which will command the respect and admiration of the entire country. But the fact is that I love opera and experience a thrill of pride when I look back into the history of our local operatic institution. I know that of late years the companies brought here were, with very few exceptions, of mediocre calibre, but were they ever so very poor as to afford no pleasure or give no culture? Realize what a cultural influence the opera was to this community. Although it retarded our better acquaintance with some of the other forms of music, nevertheless it quickened our appreciation of ALL the forms of musical art by familiarizing us thoroughly with the works of many of the foremost masters. It is a splendid thing for an opera lover residing way down in Dixie land to be able to discuss intelligently with a cultured New Yorker, Londoner, Parisian, or Berliner a series of operas ranging from "Il Barbiere di Siviglia" to "Siberia" and "Don Quichotte." When asked his opinion of "Cendrillon" and "La Vivandière," the Orleanian of average culture does not have to wonder whether these peculiarly sounding things are hair restorers or new brands of perfume. Indeed, it might be said with a degree of assurance that the opera lover of moderate means residing in New Orleans knows more operatic music than does the opera lover in similar circumstances residing in any other American city supporting opera. Why? The reason is simple. For twenty-five cents during these latter days and for ten cents in days gone by, the opera lover could hear a grand opera in the "quatrièmes" (fourth tier). Is it a wonder, then, that he gratified his love for opera night after night, season after season? Many a real connoisseur has acquired his operatic educations in the "secondes," where an excellent seat could be purchased for 75 cents. On Sunday matinees, for very many years, a grand opera could be witnessed at a cost of $1 for the best seat. No wonder that so many operas are familiar to us. No wonder that, at social gatherings, gifted amateurs, without the least degree of vanity, will sing solos, duos, trios, etc., from many of the difficult operas in a manner that some professional singers might emulate.

It is quite evident that interest in local opera has waned. And yet, the most lethargic opera goer cannot but feel stirred

when he recalls that on the French Opera House stage have appeared such tenors as Tournié, Berger, Lafarge, Cossiri, Paulin, Gibert, Bonnard, Jérome, Duc, Constantino, Escalais, Fontaine, Affre; such sopranos as Fursch-Madie Ambre, Patti, Lematte, Hervey, Martini, Baux, Jau-Boyer, Foedor, Fiérens, Pacary, Padovani, Madier de Montjau, Korsoff; such baritones as Devoyod, Dumestre, Claverie, Albers, Mézy, Layolle; such bassos as Castelmary, Chavaroche, Bouxman, Van Hufflen, Huberty; such contraltos as Audibert, Adelaide Phillips, Scalchi, Flachat, Duvivier, Bressler-Gianoli. Many of these names may mean nothing to the younger generation, but hear the older habitues speak with enthusiasm of their Tournie, Devoyod, Dumestre, Castelmary; of their Patti, Fursch-Madi, Ambre, Audibert !

Let the younger generation recall performances of "La Reine de Saba" with Fiérens; "Salambo" with Pecary and Layolle; "La Navarraise" with Foedor and Albers; "La Traviata" and "Manon" with Montjau and Bonnard; "Lakmé" with Jérome; "Le Jongleur" with Nuibo; "Romeo et Juliette" with Affre; "La Juive" with Duc; "Lucie" with Korsoff; "Sigurd" with Paulin and later with Fontaine; "Carmen" with Bressler-Gianoli; "Madame Butterfly" with Yerna and Cortez, and "Rigoletto" with Mézy-to name but a very few of the beautiful performances offered us-and witness their admission of the delights they experienced.

No doubt to Americans outside of New Orleans, even the names of many of the artists mentioned are quite unknown; but this is no argument against their worth. In France and Belgium-two countries which have not been neglectful of the fine arts, as every one will admit-these singers are far from being unknown quantities.

It was on the French Opera House stage, as we have seen, that Adelina Patti scored her early successes and where, according to a writer, her genius "received the stamp of approval that made it recognized throughout the capitals of the old world." It was on this same stage that Constantino and Riccardo Martin, whom Boston and New York later applauded, won their first American plaudits. It was after having been acclaimed on this stage that Mme. Bressler-Gianoli joined the Manhattan and Chi

cago Opera House forces, and that baritone Albers and tenor Gilbert became members of the Grau Opera Company. It was this stage which introduced to America Reyer's "Sigurd" and "Salambo;" Massenet's "Herodiade," "Cendrillon," "Esclarmonde," and "Don Quichotte;" Saint-Saens' "Sampson et Dalila, Giordano's "Siberia," Gounod's "La Reine de Saba" to recall but a few of the important American "premières" held on its boards. It was New Orleans that first introduced French and Italian opera into America. It was New Orleans, too, of all American cities, that first established opera permanently.

REMINISCENCES OF THE FRENCH OPERA.

By MRS. EMILIE LEJEUNE.

After Mr. Loeb's discourse, there is very little to say about the French Opera of New Orleans; still, I should like to tell you of the many pleasant hours which I have spent there. As it is impracticable to do so, I will speak only of the most brilliant performance which it was my good fortune to witness within its historic walls, and I will endeavor to analyze the circumstances which made it memorable.

1. It took place in the early spring. To you I will not describe the charm of our spring-tide, for you have seen the splendor of our skies and the beauty of our flowers.

2. Our people, through all vicissitudes, retain the happy faculty of laying down their burdens, and making-believe that they are free from care and responsibility. It has become one of our social rituals; once a year we enter the kingdom of makebelieve and pretend that we are joyous and happy-and who will say that we are not wise to do so.

3. I was almost a child, and gazed through the rose-tinted prism of youth.

4. We had that year, in 1872, an excellent troupe of French singers, whose names still linger in our memory: Levielli, Delabranche, Dumestre, Coulon, are names that are still remembered among us.

5. Also, in that year, New Orleans entertained a distinguished guest-his Imperial Highness, the Grand-Duke Alexis of Russia-and it was known that he would visit our Opera House on the Monday preceding Mardi Gras, and Verdi's "Trovatore, a universal favorite, was to be given.

Our box, a loge-grille (latticed box), commanded a view of the stage and proscenium boxes, and opened at the rear of the foyer, and from this coign of vantage nothing could escape my observant eyes.

The house, filled with a typical opera audience, in holiday mood, presented a beautiful appearance, for in the point-lace and diamonds, the flounces and furbelows of the period, women resembled animated flowers, while Gibson had not yet made it fashionable for men to be gaunt and hollow-eyed.

The proscenium boxes remained empty during the first act, but in the second act, after the Anvil Chorus, we were told that the Grand Duke had arrived, in a victoria upholstered in ruby satin and drawn by a superb pair of greys, which Mayor Flanders had placed at his disposal.

The performance was halted, the chorus and principal singers remaining on the stage, and from the rear entrance of our box, where I stood expectant, this is what I saw :

First came an afficial, holding aloft two bronze candlesticks and walking backwards. I had never seen anyone do that-it was interesting. Then came a blue-eyed giant-that was still more interesting, for I did not know they were found outside of story-books. The giant-I mean, the Grand Duke Alexis-was 6 feet 3 or 4 inches tall; in fact, quite as tall as his kinsman, the Grand Duke Nicholas, whose picture has recently become familiar to us. He was followed by his suite an admiral, an excellency, the officers of his household; and they proceeded to the proscenium boxes, where they remained standing while the orchestra, led by Calabresi, played the Russian national hymn, after which the audience, which had risen to receive the Prince, greeted him with applause as hearty as it was dignified.

Everyone was then seated and the performance was resumed, the Grand Duke seemingly as much interested in the audience as with the artists, whom he frequently applauded, remained

until the dreary climax which ends the Trovatore, when all the members of the cast die suddenly and painfully. The tenor, as you no doubt remember, is beheaded; the contralto is burned alive; the soprano takes poison, and the barytone succumbs, presumably to heart failure. Still, such is the witchery of music, that, quite unsaddened by so dire a calamity, the audience gaily repaired to the St. Charles Hotel, where the Grand Duke was stopping, to sup under the same roof with royalty.

The impressions of childhood are so vivid that, although I have since then witnessed many operatic events, this that I have told you of has remained unique in my remembrance.

MUNICIPAL SUPPORT OF THEATRES AND OPERAS IN NEW ORLEANS.

MR. EDGAR GRIMA.

In November, 1836, the Council of Municipality No. 1 adopted a resolution, by a vote of more than two-thirds, whereby the Mayor, notwithstanding his veto, was authorized and required to subscribe $200,000 to the capital of the New Orleans Theatre Company, in shares of $100 each. To pay this subscription the Mayor was directed to give to the directors of the company 400 bonds of the municipality for $500 each, payable thirty years after date, bearing interest at 6%, payable semi-annually.

The New Orleans Theatre Company had been incorporated by the Legislature in March, 1836, and the object of the Council in making this subscription is stated to have been to aid in the construction of a large theatre in the municipality which would contribute to its wealth and embellishment, and afford a place of relaxation and amusement that would tend to correct the morals and enlighten the minds of the citizens. In the month of March, 1837, the Legislature passed an act whereby the First Municipality was recognized as stockholders in the company and were authorized to make marine and fire risks in the same manner as the Merchants' Insurance Company. (Act 83 of 1837, p. 81, approved March 11, 1837.)