moor ,  Carmen,  La  Sonnambula,  The  Barber  of  Seville,  La  Forza 
del  Destine,  Ernani,  II  Trovatore,  Othello,  Pagliacci  and 
Cavalleria  Rustlcana. 


t»»i^    *•>■  :^ 


o.">  ilk    _  - 


The  principal  singers  were  Paul  and  Matilda  Salazzi, 
Luigi  Poggi^Islmael  Magagno,Bartholemeo  Dadone,Lina  Reggiani, 
Tina  Remls,  Giuseppina  Rondoro,  and  Arduino  Cacciarelll. 
There  were  occasional  guest  artists  and  local  debutantes. 
Mention  should  Toe  made  of  Galazzi,  Cappellini,  Avedano, 
Sturtevant,  Porcini,  Dori,  Silva,  Bernini,  Corelli,  Pox,  and 
Napoleoni.  Decidedly  not  sumptuous  or  magnificent  the  opera 
house  which  first  v/itnessed  their  efforts  was  the  Liberty- 
Theatre  on  Broadway  v/hich  at  present  is  a  house  of  burlesque. 
Later,  the  company  moved  to  the  Washington  Square  Theatre  on 
the  corner  of  Powell  and  Columbus. 

The  versatile  North  Beach  company  played  under 
various  names  such  as  the  Latin  Quarter  Opera  Company,  La 
Moderna  Grand  Opera  Company,  the  City  of  Florence  Opera  Com- 
pany  and  the  V\fashington  Square  Opera  Company. 

Among  others  identified  v/ith  the  group  were  Manager 
Camillo  Porreca,  Artistic  Director  A.  Aratoli,  Designer 
Quesada   and  Music  Director  Serantoni. 

THE  GENIUS  BEHIND  IT  ALL 
Vi/hile  opera  directors  at  the  Metropolitan  for  ex- 
ample rate  honorariums  to  befit  a  bank  president,  the  moving 
spirit  behind  the  North  Beach  singers  was  an  impoverished 
young  music  teacher,  Augusto  Serantoni,  who  came  to  San  Fran- 
cisco from  Ravenna  in  1913.  He  had  organized  choruses  for 
the  love  of  it  and  ooera  was  his  element. 


'•Ari-f    :  V 


-r^l^^- 


rt"; 


RV 


x^d--  ,-v;,-i;' 


INTERVIEWED  BY  REDFERN  MASON 

After  heca^lng  the  performance  of  Cavalier ia  Rusti/- 

oana  and  Pagliaool,   Redfern  Mason  v;rote  of  Serantoni  In  The 

Examiner  of  June  25,  1917,  as  follows: 

"It  remained  for  Augusto  Serantoni  to  organize 
the  material  and  give  us  opera.  You  probably 
never  heard  of  Serantoni  before.  But  you  v/111 
hear  of  him,  and,  if  you  have  any  of  the  spirit 
of  the  musical  in  your  veins,  you  vv-ill  go  down 
to  the  Liberty  Theatre.... 

'*Our  t^ood  friend,  Salazzi,  an  excellent  artist, 
both  as  singer  and  actor,  was  Alfio,  and  his 
wife  played  Lola,  Santuzza  was  sung  by  Giulia 
Rondero,who  has  a' better  voice  than  art.  Poggi, 
the  tenor,  is  rough  in  his  tones,  but  has  some 
good  notes  in  the  upper  register* 

"But  'the  play's  the  thing,'  as  Shakespeare 
says, and  the  point  I  wish  to  drive  home  is  that 
Mascagni's  opera,  played  under  the  eye  of  a 
single  masterful  personality,  v;as  one  in  which 
the  sincere  art  lover  could  take  genuine 
pleasure. 

"Salazzi's  singing  of  the  famous  prologue  to  _I 
Pagliacci  was  splendid.  He  did  not  care  that  he 
was  singing  for  a  mere  pittance;  he  knev^^that 
his  audience  knew  the  music  as  well  as  he  knew, 
it  himself,  and  he  put  his  heart  into  it» 

"Serantoni  did  wonders  at  the  piano.  He  can 
suggest  the  thunder  of  the  brass;  he  can  vie 
with  the  seductiveness  of  the  reeds,  and  in- 
timate the  passion  of  the  strings.  Vifhen  the 
soloist  hesitated  he  drew  them  into  rhythmic 
tonal  or  emotional  accuracy  by  the  sheer  force 
of  his  own  teeming  and  eager  spirit. 

"After  the  nerf ormance,  I  met  Serantoni  at  a 
near-by  cafe.  If  ever  I  saw  a  man  happy  in  his 
work,  he  is  that  man.  I  don't  think  he  can  be 
over  twenty-seven  or  eight;  but  everything  about 
him  bespeaks  artistic  maturity. 


'^*\-:^,!S-f.  '..iti,ff4f 


IXCfB  noaijs 


•"^icr-xjB 


I 


"'Play  something,  Augusto,'  said  one  of  his 
friends.  'If  you  will  give  me  a  theme,'  said 
Serantoni.  'I  gave  him  the  pathetic  little 
opening  phrase  sung  by  Ophelia  in  'Hamlet.'  It 
is  music  which  Shakespeare  knev;  and  loved. 
Serantoni  sat  down  at  the  piano  and  began  to 
improvise.  I  have  heard  many  masters  of  impro- 
visation, but  none  has  ever  moved  or  delighted 
me  as  iduch  as  the  young  Italian.  His  develop- 
ment of  the  theme  was  not  only  nTusically  coher- 
ent; it  was  emotionally  eloquent  as  well. 

"Then  he  played  strains  of  the  days  v/hen  Padre 
Martini  and  Zippoli  and  old  Baldassare  Galuppi 
rejoiced  the  world  with  pure  beauty  of  melody. 
He  gave  us  passages  of  Beethoven.  Serantoni 
does  not  pretend  to  be  a  virtuoso.  He  is 
something  much  better  than  that. 

"So,  if  you  v;ant  to  see  a  genius  in  action,  go 
to  see  Serantoni  direct  opera.  Friday  and  Sun- 
day are  the  chosen  times." 

"DEATH  TO  THE  GERMANS" 

A  curious  reflection  on  the  war  hysteria  of  the 

times  crept  into  the  music  announcement  of  the   Daily  News  of 

August  22,  1917: 

"Tonight  the  City  of  Florence  Opera  Company, 
vi/hich  gives  25^  opera  three  times  a  week  at  the 
Liberty  Theatre,^  645  Broadway,  will  present 
Verdi's  opera,  'La  Forza  del  Destine,'  in  honor 
of  Augu.sto  Serantoni,  the  musical  conductor  of 
the  Liberty. 

"'Forza  del  Destine'  is  practically  unknown 
here.  Though  the  music  is  very  beautiful  it  is 
seldom  sung  which  may  be  due  to  the  fact  that 
the  orchestration  is  most  difficult  though  many 
attribLite  it  to  the  gruesomeness  of  the  plot. 
In  part  of  the  score  Verdi  put  the  words  'Death 
to  the  German'  which  makes  it  appropriate  to 
the  t  irae  s . . . . 

"'If  I  had  half  of  Serantoni 's  talent  I  would 
be  rich,'  said  Camillo  Porreca,  manager  of  the 
Liberty,  'But  Serantoni  will  never  make  money 
v;ith  his  music'" 


72 


Serantoni  was  active  as  assistant  director  of  the 
local  V/PA  Music  Project  Chorus  from  1935  to  1937. 

Good-humored  and  dignified,  he  wears  a  flowing 
black  silk  tie,  a  loose  cape-like  coat,  and  a  broad-brlriuned 
hat,  all  in  the  best  roraantic  tradition.  Speaking  very  little 
English,  he  is  looked  up  to  by  his  countr^rmen  as  a  great  ar- 
tist and  a  man  of  the  people. 

TRaIL<3  EIID 
The  V/ashington  Square  Opera  Troupe  continued  to 
give  seasons  through  1920.  Gaetano  Merola  came  in  1921  and 
the  movement  toward  rauniclpal  grand  opera  took  definite 
shape.  San  Francisco  was  to  have  an  Opera  House  of  its  own. 
The  work  of  the  valiant  llorth  Beach  enthusiasts  had  undoubt- 
edly served  as  a  stimulant  in  this  direction. 
UNCLE  SAM'S  OPERA:  FMF 
The  Federal  Music  Project,  established  by  the  V/orks 
Progress  Administration  in  1935  for  the  purpose  of  rehabili- 
tatLnr  economically  the  hundreds  of  unemployed  musicians  in  the 
city,  has  become  during  the  past  three  years  an  integral  part 
of  San  Francisco's  musical  life.  I'Vith  a  personnel  of  more 
than  300  riiusicip.ns  in  193^3,  the  project  under  Ernst  Bacon's 
supervision  gave  regular  symphony,  band,  and  choral  concerts. 
Because  of  the  expense  and  possible  conflict  with  other  op- 
eratic organizations,  grand  opera  has  not  been  produced  by 
the   San  Francisco   project,  though  Los  Angeles,   San  Diego, 


73 


Santa  Barbara  and  other  tovms  in  Southern  California  have 
wltncssod  project  productions  of  such  v/orks  as  Lohengrin^ 
Carmon,  and  Aida,  .-wiong  others. 

TAKE  YOUR  CHOICE 
An  original  satiric  operetta,  Take  Your  Choice  by 
Ernst  Bacon,  Ralsch  Stoll  and  Pnll  Mathlas  was  given  its 
premiere  at  the  Columbia  Theatre  on  December  1,  l?b6.  It  ran 
for  a  week  and  received  favorable  notices  in  the  local  press. 
Ada  Hanlfin,  perhaps  a  little  over-enthusiastic,  v/rote  in  The 
Examiner  on  December  3,  1936: 

"It  was  not  a  surprise  to  discover  'Take  Your 
Choice'  compounded  of  much  of  the  stuff  of 
which  theatrical  'hits'  are  made.  Ernst  Bacon, 
Ralsch  Stoll  and  Phil  Mathlas  who  wrote  this 
musical  satire,  have  talent  and  wit  and  the 
drive  to  make  Broadway  if  they  'pool'  their 
talent  with  that  end  in  view.  'Take  Your  Choice' 
in  sixteen  acts  v;as  given  its  world  premiere  at 
the  Columbia  Theatre  'Wednesday  night  under  the 
banner  of  the  Federal  Music  Project.  It  is  the 
most  ambitious  creative  vifork  of  local  talent 
that  has  been  produced  in  the  theatre t 

"The  vyork  is  so  far  above  anything  the  Works 
Progress  Administration  has  given  in  the  thea- 
tre to  date,  that  it  stands  no  comparison.  But 
it  holds  too  much  promise  to  be  passed  over 
merely  as  'grand  entertainment.'  'Take  Your 
Choice'  is  an  uneven  work.  Some  of  it  --  and 
this  Includes,  of  course^the  book  lyrics, music , 
—  is  brilliant,  sophisticated  and  original.  On 
the  other  hand,  in  'spots'  the  satire  is  rough, 
the  humor  collegiate,  and  the  writing  of  both 
music  and  lines,  'hack  v/ork.  '  The  impression- 
istic stage  settings  are  consistently  excellent." 


ss^ 


THE  IMPRESARIO 

Mozart's  charming  little  one-act  comic  operetta, 
The  Impresario,  was  given  a  creditable  performance  at  the  V/PA 
Bush  Street  Theatre  on  January  19,  1938  and  repeated  on  the 
24th.  Erich  V/eiler,  Director  of  the  Project  Music  School, 
was  responsible  for  the  sfe-aging.  The  cast  included  Hclene 
Barthe ,  Muriel  Andrev;s,  Ariiorigo  Fredianl  and  Andrew  Robert- 
son. Admission  prices  to  the  Project's  pei'f orraances  v/ere  25 
and  40  cents. 

Alfred  Frankenstein,  music  critic  for  the  Chronicle, 

reviewed  the  performance  on  January  20,  as  follows: 

"Intimate  perforrnances  of  unusual  and  fine 
opera  classics  such  as  these  are  all  too  rare 
and  cannot  be  too  strongly  encouraged. . .The 
whole  proceeding,  if  far  from  perfection,  bore 
the  stamp  of  musicianship,  imagination,  and  in- 
tegrity. Things  of  this  sort  should  be  offered 
far  more  frequently  than  they  are." 

THE  CALIPH  OF  BAGDAD 
Another  successful  miniature  classic,  Boieldieu's 
The  Caliph  of  Bagdad,  v/as  presented  in  a  very  similar  setting 
on  April  6,  1938  at  the  Bush  Street  Theatre  under  Erich 
Vi/eiler's  direction.  This,  too,  was  repeated  a  v/eek  later. 
The  singers  in  the  138  year  old  operetta  were  Helene  Barthe, 
Blanche  Pox,  %'altor  Lorenz,  Muriel  Anderson  and  Robley  Law- 
son.  Ann  Viliittington  and  James  Lyons  danced.  Another  little- 
known  operetta,  Rossini's  II  Bruschino  (The  Roughneck)  was 
performed  by  the  same  group  v/ith  great  success  in  August. 
1938  and  repeated  throe  times  in  September. 


'.i  yJ'C 


dri:f  -xc- 


I    ZB     , 


-Ki       II. 


iJSa    Uif    i)i 


a7  vi3rtot.'poii   9io;n  ^el 


aAaOA..-.      .     :  . 
'•  fO I bl ol CJG    .  0  '  R  r  5l r>    ©ti- .1  ^'x^ix^-:      .La • 


!f-'Vv"    'tr'    r{'.yllft0    0.:' 


jNt  s     ftO^'^ 


Jmc'j*CTo2  ni  8  am  J 


75 


OPERA  IN  TABLOID 

Recent  plans  being  made  by  the  Music  Project   give 

more  attention  to  opera.   Alfred  Hertz,   Northern  California 

Supervisor  of  the  Music  Project,  announced  in  the  Examiner  on 

July  17,  1938  the  general  program.   Hertz  said: 

"The  Government  is  urging  us  to  spread  good 
music  into  new  fields.  VVe  have  therefore  en- 
gaged the  Civic  Auditorium  for  eight  Tuesday 
Evenings  from  August  30,  until  Christmas.  Our 
slogan  v/ill  be  10,000  seats  for  10  r  ;:.t3.  >  •  .V/e  ^ 
also  have  in  mind  concert  performances  of  opera 
or  of  tabloid  sections  of  favorite  operas." 

THE  IvIUNICIPAL  OPERA  HOUSE 
Soon  after  the  city  had  been  rebuilt,  follov/ing  the 
earthquake  and  fire  of  1906,  music  lovers  and  persons  prorii- 
r.?cx  in  :.,u3ic  co.'/^n  to  campaign  for  an  adequate  opera  house. 
The  Music  Association  of  San  Francisco  started  a  drive  in 
1911-12  to  raise  one  million  dollars.  They  planned  to  build 
an  opera  house  in  the  Civic  Center,  on  a  block  at  Grove  and 
Larkin. 

LEGALITY 
Vi/hether  or  not  the  city  could  donate  this  property 
for  a  private  enterprise  v;as  the  question.  Already  the  Su- 
pervisors had  made  an  a^;reoment  with  the  Music  Association 
permitting  the  building  in  the  Civic  Center.  The  ordinance 
went  to  the  Supreme  Court  and  v;as  declared  invalid.  The  Court 
was  friendly,  however,  recognizing  that  the  taxpayers  of  San 
Francisco  v;ere  eager  to  accept  the  Music  Association's  offer. 


i  hqT.i . 


76 


It  indicated  how  the  ordinance   could  be  brought  within  legal 
bound  s . 

FOILED   ;jy  TiiB   LJVYOR 

It  was  before  election.  Mayor  Rolph  was  at  this 
time  all-pov;erful  and  dominated  the  Board  of  Supervisors. 
Officially,  he  was  the  f'hief  booster  for  the  opera  house.  He 
practically^  demanded  that  the  Board  r.nould  adopt  the  ordi- 
nance. 

V'Jhen  he  read  the  returns  from  the  November  election, 
however,  ho  quickly  changed  face.  He  found  that  the  control 
of  the  Board  had  been  taken  from  him.  Ho  promptly  vetoed  the 
revised  ordinance. 

Mayor  Rolph  took  the  stand  that  the  project  v;as 
vicious  and  undemocratic,  an  invasion  of  the  rights  of  the 
common  people  and  an  attempt  on  the  part  of  a  clique  of 
wealthy  aristocrats  to  exploit  public  property  for  their  pri- 
vate pleasure.  Commenting  on  the  Mayor's  sudden  change  of 
face,  the  Chronicle  on  November  24,  1913  remarks; 

"In  mistaken  reliance  upon  their  gentlemen's 
agreement  with  the  Mayor,  the  donors  of  the 
$850,000  Opera  House  fund  had  prepared  to  give 
San  Francisco  one  of  the  finest  Opera  Houses 
in  the  world." 

The  donors   asked  one  privilege  in  return  for  their 

efforts;   to  be  able  to  bid  at  public   auction  for   choice  of 

boxes  vifhich  would  belong  permanently  to  the  highest  bidder. 


1   L-^-Ji! 


•di     no  .^ 
c"  i  oiX'tftn' 


I 


77 


It  v/as  this  that  the  Mayor  thought  particularly  vicious  and 
undemocratic. 

THE  CAMPAIGN  OF  1918 
Backed  enthusiastically  by  the  daily  papers,  another 
campaign  for  a  municipal  opera  house  began  early  in  1918- 
Herbert  Fleishhacker  and  Vi/,  H.  Crocker  were  the  prime  movers^ 
Their  associates  included  John  Drum,  John  McKee,  M.  H.  de 
Young,  Milton  Esberg,  Templeton  Crocker  and  Walter  Martin. 
Five  of  these  pledged  o;25,000  each  toward  the  needed  sum  of 
tv/o  million  dollars.  The  movement  came  to  a  standstill, .how- 
ever,  and  a  year  later  adequate  funds  were  still  lacking. 

PLANS  FOR  A  VJAR  MEMORIAL 

The  great  World  War  ended,  San  Francisco's  veterans 
returned.  One  of  them,  Major  Charles  Kendrick ,  conceived  an 
extremely  practical  solution  for  the  opera  house  problem.  The 
soldiers  killed  in  the  war  deserved  a  memorial.  But  why 
build  a  hall  for  only  the  dead?  ^jVhy  not  raise  a  building  for 
the  use  of  the  living  as  v;oll? 

Major  Kendrick  suggested  the  dedication  of  the  Opera 
House  as  a  war  memorial,  a  purpose  for  whoso  realization  the 
support  of  the  American  Legion  could  be  enlisted.  Kendrick 's 
plan  was  accepted. 

DRIVE  FOR  FUNDS 
Conference   followed   conference.   Committees  were 
appointed.   The  American  Legion  went  into  action.   The  fund 


.pXit;-. 


>x--(0«X     Iliie   oaow     e.bn^'X  QctAu.i  .-•;, 


iglsqinfio 


z  '..Hol'ffiin 


brurl 


■  t       •  *?'■..        J.   '.    .   .!.  ■•■.»•'.        .. .  • 


78 


had  increased  to  ^1^1,000,000. 

Newspapers  gave  a  great  deal  of  publicity  to  the 
drive.  At  a  mass  meeting  in  the  Civic  Auditorium  in  May 
1920,  an  audience  of  ten  thousand  gathered  to  hear  the  speak- 
ers. Larry  Harris  was  "auctioneer";  at  the  end  of  the  meet- 
ing the  Vlar  Memorial  Ptmd  was  richer  by  $600,000. 

Another  intensive  public  drive  of  thirty  days  was 
launched.  People  from  all  walks  of  life  subscribed  to  the 
War  Memorial  Fund.  As  a  result  ^1*2,150,000  were  pledged.  At 
last  the  sum  necessary  to  begin  the  Opera  Hotise  was  more  or 
less  available. 

TRUSTEES  AND  ARCHITECTS 

The  money  vi/as  turned  over  to  the  Regents  of  the 
University  of  California  v;ho  appointed  a  Board  of  Trustees  on 
August  19,  1921.  They  were  VI.  H.  Crocker,  Templeton  Crocker, 
John  Drum,  Milton  Esberg,  Herbert  Fleislihacker ,  E.  S.  Heller, 
Frank  Kisley,  Charles  Kendrick,  V/alter  Martin  and  Jol^n  B. 
MoKee. 

This  group  of  ten  in  turn  named  a  Board  of  Archi- 
tects on  October  11,  1922.  The  men  who  were  to  make  the 
building  plans  for  one  of  the  most  perfect  opera  houses  in 
the  vrorld  were  Arthur  Brown,  Ernest  Coxhead,  Galen  Howard, 
Albert  Landsburgh,  Fred  Meyer,  Bernard  Maybeck,  \/illis  Polk 
and  Jolin  Re  id,  Jr. 


d  bQitr^-"    '     •■••••• 


.Tf       *"!■  :     1  Mn  •  <        .     •  •    f 


•i  ;•'•, 


a-rair-DOO^OdXi-!. 


irtr/lol 


^erfT  ■    .1 


iXX  «ioda; 


•v.--? 


•litiiofc 


'i-xu-Zf^-^A--' 


79 


MEROLA  ON  THE  SCENE 
Gaetano  Merola,  who  came  to  San  Francisco  with  the 
San  Carlo  Opera  Company  in  1921  and  remained  to  put  on  highly 
successful  open-air  operas  at  Stanford  University  at  Palo 
Alto,  in  June  1922,  v;as  asked  by  local  music  lovers  to  organ- 
ize the  San  Francisco  Opera  Company  which  v/as  to  perform  in 
the  Civic  Auditorium,  a  temporary  substitute  for  an  opera 
house.  The  Paciiio  Coast  iv'uslcal  neview  on  February  24,  1923, 
stated  : 

"Now  is  it  not  reasonable  to  suppose  that  what 
could  be  done  in  Palo  Alto  could  also  be  done 
in  the  Civic  Auditorium  of  San  Francisco  with 
more  than  a  million  people  to  dra\ir  from  within 
a  radius  of  twenty-five  miles?  Of  course  it 
can.  Therefore,  Mr.  Merola,  having  proved  the 
feasibility  of  his  plan  and  having  created  for 
himself  an  enthusiastic  following  which  v;lll 
surely  patronize  him,  ought  to  receive  full 
support  and  encouragement  for  the  enterprise  he 
expects  to  launch  at  the  Civic  Auditorium  next 
September  or  October. " 

THE  SAN  FRANCISCO  OPERA  ASSOCIATION 
To  make  municipal  opera  a  reality,  a  practical  and 
effective  agency  was  of  first  importance.   On  April  4,  1923. 
this  body  came  into  being  at  the   St.  Francis  Hotel  under  the 
name  of  the  San  Francisco  Opera  Association. 

The  meeting  was  addressed  by  Timothy  Healy,  Milton 
Esberg^  and  Gaetano  Merola.  The  latter  spoke  of  plans  for 
remodeling  the  Civic  Auditorium,  reducing  the  acoustical 
faults,  and  rearranging  the  seating.  The  San  Francisco  Sym- 
phony and  a  municipal  chorus  of  150  voices  were  to  be  engaged. 


••nc  if'-' 


.biv.  vnoria 


80 


The  minor  roles  vi/ere  to  be  sung  by  local  artists- 

Concluding  his  address,  Mr.  Merola  said: 

"Vi'e  shall  prove  that  there  is  ample  talent  in  and 
about  San  Francisco  that  only  awaits  an  oppor- 
tunity to  obtain  adequate  training  and  experience 
to  prove  itself  capable  to  vie  v;ith  artists  of 
distinction. " 

Timothy  Healy  v/as  elected  president;  Selby  C  Op- 
penheimer was  appointed  business  manager.  Among  the  prominent 
music  lovers  identified  with  the  pioneer  organization  were 
Mrs.  Marcus  S.  Koshland,  Mrs.  M.  C.  Sloss,  Mrs.  Ernest  Simp- 
son, Horace  3.  Clifton,  Charles  K.  Field,  Lav/rence  Harris, 
A.  W.  widenham,  Milton  H.  Esberg,  Alfred  Hertz  and  Robert 
Bent ley,  director  of  the  War  Memorial,  and  an  indefatigable 
worker  for  the  opera  house.  The  Association's  headquarters 
opened  in  Room  457  of  the  Phelan  Building. 

CIVIC  AUDITORIUM  OPERA 
Many  patrons  thought  that  tlie  Civic  Auditorium  was 
not  suitable  for  grand  opera-  -  it  is  a  huge  hangar-like  edi- 
fice —  and  would  not  subscribe.  Waiting  for  the  completion 
of  the  Opera  House,  ho'wever,  opera  lovers  put  up  v/ith  the 
makeshift.  Under  ever-present  handicaps,  opera  was  presented 
here  season  after  season  for  nine  long  years.  The  first  sea- 
son opened  en  September  26,  1923  and  offered  La  Boheme, 
Andre  Chenier,  II  Tabarro,  Suor  Angelica,  Gianni  Schlcchi, 
Mef istofele ,  To  sea,  and  Romeo  ot  Juliette* 


;a  v'.*5: 


■nifiBPiy 


81 


Among  the  artists  were:  Adamo  Didur,  Ouecna  Mario, 
Bianca  Saroya, Alfredo  Gandolfi, Louis  d'Angelo,  Paolo  Ananian, 
Anna  young,  Benlamino  Gigli,  Giuseppe  de  Luca,  Giordano 
Paltrinieri,  Doria  Fernanda,  Lela  Johnstone,  Rena  Laselle  and 
Merle  Epton. 

Assistant  Conductor  was  V/ilfred  Peletier;  chorus 
master;  Arturo  Casiglia;  ballet  master,  Natale  Corrossio, 
and  stage  director,  Armando  Agnini.  (For  oporn  singers  of 
the  follov/lng  season,  see  appendix  1.) 

TPIE  WAREHOUSE  IN  CIVIC  CENTER 

Meanwhile,  a  nev;  situation  came  up  which  altered 
the  War  Memorial  plans.  A  storage  company  bought  a  block  in 
the  Civic  Center,  bounded  by  Van  Ness  Avenue,  McAllister, 
Franklin  and  Fulton  Streets j  and  planned  to  build  on  it  a 
great  warehouse.  This, of  course,  endangered  the  architectural 
beauty  of  the  Civic  Center.  The  City  Fathers  were  in  a 
dither. 

Again,  Major  Charles  Kendrick  had  an  idea.  He  sug- 
gested to  the  city  authorities  that  they  buy  the  block  from 
the  storage  company.  But  the  city  had  no  funds,  he  was  told. 
Then  l^ie  v/ould  ask  the  V/ar  Memorial  Trustees  to  advance  the 
money,  Kendrick  volunteered.   And  ho  did. 

The  Trustees  advanced  the  city  :|pl7o,000..  and  the 
Oity  began  to  negotiate  with  the  company.  The  company,  how- 
ever, v\»anted  more  money  than  the  block  was  worth,  so  the  city 
filed  certain  condemnation  charges  against  it.  Proceedings 
followed,  and  the  city  won. 


f,«^~*ff.     J, 


rO'T'^tl 


3    .1  J.       V.  rv 


ii.' )    ■:.  0 


82 


JUGGLING  THE  SITES 

V'/hilG  the  legal  battle  was  going  on,  the  Trustees 
sold  the  original  site  of  the  proposed  Opera  House  to  the 
city  as  an  athletic  field  for  the  High  School  of  Gorrunerce. 
IVith  the  money  they  received  they  purchased  the  block  on  which 
the  Opera  House  was  at  last  actually  to  stand.  The  negotia- 
tions were  finished  in  January  1923. 

The  nev;  site  altered  the  original  plans.  The  Opera 
House  intended  for  one  block  v/as  now  to  occupy  two.  About 
!!i;4,000,000  were  required.  How  to  raise  the  additional  funds? 
This  was  the  problem  discussed  dxiring  an  entire  year. 

THE  VETERANS  WAI'IT  A  BUILDING 

The  war  veterans  were  not  particularly  enthusiastic 
about  an  opera  house.  They  v/anted  a  building  of  their  ovm. 
So  this  difficulty  was  surmounted  by  a  nev/  plan  to  make  the 
Memorial  include  twin  bixildJ^ngs,  an  opera  house  and  an 
auditorium.   However,   ii'>4 , 000 , 000  would  have  to  be  raised. 

A  bond  issue  v/as  proposed.  And  in  spite  of  a  bit- 
ter opposition  on  the  oart  of  the  veterans,  who  thouglit  it 
made  available  too  much  money  for  an  Opera  House  of  interest 
only  to  a  small  part  of  the  community,  the  election  carried 
with  an  overwhelming  majority. 

CONTROVERSY  WITH  THE  VETERANS 
Nov/  the  Veterans  had  a  new  demand.   They  wanted  the 
control  of  the  Board  of  War  Memorial  Trustees.   After  all. 


Moa 


'  O  U  i.  J3       OS 


3lob*JCcf'  firfo^  iC 


TurfT  itrfx;  A  '  .•■•  •nin  vrtr.T.v.T** 


'«      ^,r'>feJ;?tJ^^ 


\1-rf^ 


.fT'"f-''.-  ?•  ^:' 


-.- Ji-V^ 


.boi  ■fTi-o  sn.rijb;- 


'SiAhf  i-'Vi 


83 


the  whole  affair  was  for  the  purpose  of  honoring  the  fallen 
soldiers  of  the  wart  An  Opera  House  was  almost  irralevaHt|> 
they  felt.  But  the  veterans  did  not  get  the  majority  they 
had  expected.  Mayor  Rolph  appointed  the  following  trustees: 
General  Hunter  Liggett,  Prank  L.  Belgrano,  James  D-  Herz, 
Robert  Bent  ley,  George  Cameron,  Jesse  C.  Coleman,  Herbert 
Pleishhacker ,  George  Plearst,  Charles  H.  Kendrick  and  Kenneth 
R.  Kingsbury.  The  appointments  were  confirmed  by  a  Charter 
Araendinont ,  on  November  6,  1928  which  received  a  popular  ma- 
jority vote. 

THE  OPERA  HOUSE  MATERIALIZES 
In  spite  of  niimerous  difficulties,  const  ruction  began 
on  the  Opera  House,  on  November  11,  1926,  and  up  to  the  time 
of  its  opening,  October  15^  1932  and  for  months  afterwards, 
workmen  were  busy  completing  it» 

THE  INTERIOR 
The  opera  house  has  a  seating  capacity  of  '6,250), 
Its  auditorium  is  decorated  in  white  and  gold.  Effort  was 
made  to  keep  the  general  effect  simple  rather  than  ornate. 
The  perfect  acoustics  are  a  result  of  the  co-operation  of  the 
world's  greatest  experts  in  such  matters.  Armando  Agnini, 
Stage  and  Technical  Director  of  the  New  York  Metropolitan  and 
of  the  San  Francisco  Opera  Company,  ransacked  the  plans  of 
Europe's  foremost  houses  and  combined  their  best  features  in 
the  Vi/ar  Memorial  Opera  House. 


*?I'i:l    arii   ^In    r'  .'f      '•,•   o;:''.t::  ■     ^rU    t-  erp-rfv;    <^/'- 


*v-- 


.^•t 


tl      Ctbv.... 


»;i   T 


.;■  ii:;ft      aiqmJtp...  ;J®,^.11^..     w  .•■.itfv.y    -\riJ    ^-i"^'-' 


THE  STAGE 

The  stage  is  one  of  the  most  coraplete  in  the  world. 
Stage  Engineer  Pericles  Ansaldo,  of  international  reputation, 
came  from  Milan  especially  to  advise  in  the  construction.  Mr. 
Ansaldo  has  designed  the  opera  house  stages  in  Buenos  Aires, 
Rio  de  Janeiro,  and  at  the  Teatro  Real  of  Rome.  He  is  tech- 
nical director  of  La  Scala  in  Milan. 

The  most  modern  improvements  selected  from  the 
world's  principa].  opera  houses  have  been  incorporated  in  the 
design.  The  stage  is  52  feet  v;ide  and  75  feet  deep.  It  is 
118  feet  high  from  floor  to  gridiron  and  130  feet  from  wall 
to  wall.  There  are  foiir  elevators,  five  rov/s  of  traps,  a 
sound-proof  rehearsal  room,  steam  curtains  and  v;orkshops  for 
carpenters  and  property  men. 

THE  LIGHTING 
The  lighting  system  is  the  most  up-to-date  in  Ameri- 
ca. Controlling  88,000  kilowatts,  distributed  among  88  Isinps, 
the  switchboard  makes  it  possible  to  set  ten  scenes  ahead  of 
time.  The  prosceni-um  arch  can  be  enlarged  or  reduced  to  al- 
most any  size,  carrying  the  lights  with  it.  There  is  also  a 
cyclorama,  85  feet  by  150  feet.  It  is  generally  agreed 
that  not  even  Rome  or  London  can  boast  of  such  a  house.  Clin 
Downes,  the  noted  Nev;  York  music  critic  and  composer,  has 
called  it  the  most  perfectly  equipped  opera  house  in  the 
world. 


\'iibiAf 


;096B  iJ^*€3  ^,v  'jta'^  ?   eriT 


lie  •  ;i   i\i>vo  4<ia   vi.;-    ' 


SAN        FRANCISCO        SCHOOL        OF        BALLET 


SCENE   DURING  REHEARSAL    IN   THE   SANTA   BARBARA   BOWL 


85 


THE  FIRST  NIGHT 

At  last  the  long  av/aited  night  arrived.  On  October 
15,  1932  after  more  than  ten  years'  agitation  and  expectation, 
the  V/ar  PAemorial  Opera  House  opened  its  doors  to  about  four 
thousand  of  the  City's  long-suffering  opera  lovers. 

La  Tosca  was  the  opera  presented.  Its  first  act 
was  broadcast  by  N.B.C.  to  every  state  in  the  Union  and  by 
transcontinental  hoolaip  to  Italv,  the  home  of  opera.  Among 
the  great  singers  in  the  cast  were  Borgioli,  Muzio  and  Gand- 
olfi.  It  was  the  first  time  a  nation-wide  grand  opera  broad- 
cast had  originated  on  the  Pacific  Coast. 

The  first  words  spoken  on  the  stage  of  the  long- 
awaited  opera  house  v;ore  ''Ahi-  finalmente,"  and  fittingly 
enough  by  an  American  artist. 

Following  the  first  act, Mayor  Roasl  g-avo  a  stirring 
address  on  behalf  of  San  Francisco's  citizenry. 

MERQLA  HONORED 

The  audience  had  already  given  Merola  a  tremendous 
ovation  when  he  first  appeared  to  conduct  La  Tosca.  Before 
the  second  act  began,  Wallace  Alexander,  President  of  the 
Opera  Association,  gave  a  brief  dedicatory  address  in  which  he 
praised  the  efforts  of  Merola  who  for  nine  successive  seasons 
worked  and  produced  opera  in  the  Civic  Auditorium  and  who 
helped  the  city's  operatic  dream  come  true. 

Alexander  po.id  tribute  to  the  pioneer  San  Pranois- 
cans  v;ho  initiated  the  popular  movement  for  municipal  opera. 


^r^' 


;■;  If  r..-»H;\f 


?rt.~  c\ ,"  , 


•     .  ..  ■,,,^   ..     .. 


xq 


;-■■.■•  :- .>;^.  :;<t,^?.;--.-- 
^   grid   oj  »i»itiSl-~-  '    ' 


He  spoke  of  Robert  Bentley,  Horace  B.  Clifton,  George  B. 
Crothers-.  and  Timothy  Healy  among  others  through  whose  ef- 
forts the  spont.'ineous  public  campaign  finally  crystallized 
into  the  form  of  the  Opera  House. 

A  PUSHING  REVIEW 

Of  the  many  rhapsodic  reviews  of  the   opening,  one 

by  Annie  Laurie   in  the  Examiner  is  characteristic.    She 

v/rote  on  October  15,  1932: 

"Opera  books,  opera  glasses.  Words  and  music 
of  the  opera.  Are  you  awake?  Pinch  yourself 
and  seel  It's  come  true  at  last,  the  dream  of 
dreams--a  magnificent  Opera  House  for  San  Fran- 
cisco, an  Opera  House  that  belongs  to  you  and 
me  and  all  the  neighbors,  and  to  every  man  and 
woman  on  the  street;  and  every  quiet  little 
woman  clearing  away  the  breakfast  dishes  this 
very  minute  J 

"One  of  the  most  glorious  buildings  of  the  kind 
in  the  world,  mind  you  and  nothing  second-hand 
or  old-fashioned  or  out  of  date  about  the  stage 
or  the  scenery  or  the  properties — a  regular 
'diamond  horseshoe , '  just  like  the  Metropolitan 
in  New  York  --  Merola  --  our  own  enthusiastic 
genius,  leading  the  orchestra,  and  nothing  doing 
In  the  v;orld  but  a  broadcast  of  the  whole  first 
act  of  the  opening  night's  performance--a  broad- 
cast to  Italy  mind  you, and  all  Europe  listening 
to  the  voice  of  our  dear  San  Francisco.  Are  v;e 
on  the  musical  map  from  this  day  out? 

"Ten  thousand  people  have  tried  to  buy  tickets 
for  the  performance  tonight  and  they  could  not 
even  get  standing  room.  Every  seat  in  the 
house,  from  the  gorgeous  boxes  to  the  top-most 
roviT  in  the  tip-top  gallery  snapped  up  and 
taken,  in  the  twinl<llng  of  an  eye -lash.  All 
society  on  tip«toe--and  all  the  real  music 
lovers  so  proud  and  so  happy  I" 


■;   &r.(,i 


l.vL;  OTC/    9rf' 


fvrti.;  r 


>  fe.fti'Xl.-r^ 


87 


COm^ENSgP   PLUE   BOOK 
In  ccntrast,    Redfern  Mason  v;rote   in  the   Exa^n^lner   on 


October  16,    1952 


"Last  night  the  people  of  San  Francisco  li 
to  opera  in  thoir  own  Opera  House.  That 
say,  scare  'four  thousand  of  them  did.  If 
had  03 en  room.,  the  audience  v/ould  have  be 
tho"\sand.  Eat  vhat  v/as  lost  in  iianiber 
gained  in  quai't^,,  and  it  is  no  e:car>y?/al 
say  that  'vhen  tlie  city  has  a  six  months 
or  even  more  the  ViJar  Memoi-ial  Opera  lioas 
still  be  id3^.1.  It  shoTild  be  reraeriber 
those  who  clamor  for  a  huge  house  most 
time  Nevif  York  City,  v/ith  i"Gs  millions  o 
ulatj.on,  dees  not  use  more  than  two-thi 
the  Metropolitan   capacity. 


stened 
Is  to 
there 
en  ten 
s  was 
ion  to 
season 
0  will 
ed  by 
of  the 
f  pop- 
rds  of 


"The  house  is  beautiful,  it  is  splendid  for 
hearing  arii  it  has  that  qual.lty  uf  intimacy 
which  is  t'ne  very  life  blood  of  opera-  The 
auaience  vi'as  a  condensed  blue-book  of  music 
lovers    3f   the    city.... 

"It  is  difficult  not  to  lapse  into  a  kind  of 
rhapsody  in  vi^riting  of  this  new  and  beautiful 
tf-^mple  of  music.  Because  it  is  not  too  Isrge, 
thx'  member 0  of  the  audience  are  all  neighbors. 
That  is  ai-tistically  as  well  as  socially  im- 
pc-rtant .  For  in  opera  the  public  is  to  to 
?ipoak  pai't  of  the  action.  They  are  the  instir'U- 
ment.j  iipon  which  the  music  Ln  pla7\red.  T.'vcxvx.X-^j 
brings  them  into  subtle  reDaticnship  v/ith 
ai-\:-,ij.,^  on  bhe  stage.  These  relations  are  im- 
pojsible    in  a  large  house. 

"When  the  entracte  came,  Ma^ror  Rossi  reminded 
us  that  in  buiiii^ig  the  Opera  House  v;e  honored 
the  nation's  hui'oes.  Of  Italian  descer.t.  he 
knows  vreli  that  there  is  no  better  way  o.fpi-ying 
thac  honor  than  by  making  life  more  beautiful 
for   the   living." 


SU33F;Qnr]>IT    SEASONS:      1955-1958-::- 
The    follov;ing      season     opened  on     November    3,      1953 
with  Saint -Saens'    romantic  grand    spectacle    Samson  et  Delilah. 


->  See  Table  P. 


Martinelli  played  Samson;  Cyrena  van  Gordon,  Delilah.  Others 
in  the  cast  were  Plnza,  Belarsky,  D'Angelo,  and  Oliviero. 
Adolph  Bolrn  directed  the  ballet.  Merola  conducted.  Other 
works  included  Le  Cog  d'pr,  Aida ,  Tristan  und  Isolde,  Manon, 
La  Boheiiie ,  The  Eraporor  Jones,  and  The  Secret  of  Suzanne. 

Never  heard  before  in  the  Vifest, Puccini's  LaRondine, 
starring  Bori^  Borgioli,  D'Angelo  and  Clark,  was  a  novelty 
of  the  twelfth  season.  A  local  singer,  Enily  Hardy,  made  her 
debut  in  Lakme,  singing  opposite  another  Calif ornian,  the 
tenor  Chamlee.  Lotte  Le'oman  and  Richard  Crooks  made  their 
first  Vi/estorn  operatic  appearance ,  Lehman  in  La  To  sea;  Crooks, 
in  Manon.  Melchior  and  Rethberg  sang  in  Tannhauser,  together 
with  Pinza,  Gandolfi,  Clark  and  D'Angelo.  Otello,  Mignon, 
and  Madame  Butterfly  v/ere  also  in  the  repertoire.  Pietro 
Cimini,  Alfred  Hertz, and  Gaetano  Merola  conducted. 

THE  MI3ELUNGEN  RING 
The  feature  of  the  thirteenth  season  which  opened 
on  November  1,  1935  was  Vi/agner's  epic  cycle,  Der  Ring  des 
Nibelungen.  Bodanzky  conducted.  The  cast  of  the  great  te- 
tralogy. Die  V/alkure,  Das  Rheingold,  Siegfried  and  Gotterdam- 
me  rung,  included  Schorr,  Melchior,  Flagstad,  Manskl»,  Meisle, 
Gandolfi,  List  and  Hardy.  One  of  Puccini's  last  v/orks, 
Suor  Angelica,  was  introduced  with  Helen  Gahagan,  the  noted 
actress,  in  the  title  role.  Other  operas  included  the  seldom 
performed  VJerther  of  Massenet,  Martha,  The  Barber  of  Seville 
and  Aida.  i\mong  the  conductors  were  Merola,  Bodanzky  and 
Richard  Lert. 


•  dull.. 
'lorftO       . 

V-:-  .•»G      ,. 

tsxi  otnm  4  ,  G   l&ooL  h      ■ 

9ri^   infiiiTiolllflO     isi/lcfonfl     set!.- 

.  ■.-:■:;,..■ ^._ •  _;iii3^  ,  ''^  J-p  :-  ^ 


89 


Halevy's  La  Julve ,  featuring  Rethberg,  Martlnelli 
and  Cleinens,  opened  the  1936  season.  The  same  principals  ap- 
peared in  the  final  opera  of  the  regular  series,  Otello,  in 
addition  to  Lav;rence  Tibbett  v.ho  played  the  Machiavellian 
villain,  lago.  Rethberg  played  Desdemona;  Martlnelli,  the 
fatally  jealous  Moor;  and  Clemens,  the  Lieutenant  Cassio. 
The  repertoire  was  diversified  and  offered  among  other  works 
The  Marriage  of  Figaro,  G o 1 1 e r darruiie rung ,  Pagllacci,  Tosca, 
Tristan  und  Isolde ,  Gianni  Schicchi ,  The  Barber  of  Seville , 
and  La  Forza  del  Destine.  The  conductors  included  Papi, 
Reiner,  Riedel,  Lert  and  Merola. 

FIDELIO 

Following  the  hoary  tradition  of  offering  what  the 
largest  part  of  the  public  v/ants,  the  fifteenth  season  of 
municipal  opera  which  opened  on  October  15,  1937  gave  for 
the  most  part  the  well-known  classics  of  operatic  repertoire, 
such  as  Aida,  La  Boheme ,  Madame  Butterfly, Norma,  La  Traviata, 
Faust,  Romeo  and  Juliet   and  Lakme . 

Beethoven's  only  essay  in  opera,  Fidelio,  was  given 
one  of  its  infrequent  performances  on  November  8  with  Kirsten 
Flagstad,  List,  Clemens,  Huchn  and  Maison  in  the  oast.  Fritz 
Reiner  conducted  this  highly  romantic  tragedy  of  love  faith- 
ful through  prison  walls  to  death.  The  repeat  series  of  the 
season  ended  on  November  11  with  Lohengrin. 


■jji.-^y.iK 


■■ijj  t  O^-t..  .A'-     ••>- 


■>-tii-. 


>r:T 


yu 


EL3ICTRA  IN  THE  'fflST:   1938 

The  most  recent  season  v»ras  distinguished  hy  two 
great  operas  never  heard  before  in  San  Francisco  or  in  the 
West. 

At  last  Elektra  and  Pelleas  liave  come  to  the  wild 
and  woolly  V/est.  Cor.iposed  and  produced  in  Europe  before  the 
V/ar,  it  took  nearly  a  generation  for  the  two  ^rep.t  modern 
vi'orks  to  roach  San  Francisco.  The  first  opera  of  the  1938 
season  was  Andrea  Chonier  performed  on  October  7  with  Gigll, 
Kothberg,  Jonelli,  Gabor  and  D'Angelo.  Don  Giovanni  follov/ed 
on  the  10th  v/lth  Pinza,  Rothborg,  3orgioli  and  liafalda  Favcro 
who  raado  her  American  debut  here,  then  went  to  Now  York  to  the 
Metropolitan.^ 

Other  works  hoard  during  the  season  i n c lu d o d  Ivi artha , 
Die  Lleistorsingor ,  Cavalloria  Rustlcana,  Don  Pasqunlo  ,Poll6as 
ct  Melisnnde^  Lucia,  Elektra,  La  Forza  del  Dostino  and  La 
3ohcmG  on  the  31st »  Gaetano  Merola  v/as  director  and  thirty- 
two  guest  artists  appeared,  sixteen  of  whom  had  not  been 
heard  before  in  San  Francisco.  The  list  included  Schorr, 
Pinza,  Jessner,  Kullman,  Pauly,  Bonelli,  Pons,  Rethberg, 
Borgloli;  among  those  making  their  American  debuts  v^ere  so- 
pranos Janxne  Micheau,  Mafalda  Favero  and  Sbe  Stignani;  bari- 
tone Salvatore  Baccaloni  and  tenor  George  Gathelat.  Other 
singers  included  Votipka,  M?:slni,  Huehn,  Jamison,  Cehanovsky, 
Olivero,  Cordon  and  Thorberg. 


■   snto; 


Appearing  in  Polleas  et  Melisande,  Janine  Micheau 
and  George  Cathelat  oarne  to  San  Francisco  directly  from  the 
Paris  Opera  Gomique .  It  v/as  the  only  vrark  in  'vhich  they  sang. 
Pelleas  mtq  a  long-expected  novelty;  Lucia  on  the  other  hand, 
the  opera  to  follow  Debussy's  work,  has  been  one  of  the  most 
frequently  heard  of  all  operas  in  the  v./est.  Since  the  early 
fifties,  San  Franciscans  have  applauded  more  than  150  per- 
formfinces  of  Lucia  di  Laa.imermoor .  Donizetti's  two  other  fa- 
mous works,  Don  Pasquale  and  La  Fillc  du  Regiment  v/ere  also 
tremendously  popular  during  the  Gold  Rush  decade.  Another 
work  prosontod  during  the  1938  season,  \'/hich  has  had  more  than 
100  local  purformrmccs,  was  La  Bohbmo  .  Favored  above  all, 
however,  has  been  II  Trovatore.  It  has  had  about  250  nights 
in  San  Francisco  during  the  past  ninety  years. 

Elektra ,  based  on  the  Greek  tragedy,  may  have  a  more 

esoteric  appeal.   An  interesting  glimpse  into  the  composer's 

and  poet's  workshops  is  provided  by  the   Straus s-Hofmannsthal 

letters.-;;-  Richard  Strauss  wrote  to  his  librettist  from  Berlin 

in  December   1907 ; 

Dear  Ilerr  von  Plofmannsthal  t  With  reference  to 
our  recent  talk  about  Elektra,  I  feel  we  cannot 
leave  out  Aegisthus--he  is  indispensable  to  the 
plot  and  must  be  killed  with  Clytemnestra,  if 
possible  in  sight  of  the  audience.  If  he  can- 
not be  brought  home  earlier  so  as  to  be  killed 
imniediately  after  Clytemnestra,  then  we  will 
let  the  scene  stay  just  as  it  is--but  perhaps 
you  v/ill  think  it   over.   It  is  not   right  for 


-"-  Letters  of  Richard  Strauss  and  Hugo  von  Pofnannsthal, 
Alfred  A.  Knopf,  New  York  City,  1925. 


■■^^^i' 


ty...    I  ^f-f  f 


Ar.}i^4' 


',0Al,9.'Xy 


all  the  v/omen  to  come  running  on  after  Clytem- 
nestra  is  murdered,  and  then  go  off  and  come  on 
again  after  the  death  of  Aegisthus. .this  seems 
to  me  to  break  off  the  curves  too  sharply.... 

R.  Strauss" 

The      composer's      suggestions     v/ere      adopted      In  the 

final  form.    Hugo  von  Hofmannsthal   replied  from  Rodaun  in 

January  1908 : 

"Dear  Sir:  I  think  the  double  curve  which  so 
offends  you  in  the  murder  scene  can  easily  bo 
resolved  into  a  single  one.... Keep  everything 
just  as  it  Is  up  to  Slektra's  cry:  Triff  no oh 
ciniTiall  Then,  instead  of  bringing  the  women 
on,  lot  there  be  a  deathlike  stillness  while 
Elektra  listens  in  tense  expectancy.  As  Aegisthus 
appears,  Elektra  runs  to\/ards  him  and  goes 
through  her  uncanny  business  v/lth  the  torch. 
The  scene  for  Aegisthus  follows  exactly  as  we 
have  it,  from  his  entrance  to  his  death. .. .Then 
the  vifomen  come  in,  fluttering  about  the  stage 
like  frightened  bat s. .. .Hofmannsthal" 

After  much  revision  and  constant  collaboration,  the 

v/ork  had  its  v/orld  premiere.    Strauss  wrote  to  the  poet  from 

Garmisch  in  April   1909; 

''The  performance  of  Elektra  in  Milan  v/as  sur- 
prisingly good--I  have  never  heard  the  whole 
opera  so  well  sung.  Orchestra  very  ^ood — co- 
lORsal  success--biggest  receipts  of  the  season. 
I  think  we  may  say  no  v/ Elektra  is  safely  launched. 
I  congratulate  you--;:.nd  myself  J 

The  two  collaborated  for  twenty  years,  pro- 
duced Elektra,  Salome ,  Per  Rosenkavaller ,  Ariadne  among  other 
v/orks  and  maintained  a  relation  seldom  if  ever  duplicated  in 
opera  history. 


:.t:-»l.f     fvOaM.-tif 


.-•r -}->■. 


iL>  -4  O       4>«       1U<.U,-A    " 


93 


FINALE:   THE  FUTURE  OF  OPERA 

The  local  municipal  opera  has  been  criticised  on 
several  counts.  Too  many  stars  from  the  Metropolitan  are  en- 
gaged each  season;  not  enough  local  artists  are  given  oppor- 
tunity to  perform  or  to  make  their  debut.  Also,  the  cost  of 
admission  has  been  steadily  on  the  increase,  pushing  civic  op- 
era beyond  the  reach  of  most  citizens.  Likewise  the  standard- 
ized repertoire  and  the  infrequency  of  new  works  is  com- 
plained of  annually.   But  critics  are  ever  present. 

While  opera  in  San  Francisco  was  most  popular  dur- 
ing the  decade  and  a  half  v;hlch  follov/ed  the  Gold  Rush  of 
1849,  nevertheless,  a  continual  interest  has  been  maintained 
in  it,  as  we  have  seen;  from  generation  to  generation  the  city 
has  furnished  the  traveling  opera  troupes  with  a  faithful 
though  sometimes  limited  audience. 

Today,  the  form  Itself,  v;hich  came  out  of  Italy 
some  three  centuries  ago,  seems  to  have  reached  and  passed 
its  peak,  entering  into  a  period  of  decline.  Richard  Strauss, 
the  last  great  operatic  composer  in  the  grand  tradition, 
appears  to  have  e:diaustod  the  possibilities  of  the  medium. 
Although  some  of  the  modernists,  Hindemith,  liilhaud,  Straw- 
insky  and  Honneger,  have  written  in  the  form,  their  work  in 
this  field  according  to  certain  critics,  is  forced,  experi- 
mental, and  not  organically  linked  with  a  living  tradition. 
There  are  no  Glucks  today,  no  Verdis,  Mozarts  or  I'Vagners. 


?aoo  ai     c 

l^^>:iO..■  y 


•/^tan-aij  qcii   ;f^a3a  eiy.£ui  ^w  efl   .dti  xvt 

,  aojcio.iJbJtia  ijia.s^cauti 

snot  Q.xl:*     jTEBi.ci'- 


.     • ...        ,.  . 


[A 


94 


In  America,  George  Ger?h'-in,  composer  of  the  PorrAj 
and  3oss,  an  original  ne^ro  folk  opera,  ^vas  considered  the 
raost  promising  nodern  v/orlcer  in  the  medium  until  his  death  in 
1056  in  Hollyvooo  vrhere  he  "/as  v.-ritin^  sound  track  music, 
TIarc  Blitzstsln's  The  Cradle  V'/ill  RocI;  is  another  widely 
hailed  exporir.:3nt  in  ccntei-iiporary  opera. 

The  sound  film  seems  to  forecast  a  new  t^rpe  Qt 
cinematic  opera,  and  in  Hollyv-ood  a  new  school  of  composition 
is  ra^..ldly  developing,  -i-f  there  is  to  be  an  autochthonous 
opera  in  America,  an  opo^a  not  feebly  imitative  of  the  German 
and  Italian  schools,  it  '-ill  very  likely  appear  on  the  'Vest 
Coast  in  the  film  laboratories  five  hundred  miles  south  of 
San  Francisco. 


THE  HISTORY  OF  OPERA  IN  SAN  FR/.NCISCO 

BIBLIOGRAPHY 

Alverson,  Margaret  Blake.  Sixty  Years  of  California  Song  (San 
Francisco:   Stmset  Press")  1913)  • 

Armsby,  Mrs.  Leonora  Wood.   Musicians  Talk   (New  York;   Dial 
Press,  1^135). 

Atherton,  Gertrude.   Adventures   of  a  Novelist    (Nev/  York: 
Liveright,  Inc.  1932) .  p.  112 

Plnck,  Henry  T,  Masosnet  and  His  Operas  (New  York:  Jolin  Lane 
Co.,  1910),   pp.  64,  147. 

Fletcher,  R.H.  Annals  of  the  Bohemian  Club  (3;,' n  Francisco:  1900). 

Grau,  Robert,    Forty  Years   Observation  of  Music  and  Drama 
(Nev/  York:   Broadway  Pub.  Co.,  1909), 

Greene,  Clay,   Memoirs  (A  collection  of  his  contributions  to 
various  newspap-^rs ) , 

Hart,  Jerome.   In  Our  Second  Century   (San  Francisco:  Pioneer 
Press,  1931).  pp.  877-85 

Langley,  Henry  G.,  comp.   City  Directories    (San  Francisco: 
Commercial  Steajn  Presses,  S.D.Valentine  &  Son.  1862,  1895). 

Leman,  Walter  M.   Memories  of  an  Old  Actor    (San  Francisco: 
A.  Roman  Co.,  1886) . 

Mapleson,  James.  Maple son's  Memoirs  (Chicago:  Bedford  Clarke 
and  Co.,  1888) . 

Marquis,  A.  L.,  ed.  VlTio '  s  Who  in  Ajnerica   (Chicago:  A.N.  Mar- 
quis &  Co.,  1918-1919) .   Vol.  10,  p.  890 

Neville,  Mrs.  Amelie.   The  Fantastic  City   (Boston:  Houghton, 
Mifflin,  1932). 

Pratt,  Waldo.  S.   The  New  Encyclopedia  of  Music  and  Musicians 
(New  York:   The  MacMillan  Co.,  1924).  p.  34 

Stein,   Gertrude.   Lectures   in  America    (Nev/  York:   Random 
House,  1935). 

Thompson,  Oscar   The  American  Singer   (Nev/  York:   The  Dial 
Press,  Inc.,  193Tn 

Young,  John  P.   History  of  San  Francisco    (San  Francisco: 
The  S.  J,  Clarke  Pub.  Co.  1912)  Vol.  2  p.  646 


•  i  '■  uTT  , se^tl  cJ.^Bnt- 


onen'-i 


;/rrcY  ., 


'.'iJ  ■  •4,-  ■  •A  :■  -j.T.i   •  oiii  •  . 


,:00^;C-  :?or  fr/' 


:'^  .-t-"  irrcs^.?': 


.^•f  sT^ 


,^fB^^ 


iderfoi'?   :poelon 


■XinooQc   "c-;!. 


'  i'       .**'■^. 


.-..■'.rrr    r..^.r.\ 


0      bie 


•t^^o 


■  asitiO) :  E«-v 


/■■^■^^■^  I : , ,.  v-l-?  m^-«oM  ■ .  a 


Si'^^S    ,\U;     lo^.*^:. 


"f.  ■■■   ■  I   ,.  Ji«i.^a..i..t»''<i.  Lii..<  I- 


1  bnp   oxBtrK  lo   s*lb9c^ 


■■"■  SfiT      ., 


1;       ; 6'i.y-' 0  3d 


.1.       ;6^.y-' 

.  »  .,  .  f  I'tH&li'  I  . 


■    .  „'TJ'  ■!■'>»  .'11. 


iPBQr^^ 


96 


.BIBLIOGRAPHY  (Cont.) 

Dl  Bekker  L.J.,    ed.  Stokes'  EncYcloDedla  of  i-.,...    .  --   . 
cians.   New  York-  Fpp'f^"?;n--T^4^^^^-#--- -— ^^^^iH^J-C  and  Musi- 
xoi.c.  Frederick  A.  otokes  Companjr -TgosT  pT6o3 

IVhelborne  Hubert.   Celebrated  Musicians  Past   -^.^   p 

(Garden  City,  New  Yo rir~"'T^g 'r^ric^r.    n-t     |-^-^-^ .^nJ_^resent 

1S37)  p. 278  Garden  City  PHIaTihlng  CoTr"lHH77 

^T^^':-^-^^'-^^-^^^  "■'^^-l<»'  Barcelona  =  1928) 
Fo™ig3lni,  A.  P.,  ed.  Chtj  (Rorne.  1936)  p.  896 
^"ll'Tita:   1021)-   !^iyi^-°O0£a  (New  York:  Cassell  and 


f 

4 


97 


NEWSPAPERS  AND  PERIODICALS 

Alta  California  (San  Francisco)  Feb.  3,  1851;  March  21,  24, 
30,  31,  July  3,  Oct.  21,  27,  31,  Nov.  30,  Dec.  1,  1852; Oct. 
27,  1865. 

Argonaut  (San  Frs-nciaco)  March  10,  April  18,  1888;  Jan.  1900; 
April,  1910;  Feb.  20,  26,  1916;  April  7,  1917. 

Evening  Bulletin  (San  Francisco)  July  3,  1852;  May  20,  1862; 
Jan.  IG,  17,  1874;March  19,  1885;  March  7,  21,  Sept. 9,  1896; 
Feb.  18,  1916;  May  5,  J^me  2,  1917,  article  by  Pauline 
Jacobson. 

Mornin,?,  Call  (San  Francirxo)  Nov.  23,  1884;  Nov.  25,  1888; 
June  2,  1889;  Nov.  11,  Dec.  6,  21,  1901;  May  17,  1903. 

Musical  America  (New  York)  Feb.  19,  1910. 

Nev/  York  Herald  Tribune  Feb.  29,  1916. 

New  York  Tines  Feb.  29,  1913;  Sepi:.  ^,  1930  J  Nov,  10,  1934. 

Pacific  Coast  Musical  Review  ( San  Francisco)  1908-1909;   1910-14; 
Dec, 31, 1910, 

Tl'ie  California  U'-ronicle  July  3,  1^52. 

Can  Francisco  Chronicle  Nov.  10,  1805;  Nov.  2C-,  1915;  Feb.  6, 
1216;  Sept.  31,  1931;  Jan.  20,  1938;  Jan.  12,  1905;  narch  12, 
1913. 

San  rranciqco  News  imz*    22,    1917;  Sept.  14,  1938 » 

San  Francisco  News  Letter  and  California  Advertiser  Sept. 30, 
1865;  Feb.  24,  July  21,  28,  1866;  Oct.  26,  1867;  Nov.  14, 
1885. 

The  Examiner  (San  Francisco)  Feb.  19,  20,  1916;  Jime  25,1917; 
Oct.  15,  16,  1932;  Dec.  3,  1936;  July  17,  1938;  Jan.  12,  1905. 

The  San  Francisco  Call   Feb.  18,  1927;  Jan.  12,  1905. 

Town  Crier  (San  Francisco)  Oct.  7,  14,  1865. 

Wasp  News-Letter  (San  Francisco)  Sept.  5,  1931. 

Golden  Era  (San  Francisco)  Dec.  19,  1852;  Feb.  13,  27,  March 
30,  1853;  May  7,  14,  1854;  Feb.  11,  1855. 


o  r,  ■,  oo^  t'^*"'^ 


i-vX^- 


-1'  ewfii.  Co; 


o.':  rour^J  ,  ,..t;.  ,.ii'-  :Y-fi^'^-    t^' 


-T       •  ?^  ""O 


.01  ,,.^.I-.:fiO 


98 


APPENDICES 


Part    II 


A.  General  Opera  Record 

B.  Most  Popular  Operas  and  Opera  Houses  (1850-1938) 

C.  I'lost  Popular  Operas;   Decade  by  Decade  (,1850-1938) 

D.  Coraplete  Kepertoire  Decade  by  Decade  (1850-1938) 

E.  Civic  Operg:   Ten  Seasons  (1923-1932) 

F.  1/Var  Memorial  Opera  House  (1933-1938) 

G.  Opera  Companies;   Visiting  and  Local 
H»  Opera  Houses 

I.  Grove  ^"'lays  of  the  Bohemian  Club. 


II   iiP'i 


vjiOiyi  '-■' 


99 


A.      GEiTERAL  OPERA   RECORD 


1351 


The  first  complete  grand  opera  given  in  San  Fran- 
cisco v/as  Bellini's  La  Sonnambula,  performed  at 
the  Adelphi  on  February  12;  Norma"  was  produced  on 
February  27;   Ernani ,  on  April  8. 


1851 


The  Pellegrini  Opera  Company  v/as  the  first  impor- 
tant operatic  troupe.  About  ninety  different 
opera  companies  have  visited  the  city  since  1851. 


1852 


Eliza  Blscaccianti  v/as  the  first  great  prima 
donna  to  come  Vifest.  She  appeared  in  San  Francisco 
in  1852  -i.uider  P.  T.  Barnum's  management. 


1850-1860    The  three  most  popular   operas  during   the  first 
decade   (1850-1860)   were   La  Fille  du  ReVgment . 


1850-1880  The  most  important  opera  houses  were  the  Metro- 
politan I  &  II,  which  put  on  about  650  nights  of 
opera;  Ilaguire's  Opera  House  with  about  400 
nights;  and  the  Academy  of  Music  with  nearly  125 
performpnces. 


1850-1880  Tho  groat  singers  of  the  period  included  Blscac- 
cianti, liayos.  Bishop,  Parcpa-Rosa,  and  Nevada. 
Persons  promino;nt  in  opera  included  rtoe.  Barili- 
Thornc,  tho  Bianchis,  and  the  Roncovioris.  The 
most  important  local  impresario  was  Tom  Maguire. 

1880-1906  The  Tivoli  put  on  more  than  4000  shows  of  grand 
and  light  opera  and  musical  comedy. 


1880-1906  The  most  popular  operetta  was  Olivette  which  re- 
ceived about  300  showings  at  the  Tivoli.  Next 
came  The  Bohemian  Girl  with  262  performances. 


Qk> 


..-'■-1 


^i'itf.v  QJiai/'ni-   i^j    \,iiri>^ 


.;oei  0; 


100 


A.      GE'tfEP^L  OPi^RA   RECORD    (  Cont .  ) 


I08C 


The  Grand  Opera  House  built  by  Dr.  Thomas  Vifade 
was  the  third  largest  in  America.  A  failure  fi- 
nancially, it  was  destroyed  by  fire  in  1906. 


1872 


The  Bohemian  Club,  founded  in  1872, each  year  puts 
on  an  original  opera  or  musical  play, composed  and 
produced  by  its  members. 


1890-1920 


One  of  San  Francisco's  most  popular  singing  actors 
was  Ferris  Hartman,  King  of  Jesters,  for  nearly 
thirty  years.  ^ 


1903 


Mascagni   conducted  his   Cavalleria  Rusticana  at 
the  Tivoli. 


1905 


TetrazEinl  became  vrarld-f amous  following  her  first 
San  Francisco   appearance  in  Rigoletto  at  the 


Tivoli. 


1910 


Leoncavallo,  composer  of  Pagliacci,  conducted  his 
work  at  the  Tivoli  in  1910. 


1913 


The  first  caraoaign  for  municipal  ooera  began.  It 
was  scuelched  by  Ma-yor  James  Rolph'  as  being  "vi- 
cious and  undemocratic." 


1917-1921 


The  Washington  Square  Opera  Company  of  North  Beach, 
a  somlprofessional  troupe,  put  on  grand  opera 
successfully  at  25  cent  admission  prices. 


i:i22-l£20   Among  the  singing  actors  who  appeared  in  San  Fran- 
cisco musical  comedies  between  1900  and  1920  and 
who  left  the  stage  to  make  films  were  Al  Jolson 
Edmund  Lowe,  Charles  Ruggles,   Harry  Lauder,  Kolb 
and  Dill,   Charlotte  Greenwood,   Louise  Dressier 
Eddio  Cantor  fmd  Leo  Carrillo.  ' 


1923 


The  San  Francisco  Opera  Association  was  formed  for 
the  p-urpose  of  creating  a  civic  opera  organiza- 
tion. 


»tiR>' 


:..r;rcr:o  ■{y:iMLMi^.J^i<^.  .. 


:..-ac'6i 


.CJl 


"tp^J  i 


.T. 


CiSl 


ciei. 


...irviex 


101 


A.  G^ir^RAL  OPERA  IIjLCOi^  f  Cont . ) 


1S20  Campaign  for  corabining  a  V/ar  Memorial  to  honor 
soldiers  killed  in  v/ar  with  a  civic  opera  house 
v;as  launched  by  Major  Chr;'rlos  Kendrick  and  en- 
thusiastically supported  by  the  public- 


1935        The  firct  season  of  municipal  opera  put  on  at  the 
Civic  Auditorium  und^r  Gaetano  Kerola's  direction. 


1932  The  'Var  Memorial  Opera  House,  one  of  the  \/orld's 
most  completely  equipped  jiiuslcal  institutions, 
opened  its  doors  on  October  15.  La  Tosca ,  v/as 
the  first  onera  presented. 


1958  Tvifo  world-f pjnous  operas,  Strauss'  Elektra  and 
Debussy's  Pelleas  et  Melisande  were  given  their 
San  Francisco  premiere  during  the  sixteenth  season 
of  municipal  opera. 

1850-1936  The  most  popular  grtnd  opera  during  the  whole 
period  has  been  II  Trovatore,  receiving  nearly 
250  performances.  Next  in  favor  come  Faust ,  Lucia 
di  Lamrr.eiTaoor,  r.orma,  Carmen,  and  La  Traviata. 


102 


IvIOST    POPUMu   OF'JLlAS  Ai©   OPJ^RA  HOUSES    (1850-19S8) 


Title 


Performances 


II  Trovatore 

Lucia  dl   Lsjmiiermoor 

Faust 

Norma 

Carmen 

La  Traviat.-^ 

Aida 

La  Boheme 

Ernani 

La   Sonnsji-roula 


241 
142 
174 
129 
124 
119 
114 
105 
87 
62 


Light  Opera 


Olivette 

The  Bohemian  Girl 

La  Fllle   de   I/faie.    Angot 

Mikado 

Pinafore 

The  TojTTiaker 

Satanella 

Girof le-Girofla 

The  Geisha 

Maritana 


298 
262 
226 
209 
193 
134 
111 
103 
72 
46 


HOST  POPULAh  OPERA  HOUSES 


Nome 


Approximate  Total 
Pei'f  ormances 


The  Tivoli 

The  I.ietro'oolitan 

Maguire ' s  Opera  House 

Baldwin 

Grand  Opera  House 

Colum'^ia 

V'/ar  liemorlal 

Vvinter  Garden 

California  Theatre 

Bush  Strcot  Theatre 


4085 
644 
393 
516 
255 
237 
206 
176 
125 
107 


f^-*-fa,^  f-  rn 


rfoj^A    . 


c. 


:0ST  iGPULaK  0..]RA3;  DECADE  BY  D^:CAD; 


(185G  -  1860) 


Most  Po'oular  Operas 


Title 

La  Fille  du  Regiment 

iJorma 

The  Crown  Diamonds 

La   oonnaiAbula 

Pra  Diavolo 


Performances 

23 
18 
18 
17 
12 


Most  Popular  Hot^ses 


Name 


First  Metropolitan 
Maguire ' s   Opera  House 
The    Second  Arrerican 


Perf  oriiiances 

162 
83 
35 


MOST  POPULAR  OPERAS  (1060-1870) 

Title 

Norma 

II  Trovatore 

Lucrezia  Borgia 

Ernanl 

Lucia  di   LjiTuniermoor 


Performances 

66 
52 
46 
38 
38 


Most  Popular  Houses 


Name 


2nd  i.ietropolitan 

Maguire ' s   Opera  House 
Academy  of   i'usic 


Performances 

427 
198 
112 


MOST    PCrULAn    OP.^RAS    ( 1870-1880 ) 

Title 

H.M.S,  Plnnfore 

II  Trovatore 

La  Petit  Due 

La  Pllle  du  Regiment 

Les  Cloches  de  Corneville 


_Pe  rf  ormanc  e  s 

96 
52 
29 
21 
15 


104 


Most   Popular  Houses 


1''  aine 

Bush  Street  Theatre 
LIetropollt9.n 
Grand   OTDorn.  House 


i-'erf  ormances 

140 
55 
45 


friOST   POPULAR   OPERAS    (1880-1890) 

Title 

II  Trovatore 

Las  Cloches  ae  Gorncvllle 

Mikado 

lolanthe 

Pirates  of  Penzance 

Otello 

iiost  Popular  Houses 

Name 

Tlvcli 

Baldwin  Theatre 

■i/inter  Garden 


Performances 

69 
64 
48 
41 
35 
34 


Performances 

450 
181 
176 


MOST   P0J?ULAK   0P2RAS    (1890-1900) 

Title 

II  Trovatore 

LUkado 

Aida 

Paust 

H..;.S,  Pina.fore 


Performances 

52 
48 
44 
42 
37 


10 st  Popular  Houses 


Name 

Tivoli 

The  oaldwin 

Grand  Opera  House 


Performances 

1729 

212 

78 


105 


MOST  POPULAx.  OP.^iiAS  (190C-1910) 


The  Toymaker 

Carmen 

La  Bohemo 

Lucia  dl   Laminermoor 

Cavallerla  Rusticana 


Performances 

124 
74 
56 
52 


Most  Popular  Eouses 


Name 

Tivoll 

Columbi? 

Central 


Performances 

1850 
122 

65 


MOST  POPULAR  OP.ZRA.:.  (1910-1920) 

Title 

Crispino  e  la  Gomare 

The  Bohemian  Girl 

Carmen 

A'ida 

II  Trovatore 


Performances 

16 
16 
15 
15 
12 


Most  Popular  House; 


Name 

Gort   Theatre 

Coliunbia 

Tivoll 


Performances 

146 
55 
40 


MOST  POPULAR  OP^i^S  (1920-1930) 

T_itle 

The  Sorcerer 

The  Yeoman  of  the  Guard 

La  Boh^me 

A'ida 

Carmen 


Performances 

58 
19 
15 
15 
14 


1U5 


Most  Popular  Houses  (1920-1930) 

Mame  Perf ormanoes 
Exposition  Auditorium  126 

The  Players  Theatre  77 

Casino  Theatre  52 

Most  Popular  Operas  (1930-1938) 


Title 

Performances 

Aida 

18 

La  Boheme 

12 

Madame  Butterfly 

12 

La  Traviata 

11 

Paust 

10 

Mo: 

st_ 

Popular 

Hou 

ses 

Name 

Perf 

ormancos 

War  Memorial  Opera  House  226 

Civic  Aiiditorium  25 

Legion  of  Honor  Little  Theatre  20 


o-i 


hi  '  ■  ■ 

01  ctaxjB'^ 


as 

OS  etcteeriT  ©iJd-JcJ   ir. 


107 


COMPLETE  REPERTOIRE:   DECADE  BY  DECADE 


1850  - 

1860 

Opera 

Number  of 

Performances 

La  Sonnambula 

17 

Norma 

18 

Ernanl       ^ 

11 

La  Pille  du  Regiment 

23 

La  Favorita 

9 

La  Dame  Blanche 

3 

Gilles  Ravasseur 

3 

The  Barber  of  3eville 

9 

The  Crovm  Diamonds 

18 

The  Black  Domino 

2 

The  Enchantress 

8 

The  Bohemian  Girl 

11 

Lucia  di  Lammermoor 

6 

11  Maestro  de  Cape 11a 

2 

Don  Pasquale 

7 

Cinderella 

12 

Pride  of  the  Harem 

1 

Linda  di  Chamounix 

2 

Lucre zia  Borgia 

12 

Der  Freischutz 

12 

Judith 

6 

Martha 

10 

Jeanette  's  Wedding 

3 

Nabuco 

3 

Maria  di  Rohan 

3 

Fra  Diavolo 

12 

Black-eyed  Susan 

1 

Robert  Le  Dlable 

7 

L 'Eli sir  d'Amore 

4 

Don  Giovanni 

3 

I  Due  Poscari 

3 

Creation 

2 

Bonsoir,  Volsin 

1 

I  Lombard! 

3 

La  Gazza  Ladra 

2 

La  Muette  di  Portiol 

1 

XI  Trovatore 

12 

Le  Cid 

1 

Attila 

3 

Beggar's  Opera 

3 

Pocahontas 

2 

John  of  Paris 

3 

Midas 

3 

Rob  Roy 

4 

La  Traviata 

4 

Marriage  of  Figaro 

2 

aoAOSo-.-xa-  acuo^e 


Vx 

u 

Li 


■■J.- 

3 
LL- 

a 

g 

? 

I 

Ci 
3X 

o 
01 


r:'>I-  -•  0631 


■T-:^- 


ei.1.1. 


(5 
2' 

r- 
s 

3 
X 
?I 
I 

S; 
o 

S- 

c 

5 

^' 
!•' 

6- 


Jrti 


108 


Theatres  ~  Night  Opera 


Theatre 

Adelphi 

1st  Metropolitan 
Magulre's  Opera  Plouse 
2nd  American 


Ntunber  of 
Performances 

20 

162 

83 

35 


OPERA 
1360   -   1870 


Title 

Pra  Diavolo 

La  Sonnainbula 

The  Grown  Dlaraonds 

La  Pi lie  du  Regiment 

Cinderella 

Bohemian  Girl 

II  Trovatore 

Pocahontas 

Midas 

Beggars  Opera 

Der  Preischiitz 

Lucia  di  Lammermoor 

Maritana 

La  Travlata 

Enchantress 

Lucrezla  Borgia 

Marriage  of  Figaro 

Ernanl 

Rose  of  Castile 

Norma 

Rigoletto 

I  Puritani 

La  Favorlta 

Martha 

Lurllne 

Attila 

Nabuco 

Linda  di  Chamounix 

The  Barber  of  Seville 

Don  Pasquale 

I  Lombardi 

Belisarlo 

Macbeth 

Beatrice  di  Tenda 

La  Muette  di  Portlci 

Pollute 


Number  of 
Performance  ig 

10 
28 
4 
13 
5 
23 
52 
1 
2 
1 
9 
38 
23 
23 
3 
46 
4 
38 
3 
66 
15 
31 
17 
19 
10 
4 
16 
11 
18 
8 
3 
5 
6 
3 
4 
9 


-ii  «  aeicfisorf 

A-  ■  ■ 

:en 

^'x::Jnt)J-iy 

©ei/oU   Br: 

A..H  a  'I  0 

ov. 

•OX 


CS 


33 

ai 

X£ 


IX 

3X  ,j..ijv&.      . 

a 
c 
e 
p, 
^, 


■  r- 


OPERA 


1850-1870    (Cont'd.) 


Title 


Number  of 
Performances 


Luisa  Muller 

I.  Masnadelri 

I  Due  Poscarl ^ 

La  Pllle  du  Re'giment 

Doctor  Alcontra 

Postilloii  do   Longjumeau 

The  Rose  of  Tyrol 

The  Crovm  Diamonds 

La  Fiance'e 

Faust 

Un  Ballo  in  Maschera 

Otello 

Don  Giovanni 

La  Martira 

L'Elisir  d'Amore 

Crlsplno  e  la  Comare 

La  Julve 

lone 

Pierrette 

L'Africaine 

Scaramouche 

Robert  le  Diable 

Les  Huguenots 

Oberon 

The  Lily  of  Klllarney 


3 
9 
4 

11 
7 
6 
2 
3 
2 

14 

22 
2 
8 
2 
4 
6 
8 
5 
1 

12 
1 
2 
2 


Theatre 

Maguire ' s  Opera  House 
2nd  Metropolitan 
Academy  of  Music 
The  2nd  American 


Opera  Ni|:;hts 

198 

427 

112 

14 


OPERA 


1870  -  1880 


Title 


Performances 


Aida 

10 

Barbe  Bleue 

7 

Buenos  Noches,  Senor  Don  Simon 

1 

Chilperic 

7 

La  Pi  lie  du  Re'giment 

21 

I 


IX 
V 


iij..vJ..:i-i.u. 


I, 


^■r:f 


of. 


V  • 


OPERA 


1870-1880    (Cont'd.) 


Title 


Performances 


Ernani  6 

El  Relampago  5 

El  Juramento  2 

El  Estreho  di  un  Artlsta  1 

El  Julcio  Oral  1 

Estebanlllo  Peralta  1 

El  Diablo  en  el  Poder  1 

El  Postilion  de  la  Rloja  2 

El  Nino  1 

La  Jardlneira  y  la  Prlnceza  1 

El  Domino  Negro  2 

Der  Preischutz  1 

Evangeline  14 

Pra  Diavolo  10 

Don  Giovanni  5 

La  Conquista  de  Madrid  4 

La  Pavorita  1 

La  Traviata  8 

Pernande  7 

La  Fille  de  Ivlrae.  Angot  10 

La  Belle  He'l'ene  5 

La  Colegialo  3 

La  Catalina  do  Russia  4 

Los  Magyares  1 

Los  Diamante 3  de  la  Corona  3 

The  Brigands  7 
Choui'leuri  or  the  Prima  Donna  of  a  Night    1 

Chi  Dura  Vince                    ^  1 

Les  Cent  Vierges  (French  Opera  Bouffe)  1 

Daughters  of  Eve  1 

Pleur  de  Lys  1 

Fanchette  1 

The  Island  of  San  Balandran  1 

Joseph  in  Egypt  1 

Palstaff  2 

La  Sonnambula  4 

Marguerita  2 

La  Vie  Parisienne  1 

Blind  Beggars  7 

La  Boulangere  a  des  ecus  1 

Les  Bavards  2 

Carlotta,  The  Queen  of  the  Arena  1 

Canard  a  Trois  Becc  1 

Crimson  Scarf  1 

Vifilliam  Tell  4 


088X-OV:. 


.i^flrOfl-'Ttnol'I'*'! 


olcf/' 


S 

I 
I 
S 

I 

'^  i 


:  on: 


S. 

C: 

V 

ox 

X 
6 
V 
I 

I 

x 

X 

•I 

I 

i 

X 

s 

•s 
^x 

V 
X 

i 
X 


j^intjcM  Qb 


Rd 


bXbqx/H  01 

.-   . ,  . .  ■  ;  ;     ;       •■■  ■  0C 

nBiI/i*  . 


©one 
Buoe  aeJb  a  ' 


x±x 


0  P  B  R  A 
1870  -  1880  (Cont'd.) 

Title  Perf ormanoes 

The  Talisman  1 

Tannhaiiser  5 

Timbale  d' Argent  1 

Los  Ladrones  1 

L'Oeil  Creve  1 

Valle  de  Andorra  1 

Pres  St.  Gervais  {Opera  Bouffe)  1 

Pauline  2 

Paula  and  Pletro  1 

Petite  Mariee  1 

Night  In  Granada  2 

The  Merry  Vifidow  7 

Chevaliers  du  Plnce-Nez  1 

Patinitza  28 

II  Trovatore  32 

The  Barber  of  Seville  2 

Un  Ballo  in  Maschero  2 

Un  Tesoro  Escondido  1 

Jugar  con  Fuego  1 

The  Star  of  the  North  14 

Jack  and  the  Beanstalk  7 
Poulet  and  Poulette  (English  Comic  Opera)    1 

Trial  by  Jury  1 

Genevieve  de  Brabant  1 

The  Bohemian  Girl  7 

Mignon  5 

The  Marriage  by  Lanterns  2 

Jeanette's  Wedding  2 

The  Weak  Side  2 

La  Gamine  de  Paris  1 

Les  Cloches  de  Corneville  15 

Girofle-Girofla  22 

La  Perichole  10 

Le  Petit  Due  29 

Marjolaine  l"^' 

La  Prince sse  de  Trooizondo  ^ 

The  Sultan  of  Mocha  14 

li.M.S.  Pln'^fore  96 
Marina 


Opera  Companies 

Royal  Spanish  Opera  Company 

Alice  Gates  English  Comic  Opera  Co. 

French  English  Opera  Co. 


7 


^H 


"iriT 


X 
X 
X 

X 

X 

X 
X. 

a 

I. 

X 

8S; 

ss 

2. 
3' 


ju- 


(  9l1tlfoC 


>',.  1  i  <^  r  r  ,i.v 


O'X" 


sen-  ©r 


X 
X- 
X 

3 

s 
s 
s 

X 

31 
SS 
OX 

e 

.,^x 

90 
V 


Oxi.i'V'.-    't-iJ    .  ;     ,     r? . 


'?X1I- 


z^rj,n-'"^.'!fj^'r-:\ 


.bo    ATO- 


Opera  Companies  (Cont'd.) 


German  Opera  Co. 
Emily  Soldene  Comic  Opera  Co . 
Kellog-Cary  Combination 
Smecihias  Grand  French  Opera  Co. 


THEATRES 


Name 


Performances 


Bush  Street  Theatre 

Magulre ' s 

California 

Grand  Opera  House 

Wade ' s  Opera  House 

Pacific  Hall 

Adelphl 

Platts 

Baldwin's  Academy 

Gray's  Opera  House 

Alhambra 

Metropolitan 


140 
35 
30 
45 
10 
10 
25 
20 
27 
10 
27 
55 

?5i 


OPERA 


1880  -  1890 


Title 


Number  of 
Performances 


Olivette 

Girofle-Girofla 

Les  Cloches  de  Corneville 

Pirates  of  Penzance 

Carmen 

Billee  Taylor 

II  Trovatore 

The  Love  Spell 

The  Bohemian  Girl 

The  Masque  of  Pandora 

Pra  Diavolo 

La  Prince sse  de  Trobizonde 

Martha 

Satanella 

Un  Ballo  in  Maschora 

Voltigeurs  _ 

Der  Frelchiitz 

Amor it a 

Coquelicot 

Simone 


70 
43 
64 
35 

4 
35 
69 

4 
10 

1 
14 
21 
15 
14 
13 

7 
11 
12 
14 
14 


^ 

ox 


oiiajii'^ 


^^    C!    2-    q    A 


bi 

M 

51 

V 

li 


1±5 


OPERA 


1880-1890  (Cont'd.) 


Title 


N-umber  of 
Performances 


Ernanl 

Masaniello 

The  Tales  of  Hoffman 

Lucia  di  Lammermoor 

The  Field  of  Honor 

La  Sonnambula 

Donna  Juanita 

Magic  Doll 

Faust 

The  Merry  V/ar 

Oberon 

lolanthe 

Parsifal 

La  Travlata 

A  Voyage  to  the  Moon 

The  Bridge  of  Sighs 

Linda  di  Charaounix 

Maritana 

Manola 

The  Queen's  Lace  Handkerchief 

The  Magic  Flnte 

Boccaccio 

The  Mascot 

King  Charming 

The  Sleeping  Beauty 

Lucrezia  Borgia 

Norma 

The  Beggar  Student 

Cinderella 

Poliuto 

If  Petit  Due 

King  for  a  Day 

Mignon 

Paul  and  Virginia 

Prince'  Meth\isalem 

William  Tell 

Royal  Middy 

La  Favorita 

L'Elisir  d'Amore 

I  Puritani 

La  Pille  de  Mme.  Angot 

The  Enchantress 

Robert  Le  Diable 

Gillette  de  Narbonne 

The  Prophet 

The  ViTalte  Slave 


21 

4 

7 

27 

2 

11 

11 

2 

28 

24 

16 

41 

7 

22 

44 

7 

17 

21 

7 

35 

7 

14 

21 

7 

4 

20 

10 

26 

1 

1 

11 

5 

10 

2 

21 

21 

11 

9 

4 

1 

27 

24 

14 

9 

1 

1 


IS 


r-r- 


IT 

OX 


t>i'*> 


TI 


'^OSkhA   -•  Qfr 


OPERA 


1880-1890  (Cont'd.) 


114 


Title 


Number  of 
Performances 


Patlnitza 

H.M.S.  Pinafore 

La  Juive 

Lohengrin 

Les  Huguenots 

Little  Red  Riding  Hood 

The  Marriage  Lantern 

Dorothy 

Semiramide 

Heart  and  ?Iand 

The  Barber  of  Seville 

Peter  the  Shipv/right 

Mireilla 

Die  Fledermaus 

Nell  Gwynne 

A  Trip  to  Africa 

Mikado 

The  Pretty  Poacher 

The  Giorgiennes 

Manon 

Princess  Ida 

Carnival  of  Venice 

Crispino  e  la  Comare 

Orpheus  in  Hades 

The  Goose  with  the  Golden  Egg 

The  Nemesis 

Maid  of  Belleville 

Coi^^'.l.  - 

Lily  of  Killarney 

Palka 

Don  Cesar 

Gasparone 

Czar  and  Zixnniermann 

Ruddigore 

Mime .  Favart 

She 

The  Little  Tycoon 

Allan  Quart ermain 

Suzette 

The  Village  Coquette 

Princess  Toto 

Gypsy  Baron 

The  Vice  Admiral 

Patience 

Benventui'O. 

Pantine 


21 

23 

5 

7 

7 

21 

7 

5 

6 

6 

6 

2 

6 

42 

4 

14 

48 

7 

7 

7 

7 

2 

7 

7 

14 

7 

2 

7 

7 

7 

1 

1 

1 

14 

26 

14 

32 

1 

7 

14 

11 

14 

14 

20 

1 

1 


i-lL 


olrfiT 


i^^;' .'  f.^rtp'*? 


eiolB 


X3 
V 

e 


QXIive'C 


3.^ 

i> 

8^ 
V 
V 
V 

V 
2 

r 

V 
2 
V 
V 
V 
I 
X 
X 
i'X 

'J?. 

Si3 

X 

V 

^x 

XI 

>I 
(y^ 

X 
X 


SS^  nsfcXoO  © 

eXXIvr.i; 


octJ 


115 


OPERA 

1880-1890    (Cont'd.) 

Number  of 
Title  Performances 

Said  Pasha  44 

Star  Light  7 

Tin  Soldier  1 

Three  Guardsmen  1 

The  Rose  of  Castile  1 

The  Yeoman  of  the  Guard  9 

Ruy  Bias  1 

A  Night  in  Venice  1 

The  First  Lieutenant  7 

The  Tempest  4 

The  Vow  of  Love  4 

The  Professor  21 

The  Vagabonds  7 

A'lda  8 

Robinson  Crusoe  7 

Mynheer  Jan  7 

The  Princess  Ida  7 

The  Three  Guardsmen  7 

Three  Black  Cloaks  15 

La  Grande  Duchesse  15 
La  Pemme  a  Papa 

Niniche  5 

Lilli  7 

La  Pe'richole^  11 

La  Belle  He'lene  14 

Palka  7 

The  Vadov7  O'Brien  28 

Rip  Van  Winkle  7 

The  Cavaliers  7 

Paul  and  Virginia  13 

The  Medium  7 

Pygmalion  and  Galatea  7 

L'Afric-^iae  2 

The  Golaen  Hen  14 

Claude  Duval  7 

The  May  Queen  7 

The  Musketeers  7 

Nero  ^  8 

Lakme'  3 

The  Flying  Dutchman  2 

Galathea         .  7 

Marriage  of  Jeanette  4 

Yvetine  7 

Rigoletto  7 

La  Fille  du  Tambour-Major  35 

The  Faker  of  Travanoore  7 


A  M    ■     -    - 


Qi-iVl 


I 

X 

I 

^  .     .''' 


•V  Of'' 

V 

•v 


V 
XX 

->X  '  ^'' 

as 

•  V 

V 

SI  c.ifi. 

V 

s 

•V 


V 


OPERA 

1880-1890  (Conti 

'd.) 

Number  of 

Title 

Performances 

Theodora 

11 

The  Crown  Diamonds 

7 

Otello 

34 

THEATRES 

Name 

Number  of 

Performances 

Standard 

13 

Tivoll 

450 

V'/inter  Garden 

176 

Baldwin 

181 

Grand  Opera  House 

146 

California 

76 

Bush 

45 

Piatt  •  s  I^cill 

5 

Orpheum 

7 

Alcazar 

7 

Total 


1106 


OPERA  COMPANIES 


1880-1890 


Soldene  Opera  Company 

i'abbri  Opera  Troupe 

Boston  Comic  Opera  Company 

McCaiill  Opera  Company 

Italian  Opera  Troupe 

Grand  Italian  Opera  Company 

Emma  Abbot  Grand  Opera  Company 

Kiralfy  Brothers  Italian  Organization 

Her  Majesty's  Opera  Company 

Gainbiaggio  Sieni  &  Campani ' s  Opsra  Company 

National  Opera  Company 

Carle ton  Opera  Company 

Thalia  Opera  Company 

■T   n'':o.llo  Opera  Coripany 
Thompson  Opera  Company 
Madrid  Spanish  Opera  Company 
Albani  Opera  Company 
Melville  Opera  Company 
The  Comedy-Barton  Opera  Company 
The  Papenheim  Opera  Company 
The  Fay  Templeton  Comic  Opera  Company 


ar.iJ.=;s-X- 


OPERA  COMPANIES 

1880-1890  (Cont'd.) 

The  Judic  Opera  Company 

Duff  Comic  Opera  Company 

The  Pyhe  Opera  Company 

The  Bostonian's  English  Opera  Company 

Bianchl  Montaldo  Opera  Company 

Alice  Oates  Comic  Opera  Company 


OPERA 

1890  -  1900 

Number  of 

Title 

Performances 

Les  Cloches  de  Cornevi, 

lie 

25 

The  Bohemian  Girl 

33 

Mikado 

48 

Olivette 

17 

Aquillo 

21 

Coquelicot 

7 

Prince  Methusalem 

8 

Carmen 

30 

A  Trip  to  Africa 

22 

Patinltza 

25 

Three  Black  Cloaks 

9 

Box  and  Cox 

1 

Fra  Diavolo 

16 

Boccaccio 

39 

Sinbad  the  Sailor 

34 

La  Pille  de  Mme.  Angot 

43 

Die  Fledermaus 

21 

Der  Freischiitz 

33 

Madame  Cartouche 

10 

The  Musketeers 

12 

The  \¥edding 

6 

Donna  Juanita 

13 

Billee  Taylor 

7 

The  Island  of  Zenbar 

17 

The  Mascot 

26 

Indigo 

5 

The  Gondoliers 

14 

Dorothy 

40 

Manon  Lescaut 

31 

Palka 

20 

The  Merry  War 

40 

Poor  Jonathan 

•13 

The  Vice  Admiral 

37 

Erminie 

30 

■T '.[>»'»♦"> '7     ,A<^'    V 


.^A        «v    r  ^tf^  fl^^ffp 


A  H  S  S   0 


OOGX.  .-   G 

-,  « ,^....,,T-. 


6  Kol. 


B3ladI0  > 


IS.. 

01  •.  er. 

2I:.= 


M.-  8-ielIet. 

15. 

OP. 


V-S' 
OS 


118 


OPERA 

1890-1900    (Cont'd.) 

Number  of 
Title  Performances 

Les  Cloches  de  Corneville  20 

Bluff  King  Hal  24 

Robin  Hood  58 

Chilpe'ric  9 

Rose  of  Auvergne  12 

Trial  by  Jury  8 

Cavalleria  Rusticana  35 

Amorita  14 

Paul  Jones      ,  13 

La  Capitaine  There se  6 

Tannhaiiser  7 

The  Black  Hussar  21 

The  Golden  Cross  7 

The  Hoolah  21 

La  Traviata  15 

Fidelio  3 

Faust  42 

Lohengrin  23 

Clover  29 

The  Pirates  of  Penzance  14 

The  Lion  Tamer  2 

Gloriana  18 

Nell  Gwynne  12 

Beauty  and  the  Beast  14 

Le  Petit  Due  6 

Girofle-Girofla  20 

Paul  and  Virginia  9 

The  Golden  Hen  4 

Estrella  7 

Maritana  18 

Miss  Timidity  11 

La  Belle  Helene  6 

Orfeo  ed  Eurydice  16 

The  Queen's  Lace  Handkerchief  7 

II  Trovatore  52 

H.M.S.  Pinafore  37 

A  Trip  to  the  Moon  32 

Martha  24 

His  Majesty  16 

La  Grande  Duchesse  8 

h-'       Postilioii  doLonjumeau  1 

Lucia  dl  La:mnermoor  33 

Princess  Trebizondo  4 

Yorktov/n  4 

The  Knickerbockers  6 

The  Ogallallas  6 


A^n  z  1  0 

(..^'cfngO^    OOCI-Oe';.! 

■:^r1;. 

el;jil 

Gj\ 

.^■".XiyexiT 

i'S 

::5 

Q 

JIT 

f>r!- 

0 

ec 

BnAol:i&U3i  «XT 

!^[ 

ox 


:6i"orfT  fli 


'^Jl^Xi 


es 

M  oortssn: 

S  ■   "  • 

6X 
2X 


'SI 
XI 


OPERA 

1890-1900    (Cont'd.) 

Title  Number  of 

Performances 

William  Tell  5 

Genevieve  de  Brabant  16 

Marjolaine  16 

The  Privateer  14 

La  Vie  Parisicnne  15 

The  Grenadier  7 

The  Wonderful  Lamp  25 

The  Red  Bird  15 

The  Brigands  23 

Rigoletto  20 

Ernani  9 

Rose  of  Castile  1 

Un  Ballo  in  Maschera  7 

Anne  Boleyn  3 

The  Widow  O'Brien  27 

Little  Robinson  Crusoe  8 

La  Perichole  8 

Tar  and  Tartar  7 

The  Royal  Middy  7 

Prince  Ananias  16 

A  War-Time  Vifedding  16 

Mme .  Pavart  14 

The  Lucky  Star  8 

Ixion  35 

Aida  44 

The  Gentle  Savage  1 

Corinno  1 

Barbe-Bleue  15 

Uncle  Tom's  Cabin  1 

Lorraine  1 

Siegfried  2 

Aladdin  7 

Pygmalion  and  Galatea  7 

L'Africaine  1 

Merry  Wives  of  Vi/indsor  4 

La  Juive  4 

The  Wedding  of  Jeanette  3 

Miss  Frisco  13 

V\fang  10 

Isle  of  Champagne  1 

La  Gioconda  9 

An  American  Beauty  1 

Otello  16 

Romeo  et  Juliette  15 

Hansel  und  Gretel  2 

El  Capitan  19 


( .fi'  ;tncA 


es 


QKLBcF 


^£!:t( 


aid 


»<t;fertr 


120 


OPERA 


1880-1900  (Cont'd.) 


Title 


N-omber  of 
Performances 


Robert  le  Dlable 

The  Flying  Dutchman 

Les  Huguenots 

Die  Walkure 

Monte  Crist o  Jr. 

The  Sea  King 

Satanella 

Patience 

Lurline 

lolanthe 

Mignon 

Suzette 

La  Pavorita 

The  Gypsy  Baron 

The   Begr^ar   Student 

Amino 

Pepita 

A  Night  in  Venice 

Said  Pasha 

The  Island  of  Jewels 

The  Spider  and  the  Fly 

Ship  Ahoy 

The  Tyrolean 

The  Laughing  Heirs 

Gasperone 

I  Pagliacci 

Dick  Turpin 

Rip  Van  Winkle 

Lalla  Rookh 

Paola 

Heart  and  Hand 

The  Merry  Queen 

The  Drum  Major's  Daughter 

Hamle  t 

Shamus  O'Brien 

Princess  Nicotine 

lone 

Lily  of  Ki Harney 

Ruy  Bias 

The  Barber  of  Seville 

Scmlramide 

La  Boheme 

Mefistofelo 

Unsana  Tokof 

Darkest  Russia 


2 

14 

32 

2 

7 

7 

31 

9 

13 

8 

26 

15 

15 

22 

25 

8 

4 

1 

35 

30 

2 

7 

5 

4 

3 

21 

2 

28 

15 

1 

1 

1 

22 

1 

33 

4 

1 

12 

1 

5 

3 

13 

3 

2 

2 


A  Jl  3i  1  C 


1-  -^f  ..-^.u;K 
M 


o 

a 

dX 
oX 


S  ;• 

3S  jL-.U   ..        .    .     ,_  . 

I  ■'       -' 

X  fcriBH  Ln 

X 

X 

X 

e 

i*X 

3  -^ 


OPERA 

1890-1900  (Cont 'd.) 

N-umber  of 

Title  Performances 

Mother  Goose  30 

The  Geisha  65 

Brian  Boru  13 

The  Pearl  of  Pckln  14 

Ezra  2 

Sulamito  2 

Fall  of  Jerusalem  2 

La  oonnambula  2 

The  Princess  of  Jehuda  2 

The  Serenade  1 

La  Forza  del  Destlno  2 

Norma  4 

The  Jewish  Priest  1 


OPERA  COMPANIES 

1890  -  1900 

The  Emma  Juch  English  Grand  Opera  Company 

Hess  Grand  Opera  Company 

Kimbal  Opera  Comique  and  Burlesque  Company 

V'/m.  J.  Gilmore  Opera  Company 

The  Bostonians 

Pellegrini  Opera  Troupe 

Grand  Italian  Opera  Company 

The  California  Opera  Company 

New  York  Casino  Opera  Company 

Southwell  Opera  Company 

Lambardi  Grand  Opera  Company 

Tavary  Grand  Opera  Company 

Carleton  Opera  Company 

Golui.ibia  Comic  Opera  Company 

French  Operatic  Organization 

German  Hebrew  Opera  Company 


0  i' 

^ 

_R_ 

_A 

Title 

1890 

— 

1900 

Number  of 
Perf  orraances 

La  Sonnambula 

Linda  di  Chamounix 

Don  Giovanni 

Nadjy 

The  Gascon 

5 

5 

4 

21 

8 

122 


OPERA 


1890-1900    (Cont'd.) 


Title 


Number    of 
Performances 


Don  Quixote 
The  Gondoliers 
Manola 


o 

10 

6 


THEATRES 


Narae 


Number   of 
Perf  orraance  s 


Tivoll 

Baldv;in 

Grand   Opera  Ho^ise 

NeviT  Bush   Street  Theatre 

Alcazar 

Coliiribla 

Alhar.ibra 

California 

Orplieujn 

Adelphi 

Pov/ell    Street  Theatre 

Peoples  Palace  Music  Hall 


Total 


1729 
212 
78 
62 
12 
35 
26 
49 
22 


2243 


[3 


Ea>ia'A^;T 


o:.-jjH 


sicf.i'r 


123 


0  P  Ti  R  A 


1900  -  1910 


Operas 

Aida 

Andrea  Chenier 

Amorita 

Babes  In  The  V'oods 

The  Brigands 

The  Barber  of  Seville 

The  Belle  of  New  York 

Boccaccio 

Bohemian  Girl 

Carmen 

Gavalleria  Rusticana 

Gamille 

Captain  Jinks 

Chaperons 

Chopin 

La  Fille  du  Regiment 

Der  Rastelbinder 

Die  Meistersinger 

Die  Wallcure 

Dinorah 

Don  Pasquale 

El  Ca^itan 

Erminie 


Number  of 
Performances 

22 

20 

13 

22 

7 
24 
14 
10 

3 
74 
49 

3 
14 

7 
13 

5 
20 

2 

1 

5 

8 
24 
13 


if"  ,    .- 


sbt-j.jo 


leirje.'iO  fxeibn 


bl  -til. 

01  :•■'■'. 

*^  n- 

Qi^  sneoiici/JI  axieX 

e 

I  9i"ibII/AV>-  eta 

}  sip- 


124- 


Q  P  E  R  A   (Continued) 
1900  -  1910 


OiDeras 


Srnani 

Fatlnizta 

Faust 

Fedora 

Florodora 

Foxy  Qulller 

The  Mari-lage  of  Figaro 

Pra  Diavolo 

•jermania 

Gypsy  Baron 

Les  Hugiaenots 

The  Highwayman 

II  Trovatore 

I  Pagliaccl 

I  Puritani 

lolanthe 

Isle  of  Champagne 

Iris 

Ixion 

In  Town 

Jack  and  The  Bean  Stalk 

King  Dodo 

L'Amico  Fritz 


Number  of 
Performances 

4 

6 

30 

26 

55 

20 

3 

26 

1 

21 

3 

54 

40 

46 

6 

16 

11 

3 

13 

7 

29 

25 

1 


6^; 


:irrtr.Z.3,.X.\ 


oiflS 


6> 


ii 


inr.  ^ 


Sir^' 


itiRi^  nJB©a  9' 


."J-Tf 


ct'Ot;   s^xJi 


OPERA   (Continued) 
1900  -  1910 


Operas 


La  Favorita 

La  Gioconda 

La  Boheme 

La  Travlata 

La  Tosca 

La  Forza  del  Destino 

La  Sonnarabula 

Lohengrin 

Linda  di  Chamoxmix 

Lucia  di  Latranermoor 

Lucrezia  Borgia 

Little  Red  Riding  Hood 

Maid  and  Mmnmy 

Maid  Marian 

Mile.  Mischief 

Martha 

Un  Ballo  In  Maschera 

Mefistofele 

Mignon 

Madame  Butterfly 

Mikado 

Madeline  or  the  Magic  Kiss 

Miss  Timidity 

Manon  Lescaut 


Niunber  of 
Performances 

18 

9 
56 
34 
18 

2 

6 

6 

4 
52 

4 
16 

7 

7 
14 

7 

9 

9 

9 

2 
19 

9 

6 

9 


(':'PjjnI -hT.. 


1:  -■ 

C 

01 


Bj" 


Jsct2- 

'if  TO 00 iO  bJ 


e; 


'trct,i'ti>tmned' 


^i 


l^rdOK  IH'  , 


nc 


'X^'i'iff^^'tJ^'^in 


aslH 


cf;/ 


12( 


OPERA   (Continued) 
1900  -  1910 


Oioeras 


Wabuco 

Nebuchadnezzar 

Norma 

Otello 

Orpheus  in  Hades 

Parsifal 

Pearl  Fishers 

Patience 

Pinafore 

Mr.  Piclavick 

Rigoletto 

Robin  Hood 

Rob  Roy 

Sergeant  Kitty 

The  Sleeping  Beauty 

The  Ameer 

The  Beggar  Student 

The  Fortune  Teller 

Tales  of  Hoffmann 

The  Merry  Widow 

The  Isle  of  Spice 

The  Princess  Chic 


Number  of 
Performances 

5 

1 
30 
18 
20 

3 

3 
14 
25 
20 
32 
34 
52 
12 

1 
27 
13 
29 
3 
16 
41 
20 


(K^. 


t  I- 


■or 


naiocrC 


-.'ifl-'fai'tf 


nrt'RrT 


127 


OPERA      (Continued) 
1900  -   1910 


OpvSras 


The  Prince  of  Pi Is en 

The  Prima  Donna 

The  Serenade 

The  Weddin^j  Day 

Tannhaiiser 

The  Strollers 

The  Sincin":  Girl 

The  Toymakor 

The  Idol '  s  Eye 

The  Geisha 

A  Gaiety  Girl 

The  Runaway  Girl 

Toreador 

The  Messen£;er  Boy 

The  Burgomaster 

The  Tenderfoot 

The  Black  Hussar 

When  Johnny  Comes  Marching  Home 

Wang 

Yankee  Consul 

Zaza 

San  Toy 

The   Vice-Acljniral 


Niimber  of 
Performances 

13 

14 

45 

20 

6 
13 
27 
124 
59 
41 
12 
21 
17 
14 

6 
35 
15 
68 
40 

6 

8 

7 

2 


•  (:rOJJ/^i  t;1C  'j  )      ■•    ■■^■^.i^,^ 


:'itec[0 


128 


OPERA  COMPANIES 
1900  -  1910 
Opera  Companies 
Pollard's  Juvenile  Opera  Company 
Grand  Opera  Co.  from  Metropolitan 
Tivoli  Comic  Opera  Company 
Sembrich  Opera  Company 
Mar^ji-ierlta  Silva  Comic  Opera  Company 
Henry  Wt  Savac^;e  Company 
Pollard's  Opera  Company 
Lambprdi  Grand  Itolian  Opera  Company 
San  Carlo  Opera  Company 
The  Persso  Mason  Opera  Company 
Lambardi  Grand  Opera  Company 
International  Opera  Company 
Bevani  Opera  Company 
Kirhe  La  Shelle  Opera  Company 
The  Bo Etonians 
English  Grand  Opera  Company 


:ii<ii    .-?    u.O'^j: 


aojii. 


r«i.-0 


riB 


'.  l-iiiVV     ** 


•]t:aa;T;, 


jrtjiqsi^')  HI 


Vi^ilJCf^T'OU 


■Yn»7.qx5'; 


129 


THEATRES 


1900  - 

1910 

(Cc 

Dntinued 

Theatres 

Numb 

^er 

of 

^Opera  Nights 

Tivoli 

1850 

Grpnd  Opera 

House 

31 

Columbia 

122 

California 

23 

Central 

65 

Princess 

41 

Majestic 

6 

Alhambra 

8 

Macdonough 

14 

American 

9 

Valencia 

14 

Van  Ness 

18 

Garrick 

18 

Morosco  Grand 

Opera  House 

4 

Metropolitan 

Total 

1 

p.-.  r/  ■  '.  f  .-"r 


f.;;  i.K/fr::  ^'-xe^sp^  ti/t«-\'T[.S 

^?.  >.j*«?:.ifi63 

-f-         ■  ■ 


.3l^i 


^' 


130 


OPERA   (Continued) 
1910  -  1920 


Opera 


Adelle 

Aida 

Barber  of  Seville 

Un  Ballo  in  Maschera 

Conchita 

Les  Cloches  de  Gorneville 

Go  men 

Crispino  e  La  Comare 

Cabria 

Cavalleria  Rusticana 

Die  Walkure 

Don  Giovanni 

Ernani 

Pa-ust 

Gypsy  Love 

Glrofle-Girofla 

Hansel  und  Gretel 

I  Lombardi 
lolanthe 

II  Trovatore 
I  Pagliacci 
Herodiade 

La  Boheme 


Niimber  of 
Performances 

15 

4 

1 

4 

5 

1 
15 

1 
16 

7 

1 

1 

3 

4 
14 

7 

1 

2 

5 
12 

5 

1 


•-•-■■.    _..        ■■ '  -  ■■"■■- --t 

6. 

e     ., 

r       .  611.: 

T  MI?.   b1' 

i 
t 


9.':v 


iDO 


131 


OPERA   (Continued) 
1910  -  1920 


Opera 


La  Traviata 

Lucia  di   Laminermoor 

Le  Jongleur  de  Notre  Dame 

Louise 

La  Sonnambula 

La  Forza  del  Destine 

La  Favorita 

L'Elisir  d'Amore 

La  Gioconda 

L'Oracolo 

La  Tocca 

Natoma 

Otello 

Patience 

Pirates  of   Penzance 

Pora  Pom 

Parsifal 

H.  M.  S.  Pinafore 

Rigoletto 

Romeo  et  Juliette . 

Salome 

Sari 

The  Secret  of  Suzanne 


Number  of 
Perforinances 

7 

6 

1 

1 

1 

1 

1 

1 

4 

2 

4 

3 

3 

4 

5 

8 

1 

4 

8 

4 

1 

16 

4 


(L' 


-  CL^.l 


B*i6qO 


rroonn9iwn/5j  i.s<  rjoi/J 

onti^od  let)  i»srK>''I  sJ 
ftiomA'l)  ixsif?'-J 

O  X  '^  0  ' '  T  0  '  J 

sonei  -'n'l 

rttoH   ntO*i 
o«iolflni<I   •JZ  mK  .ii 


ei'tc  I  f'  i' 


emrftSifS  ^o  :^9too?  ©rtT 


lo2 


OPERA   (Continued) 


1910  -  1920 


Opera 


Thais 

The  Jewels  of  the  Madonna 

Tristan  und  Isolde 

The  Gei.oha 

Tales  of  Hoffriann 

The  Bohemian  Girl 

Les  Cloches  de  Corneville 

The  Chocolate  Soldier 

The  Firefly 

Trial  by  Jury 

VvTien  Johjiny  Comes   Marching  Home 


Number  of 
Performance: 

5 

5 

1 

7 

6 

6 

16 

8 

8 

4 

7 

300 


THEATPvES 


1910  -  1920 


Theatre 
Cort 

Columbia 

Tivoli   Opera  House 
V/ashington  Square 
Liberty 
Ctirran 

Knights  of  Columbus 
Gaiety 
Alcazar 


Performances 

146 

55 

40 

7 

12 

15 

8 

7 

10 
500 


r;  a  <i  0 


•-.-  T- 


fliti' 


SCli" 


9 

0 

ax 

3 
8 


rur 


Vli/^     tU     iiJX-1  i 


-j-^onBir^ot'isI 


?!•! 


c;3^r-  at..^ 


f>li"Sn.i 


aer 


p.uffmt/Ir" 


I'o 


OPERA  COMPANIES 
1910  -  1920 
Opera  Com'oanles 
Aborn  Opera  Company 
Lacih-'T'cli  Grand  Opera  Company 
Chicago  Grand  Opera  Company 
Henry  Savage  Company 
Italian  Opera  Company 
Latin  Quarter  Opera  Company 
Bostonian  Snglish  Opera  Company 
San  Carlo  Grand  Opera  Company 

Tamaki  Iluira  Japanese  Prima  Donna  '  nd  Company 
Ferrier  Opera  Company 
Scotti  Grand  Opera  Company 
The  New  ISostonians 
National  Grand  Opera  Company 
La  Scala  Grand  Opera  Company 
Italian  Opera  Compmy 


V 


1S4 


OPERA 

1920   -   1930 

Title  Number  of 

Perf  omances 

Aida  15 

Andrea  Chenier  4 

A  Naughty  Boy's  Dream  1 

A  Waltz  Dream  5 

Anima  Allegra  1 

The  Barber  of  Seville  9 

Boris  Godounoff  1 

Carmen  14 

Cavalleria   Piusticana  9 

Don  Pasquale  3 

Eugen  Onegin  2 

Faust  10 

La  Forza  del  Destino  2 

Fidelio  3 

Fra  Diavolo  2 

Falstaff  1 

Fedora  1 

La  Gioconda  1 

Gianni  Schicchi  2 

High  Jinks  8 

Hansel  und  Gretel  2 

II  Trovatore  6 

I  Pagliacci  8 


01 


11 


tA 


0 


9Tro 


135 


OPERA   (Continued) 


1920  -  1930 


Title 


II  Tabarro 

Katinka 

La  Traviata 

L'Ariore  del  Tre  Re 

La  Tosca 

La  Boheme 

L'Anlco  Fritz 

L'Oracolo 

La  Ntivarraise 

Lakrae 

La  Cena  delle  Beffe 

L 'Ell sir  d'  Amore 

Lohenfirin 

Lucia  dl  Lararaermoor 

May time 

Martha 

Madanie   Butterfly 

Manon  Lescatit 

Mignon 

Monna  Vanna 

Mefistofele 


Number  of 
Performanceg 

1 

7 

4 

3 
10 
15 

1 

2 

2 

1 

2 

2 

2 

7 

8 

6 

7 
12 

1 

1 

1 


(/)©' 


H  -d  <i   0 


os<}i.-  Q:5GI 


V 

b 

OX 
SI 


ss: 


elUT 


fl 


iQCcrtQfnnusJ  if; 

3 


V 
91. 


an/- 

91. 


136 


OPERA 


1920-1930  (Cont'd.) 


Title 


Number  of 
Performances 


Otello 

Patience 

Pique-Dame 

Rigoletto 

Robin  Hood 

Rome'o  et  Juliette 

Samson  ot  Dalila 

Salome 

The  Beggar's  Opera 

The  Bohemian  Girl 

Les  Cloches  de  Corneville 

The  Chocolate  Soldier 

The  Girl  of  the  Golden  West 

The  Mermaid 

The  Idol's  Eye 

Tannhauser 

Tales  of  Hoffman 

The  Toymaker 

The  Jewels  of  the  Madonna 

The  Prince  of  Pilsen 

The  Spring  Maid 

The  Secret  of  Suzanne 

The  Wizard  of  the  Nile 

The  Yeomen  of  the  Guard 

Thais 

The  Sorcerer 

The  Tzar's  Bride 

Tristan  und  Isolde 

Turandot 

Zaza 


Total 


2 

10 
8 
3 
3 
2 
1 

11 
8 
7 
1 
2 
7 
1 
2 

11 
2 
5 
7 
1 
1 

19 
3 

58 
1 
2 
3 

2 

375 


THEATRES 


1920  -  1930 


Title 


Nights  of  Opera 


Exposition  Audit  or  iur.i 
Casino  Theatre 
Player's  Theatre 
Columbia 

Tivoli  Opera  House 
Curran  Theatre 
Sorosis  Hall 
Dreamland  Auditoriuin 


Total 


126 
62 

77 
25 
16 
29 
16 
28 
379 


'  A  H  g  -^  0 
i'.fc«dnoO)-6cCl-CS5I 


a 

'01 


■IL 

e 

V 

I 

I 

9X 


O.' 


■i-T-AS 


.rt/lioix. 


13,7 


OPERA  TROUPES 
1920   -   1930 


Chicago  Grand   Opera   Company 
Russian  Grand  Opera   Conpany 
San   Carlo   Opera  Corapany 
Tivoli   Opera   Company 
San  Francisco   Opera   Company 


OPERA 


1931   -   193^ 


Title 

Alda 

A  Life   for    blio  Ts^.r 
A  ]JaTji.gjity  Soy's  -Urei'Ta 
Bastien   '^.nd  B'Tstienue 

Barber  of  Seville 

Andrea  Chenier 

Cavalleria  Rusticana 

Carmen 

Das  Rheingold 

Dido  and  Aeneas 

Die  Melstersinger 

Don  Giovanni 

Die   Wallrare 

Don  Pasquale 

Emperor   Jones 

Paust 

Palstaff 

Fidelio 

Gianni    Schicchi 

G  6 1 1  e  rd  amine  rung 

Hansel  und  Gretel 

Impresario 

I  Pagliacci 

Iphigenla  in  Tauris 

Khanzade 

La  Boheme 

La  Forza  del  Destine 

Le  Coq  d  'Or 

L'  Enfant  Prodigue 

La  Gloconda 

La  Juive 

Lucia  di  Lammermoor 

Lakme' 

La  Traviata 

La  Tosca 


Number  of 
Performances 

18 

2 

1 

1 

3 

2 

8 

9 

2 

1 

3 

1 

5 

1 

1 
10 

1 

1 

1 

2 

4 

2 
10 

3 

1 
12 

4 

3 

1 

2 

2 

8 

2 
11 

9 


ox 


OS&X   " 


■A  fl  3  ^  0 
8SGI  -  IS2I 


:&ilflf«tO   orCiV 


fi. 


Si 


eu7. 


0  r  E  R  A 


1931  -  1938 


Title 


Nuinber   of 
?erf  orr.iances 


La  Rondino 

Lohengrin 

L'  Oracolo 

Marouf 

Martha 

Man on  Lescaut 

Madarae  Butterfly 

Mignon 

Norrna^ 

i^elleas  et  Melisande 

Orpheus  in  Hades 

Otello 

Rigoletto 

Ruddigore 

Rorrieo   et   Juliette 

Sarason  et  Dallla 

Siegfried 

Suor  Angelica 

Salome 

The  Bartered  Bride 

The  Girl  of  the  Golden  Vifest 

The  Magic  Piute 

The  Harvest 

Un  Ballo  in  Maschera 

The  Mikado 

The  Jewels  of  the  Madonna 

The  Marriage  of  Figaro 

Tales  of  Hoffnan 

The  Secret  of  Suzanne 

Tannhauser 

Tristan  und  Isolde 

Yeomen  of  the  Guard 

Vienna  Life 

Werther 


1 
7 
1 
1 
6 
6 
12 
2 
1 
1 
3 
6 
9 
2 
1 
3 
1 
1 
2 
1 
1 
3 
1 
2 
2 
3 
1 
8 
2 
7 
6 
6 
1 
1 


Total 


THEATRES 


1931  -  1938 


Title 


Nuinber  of 
Perf  omances 


Vifar  Memorial  Opera  House  226 
Little  Theatre  -  Palace  of  the 

Legion  of  Honor  20 

Veterans  '  Auditoriuiii  6 

Civic  Auditoriun  25 

Total  277" 


SI 

2 

I 


9bn 


filx 


ar.no: 


-^ 


9lJx: 


159 


OPERA  COMPANIES 

1931  -  1938 

San  Francisco  Opera  Conpany 

San  Carlo  Opera  Conpany 

Chariter  Opera  Singers 

San  Pi'anclsco  Chaa-.ibor  Opera  Co.  Inc. 


-.r.l    ..c 


140 


E;  CIVIC  QPEiA;  T£JJ  SEASONS  (1923-1932) 

(SAN  FRANCISCO  OPERA  ASSOCIATION) 
FIRST  Sx^ASON   1923   CIVIC  AUDITORIUM 

REPERTOIRE 


La  Boheme  Gianni  Schicchl 

Andrea  Chenier  Heflstofele 

II  Tabarro  La  Tosca 

Suor  Angelica  Romeo  et  Juliette 

I  Pagllacci  Rlgoletto 


PRI'^CIPAL  ARTISTS 

Giovanni  tiartinelll    Beniamino  Gigli 

Paolo  Ananian  Lela  Jolinston 

Louis  d'Angelo  Queena  Mario 

Guiseppe  de  Lucca  Giordano  Paltrinieri 

Adamo  Didur  Bianca  Saroya 

i/Ierlo  Epton  Anna  Young  -;;• 

Doria  Fernanda  -:;  Rene  Lazelle  -"- 

Alfredo  Gandolfi  A.  Neri 

Jose  Corral  Arnando  Tokatyan 
Albert  Gillette 

CONDUCTORS 


Gaetsno  i-Ierola         Giacomo  Spadoni 

ARTISTIC  STaFP' 

Armando  Agnini         Stage  Director 
Arturo  Casiglia        Chorus  Master 
Fatale  C&.rossio        Ballet  Master 
Roy  Coyle  Technical  Director 


Indicates  resident  sing-^r.   Names  of  resident  artists  not 
available  for  1923  pron;ram. 


(.i.- 


•rnrrnlQ 


■A 


c.T...J:TH. 


k  «^r  «'      O  <,<  U  I 


■  A      r^! 


'OJ^iBd-  To.  a  err.' 


E:  CIVIC  OP^RA;  TEN  SEASONS  (Cont'd.) 
SECOND  SEASON   1924   CIVIC  AUDITORIUM 


141 


RSPx^RTOIRE 

Andrea  Chenier         La  To sea 
La  Boheme  L'Amico  Fritz 

Rigoletto  Gianni  Scbicchi 

Man on  La  Traviata 

Madame  Butterfly 


GUEST  ARTISTS 


Beniamino  Gigll 
Jose  r.'lojica 
Giusepre  de  Luca 
Louis  d'Angelo 
Paolo  Ananian 
Francisco  Seri 
Albert  Gillette 


Claudia  Muzio 
Ludovico  Oliviero 
>i.illo  i-icco 
Thalia  Sabanleva 
Tito  Schlpa 
Queena  Mario 
Margareta  Brunt sch 


RjiSIDENT  ARTISTS 


Querita  Eybel 
Eva  de  Vol 
Du  Blois  Ferguson 
Mary  New some 
Amerigo  Frediani 
Helen  de  Vol 
Olive  Jones 
N.  Feduloff 
Rene  Lazelle 


Ruth  Shaffner 
Anna  Young 
Teresina  Monotti 
Glen  Clifford 
Anita  Olmstead 
Andre  Ferrier 
Constance  Moncla 
.'yrtle  Donnelly 
Evaristo  Alibertinl 


CONDUCTORS 

Gaetano  Merola         Glacomo  Spadoni 
Wilfred  Pelletier 

ARTISTIC  STAFF 


Armando  Agnini 
Arturo  Casiglia 
Natale  Corossio 


Stage  and  Technical  Director 
Chorus  Master 
Ballet  Master 


..:;.  ;.A^.^5u.0^ViQ..  :^ 


■Vjoi-  •■:&sex  •  'A(. 


^^-~tr.     _T 


1^ tr'^:'^''  O'^r^nn 

J 


lim'^'^U   ^milu- 


■  ■~.sj*i.^w-i  J-'- 


~.j 


142 


E;  CIVIC  OFi^RA:  T£N  S...A30FS  (  Cont '  d .  ) 

THIRD  SMSON  1925   CIVIC  AUDITORIUid 

REPii^RTGIRE 

Manon  Anima  Allegra 

Sanson  and  Delilah     A Ida 
La  To  sea  M-^rtha 

The  Barber  of  Seville   L'Amore  del  Tre  Re 
La  Traviata 

GUEST  ARTxSTS 


Marcel  Journot 
Vittorio  Trcvlsan 
Fornand  Ansseau 
Antonio  Cortis 
Claudia  iiuzio 
M-rgucrite  d'alvarc 


Cosare  For/.iichi 
Riccardo  Stracclari 
Tito  Schipa 
Rosina  Torri 
j^-linor  118  rlo 
Elvira  de  Ridr?.lgo 


Rx.3IDSNT  ARTISTS 


Elsie  Hilton  Cross 
Marl  am  Ellais 
Querlta  Jiybel 
Mary  "New some 
Anna  Yoimg 
Amerigo  Frcdlani 
Attillio  Vanniicci 
i.'larsden  Argall 


Audrey  Farncroft 
Rose  Florence 
Teres ina  Monotti 
Elizabeth  aVitter 
iilise  Golcher 
rlazarcth  Regoli 
Evaristo  Aiibertini 
Victor  Vogel 


Paul  Raymond  -Vright 

COi;:DUCTORS 

Gaotano  Merola         Pictro  Ciminl 
Alfred  Kurtgon         Charles  Lauwcrs 
Gi.n.cono  Spadoni 


ARTISTIC  oTAPF 


Giovanni  Grr.ndi 
GluscpjDO  Fapl 
Natrle  Cores sio 


Toclinical  Director 
Chorus  M.-^. star 
Ballot  Master 


c-rdiT: -■ 


^i    CIVIC    OPx.RA:    Tx:.!"    :3.aASON3    ( Cont '  ci .  ) 
FOURTH   3i.A30N      1925      CIVIC   AUDITORIUM 


Rii-PERTOIRii 


j'lanon 

riartha 

Aida 

La   Tosca 

Samson  and.  Delilah 

Rip-oletto 


Fauat 

Pra  Dlavolo 

Lucia   cii    •-anLTiermoor 

II   Trovatore 

The  Barber   of   SevilDe 

La   Boh^me 


GUEST  ARTISTS 


Paul  Aithoiise 
Richard.  Bonelli 
Giuseppe  Car clone 
Antonio  Gortis 
Desire  Defrere 
Florence  .lacbeth 
Charles  liar  shall 
Luella  i'lellus 
Claudia  Jiuzio 
Tito  Schioa 


Cesar e  Formichi 
Louise  .Homer 
Marcel  Joiirnet 
Aiiioldi  Lindi 
Virgin o  Lazzr.x'i 
.t^^linor  r'i-  rlo 
TCa  t hyrn  i ie  i  s  1  e 
i^ntonia  Nicollch 
Ludovico  Oliviero 
Vittorlo  Trevisan 


RESIDx^FT  .RTI3T3 


Evaristo  Allb-3rtini 
Charles  Bulotti 
Myrtle  C.  Do'-nolly 
Hazel  Huff 
Victor  Vogol 
HildGs?.rdc  Ott 
Irene  Fremont 
Wazaroth  Rcgoli 
Sal vat ore  Messina 

Paul  Ray 


Flosslta  Badger 
Audrey  Farncroft 
Ariiorigo  Frediani 
iidna  ^,    Smith 
Violctta  Polidori 
Carlita  Y?.tcs 
Pros;oor  Rcitcr 
I'larcella  I^niorr 
Paul  Gucntcr 
-,iond  ivl'''h.t 


CONDUCTORS 
Gaetano  Merola         Pietro  Cimini 
ASSIST 'NT  CONDUCTORS 


Charles  Lauwers 


Giacomo  Snadoni 


ARTISTIC  STAFF 


Armando  Agnini 
Giuse'ope  Papl 
Theodore  I>osloff 
Giovanni  Grandi 


Stage  Director 
Chorus  Master 
Ballet  Master 
Technical  Director 


o/'io:)^.a 


'tc' 


ii-:  lf^ox!'Ao<^y 


E:    CIVIC    0FL::A:    T^F   SEAoONo    (Cont'd. 
FIFTH    SEASON      1927      CIVIC   AUDITORIUIu 


RifilRTOIRii; 


Man  on 

Tristan  und  Isolde 

I  Fagliacci 

Turaxidot 

Romeo  at  Juliette 

Aida 


Carmen 

Cavalleria  Rustlc&na 

II  Trovatore 

La  Tosca 

Fal staff 

La  Boheme 


La  Cena  delle  Beffe 


GUL.ST  aHTISTS 


Pas  quale  -i-mato 
Louis  d'Ang;elo 
Ina  Bourskaya 
Desire  Defrere 
Florence  iiacbsth 
Giovanni  .ir^r  tine  111 
Ludovlco  Olivlero 
Frances  Peralta 
Ezlo  Plnza 
Katherlne  Seyraour 
Lavt;rence  Tifoet 


Slsa  Alsen 
Angelo  Bada 
Mario  Chainlee 
Rudolph  Laubenthal 
iilinor  li-rlo 
Kathyrn  iieisle 
i-'red  Fatten 
I'.iillo  Pi  ceo 
Anne  Roselle 
Antonio  ocotti 
Armand  Tokatyan 


RiiSIDSFT  ARTISTS 


Lvaristo  AUbertinl 
Lulu  iiac  Chapiaan 
Ellen  Deeley 
■iyrtls  C.  Donnelly 
Du  Blois  Ferguson 
I"b.rtha  Kipp 
Anna  ir^rkova 
Pcodor  Host in 
Paul  Guentor 
Elsie  l.xillbrrth 
V.-:^.loria  Post 
Austin  W.  Sncrry 
J.  Tulr-.gin 
Frederick  «'.'ahlin 


^-uiseppe  u-  rcione 
Avrion  Copeland 
Adolf!  Dinl 
Ji/inlfred  i^-stabrooi 
Irene  Fremont 
liazol  Kuff 
i.i'^rcclla  Knlcrr 
Cocila  Leo 
Sal  vat  ore  iviossina 
Gloc.ccliino  Flsano 
^iidna  E,  Smith 
Lina  Susulich 
i.laudc  Williams 
il'.ric  Kostln 


COKDUGTORS 

Gaetano  Aerola         Alfred  Hertz 
Pietro  Cimini 


Ao^I,.T_^,i:T  CGi  DOCTORS 

Antonio  dell 'Oref ice    Alfred  Hurtgen 
Ga stone  Uslcli         Charles  Lauwers 


^:    CIVIC  OPERA:  TEN  Su£A30NS  (Cont'd.) 
FIFTH  3i.A30R   1927   CIVIC  AUDITORIUM 


ARTISTIC  STAFF 


Giuseppe  Papi 
Theodor  Kosloff 
Armando  Agnini 


Chorus  i.iaster 
Ballet  Master 
Stase  and  Teclmical  Director 


SIXTH  3i:.A30F   1928   DR^AhLAKD  AUDITORIUI;; 


REPERTOIRE 


Aida 

La  Cena  delle  Beffe 

La  Tosca 

Madame  Butterfly 

Turandot 

L'Amore  del  Tre  Re 


Fedora 

Andrea  Chenier 

Faust 

Carmen 

Cavalleria  Rusticana 

I  Pa<3;iiacci 


GUEST  ARTISTS 


Edv/ard  Johnson 
Pompilio  I.iala testa 
Louis  d ' Angel o 
Maria  Jeritza 
Lodovico  Oliviero 
Ezio  Pinza 
Marian  Telva 
Armand  Tokatyan 


Angel o  Bada 
G.i.t:  3eppe  Oanise 
Gennaro  Barra 
Jose  Mercado 
willo  Ficco 
Elisabeth  Rethberg 
Lawrence  Tibbett 
Elda  Vettori 


RESIDENT  ARTISTS 


Eva  Gruninger  Atkinson 
Myrtle  C.  Donnelly 
Lenore  Ivey 
Marie  Emery 
Fedela  Forno 
Hazel  Huff 
Hildegarde  Ott 
Paul  Guenter 
Eleanor  Stadtegger 
liaude  Williams 
Adolfi  Dini 
Amerigo  Fredianl 
Austin  '»V,  Sperry 

Violetts  . 


Armanda  Chirot 
Rose  Florence 
May  T.  Elliott 
Du  Blois  Ferguson 
Fannetta  Gionas 
Mar ce 11a  Xnicrr 
Valeria  Post 
May  oewall 
Ethel  Twigg 
Joseph  Bonnecaze 
Attillo  Vannucci 
Evaristo  Aiibertini 
Paul  R.  Wright 
-olidori 


'^:    CIVIC    opera:    TEN    SLASONS    (  Cont '  d .  ) 
SIXTH    SjiASON      1928      DREAMLAND  AUDITORIUM 
CONDUCTORS 


Gaetano  Merola         Pietro  Cimini 
Wilfred  Pelletier 

ASSISTANT  CONDUCTORS 

Giacomo  Spadoni        Gas tone  Usigli 
Antonio  dell 'Oref ice 

ARTISTIC  STAFF 

Arraando  Agninl         Stage  and  Technical  Director 
Serge  Oukrainslcy       Ballet  Master 
Antonio  dell'Orefice   Chorus  Master 


SEVENTH  SiLASON  1929  D.'IEAMLAl^TD  AUx/ITORIUM 

REPERTOIRE 

Rigoletto  Manon 

Hansel  und  Gretel  Gianni  Schicchi 

L'Elisir  d'Amore  I  Pagliacci 

II  Trovatore  Martha 

La  Boheme  A Ida 

Don  Pasquale  Faust 
The  Barber  of  Seville 

GUEST  ARTISTS 

Giuseppe  de  Lucca  Louis  d'Angelo 

Giacomo  Laurl-Volpi  Queena  Mario 

Pompllio  Malatesta  Gi.lseppe  Danise 

Gennaro  Barra  Kathyrn  Melsle 

Nina  Morgana  Ludovico  Oliviero 

Millo  Picco  Elisabeth  Rethberg 

Leon  Rothier  Tito  Schipa 

RESIDENT  ARTISTS 

Edna  E,  Smith  Marguerite  Sogond 

Austin  W,  Snerry       Hazel  Huff 
Lola  Perdue  Ethel  Twigg 

Maudeline  Smith        Ruth  Treweek 
Eva  Gruninger  Atkinson  Paul  R,  Wright 


(   t'\.-  :.)  c^^u 


'X-  /J  111  ^     J    '0  I 


jul><-f' 


hnc- 


Ctrl-.. 


'Aissj-D 


■ .    -.-. ._  —  

Irrvi- 

'0^«A 

.eiTfA- 

^-^^i. 

■IV-"..  /'v-'- 

-      .  .  .,  ^  -.u^    .: 

tr., .;,;   i.  ;.v)  '.    -i;^.  ,  ,i  ■--.  ■  : -■•i' 


147 


i;;  CIVIC  OP]i.RA:  Tx^N  Si^ASOHS  (Cont'd.) 
S2VENTK  SEASON   1929   DREAMLAlv-D  AUDITORIUM 


RESIDENT  ARTISTS 


I/iay  Sev/all 
Adeline  River o 
Bianca  Bruni 
Hilda  Roinaino 
Hlldegarde  Ott 
Dan  Steger 
Lenora  Ivey 
Eu;5;onio  Sandrini 


Piotro  Cimini 
Gaetano  acrola 
Karl  Ricdel 


Suzanne  Torres 
Du  Blois  Ferguson 
Zarubi  J-^lmassian 
Charlotte  Hodge 
Joseph  Bonnecaze 
Anna  Young 
Evaristo  Aiibortini 
Giovanni  GGrmanetti 


CONDUCTORS 


Antonio  dell 'Or of ice 
V/ilfred  i-elletior 
Giacoino  Snadoni 


ARTISTIC  STAFF 


Sorgo  Oukrainsky 
Armando  Agnini 
Antonio  doll 'Orof ice 


Ballet  Master 

St£>go   and  Technical   Director 

Chorus   Mas tor 


EIGHTT.    SEASON      1930      CIVIC   AUDITORIUM 


RSF^RTOIRE 


Cavalloria  Austicana        Tannh'duscr 


I  Paglic.cci 

Mignon 

Lucia   dl   Larmnormoor 

La   Tr?.viata 

La  Bohcine 


Faust  ^ 

Salome 

Hansel  und  Gi-ctel 

Girl   of   The   Golden   tfVcst 

A  Nr.ughty  Boy's  Dream 


GUEST  ARTISTS 


John  Ch?-rles  Tho- 
Elinor  Mario 
Millo  Piece 
Louis  d ' Angel o 
Claire  Clairbert 
Maria  J^ritza 


Qucena  Mcrlo 
Ezio  Pinza 
Sidney  Rr.ynor 
Beniamino  Gigli 
Hope  Ka-nipton 
Frederick  Jagel 


lu device  Oliviero 


E;    CIVIC   Ox^EKA;    TEN   SiziASOns    ( Cont  'd .  ) 
EIGHHII   SEASON      1930   CIVIC   AUDITORIUM 


RESIDENT   -v^TISTS 


Z  a  r uh  i  S  Irn  a  s  s  i  an 
Charlotte  f-Iodge 
Du  .olois  Ferguson 
Dan  Stegcr 
Johann  Rlodel 
Tudor  Williams 
Giordano  Paltriniori 
Nullo  Garavacci 
Zoia  DimitriCif 
Bianca  3runi 
Laura  Cioni 
Edward  Fadcm 
Evaristo  Alibortini 

licleno 


Eugenio  Sandrini 
Suzanne  Torres 
Andre  Ferrier 
Dorothee  ilanski 
Eva  Gruninger  Atkinson 
Russell  Horton 
Audrey  Farncroft 
Alexandra  Kovaleff 
Jolce  Zeckhardt 
Gaetano  Viviani 
Carlo  Cozzi 
Robert  Sellon 
Fanotta  Gionas 
5trauso 


Gaetano  ll>^rola 
Karl  Riodol 


CONDUCTORS 


Gxacomo  Spndoni 
iVilfred  Fellotior 


Antonio  dell 'Orof  ic>. 


AUTISTIC  STAFF 


Armando  Agnini 

Sorgo  Oukrrdnsky 
Antonio  dell 'Oref ice 


Stage  and  Tochnicil  Director 
Ballot  Master 
Chorus  Master 


NIJITH  SEASON   1931   CIVIC  AUDITORIUM 


REPERTOIRE 


Marouf 

Aid  a 

Lohen£Tin 

Andrea  Chenier 

Mad  fane  But  t  eri  ly 

Un  Ballo  in  Mascher^ 


La  To  sea 

Taixnhauser 

La  Boheme 

II  Trovatore 

Die  Meistersinger 

Carmen 


GUEST  ARTISTS 


Mario  Chamlee 
Yvonne  Gall 
Giovanni  Martmelli 


Faina  Petrova 
Got  the  If  Pistor 
Elisabeth  Rethberf 


710     ioi 


E;  CIVIC  OPERA:  TEN  SlSASONS  ( Cont '  d .  ) 

i'JINTH  SEASON   1951   CIVIC  AUDITORIUM 

GUEST  ARTISTS 

iviaria  Mueller  Louisa  Silva 

Marek  Wlndlielm  Louis  d'Angelo 

Millo  Plcco  Ludovlco  Oliviero 

Giusep 'je  Danise  Ezio  Pinza 

RESIDELIT  ARTISTS 

Eugenic  Sandrini  Eva  Gruninger  Atkinson 

Georges  Simondet  Alexandre  Julian 

John  Radio  Delphlne  Murpliy 

Maxlne  Castle ton  Helene  Strauss 

Russell  Horton  Myrtle  McLaughlin 

Robert  Sellon  Tudor  Williams 

Arnold  Gabor  Charlotte  Linne 

Predorich  Schorr  Du  Blois  Ferguson 

Dudley  Clark  Andreas  de  Sogurola 

Robert  Edraunds  Audrey  Farncroft 
Edv/ard  Fadcrn 

CQI'TOUCTORS 

i-Tans  Blochschinidt        Gaetano  i.lerola 
Piotro  Clmini  Wilfred  Pellet lor 

Antonio  dell 'Orifice     Karl  Riedel 

ARTISTIC  STAFF 


Ernest  Belcher  Ballet  Master 

Antonio  dell 'Orcf ice     Chorus  Master 
Aririando  Ap-nini  Stage  and  Technical  Director 


TEIITH  SEASON   1952  \JiiR   MEMORIAL  OPERA  HOUSE 

REPERTOIRE 

La  To sea  I  Pagliacci 

Lucia  di  Larnmermoor  Lohengrin 

Die  Meistersinger  Faust 

Rigoletto  II  Trovatore 

Cavallerla  Rusticana  La  Traviata 

GUEST  ARTISTS 

Richard  Bone  111  Queena  Mario 

Dino  Borgloli  Kathyrn  Me isle 


E:  CIVIC  OFJRA;  TEN  SEAGOUS  ( Cont ' d . ) 
TENTH  SEASON   1932   WAR  MEMORIAL  OPEiiLA.  HOUSE 


GUEST  ARTISTS 


Mario  Chamlee 
Louis  d'Angelo 
Arnold  Gabor 
Alfredo  Gandolfi 
Marie  Lothrop 
Claudia  Liuzio 


Francesco  Merli 
Maria  Mueller 
Lily  Pons 
Frederich  Schorr 
Tandy  Mackenzie 
Ezio  Pinza 


RESIDENT  ARTISTS 


Evaristo  Alibertinl 
Bianca  3runi 
George  Eldredge 
Eva  Grunlnger  Atkinson 
Terry  Lafranconi 
Evelyn  Mac Nov in 
Katerina  Malova 
Myrtle  McLaughlin 
George  Siinondet 
Helene  Strause 

Tudor  I'Villiai 


Marsden  Argall 
Zoya  Dimitrieff 
Lelia  Gajnhl 
Russell  Horton 
Charlotte  Llnne 
Bascha  Malinoff 
Raymond  IrTlowe 
May  Sewall 
Austin  Sperry 
Cuthbert^Tih  je 


CONDUCTORS 

Gaetano  Merola  x'ietro  Cimini 

Hans  Blechschinidt 

ASSISTANT  CONDUCTORS 

Arturo  Casiglia  Nino  Cornel 

Alfred  Hurtgen 

ARTISTIC  STAFF 


Armando  Agnini 
Estelle  Reed 
Hans  Blechschraldt 


Stage  and  Technical  Director 
Ballet  Supervision 
Chorus  Master 


noenjty 


F:   VifAR  MEMORIAL  OPERA  HOUSE  (1933-1938) 


REPSRTOIRI 


Sanson  et  Dallla 
Tristan  und  Isolde 
The  Emperor  Jones 
Csvallerla  Rusticana 
I  x-agliaccl 
La  Boheiie 


Le  Coq  d'Or 

Manon 

The  Secret  of  Suzanne 

Alda 

La  Traviata 

La  Forza  del  Destino 


GUEST  ARTISTS 


Paul  Althouse 
Sidor  Belarsky 
Richard  Bonelli 
Lucrezla  Bori 
Louis  d'An.f^elo 
Alfredo  Gandolfl 
Ludovico  Olivlero 
Lawrence  Tlbbett 


Giovanni  Martlnelli 
Gertrude  Xnappel 
Tandy  MacKenzie 
Kathryn  Me isle 
Nina  Morgana 
Claudia  Muzio 
Ezio  Plnza 
Cyrena  Van  Gordon 


RESIDENT  ARTISTS 


Otello  Baldacci 
Evaristo  Alibertini 
George  Eldredf,e 
Andre  Ferrlcr 
Aiierlgo  Fredianl 
Madeline  Lanz 
Alfred  Levi 
Raymond  Marlov;e 
May  Sev;all 
Robert  Stanton 
Helene  Strauso 
Alberto  Vannucci 


Eugene  Anderson 
G.  A.  Battaglia 
Querita  Eybel 
Ester  Polli 
Ernily  Hardy 
Myrtle  Leonard 
Max  Lorenzinl 
Myrtle  McLaughlin 
Georges  Sir.iondet 
Nathan  Stev/art 
Arena  Toriggino 
Lot  ha  Vifayne 
Joseph  V'/illlams 


CONDUCTORS 


Gaetano  Merola 
Vi/ilfred  Pelletier 


Alfred  Hertz 
Antonio  dell 'Oref ice 


ASSISTANT  CONDUCTORS 


Glacorao  Spadoni 


William  Tyroler 


xiif)ij.'!c:c 


ARTISTIC    STAFF 


Aclolph  Bol:n 
Ariiiando  Agninl 
Antonio  dell 'Oref ice 


Ballet  Master 

Stage   and  Teclinical  Director 

Chorus  Master 


TVffiLFTH   SEASON   1934  WAR  MEMORIAL   OPERA  HOUSE 


REPERTOIRE 


The  Bartered  Bride 

La  To  sea 

Carmen 

Man  on 

Madame  Butterfly 

Otello 


Lakcie 

Tanhhauser 

Faust 

La  Traviata 

La  Rondine 

Mlgnon 


GUEST  ARTISTS 


Richard  Bonelli 
Lucrezia  Bori 
Lillian  Clark 
Louis  d'Angelo 
Alfredo  Gandolfl 
John  Ellis 
Laurltz  Melchior 
Elinor  Mario 


Ezio  Plnza 
Hans  Taenzler 
Dino  Borgioli 
Mario  Chamlee 
Richard  Crooks 
Lotte  Lehraann 
Elisabeth  Rethberg 
Ninon  Vallin 
Marek  Windheim 


RESIDENT  ARTISTS 


Georges  Simondet 
Evaristo  Alibertini 
Flossita  Badger 
Querita  Sybel 
Andre  Ferrior 
Jeanne  Ferrier 
Ester  Polli 
Amerigo  Frediani 
Bo  mice  Glando 


He lone 


Georgette  Schiller 
Eva  Gruninger  Atkinson 
Emily  Hardy 
Jack  Howell 
Madelaine  Lanz 
Myrtle  McLaughlin 
Rayraond  Marlowe 
Helene  Nostrom 
Edna  E.  Smith 
Strauso 


Pletro  Cimini 


CQiroUCTORS 

Gaetano  Merola 
Alfred  Hertz 


'>'4i:        .   .  •  ■  M,-' 


I9e-L'. 


:l..iii:iixi    ^ic-i-K. 


.  ^-i, ^•*.=  •I J '       JP.OL oil 


1:. 


ASSISTANT    CONDUCTORS 


Nino   Cornel 
Arraando   Petruccl 


Maurice  Ronyer 
William  Tyroler 
Antonio  dell 'Oref ice 


ARTISTIC    STAFF 


Amando 

Antonio  dell 'Oref ice 

Adolph  3olm 


Stage  and  Technical  Director 
Chorus  Master 
Ballet  Master 


THIRTEENTH  SEASON  1955  WAR  I^MORIAL  OPERA  HOUSE 
REPERTOIRE 


Der  Ring  Des  Nibelungen; 

Das  Rheingold 
Die  Vifalkiire 

Sio,3fried 

G{5tt  era  amme  rung 


Alda 

La  Juive 

Barber  of  Seville 

Rigoletto 


Martha 
Wert her 
La  Boheme 
Suor  Angelica 


GUEST  ARTISTS 


Chase  Baromeo 
Hans  Clemens 
Doris  Doe 
Klrsten  Plagstad 
Alfredo  Gandolfi 
Helen  Jepson 
Dorothee  Manski 
Kathryn  Me isle 
Tito  Schipa 
Gu stave  Schutzendorf 


Richard  Bonelli 
Louis  d'Angelo 
Nelson  Eddy 
Helen  Gahagan 
Coe  Glade 
Emanuel  List 
Giovanni  Martinelli 
Lauritz  Melchior 
Prederich  Schorr 
Marek  Windheim 


Elisabeth  Rethberg 


RESIDEivIT  ARTISTS 


Otcllo  Baldacci 
Evarlsto  Alibertino 
Douglas  Seattle 
Marguerita  Brunt sch 


Querita  Eybel 
Alice  Fendall 
De  Blois  Ferguson 
Irene  Fremont 


eoileiO'Ii 


lioJbf. 


RESIDENT  ARTISTS 


Olga  Callahan 
Rubsie  Glragosslanta 
Bernice  Glando 

Eva  Gruninger  Atkinson 
Emily  Hardy 
John  Hov/ell 
Lina  Knoph 
Rayriiond  liarlowe 
Helen  Nostrorn 
Florence  Ringo 
Jeanette  Scholl 
Edna  E.  Smith 
Josephine  Tumminia 
Gerald  Watt 


Gertrude  Gerdau 
Pannetta  Gionas 
Esther  Green 
Paul  Guenter 
Jean  Hartman 
Oliver  Jones 
Marie  Leandre 
Jean  Merrill 
Margaret  O'Dea 
Georgette  Schiller 
Henri  Shefoff 
Catherine  Steed 
Alberto  Vannucci 
Paul  Y'Jright 
Anna  Young 


COFDUCTORS 


Artur  Bodanzky 


Gaetano  Merola 
Richard  Lert 


AS3ISTAIW  CONDUCTORS 


Herraan  '.'eigert 
Antonio  dell 'Oref ice 


Nino  Gomel 
Karl  Riedel 
i.IauricG  Rouyor 


ARTISTIC  STAFF 


Adolph  3olm 
Armando  Agnlni 
Antonio  dcll'Orefice 


Ballet  Master 

Stage  and  Technical  Director 

Chorus  Master 


FOURTEENTH  SEASON  1936  WAR  MEMORIAL  OPERA  HOUSE 
REPERTOIRE 


La  Juive 

La  To  sea 

Tristan  und  Isolde 

Rigoletto 

Marriage  of  Figaro 

Gianni  Schicchi 

II  Trovatore 


La  Forza  del  Destine 


Barber  of  Seville 

Otollo 

Carmen 

G o t t e rd ammo rung 

I  Pagliacci 

Die  Walkurc 

Das  Rheingold 


»"!'■ 


yoiloi 


00. 


.,(.'1. 


GUEST  ARTISTS 


Perry  Askain 
Bruna  Castagna 
Hans  Clemens 
Doris  Doe 
Arnold  Gabor 
Charles  Kullman 
Eitianuel  List 
Giovanni  i.iartinelll 
Lauritz;  Melchior 
Ludovico  Oliviero 
Elisabeth  Rethberg 
Lawrence  Tibbett 


Charlotte  Boener 
Worman  Cordon 
Louis  d'Angelo 
Kirsten  Plagstad 
Alfredo  Gandolfi 
Lotte  Lehmann 
Dorothee  Manskl 
Kathryn  Me isle 
Carlo  More 111 
Szlo  Pinza 
Frederich  Schorr 
Gina  Vanna 


RESIDENT  ARTISTS 


John  Burr 
Louis  Braunstein 
Evaristo  Alibertini 
Olga  Ballohan 
Paul  Guenter 
John  Howell 
Oliver  Jones 
Llna  Kroph 
Jean  Merrill 
Margaret  O'Dca 
Roy  Russell 
Geraldine  Watt 


Irene  Fremont 
Leslie  George 
Bernice  Glando 
Esther  Green 
Elizabeth  Hackett 
Gv/ynfi  Jones 
Kathleen  Lav;lor 
Jeanette  Masohlo 
Mari  Monte 
Lawrence  Shcrrill 
Josephine  Tuirtrainia 
l-aul  I'Vright 


CONDUCTORS 


Gactano  Mere la 
Fritz  Reiner 


Gennaro  i'api 
Richard  Lcrt 


ASSISTAOT    CONDUCTORS 


Glacorao  Spadoni 
Maur i  c c  Rouy e r 
William  Tyroler 


Frederick  Vajda 
Antonio  dell 'Orcf ice 
Huso  Strelitzer 


ARTISTIC  STAFF 


Vi'illiam  Tyroler 
Adclph  Bolm 
Armando  Ap-nlni 


Chorus  Master 
Ballet  Master 
Stase  and  Teclinlcal  Director 


4 


•  ->?»; 


FIFTEENTH   SEASON   1957   WAR  J/IEMQRIAL   OPERA  PIQUSE 
REPERTOIRE 


Aida 

La   Boheine 

Un  Ballo   In  Maschera 

Tristan  und   Isolde 

l.iadame  Butterfly 

Laloiid 

La  Traviata 


Romeo   and  Juliet 

Lohengrin 

Pidelio 

Manon 

Norma 

Faust 

Rigoletto 


GUEST  ARTISTS 


George  Cehanovslcy 
linns  Clemens 
Charlotte  Boerner 
X  errj'"  Ask  am 
Richard  Bone 111 
Vina  Bovy 
Julius  Huehn 
Charles  Kullmr.nn 
Rene  Mai son 
Kathryn  Me isle 
Ezio  Pinza 


Gina  Cigna 
Helen  Beatty 
Norman  Cordon 
Dorothy  Cornish 
Bruna  Castagna 
Klrsten  Flagstad 
Ludv/ig  Hofman 
Emanuel  List 
Giovanni  Martinclli 
Laurltz  Melchior 
Lily  Pons 
Rose  Tentoni 


RESIDEiW  ARTISTS 


Jean  Balfour 
Andre  Perrier 
Olga  Callahan 
Leslie  George 
raul  Guenter 
Francis  Hathaway 
Oliver  Jones 
Charlotte  Landan 
Edward  Longhery 
Gino  Mancini 
xlenri  Shefoff 
Josephine  Tumminia 


Evaristo  Alibortini 
Alton  Bcrnhard 
Ja3mo  Cozzens 
Enther  Green 
Elizabeth  Hackett 
John  Hov/ell 
Lina  Kroph 
Max  Lorenzini 
Grace  Lusoorabe 
Roy  Russell 
Lawrence  Sherrill 
Edith  Viiishart 


CONDUCTORS 


Gaetano  Merola 
Pletro  Cimini 


Fritz  Reiner 
Gennaro  x^api 


.•»£«£.     ^ 


157 


ASSISTANT    COroUCTORS 


rietro  Cimara 
William  Tyroler 
Antonio  dell 'Oref ice 


Willian;  Van  Den  Burg 
Giacomo  Spadoni 
Hermann  V/eigert 


IVilliam  Tyroler 
Serge  Oukrainsky 
Armando  Agnini 
Herbert  Graf 


ARTISTIC  STAFF 


Chorus  Master 

Ballet  Master 

Stage  and  Technical  Director 

Stage  Director  of  German  Opera; 


SIXTEENTH  SEASON  1938  WAR  MEMORIAL  OrERA  HOUSE 


RErERTOIRE 


Andrea  Chenier 

Martha 

Cavallerla  Rusticana 

lelleas  et  Melisande 

Elektra 

La  Boheme 


Don  Giovanni 

Die  Meister singer 

Don  i-asquale 

Lucia  di  Lamraermoor 

La  Porza  del  Destine 

Le  Coq  d'Or 


Barber  of  Seville 


GUEST  ARTISTS 


Salvatore  Baccaloni 
Ro  se  Pauly 
Beniamino  Gigli 
Dino  Borgioli 
Olive  Ponitz 
Anne  Jamison 
George  Cehanovsky 
Elisabeth  Rethberg 
Charles  Kullman 
Norman  Cordon 
Ebe  Stignani 
Galliano  Masini 
Doris  Doe 
Kerstin  Thorborg 
Janine  Micheau 
Arnold  Gabor 


Alessandro 


Carlton  Gauld 
Richard  Bonelli 
Ezio  Pinza 
Julius  Huehn 
Georges  Cathelat 
Lily  Pons 
Irene  Jessner 
Hans  Clemens 
Frederich  Schorr 
Karl  Laufkoectfci- 
Louis  d'Angelo 
Carlo  Tagliabue 
Nicholas  Mas sue 
Mafalda  Favero 
Thelma  Votipka 
Ludovico  Ollviero 
jlliani 


S-Ufo   n'M  rtaV  iffijlXIiV.' 


T'lATc:  :'j'i}^.r?nh 


■l<-- 

r ,  .-• 

r.JR 

jt. 

.  J. . » . . , 

,-.  -  . 

.  lA 

0.^10 

.-ttscr 

•16rl 

':  oi;.Ie?.iX^•^^  ttfi  a  09X16. 


SxsiTiiA  oieasjo 


tXynO  .':iQvtX'tfiO 

■■'■■     ^:ii- 

a:;.:-.".ni:'   Rr;;^^ 
1  n  c^H »( >  f  •  p i. 'i  t^  ? ■:« 'r ''i 


YXiJ^'i     SZO'il 

XXoij^iioO  onxCI 
sctino^  9viX0 

:iiE?iTtIXi-vi   r 


iitXnE.^ 


a^o 


■IV 


}tlu\»ts:o£k 


RESIDENT  ARTISTS 


Evarlsto  Alibertini 
Joiin  Howell 
Alice  Avakian 
Lina  Kroph 
Sue  Bell  Brown 
Max  Lorenzini 
Dorothy  Cornish 
Kathleen  Lawlor 
Lelia  Gamhi 


Eva  Gruninger  Atkinson 
Mary  Helen  Markhani 
Leslie  George 
Alma  Mlchellni 
Carl  Hauge 
Malcolm  Yoiings 
Hilda  Herz 
Prank  Pal-umbo 
Taul  Walti 


CONDUCTORS 


Gaetano  Merola 
Gennaro  Papi 


Fritz  Reiner 
Erich  Leinsdorf 


ASSISTANT  CONDUCTORS 


Otello  Ceroni 
Antonio  dell 'Oref ice 
William  Tyroler 


William  Van  Den  Berg 


Pietro  Cimara 
Giacomo  Spadoni 
Frederick  Vajda 


ARTISTIC    STAFF 


William  Christensen 
William  Tyroler 
Armando  Agnini 


Ballet  Master 
Chorus  Master 
Stage  and  Technical  Director 


Note:  Titles  of  some  oper^.s  are  given  variously  in  the  orig- 
inal or  in  English  to  conform  with  the  manner  in  which 
they  were  billed  at  the  time  of  performance. 


•J!:;.' 


.£:iii2'l0:»J<3fO0 


i-XTT.vij&il&lSRA 


ii6^r>*\.:  L •  if! t>liti*"e- 


OPERA  COMPANIES:   VISITING  AND  LOCAL 


1850  -  19oi 


Abbott  Grand  Opera  Company 

Aborn  Opera  Company 

Albanl  Opera  Company 

Barili  Tliorne   Opera  Company 

Bianchi  Montaldo   Opera   Company 

Bisclantl   Italian   Opera   Company 

Anna  Bishop's  and  Barill-Thorne ' s   Opera   Company 

Bonlieur   Italian   Opera   Company 

Briijuoll  Troupe 

i/tne.    Callly  French   Opera   Company 

Campobello  Opera  Company 

Cprleton  Opera  Company 

Chtuiiber  Opera  Singers  Company 

Chicago  Opera  Company 

Coliimbla  Comlo  Opera  Company 

I/Ime .  d'Ormy's  Italian  Opera  Company 

Duff  Opera  Company 

English  Grand  Opera  Company 

Federal  Music  Project  (Chorus  and  Orchestra) 

Perrier  Opera  Company 

French  English  Opera  Company 

French  Operatic  Organization 

Galnbiagglo  Slenl  Lampalnl  Opera  Company 

Gallottl  Fiasco  Italian  Opera  Company 

German  Hebrew  Ope.L'a  Company 

German  Opera  Company 

Ghionl  Italian  Opera  Company 

Win.  Gilmore  Opera  Company 

Grand  Italian  Opera  Company 

Kate  Hayes  Opera  Company 

Her  Majesty's  Opera  Company 

Hess  Opera  Company 

Hov/son  English  Opera  Company 

International  Opera  Company 

Italian  Opera  Troupe 

Kellogg-Cary  Combination 

Klrabal  Opera  Comlque  and  Burlesque  Company 

Klralfy  Brothers  Opera  Organization 

Klrke  La  Schelle  Combination 

LP-mbardi  Opera  Company 

La  Scala  Gr^nd  Opera  Company 

Latin  Quarter  Opera  Company 

Lyster  English  Opera  Company 

L9jnbardl  Grand  Opera  Company 

Mo  Caul  Opera  Company 

Madrid  Spanish  Opera  Company 

Melville  Opera  Company 


Y'-t 


y.c: 


xnrq 


.-  n 


G  t      OrERA  COMPANIES:   VISTTIHG  AITO  LOCAL 
1850-1938  (Cont'd.) 

i-ilice  Oatcs  OpercL  Company 

Pellegrini  Opera  Troupe 

rlanel  French  Opera  Company 

Pollards  Juvenile  Opera  Company 

National  Opera  Company 

New  York  Opera  Company 

Royal  Opera  Company 

Russian  Opera  Company 

Sembrich  Opera  Company 

Marguerite  Silva  Comic  Opera  Company 

Sraerichias  Grand  French  Opera  Company 

Em.ily  Soldene  Opera  Company 

Southwell  Opera  Company 

Tamaki  riiura  Japanese  Prima  Donnas  and  Company 

Tavary  Grond  Opera  Company 

Thalia  Opera  Company 

The  Boston  Comic  Opera  Company 

The  Bostonians  English  Opera  Company 

The  California  Opera  Company 

The  Comedy-Barton  Opera  Compnny 

The  Pabbri  Opera  Company 

The  Pay  Temple  ton  Opera  Company 

The  Judic  Opera  Company 

The  Pe^)oonhci'ri  Opera  Compmiy 

The  Persse  Mason  Opera  Company 

The  Philips  Italian  Opera  Company 

The  Pyle  Opera  Company 

The  New  Bostonians 

The  Richings  Italian  Opera  Company 

The  San  Carlo  Opera  Company 

The  San  Francisco  Chamber  Opera  Company 

The  San  Francisco  Opera  Company 

The  Scott i  Grand  Opera  Company 

The  Anna  Thillon  English  Opera  Troupe 

The  Thompson  Opera  Company 


I 


161 


H:   OPERA  HOUSES 
1850  -  1938 

Academy  of  Music 

Adelphi  Theatre 

Alcazar  Theatre 

Alhambra  Theatre 

Araerican  (2nd) 

Baldv/in '  s  Academy 

Bush  Street  Theatre 

California  Theatre 

Casino  Theatre 

Central  Theatre 

Columbia  Theatre 

Curran  Theatre 

Cort  Theatre 

Dreamland  Auditorium 

Gaiety  Theatre 

Garrick  Theatre 

Grand  Opera  House 

Grays  Opera  House 

Exposition  Auditorium 

Knights  of  Columbus  Theatre 

Liberty  Theatre 

Little  Theatre,  Palace  of  the  Legion  of  Honor 

Majestic  Theatre 

Macdonough  Theatre 

Maguire's   Opera  House 

Metropolitan    (1st   and  2nd) 

Orpheura  Theatre 

Pacific  Hall   Theatre 

People's  Palace  Music  Hall 

Powell  Theatre 

Princess  Theatre 

Piatt's  Theatre 

Standard  Theatre 

Sorosis  Hall 

The   Players 

Tivoli  Theatre 

Union  Theatre 

Valencia  Theatre 

Van  Ness  Theatre 

Veterans  Atiditorium 

Morosco's  Grand  Opera  House 

VYar  Memorial  Opera  House 

Wade ' s  Opera  House 

Winter  Garden 


.  _-u-^; 


oaeij 


I.   GROVE  PLAYS  OP  THE  30II3MIAK  CLUB 


1902  -  THE  lAN  IN  THE  FOREST,  A  Legend  of  the  Tribe 

Author  t  Charles  II.  Field 
Composer:  Josepli  D,  Redding 

1903  -  MONTEZUFlA.,  A  Legend  of  the  prediction  of  the  coraing 

of  Gortez 
Author:  Louis  A.  Robertson 
Composer:  H.  J.  Stevi/art 

1904  -  THE  HAi'IADRYADS,  A  flasque  of  Apollo 

Author  :  Will  Irv/in 
Composer:  Vif,  J,  McCoy 

1905  -  TriE  QUEST  OF  THE  GORaON,  A  J.^usical  Drama 

Author :  Newton  J.  Tharp 
Composer:  Theodor  Vogt 

1S06  -  TEE  0',L  Al^ID  CARE,  A  Spectacle 
Author:  Charles  I",  Field 
Composer:  Dr.  ii.  P.  Stewart 

1007  -  TEE  TRIUMPH  OF  BOHEI'IA,  A  Forest  Play 
Author:  George  Sterling 
Composer:  Ed^.-.'ard  F.  Schneider 

1908  -  THE  SONS  OF  BaLDUR,  A  Forest  Music-Drama 

Au  t  ho  r  :  He  rma  n  3  c  he  f  f  aue  r 
Compo  s 0  r :  Aur t hur  Wc  i  s  s 

1909  -  ST.  PaTRICt:  AT  TA...A,  A  Forest  Play 

jiuthor:  H.  Morse  Stephens 
Composer:  ^."/allaco  ^x.  S&bm 

1910  -  TEE   CAVE  I\'U.K,  A  Play  of  the  Redwoods 

xiuthor:  Charles  K»  Field 
Composer:  ^'7.  J,  McCoy 

1911  -   THE   GREEN  KNIGHT,    A  Vision 

Author  :    Porter  Go.rnett 
Composer:   Edward  G.    Stricklen 

1912  -   THE   ATONEMENT    OF   PMi ,    A  Music-Drama 

Author :  Joseph  D.  Redding 
Composer:  Henry  Hadley 


GROVE    FLAY3    OF    THE    BOKEMIAIM   CLUB    (Cont'd.) 


1915   -  THE  FALL  OF   UG,    A  Masque   of   Pear 
Author:   Rufus    Steele 
Com;^30ser:   Herman  Perlet 

1914  -   NEC-NaT AIvLA    (Comradeship)!    A  Forest   Play 

Authors    J.   Vifilson   Shiels 
Composer:   Uda  Waldrop 

1915  -  APOLLC,    A  Music-Drams. 

Author:  Frank  Plxley 
Composer:  Edv/ard  F.  Schneider 

1916  -  GOLD,  A  Forest  Play 

Author :  Frederick  S.  f.Iyrtle 
Composer:  H.  J.  Stev/art 

1917  -  THE  LAMD  OF  HAPPINESS,  A  Music-Drama 

Author:  Charles  Templeton  Crocker 
Composer:  Joseph  D.  Redding 

1918  -  TliE  TWILIGHT  OF  THE  KINGS,  A  Masque  of  Democracy 

Author  :  Richard  M.  iiotaling 
Composer:  Wallace  A.  Sabln 

1919  -  LIFE,  Tribal  dr.aiiia  of  prehistoric  times 

Author  :  Harry  Leon  V/ilson 
Composer:  Domenico  Srescia 

1920  -  ILYA  OF  MUROM,  A  Legend  of  Little  Russia 

Author:  Charles  Caldwell  Dobie 
Composer:  Ulderico  Harcelll 

1921  -  ST.  JOHN  OF  NEFOI-lUK,  A  play  of  Medieval  Bohemia 

Author:  Clay  M.  Greene 

Composer:  Dr.  Hujuphrcy  M.  Stevvart 

1922  -  THE  ROUT  OF  THE  PHILISTINES,  Biblical  Forest  Drama 

Author:  Charles  G.  Norris 
Composer:  Nino  Marcelll 

1923  -  SEMPER  VIRENS,  A  drama  of  the  early  California  su- 

premacy taetv/een  the  Russians  and  the  Spaniards 
Author:  Joseph  D.  Redding 
Composer:  Henry  Hadley 

1924-  -  RAJVARA,  A  play  of  Ancient  India 
Au  t  ho  r  :  Ro  y  Ne  i  ly 
Composer:  Vtfheeler  Beckett 


164 


I.   GROVib  FLAYS  OF  TEE  30  HEM  I AI'^  CLUB  (Cont'd.) 


1925  -  V^/INGS,  A  fantasy  of  the  Insect  V.'orld 

Author;  Joseph  S.  Thompson 
Composers  George  Edwards 

1926  *-  TRUTH,  A  poetic  allegory 

Author :  George  Sterling 
Coraposer:  Doraenico  Brescia 

1927  -  ST.  FRANCIS  OF  AS":ISI,  A  play  of  San  Francisco's 

patron  saint 
Author :  Irving  Fichel 
Composer:  Charles  Hart 

1928  -  I'AKDA,  A  legend  frora  the  Sanskrit 

Author  ::  Ritter  Brown  and  Garnet  Holme 
Composer:  Edward  F.  Schneider 

1929  -  A  GUEST  OF  ROBIN  HOOD 

Author:  Charles  G.  Norris 
Composer:  Robert  C.  Newell 

1950  -  TEE  BIRDS  OF  RKIANNON,  A  legend  of  King  Arthur 
Author  :  VValdemar  Young 
Com.poser:  Edward  Harris 

1931  -  JOAN,  Drama  of  the  i.iaid  of  Orleans 

Author:  V/.  3.  Garthv/aithe 

Composer:  Charlus  L.  Safford,  Vi/illiams  College, Mass. 

1932  -  THE  SORCERER'S  DRUM,  A  romance  of  Fairyland 

Author :  Daniel  W.  Evans 
Composer:  Charles  Plart 

1933  -  TEE    LEGEND  OF  HANI 

Author :  Junius  Cravens 

Composer:  Henry  Hadley  (Role  creai ed  by  Charles 
Thomas) 

1934  -  ST.  PATRICK  OF  TARA.  No  new  play  commissioned. 

Sane  as  1909. 
Author:  H.  Morse  Stephens 
Composer:  Wallace  A.  Sabin 

1935  -  THE  QUEST 

Author :   Wilbur   Hall 
Composer:    Roderick  V»hite 


I.      GROVii:   FLAYS   OF  THE   BOESMIAIi    CLUB    (Cont'd.) 


1936  -    IVANHOE 

Author"    Charles   G.    iMorris 
Composers   Harry  Weil 

1937  -   LISKROrAN 

Author :    Kenneth  Hook 
Composer:    Kico   f.Iarcelli 

1938  -   THE   PIPER 

Author:  Authur  Totherale 
Composer:  Eugene  Hayes 


c 


PROJECT  EDITORIAL  STAFF 


Research  Director .... .Jack  W.  Wilson 
Research  Assistant  Sr..«.Mathew  Gately 


PONOGRAPH  WRITERS 


George  Duca.sse         Cornel  Lengyel 
Hector  Rella  Alan  Harrison 

Michael  Krepshaw        Eddie  Shimano 


RESEARCH  ASSISTANTS 

Dorothy  Phillips        Lenore  Legere 
Wyland  Stanley 


BIBLIOGRAPHY         PHOTO  REPRODUCTION 
Gretchen  Clark  M.  H.   KcCarty 

PRODUCTION 

William  K.  Noe      Elleanore  Staschen 
Clara  Mohr 


Although  the  entire  research  and  sten- 
ographic staff  on  -Che  project  assisted 
in  the  preparation  of  this  monograph 
at  various  stages  in  production,  par- 
ticular credit  should  he  given  to  Mr. 
Cornel  Lengyel  for  his  revirrite  work  on 
the  bulk  of  the  tv/o  volumes,  to  Mr. 
Mathew  Gately  and  Mr.  Rudolph  Erick- 
son  for  their  revi/rite  work  on  bio- 
graphical sections,  and  to  Mrs.  Gret- 
chen Clark  for  her  painstaking  re- 
search work. 


Lawrence  Estavan 
Project  Supervisor. 


ACia"0WLEDGJ:2ET 


Among  the  many  indivi duals  who 
volunteerad  xnTormation  for 
these  opera  volumes  or  who  helped 
in  finding  sources  and  checking 
facts,  particular  thanks  are  due 
to  Miss  Jessica  Fredricks  head 
of  the  Music  Department  of  the 
San  Francisco  Public  Library* 
wlio  read  all  the  copy  in  X^'SS.; 
to  l«-iss  Iielene  Comte*  her  as- 
sistant; to  Miss  Eleanor  J. 
Stur£:es  of  the  Reference  Depart- 
ment of  the  Fujlic  Library,  for 
new  material  on  Maud  Allan,  the 
dancer;  and  to  Prof.  Frank  Fenton 
of  San  Francisco  State  College, 
Vvho  has  given  generously  of  his 
time  and  scholarship  in  reading 
and  criticizing  the  I,SS.  of  all 
volumes  published  in  this  series. 


^4 


^X^l^i.  /5/  ' 


r 


i