File:Clarence Whitehill as Escamillo in Carmen.jpg

Identifier: morechaptersofop00kreh (find matches)
Title: More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918
Year: 1919 (1910s)
Authors: Krehbiel, Henry Edward, 1854-1923
Subjects: Opera
Publisher: New York : H. Holt and company
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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creased from 36soloists to nearly 100, the orchestra from 65 to more than150, the chorus from 75 to 180. The company now pos-sessed facilities to give two performances a day and alsohad a working agreement with the Boston Opera Com-pany for an interchange of singers. In the old and ap-proved list were found the names of Frances Alda, EmmyDestinn, Geraldine Farrar, Olive Fremstad, Johanna Gad-ski, Louise Homer, Lillian Nordica, Alessandro Bonci,Enrico Caruso, Riccardo Martin, Albert Reiss, PasqualeAmato, Otto Goritz, Antonio Scotti, Adamo Didur, RobertBlass, Allan Hinckley, and Herbert Witherspoon. To thesewere added a large number of newcomers, many of themAmericans, engaged, no doubt, with an eye to the require-ments of the New Theater, like most of the new operas.Every prospectus before and since has contained nameswhich loom much larger in that document than they loomedin the house-bills subsequently, and the readers can well bespared an enumeration of all the strangers who figured
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Clarence Whitehill As Escamillo in Carmen VAIN PROMISES OF FRENCH OPERAS 141 in this seasons list, contenting themselves with Anna Case,Alma Gluck, Alice Neilsen, Jane Osborn-Hannah, MariskaA.ldrich, Marie Delna, Jeanne Maubourg, Edouard Clement(who, like Mme. Delna, had been an ornament of theParis stage), Hermann Jadlowker, Leo Slezak, Dinh Gilly,and Clarence Whitehill. The conductors were Arturo Tos-canini, Alfred Hertz, and Gustave Mahler, the assistantconductors Vittorio Podesti, Egisto Tango, and Max Ben-dix. An announcement which became a stereotyped formulain the Metropolitan prospectus, and has been found to haveno value or significance so far as the public is concerned,told that the company had bought the sole and exclusiveproducing rights for America of three operas by Debussy,viz. La Chute de la Maison Usher/ Le Diable dans leBeffroi/ and La Legende de Tristan. The composer isdead and we have not yet heard anything of these scoresbeyond this seemingly idle announcement and

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