For the benefit of those who do not know why the opera association went into the hands of a receiver, I mention the reasons as given to me by a gentleman closely in touch with that institution. To begin with, there was no lessee for the season 1915-16, which fact deprived the association of a fair revenue. Then several of the ten carnival organizations, whose rental of the Opera House for their annual balls was a good source of income, asked for a substantial reduction of the old fee, and of these ten organizations only a small number actually had signed for the auditorium up to the time of the crisis. The third cause was the great expense undergone in compliance with the ratproofing ordinance. The climax of this deplorable state of affairs was contributed by the storm of September 29, 1915, which damaged the old building considerably.

I have heard it remarked on several occasions in the past that the French Opera hindered the musical growth of New Orleans. Looking at the matter frankly, I am reluctantly forced to admit that the French Opera did, to a degree, deprive this city of a variety of musical pabulum. In the first place, the subscriptions to the opera consumed almost all the money that music lovers cared to spend on music, thus precluding the establishment of a symphony orchestra, without which no city can strictly call itself a music centre. Then, too, the predilection for opera, due to years of education in this line of music, made. concert-giving a very hazardous undertaking, with the result that the local public only at rare intervals were afforded the opportunity of hearing piano, violin, and 'cello recitals, or chamber music, or the great song literature of France, Germany, and Russia. And the whole trouble lay in the length of the opera Of latter days, when concerts began to be more encouraged, the question of dates was a very serious matter. For three months no concerts could be given on Tuesdays, Thursdays or Saturdays, not only because of the altruistic desire to avoid a conflict of attractions, but also because, in a city of this size, it is practically always the same little band of music lovers which is depended upon to attend all the musical offerings. "But," you will say, "there were left Mondays, Wednesdays, Fridays, and Sundays for concerts." As a large number of

season.

the local patrons of music are of the Jewish faith, and as many of these observe Friday evenings, these evenings would not be suitable for concerts. There are many persons of other faiths who will not attend places of amusement-even concert hallson Sundays, so Sunday would be a bad selection. Matinees, at least "musical" matinees, do not draw, as we all know. So here we were left with Monday and Wednesday evenings, provided that no bridge, or dinner dance, or reception, or ball were booked for either of these nights. Remember that in New Orleans we have no considerable floating population from which to draw; it is always, as I have said, the same little band to which. we must turn for our audiences.

I, personally, am a devotee of opera, and am proud of what our French opera has meant to us. I should love to see the opera flourish as in the days our fathers tell about, but the only way this can be realized is by curtailing the three months' season to a one-month season, at the utmost. I know that no French company can be imported for less than five months, but there are other fine organizations which would give great pleasure, even if the operas should be sung in a language other than French. By having one month of opera, all interest would be centered upon it and a brilliant season would result. The time prior and after "opera month" could be devoted to concerts and other forms of diversion.

Despite the truths I have stated in detriment to the opera, I realize how we Orleanians should be proud of it. Admitting that it did, to an extent, deprive us of a greater variety of musical attractions, we should not forget the name it gave this city all over the world. I wonder whether a symphony orchestra holding, say, ten concerts a season with fine soloists, would have placed us as prominently on the musical map as did the French Opera. Several cities have had symphony orchestras, several have had great conecerts for years, but there were only two cities in the United States, until comparatively recently, which supported opera, and New Orleans, with its maintenance of French opera, stood unique. Do not for a moment construe these remarks as in any way intending to disparage the establishment of a symphony orchestra, for I hope to see founded here one

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. 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.