The New York Herald Newspaper, November 24, 1872, Page 7

38 $ ax ~ =z = z= Pp g eeEeg caSSRESSSSERSBN NEES -15533 cee SSEERSESSSESEESESEEEE Si = | Mi Mai? Corse, WS & Ohio & Boston, ocak EUROPEAN MARKETS. Lenpow Money Marxet.—Lonpon, Nov. 23—1:30 P. M. s closed at 9234 for money and 2% for the Suited states hye twenty onda, 1868's, old. 90% 8, 0834; ten-forties 873g; new fives, By. Erie Rant: res, 40%. —Rentes, 52f. 9¢. VERPOOI, Nov, 23—1:30 P. M-—The cotton market closed, quiet, Middling uplands, Orleans, Wid. The sales ot day eas, mln Rave been 10,000 bales, including 2,000 for speculation an Tivenroot, Buxansturrs Manxut—Livenrool, Nov. 23— 8:30 P. M.—The market is steady. Lavsnvoor, Provisions Manxrs—LivrnrooL, Nov. 23— Evening.—Bacon, . for sho! middies. ‘Lonpox PRontce Makxet—Lonbon, Nov. 2i—Refined eum, 2d. per gallon. Linseed oil, £4 10s. per ton. ts turpentine, 6d. per cwt, +++ ANCIAL, i saint A. say cooxe & co, BANKERS. __We offer to investors the FIRST MORTGAGE LAND GRANT BONDS of the Northern Pacific Railroad Com- pane Ned to the ample real estate scurity on ete ae te based, in addition to the weual rantee of a first mortgage on the Koad, its equipments trafic. The Lands-of the Company thus far sold Rave realized $5 97 per acre. LARGE ESTATE FUND TO LOAN ON FIRST A class New York City Property ; $50,000 for Brooklyn $ TT reach Wane Ar T REASONABLE RATES.—MONEY ON LIFE AND Endowment Insurance Policies; also on Bonds and - Mortgages; Insurances of all kinds effected with best eompanies. J.J. HABRICH & CO., 119 Broadway. DDITIONAL CAPITAL PROCURED FOR MER- chants, Manufacturers and Incorporated Companies. We also have every facility for disposing of first class Beal Estate for first clags Railroad Bonds, cash and other orities, Exchanges for City and. Suburban Proper rt Principals only address or apply GO., 176 Broadway. —ERUSE MONEY TO LOAN AED, Bux. vinar 2 lortgages on city real estate, in su1 it, ‘without bonus. Adare SGUNSELLOR, box 2,681 New YVerk Post office. NY ONE WISHING TO LOAN ON BOND AND morteege on first class city property, without bonus, (208 Rave the opportunity, as we have at present sever ‘good ms for ns ON St : E. H. ‘LUDLOW & CO., No, 3 Pine street, —QHARLES G. DAHLOREN & CO.. 112 AND. U4 Broadway, have parties desiring to inyest in estab- oa puccenstal business amounts ranging from $5,000 t0 and, $75,000 special, Presidents, | merchants iational, State New York, Mercantile Banks are ferences. WES & MACY, BANKERS, 30 WALL STREET, NEW York, offer thé same facilities to@epositora as incor. banks, and allow interest on dailv balances at fate of four per cent. Collections made on any polnt current rates, with immediate paid to choice Stocks, Bonds, &c., tor investors. ¥ TO LOAN ON BOND AND MORTGAGE ON dmproved city Property or on improved Farms; also Yo bay first and second Mortgages. Apply to LEVI COOK, @ Pine street. ‘ONEY LOANED ON STOCKS, LIFE POLICIES, Furniture, Pianos, Plate, miscellaneous Securities, Second Mortgages and Commercial Raper cashed. JAMES CAGNEY, Anctioneer, Real Estate and Loan Broker, 531 Hudson st. OTICE IS HEREBY GIVEN TO HOLDERS OF OLD Mariposa Securities that the option at present rates {0 take the Mariposa Land and Mining Company's stock ‘will close on the 30th inst., at the office of the Mariposa Land and Mining Company, 4 Wall street. ECOND MORTGAGES WANTED—ON NEW YORK city property, in exchange for medium priced Houses, rool g free clear, klyn, near Prospect i JOSEPH MASON, No. 8 Pine street. 'NION LOAN AND REAL ESTATE AGENCY. ‘Principal office 43 Broadway, rooms § and 4. ©. K. DEUTSCH, A. E. LEWIS, Managers. Loans on all kinds of Real Estate; Mortgages bought and sold; Stores, ite Dwellings, Senement and country Property for sale and exchange; nts collected and Estates managed. Parties desiring to loan or obtain loans on. Property, or ying to dispose of real estate, will find it greatly to their advantage to call upon us before going elsewhere. HAVE SEVERAL SUMS TO LOAN ON CITY Property ; also to buy a few good second Mortgages with. SAWARD & LEAVITT, 64 Wall stree! W “ANTED—$2,000 ON FIRST BOND AND MORTGAGE on House and Lot in ea ore AO. for three years; small bonus. Address MORTGAGE, Herald office. WASTED-ON BOND AND MORTGAGE, $6,000. Brokers need not apply, DYE & CURTISS, 608 Sixth avenuc. 2. 50 WANTED—ON SECOND MORTGAGE; 5 1 vear’s leasehold ropertys security good; ral bonus will be paid. dress BONUS, box 193 ald office. $7 000 (BUILDING LOAN) WANTED, FOR THREE Fi ‘years, more or less; ‘bonus must not exceed mn percent; repayments by half-vearly instalments. Kddrets MANAGE AND BUILDE fe s4 170 Hudson City (N. J.) Post office. 20.000 “Rare ae eet MORTGAGE, ON . . Fifth Avenue Property, for which we Rave refused $60,000; no penniless loan broker need an- swer. Address’ SECURITY, Herald Uptown Branch $150.000 ond Mor es casl SSision: “Apply to WILLIAM street. $200.000 BXE°RTORS FOX ZO, LOAN ox BA veccnd choy wefan oad sppiontionn. ions. ty MorWeag*SIMON, Je 300.000 70, HOAX sO, BUY MORTGAGES— i Any desired amount, Property in New fork, Brooklyn, Westchester and New Jersey. Also Boney without bonus. PAUL P. TODD, 8 Liberty st — NEW YORK CITY. ‘Taxes paid last week, $1,900,799 79. Marshal Hart granted 186 licenses last week. first and second TO LOAN—-ON BOND AND MORT- Fe or cae at So per seat com: media ‘ 2 KENNELLY, No. 4 Pine The police arrested 1,841 ‘persons in the city last week. There were &{fty-seven complaints of violating -Corporation ordinances during the week. Four hundred and thirty-nine deaths, 480 births, 196 marr 8 and fifty-seven still-births are re- «ported for last week. Fire Marshal McSpedon reports twenty-cight fires for the past week, involving an estimated loss Of $1,795, and $113,400 in insurance. Two thousand six hundred and forty-five home- Seas persons were lodged in the various police sta- “tions in this city during the week. ‘3 James Donahue, Superintendent of the Free ‘Labor Bureau, Nos. § and 10 Clinton place, makes rthe following report of business for the week end- November 23:—Applications for employment, rh of there there were 167 males and 720, females; help required, 111; femal 769; situations procured for 100 males and females; whole umber Of situations procured for the week, 754, There would seem to be a mania at present among the smaller class of thieves for snatching pocketbooks from the hands of ladies on the street, and searce a day passes but one or more of these offenders are brought before the Court. The enue of escape is generally laid out before the tempt is made, and if immediate arrest is . avoided the chances are that nothing more is heard of the matter, and the victims are fain sat- jafied with the lesson taught them to be more eareitl in the future. It is probable that the proportion of those arrested and punished is very }. Yesterday, Walter Burk, a boy about nteen years of age, was brought up before the Sirerson arket Police Court, charged with snateh- ing @ pocketbook from the hands of Mra. Josephine Holmes, on Thirty-sixth street, He ran down the ‘gtreet and through a hallway into a basement; but, ly, an oflicer was close on his heels and ‘was captured, in committing the prisoner without bag) His Honor stated that he should see wach offenders punivked to the extreme point of Abe Jaw. - 39 Nassau street. NEW YORK ITALIAN OPERA. —— THE ROW OF THE SINGERS SIFTED. What Max Knows About Management. AN IMPRESARIO INTERVIEWED. How Artists Become Favorites in Spite of Opposition. THE “ENSEMBLE” DIFFICULTY. a Little Lucca Overshadowing an Entire Company. BEES OLD TIMES ROCKS’ MUSICAL MEMORIES. Ungratefal Gotham’s Record of Twenty Years—A Cry for Eight Luc- eas from Cuba. Murderous “Musicus,” Vengeful “Viator” and Frantic “Free Lance” Slashing Each Other. As the subject of Italian Opera and its critics has excited considerable discussion and diversity of opinion this season, and rumors of rings and com- binations are more plentiful in the neighborhooa of tne Academy of Music at present than they were in the classic precincts of the City Hall in days of yore, a representative of the HERALD called upon Mr, Maretzek yesterday to ascertain from him his views on the operatic situation. The well-known impresario, who has stood the brunt of twenty-five operatic campaigns and still survives, was in his sanctum at the Irving place Opera House,‘deeply immersed ina pile of documents, both bills payable and bills re- ceivable, Cards of visitors were laid before him by the dozen, and once he was obliged to tear him- self away from his desk to answer the summons of the fascinating little prima donna, Madame Pauline Lucca, who awaited him in the lobby. A Saturday afternoon during the season is the busiest portion of the week with an impresario, as the instant he relinquishes the baton after the matinée he ts obliged to take up the pen and endeavor to bring order out of chaos in the multitudinous papers that litter his desk. After some delay the reporter of the HERALD announced to the vivacious purveyor of opera his desire to be accerded an interview in relation to the important sabject which so many pens and 80 many tongues. have been discussing during the present season, @ddn give both sides’of the question. Mr. Maretzek ex- pressed his entire willingness to tell all he knew about the matter. REPORTER—What is the cause of the quarre) between the prime donne of your company, to which some of the newspapers have alluded ? MaRETZEK—} am not aware of the existence of any such quarrel, I have not had anything to do with cliques or newspaper communications. I never authorized any one'towrite or speak in my be- half. Ihave kept entierely aloof from the small, petty warfare that has been going on since the beginning ‘of the season. Understanding fully my responsi- bility to bring out fourteen operas in a season of ten weeks, I have devoted all my time to renears- als and other preparations necessary in bringing out an opera. REPorTER—But you must certaimMy have heard the assertions made that there were rings of critics and habitudés of the Academy formed to create 8 spirit of antagonism between Madame Lucca and Miss Kellogg? MARETZEK.—I have heard rumors to that effect,but they appear so silly in my mind thatI never gave them a second thought. My candid opinion, how- ever, is that Miss Kellogg, whom I consider a most admirable, conscientious artist, has suffered to some extent this season from the mistaken efforts of over-zealous friends, She may, with justice, quote Victor Hugo’s words!—“‘Que Dieu me garde des amis maladroits, REPORTER.—What is your opinion of the advo- cates of your company, who have written under the noms de plume of “Viator” and ‘Musicus?”? MaRETZEK—I desire no newspaper champions, and I never authorized anybody to defend my manage- ment or my company in the colums of a journal, I simply attend to my own business, which is oner- ous enough to take up all my time. REPORTER—What do you think of the communi- cations signed '*Free Lance” and ‘Fair Play ?’ ‘MARETZEK—A8 I said before, [have kept aloof from all this small, petty warfare, andI have not interfered once in regard to articles written for or against my company. Everyone is at liberty to form his own opinion and express it where and when he can. I have certainly felt grieved to find that some of my artists have not been so successful as their career in Europe would lead one to expect, but I still hope that, with the exception, perhaps, of one, all will yet win their way into publicesteem. ReporTeR—How can they succeed now when their first essays on the Academy boards met with such discouragement? MareEtzEK—I had similar experience before, and Isucceededin the end, When I brought a com- pany once to Havana, consisting of Medori, Cnar- ton, Sulzer, Mazzoleni, Bellini, Biachi and other great artists, a strong opposition was manifested against them for the first six weeks of the season by comparing them with artists who had appeared before in Havana, But before the season closed they all became the idols of the public, and after- wards carried New York by storm. I can say the same about Capoul, who was considered at his début here a complete failure, although he became Piette dee pet of the petticoats. REPORTER—How do you account for this change in public opinion about an opera company? RETZEK—For the reason that the more the art- ists sing together the better the ensemble becomes. I think that a new company, strange to each other and strange to the public, should not be judged at first ag an ensemble, for a nwe opera coupany can no more be really effective in drill and discipline than @ newly formed army. General McClellan took some time to bring the Army of the Potomac up to a bie ad standard of discipline and efficiency, and certainly an impresario should be allowed a little time to consolidate his company. REPORTER—What do you say to the outcry raised against the ineMciency of a portion of the com- any? Par LRETZEK—These people would have every mem- ber of my company of the same standard of merit as Madame Lucca. It is my opinion that the great pen oho displayed by the HERALD in sending an expedition into the wilds of Africa in search of Dr. Livingstone, and the energy and pluck displayed by Mr. Stanley, were sufficient to discover a half dozen Livingstones, but as there was only one, the discovery of @ second was an impossibliity, And go as there is but one Lucca, I could not find a half dozen artists like her. ‘ RerorTer—But granting that Madame Lueca is a fies, artist, what is the reason that her assistants ave not distinguished themselves more conspicu- ously this season MARETZEK—Because she overshadows them te such an extent that the audience have eyes and ears for her alone. I'll tell you a case in point. When I was in the city of Mexico I_ had in my cem- pany the baritone Begeventano, who was @ great favorite everywhere. After the first two or three months Marini, the renowned basso, joined the company. He first appeared as Silva in “Ernani,” while Benerentano sang the role of Carlo Quinto. In the scene in the second act, where Charles V. threatens old Silva with death unless be consents to deliver up the outlawed Ernani, Bene- ventana, jealans of the fame of the great basso, ex- erted himself to the utmost to eclipse his new rival. Marini had no phen display his power vocally, but atthe end of Carlo Quinto’s aria he ¢rew himself up to his full height, and with asingle gesture, the refusal of the old Spanish nobleman to betray his guest, he brought down the house, abd the singing of Beneveptano was forgotten in the grandeur of Ins rival shown in that one action, 19 the same manner Lucca dwarfs, by her commasding talent, the artists sur- rounding her. Had the rest of the company ap- peared without Lucca I believe they would have gained very great popularity. ive me your views REPORTER—Will you, pl on the chorus and dretestrt DF ‘lian opera in this to city? MARETZER—We pay orchestral players more for a week than they do in the principal opera houses of ing thatthe HERALD wished to r HERALD, SUNDAY, NUVEMHER 24, 1872.—QUADKUPLE SHEET. 7 Europe fora month. In Europe the orchestra of the ra is kept under what might be called mili. tary jpline, and reheareals of a new opera con- tinue sometimes for tour or five months, Here, although we pay them liberally, they attead re- hearsals only when they please. Now ifa manager undertakes to bring out fourteen operas in ten weeks with anew company surely he cannot be expected to have an ensenidle like what an im- Presario in Europe may boast. of. Rerorrer—What do you think of Thomas’ or- ehestra? Marerzex—I admire and rejoice in the disci- = ‘unity and emcnsey of Mr. Thomas’ band; ut 1 beg you to remember that nis men play to- eae the same works all the year round, and that he bad to produce operas like “‘L’Africaine” or “Les Hi nots,” with very limited rehearsals, he would it a hard task to obtain as good an en- semble aa with a symphony or overture. We do not pay, Qn opera for & month, as they sometimes do in and , because we depend upon subscription here, e subscribers are sure to grumble the second representation of an opera and to call for another novelty. I do not think we have reached the millennium when subscribers will con- Lg an opera being kept on the board over a week. Rerorrer—What do you think of the various managers who have attempted Italian opera in this city ? . MARETZEK—During the last twenty-five years there have been only three prominent managers of opera—Mr. Ulimann, Mr. Maurice Surakosch and myself. look upon the others who risked their fortunes in opera as merely temporary jobbers. UlNmann and Strakosch were completely ruined and were compelled to return to Become, they have since made money by spasmodic eforts in concert and opera management. | stayed here, andlam justas far off from the promised land of financial success in opera as when] began. Alll have gained is in years and experience, 1 don’t see any capitalists coming forward to help to establish a | tpae Italian opera. Mr. Phalon and Mr. Coyad enough o! it after a four weeks’ trial. Mr. Wil- liam Payne, after losing $60,000 im one season, thought it about time toquit the field, Allof them, with the exception of Carl Rosa, whose season only sasted four weeks, were obliged to call on my ser- through. I believe that as far as the improvement, permanent establishment, or whatever you call it, Of Itallan opera in this city is concerned, while | am alive shall be a@ necessary evil. TI can say with Figaro in the ‘“Barbiere,”’ “Senza Figaro, non ce nozze in Seviglia.”” My candid opinion is that as much as the people of New York may be lovers of music, the specialty of Italian opera depends almost entirely upon ger Atwenty or thirty nights’ season in the is all that our paying public want. — f under such circumstances a manager is justiticd in risking the engagement of an entire constellation of stars, if such an article were obtainavie, I leave it to any sensibic business man. REPoRTER—What do you intend to do after the resent season at the Academy? Will you return (0 New York in the Spring? MaRETzRK—Well, I intended to bring out Flotow’s “L’Ombre” in February in New York, with Madame Lucca and Miss Kell in the cast. I had also made up my mine to produce Gounod's “Mireille,’’ in which Miss Kellogg was to take the bag er role. But since the public unjustly, and for some unaccountable reason, have refused to patronize the performances of Miss Kellogg, 1 can- not atford to spend the large sums of money neces- sary for the proper production of Gounod’s opera. My plans for the future have been consider- ably altered within a weck. I really don't know whether I shall have another season in New York. The fact is that Tamberlik, the celebrated tenor and manager of the present opera troupe at the Tacon Theatre, in Mavana, went last Summer to Europe for a company; a sub- scription of $120,000 ry | been raised in that opera-loving city. With all his knowledge and ex- perenee, Tamberlik could not get a company capa- le of rae 3 satisfaction to his subscribers. An agent trom Havana arrived in this city on Wednes- day last and wanted to engage Matame Lucca for @ season of two months. I told him that such a proposition could not be entertained for moment, and shortly after I received @ despatch from Havana offering to en, my entire company. I have made certain conditions, which, “bata |, Will cause me to take Madame Lucca, Miss Kellogg and the company to Havana for the months of January and February. In such ap event, if there be any enterprising impresario who has succeeded in engaging eight Luccas and a perfect Italian opera company, he shall have a good chance to earn the gratitude and admiration of his fellow citizens, The interview here terminated, and the reporter, after thanking Mr. Maretzek for his views on opera and Management, took his leave. FREE LANCE BAS A TILT WIIH HIS CRITICS. ean hs EEN To THE EDITOR OF THE BERALD Last Sunday was perhaps the proudest day of my Iife, for then I had such immortality thrust upon me as never entered into my wildest dreams. Two of your correspondents likened me unto “tie youth that fired the Ephesian dome,” and what two such impartial writers say must be true. I accept my easily-acquired notoriety with be- coming modesty, and, for the sake of going down to posterity beside the youth of Ephesus, am willing to be associated with “the man who nearly burned down York Minster,” with “the ostraciser of Aris- tides,” with “Mephistopheies.” How clever 1 am tobe made in the likeness of not one but ail these historical characters ! Having founa my peers ‘Viator’ goes to work to guess at myself, He discovers that I am “a disappointed musical professor, without the money to pay for a seat at the opera; a neglected genius, ignored by the world at large, though perfectly well known toa small clique, and anxious to achieve importance among them a tout priz, or he may not.” On the .Whole I think Imay not. I am not disappointed— not even in “Viator,” who, evidently being inter- ested pecuniarily in the success of the present opera troupe, will be delighted to hear that I pay for my tickets and heartily disapprove of dead heads. How can I be “neglected” when I am HERALD-ed to the extent of three columns by the combined pens of ‘Musicus” and his alter ego, “Viator?” How canIbe “anxious to acheive importance,” when, to my own surprise it can be accomplished merely by daring to disagree with the disinterested friends of asecend rate opera company? { am also “a kind of musica} Captain Dalgetty whose cuts and thrusts are at the service oranybody.”” No, not exactly. 1 am notat the service of ‘‘Musicus," or “Viator,” or anybody else who tries to make the worse appear the better cause. “Perhaps I am an inspiration.” Really, I begin to feel as I were a candidate for the Presidency, so plentifully am I showered with pet names. Neither Grant nor Greeley were called “an inspiration” and so I think I must be. The phrase is beautifally indefinite, leaving the fancy to wander from Ephesus to Washington, andI shall not deny the “soft impeachment.” ‘Truth is so much stranger than fiction, Mr. Editor, that I really think it was ‘an inspiration” in me to undertake to tell it. It is so strange as to have excited such anger and vitupera- tion as I only supposed emanated from hungry politicians in quest of office. In fact the critical mouse has brought forth so big mountain as to make me question whether the attack upon “Free Lance” is not a means of keeping up a controversy for the sake of calling attention to what people are inclined to let alone, There are various ways of advertising, Mr. Editor, as you well know, and to occupy four columns of the Sunday fleraLp without paying for it strikes me asasingularly shrewd device. With this sus- picion haunting my conscientious soul I hesitate to lend myself to a well-played game; but as “Free Lance” has been “defied” to prove that Madame Lucca’s Cherubino ts untruthiul to nature I must take up the glove, else I shall next be told that I have been crushed into silence hy the blows of an invincible opponent. I shall endeavor to reply in plain English, leaving elegant extracts from Latin and German to the polyglot pens of “Musicus” and “Viator.” I might refer to Cesar’s Commentaries and make graceful allusions in Greek to Apollo, but I refrain. I shall not even quote Dr. Johnson, though, as every one is aware, no better judge of music and no more unprejudiced critic of everything under the sun ever lived. If this be not virtue, if this be not a regard tor the value of space in the HERALD, what is? “Viator” accuses me of ‘‘making a brutal attack” upon Madame Lucca which proved nothing beyond “ignorant malevolence.’ Now let us see ip what my brutal attack of Madame Lucca consists. I said that this prima donna had ‘‘a beautiful yeice where | vices as conductor or manager to carry them | ‘ull and half that number of nights in the Spring | Whether | notes was at times brutal (wherenpon “Viator” declares that | pronounce Lucca to be “a bratalty bad singer,”) and that her Italian = is the [tahan of a Goth, I proved there accusations, and lrepeat them, but being only “defied” with regard tomy criticism of “Cherubino,” T will confine myself to this rdie, I said that Madame Lucca was too knowing for an innocent lad, was utterly in- different to situations, and did not make enough of the scenes dependent upon her for their anima- tion, Behoki “the head and front of my offend- ing,” to all of which Viator” replies:—‘*Tie pre- cise manner in which the page shonid be played cannot be rigorously defined.” 1 never said it coul “Mozart,” he continues, “certainly leit no directions beyond what may be inferred from the internal evidence of the drama and music.” 1 never claimed the re- verse, ‘This “internal evidence’ is sumMcient. If words and music mean one thing it is impossi- ble to state another without being guilty of a mis- conception, which is what IL accuse Madame Lucca of in this part. “Beaumarchais,” proceeds my critic, “who ereated the character in his celebrated comedy, ‘Le Marriage de Figaro,’ has left us the following in bis preiace to the original edition of | his work, ‘Cherubin:’—‘Ce role ne péut etre joud | comme tt a été que par wne jeune et trés jolie Femme, Nous wWavous point & nos thé atires de jeunes hommes assez formes pour en bien sentir les jsinesses, Pimide a Vexces devant la Comtesse aillrurs un charmant polisson; un désir inquiet et vt le font =e =6s0n _—_caractire, IL stelance a ta puberté, mais sans projets suis con- natssances, et tour ‘entier & chaque événement; en in it est ve que toute mére au fond du caur vowirait | Deut etre que sat son nls quoique'elle dat beaucoup en soufrir. Seaving ‘Free Lance’ to ponder over | the expression, ‘charvmant potisson,’ which ft will not | offend ‘ears polite’ by translating literally, 1t may be stated that Mme. Pauline Lucca’s version of the part gives a humorous and fancilul interpretation of the original author’s idea without once over- stepping the bounds of womanly delicacy.” “I than! thee, Jew, for teaching me_ that name.” As jacor” will not transiate the word “polisson” 1 must, for on it depends the argument. Polisson means either ‘a mis- | chievous child’ or “a dirty blackguard.” That which the youth Cherubino is, is amply proved by the quotation which ‘Viator’? has so. considerately spared me the trouble of looking up, ‘This 1dle,” says Beaumarchais, “can only be played by a young and very pretty woman. No young men in our | theatres can sumciently feel its _ tinesses. Timid to excess before the Countess, he ig otherwise a narnia (polisson) — mis- chievous boy. An unquiet, vague demre is the foundation of his character. He is without knowledge of life, &. In fact, he is what every mother at the bottom of her heart woulda wish her son to be” &¢, Does any mother wish her son to become a blackguard ? No one doubts what } manner of man Cherubino will become, but Cheru- ; bino, the page, 18 & combination of unrest, timidity and mischief, You who know what is love, Ladies, see it it be in mene t What I fee) I shail now tell; Itis new to me ; Ican not understand it. Thus sings Mozart’s Cherubino. Now Lucca’s Cherubino 1s neither restiess, nor timid, nor Vague, nor sufficiently mischievous. It is precisely what it ought not to be; it is knowing. ‘Therefore lcontend that | am right im my criticism. This same fault of knowingness is equally apparent in Lueca’s Zerlina (Don Giovanni). Her assumption of rusticity is excellent, but the precipitate manner in which she invites the advances of the amorous Don is not laid down in text or music. ‘ Viator” assumes that I condemn vivacity in Cherubino. On the contrary, [ deplored the absence of it in Madame Lucca. In his general onslaught upon critics who are “outrageous” because they are “severe,” ‘‘Via- tor”? quotes Goethe “to this effect detective :?—"I invite @ wan to dinner, give him the choicest fare I can find; he partakes of it smiling and apparently leased; but no sooner is he out of my house than © declares to the world that my soup was too weak, the chickens overdone, the sauce bad, the esexecrable! * * * Strike the hound dead! tis a critic.” Now this quotation is apropos | of what? It but another way of making the following complaint :—-‘I invite a critic to the opera, give him the choicest seat; he takes it and is apparently pleased; but no sooner is he out of the theatre than he declares to the world that my tenor is Weak, ny chorus underdone, my bass bad and my ensemble is execrable. Strike the hound dead! That is a critic.” The moral of this is, Mr. Editor, that, in return for free passes, Managers expect fulsome praise of everythin, and everybody. ‘The only ray to avois the necessity of according tavor at the expense of truth, is never to demand favors. Managers pa: for their advertisements; let critics pay lor their tickéts. Then the howl of treachery cannot be Perot and a suffering public will be able to learn facts. “Musicus,” in speaking of Lucca’s voice, says that it extended from f to F in alt., but by Meyer- beer’s advis has been concentrated to two I take this statement with a difference. That Lucca’s voice has changed is un- doubtedly true. She has lost. her high — notes, owing, robably, to her almost always giving out tull tones, rarely or never using the mezza voce. No organ can endure 80 vere a strain, and so Lucca suffers for want of a ood method. In the duos between soprano and in the third act of “Gli Ugonotti,” the effect intended by Meyerbeer is destroyed by Lucca’s cut- ting out the high C, which should be long held. No one need tell me that Meyerbeer advised such mangling as this, or that any singer who uses her voice properly will lose her high notes at the age of Mme. Lucca, unless it be by illness, “Viator” accuses the critical Endymions of wanting not only the moon, but all stars, planets, satellites, constellations, the milky way, and even a “young comet with its playful tail” ‘the “critical Endymions”’ ask for nothing of the sort, All they ask for and what they are willing to pay for are a good soprano, contralto, tenor, bass, baritone, chorus and orchestra. We have sopranos. Lucca aud Kellogg are good. In “Gli Ugontti” Madame Levielli proved herself a@ sterling artist, with a broad, noble school. Were her voice {as fine as her method she would be appreciated, As it is, only musicians will give her proper praise, Mile. Sanz is unsatisfac- tory. She sings from her throat and executes in a siovenly manner. Of the rest all have spoken. And, now, Mr. Editor, thanking ‘Fair Play” for his vigorous support in last Sunday’s HERALD, I leave it to you to decide whether my criticism 1s actuated by malevolence, and whether I have insulted any one by employing “epithets which could only apply to persons guilty of hein- ous crime: “Viator” is intensely disgusted because I seek to hide myself “behind the anony- mous.’ Now I seek nothing of the sort. Imight, with equal Bropriely, upbraid him for assailin, under an assumed signature. Tu quoque is a wretched game to play, and I repudiate it; but if “Viator” is very anxious to know whol am I will tell the readers of the HERALD with the greatest pleasure, preyided he tells them who he is. Knowing, Mr. Editor, the honesty of my motives in criticising Italian opera, “I stand for judgment. Shall I have it? Answer.” FREE LANCE, New Youk, Nov. 23, 1872. THE STAR SYSTEM AT THE ITALIAN OPERA. —— To THe Evirok oF THE HERALD The desire of the publicto have an excitement over a phenomenon is but a very natural one, and has led in every New York theatre to the now sud- denly so much decried star system. The greatest opposition is now made to this system at the Italian Opera; but how it isto be discarded and how a permanent, good troupe of solo singers, with a first-class chorus and orchestra, is to be provided without exceeding the amount likely to be covered on reasonable conditions, seem to be the problem, the solution of which has not been shown in the HERALD’s Sunday letters, the substance of which seems to be to establish that— First—The American public will have a star, the importation of which costing the management too much money to provide for all other parts Ce or even approachingly, costly artists, the Po le will have to put up, the managers pretend, with every other artist, though the Kind be indifferent. Second—The comparatively small, and, therefore, not sufficiently changing number of audiences, forces the management continually to change the operas to the detriment of the performances, which cannot be prepared by a sufficient number of re- hearsals, and hence not only increased expense of costumes and scenery, but the ineftictency of chorus and orchestra. Now, if it is correct that the management's ex- penditure for the first month at the Academy of Music exceeds severty thousand dollars, the average of those nights when Mme. Lucca did not sing never coming up to four theusand dollars, or even near it, the mystery of seventy thousand divided by eighteen—the highest number of per- formances possible in one month—being easily solved, would clearly show that it does not pay to bring Italian opera from Europe to America. As matters stand now, and having arrived with regard to the exacting conditions of any star singer at such @ height as to make a practicable profit for in the medium register; that it was clear, full and even.” J repeat the accusation, emphasizing it by saying that the voice is so remarkable as to delight, in spite of a bad school. I said that Lucca “possessed @ certain dramatic instinct that at times produces fine momentary effects.” I repeat the accusauon, ana cite as an instance of such effect the scene In the fourth act of “Gli Ugonottl,”’ which excites genuine enthusiasm, which both in action and Singing de- serves great praise. The music makes few de- mands to which Lucca cannot respond, and the intensely sympathetic and dramatic situation ex- cite that instinct for which I give her credit. Were it backed by thought and consummate art Lucca would be the great artist “Viator” and “Musicus” assert she is. [ said that Lucca was “magnetic, hes a fine eye and taking presence.” I repeat the ac- cusation and state further that Lucca ie personally 80 attractive as in consequence to delude the ma- jority of people into thinking her great in her art. “est magqnif~urue mais ce West pas la guerre,” (Pardon me for re into a foreign tongue, but the force of example carries me away from good resolut.ons.) itis magnificent, but it is not sing- ing. I said that Lucca’s method of singing was bad; that in “Cherubino” her mavper of attacking the manager very risky, we find ourselves natu- rally driven to the question, Is New York todo without an Italian opera altogether, or are there any means to get to @ satisfactory solution of this much vexed question by and by? Deeds, not words, are wanted, and it would cer- tainly be advisable to strike the evil at the root and to devise & plan by which the importation of singers 80 costly could be done away with, the ex- pense be diminished, the price of admission: low- ered, @ greater number of people thereby drawn into the possible payment of seats, music and good taste made more popular, and @ much greater chance given to reward such enterprise. The thing cannot be done instantly, but measures can instantly be taken towards the erection of such a piace possible for the fature, and we will endeavor to show what these means are. The Italian opera of our days—a German singing French operas be- fore an English audience in Italian—can, in reality, ot be called ag Jtalan opera, Nor ig the star this ear &@ German, last year a Swede, the exception. ‘ne other prime donne, Levienl, Kellogg and Bang, are French, American or Spanish—not one Italian, That is to say, neither music nor peformers nor audience are Italian in the Italian opera. Why not take the bull by the horns and let & number of the rich patrons of art in New York contribute the necessary finds and found a great institution like the Conservatoire de Musique in Paris, which is pouring forth every year excellent singers, ladies and gentlemen, and asumMcient number of well-traincd instrumental- ists, to furnish the capital and the provin all the elements necessary for a@ good orchestra? Give New York, in one word, the toundation that is secessary for Italan opera—the tory where to piant the trees, with all the brane necessary for the construction of a great ni: opera—with a theatre, free of any interierence, at- tached to it, where & manager would have fre: scope to do as he pleases, and if he does not suc: ceed would have only himself to blame, and if he did succeed would elevate the artistic element and the public taste to a degree which would deserve the gratitude of the country and would con- fer on it lasting beneficial results. Free it from otherwise unavoidable importation— that 1s, from the necessity of paying quite enormous prices; and instead of sending vast sums with these enriched singers out of the country as soon as earned, have American artists enriched by their own talent by the patronage of their public in mode! and emula- tion to other native talent. ‘There are good voices enoagh, there are clever girls enough, there 's 1La- terial sufficient; why not use it? Of course, all would depend on the right organization of such an institution; but able men would not be wanting who would come forward and lend their useful co- | Operation and advice to so worthy an e! “wor, | In the meantime, as much as may be used from the | vest known of these establishments, the Conser- vatoire de Musique de France migit se! asa basis, because the continued results have been a proof of its undoubted excellence. ‘To form good singers the first. thing required is to find goo: voices. But the voice is not more than | the marble block out of which the inspirea artist creates the statue. Duprez, who, atter having been one of the greatest singers of his time, hits bi one of the greatest teachers, says:—‘'The vi only one of twenty requirements necessary to form a good singer.” it would, therefore, be necessary to engage, no matter at what cost, the best possi- ble teachers. The reason why Itallan opera has established itself so eminently beyond any oth is simply because Italian professors, in the golden Umes of their professions, taught their pupils to sing “Dal Petto” to study and train their voices carefully, to be complete singers and musicians be- lore they attempted to appear on the stage; and it is to this laborious, studious, serious pe geneuing | that the nucleus of great artists, combined under Barbajo during Rossini’s youth, during the tirst quarter of this century is due, when Donizetti, Da- vid, Rubini, Fodor, Pasta, Tamburini and Lablache sang together, where their voices were so schooled and trained a8 to last forever. Rubini sang up to | sixty-three years;, Lablache literally sang up to his deathbed, and exclaiming, as he died one morning, “Non ho piu voce, mi moro,” and he did die, What a wonderful power was Rubin's, not with his wt de poitrine, which seems now to be the only attractlon in opera houses, but with his head, voice and chest notes so combined as only the greatest and most patient study can reach. This most celebrated periormance, Pacini’s “Cavaliers,”” T tuoi frequenti patpiti, where he not only took the C, but made a long shake on it, which never failed to bring the house down, was never an ut de poitrine,but the most wonderful head voice, which shows What method, and not voice alone, can do. But Rubini sang seven years solfeggi and scales, and steady, before he attempted to sing an alr. So did Lablache. But when, afterward, Rossini gave them pieces to sing with passages which seemed to be written for the clarionet they reaped the reward of their long study, and sang nearly everything at sight. How often, in his later years, did Rossini say, ‘Leave my operas alone: there is no one who cansing them now,” because such well trained singers got very rare, and that leads us to the question, What is the reason that there are no more tenors, no more Italian celebrities, when at one time there were such @ number together? The reason is Met simple. The great artistic ambition to reach the highest aim in music has been replaced by only one desire, that is to make as much, and a8 quick as possible, money. Hine ile lacryma, Hence no ‘pes serious study; hence no foundation regularly to train the voice 80 a8 to make it resist ana preserve a long time— noteven the trouble to pose the voice, and to ascertain in what limits it ought to pe kept, and hence Verdi’s instrumentation, calculated to have the singer in the orchestra if the one on the stage should not suffice. A master takes a youth up with @ good voice. Instead of allowing him time for well ascertaining his purpose, preparing him care- fully for so great @ career and giv ing him a regular, solid musical education, a contract is signed between master and pupil—the former to provide board, lessons, music, &c.; the latter to pay for all he received out of the first engagement he would get. The hurryin which the master, and some- times even the pupil, is to be ready for such en- gagement precludes all elementary studies for posing and setting and training the voice; but the pupil begins at once to learn a part of some favorite Opera. As soon as two or three of these parts are known the pupil, who has not learned how to sing, penciany speaking, but who has only just learned jow to sing these parts, makes his début; friends and the manager puff the débutant UP. Seeing that umber of people howl and applaud when he takes a very high note, he begins to screaming on the top of his voice with a view of setting the gallery screamfhg just like cana- ries, who scream all the more when they hear a big noise, id the frequent, nearly un- avoidable consequence is that a sometimes very fine voice 1s broken for ever, and then another fine voice comes in the same place with the same re- sult, when by and by the voices begin to fail, and there is a lack of singers just at the moment when @ greater number than before is wanted. In Milan, where in olden times the best advice was given to singers, there 1s now, always in con- sequence of that same money system, a professor proaking voices as wonderful as Mile. Scotta’s, Mme. Blume’s and one of the most splendid tenor voices ever heard, which beat Wachtel and any other entirely and which, through straining of the medium and other injudicious and precipitate pro- ceedings, led to the disastrous breaking o' organ which could have created the greatest sen- sation and a vast fortune for its possessor, who now, in the pee of life, finds himself in this very New York city far from earning the golden laurels Rr aes careful training and study, would have een his. The great object therefore is, how to teach in this institution, how to obtain the masters, how to hold the pupils to a sufficiently long and earnest study, how to reach finally the great purpose of providing out of national means the soloists, IRE GREAT MANHATTAN MARKET, Opening of the Immense Metropolitan Temple of Traffic at the Foot of West Thirty-Fourth Street. eee THE MULTITUDE OF VISITORS, aire The Saturday Purchasers and the Rapid Dis- apnearauce of Chiekens, Turkeys, Butter, Cheese and Eggs fren the Stands of the Delighted Merchants—What the Long Island Farmers Will Do—Washington Market To Be Avoided by Them. In February of 1871 the foundations of a new and immense structure were laid xt the foot of West Thirty-fourth street, on the bank of the North River, of which ominous predictions were made by all staid old-time personages, Who naver yet, even in this nineteenth century, dreamed ot such o thing as enterprise. For many years the tumble-down, rotten and ugiy mass of shanties near Vesey stree| ed the Washington Market, had been one of the nuisances and eyesores of the city, at the same time that it Was the only place approaching to the adequacy of | meeting the necessities of the fainilies who, after the honored old fashion, always go a marketing for the good things of the hospitable household board, instead of depending upon the tender mergies of the grocers. The efforts of public-spirited p ons to secure the abolition of such ase of this quarter of the city were met by too strong a counter mone- tary and political influence to attain any fair suc- | cess until on the 28th of March, 1870, the first plau- sible promise of real omplishment of the long- cherished object was given in the form of a special act of the Legislature incorporating the “Manhat~ tan Market Company of the city of New York.’? ‘The directors of this organization are Messrs. Paul J. Armour (President), William M, Johnson (Treasurer), Courtlandt Palmer, William D, Bowerman, J. F. Navarro and Courtlandt Palmer, Jr. The beginning pf the execution of its design of establishing a market midway between the upper and lower portions of the metropolis and of an architectural character and magnitude that would make it an object of wonder and interest greater than that felt in the like institutions of Paris, none of which are on af grand a scale, was the laying of the first stones of; the vast foundation upon which to-day stands the}- finest and noblest structure of its kind in the whole world, Its completion occurred several mouths ago. Its proportions of size far cxceed those of the great depot at Forty-second street, upon which s0 many ejaculations of wonderment and admiration have been lavished. In its design itis mach more pictaresque and graceful, and its exterior, as seen from the bosom of the broad river that rolls at its foot, is the most unpressive object that greets the stranger's eye as he goes up and down the mighty watery highway, and is more appropriately suggestive of the true progressive character of our people than any other monument of the time yct erected in New York, As the wide portals are entered there breaks upon the view a most stupendous and astounding vista of long, graceful colonades, which support the fanciful but stout roof of handsome arches that are ornamented in proper taste and simplicity, and of light, pleasant windows, through which the warm, «lear light falls mpon a Mosaio vemnents Waese *xdldity and firmness is Pike that of a granite rock. It is traced in varied colors and square are. ‘The tremendous stretch of distance is something so unusual in our prosaic modern cities, which have no great cathedrals to cherish the grandest type of artistic taste which appreciates and appropriates the sublime, that when first it meets the eye it produces a combined effect of pleasure and amazement. But the exalted height of the central arch, perfects the sense of the magnitude and grandeur of the work of art, and you do not put much stress upon By- ron’s cynical lines on the great houses that men build to depart from and the narrow ones that they delve to lie in foray. You feel the eternity of civilization, and that is satisfaction enough ip the triumph of intellect and of genius. ‘The Manhattan Market yesterday was, for the first time, formally opened for business, Farly in the morning—it being Saturday—tho streets leading to it were crowded by a throng of women With red shawls and with huge baskets on their arms, drifting toward the huge portals of the mart or drifting away more slowly aud ponderously, and chickens and turkeys were observed to peep out—though dead—from under the willow lids and to wriggle their denuded and inanimate i at other assers, as if to excite their envy of the coming feast. ifthe place had been thrown open on & Friday morning all the persons with baskets whom one could meet would have been laden with defunct denizens of the vusty deep. Within the limits of the mighty roof the scene was avery striking and peculiar one. The first sounds that met one’s ear were the shouts of about two hundred children of the neighborhood, who had gathered in the yet unoccupied portion, and were indulging in all sorts of wild gaines and tricks, as if let loose suddenly from a state of lethargy into one of eager life. The echoes of the voices rang down the long arches and sounded in their last oying: notes like the lingering cadence of mass when the processtonal and the tapers and the celebrant have turned and marched out, leav- ing the congregation and the great space in silence. This impression was, however, dissipated by the sight of the stands of a few deaiers who had set up their business near the entrance, and were doing a wonderful trade in the midst of chorus and orchestra necessary for a grand opera troupe. USICUS. SECOND RATE SINGERS AS FIRST RATE STARS. To THE EDITOR OF THE HERALD:— When the Italian opera troupe a few weeks ago was attacked with what I thought undue severity I wrote to the HERALD and stated what I knew about operatic matters in Europe, and I endeavored to show that justice nad not been done to the sing- ers of that troupe. But I must decline going into a discussion which has no public interest and no importance for art, and to participate in what is nothing but an idle quarrel about attempting to prove any singer of that company can be compared to Mme. Lucca, lonlv spoke about Miss Kellogg as a member of the troupe, and since she is not an artist whose conception or talent are of any importance to mu- sicians or of great intere#t to the public at large, I consider it simply a waste of paper and the valua- ble space of the HERALD to put a par- ticular stress on her singing or not sing- ing. If it suits the purpose of any ascribe whose bad faitn and ignorance are all that could make him conspicuous among the gentlemen ofthe ress to make inventions like the arpeggio which ubinstein added to the piano, or the genius of a singer who, a8 her most abie detender admits, lacks all dramatic inspiration, both in her singing and acting, “that is mo reason why those critics, who know what music is, should take any more notice of the Kellogg star than of the Rubinstein arpeggio. Another matter is, Mme. Lucca’s world-wide lory and genius, and when we see this same onest and able writer state that the Valentine in the “Huguenots” is not a rdle where Mme. Lucca's best talents are called into play, or that her voice is not adapted tothe music, we can only shrugg our shoulders at such deplorable criticism. Mme. Lucca has been discovered, engaged, educated, taught by Morertreets carefully instructed by himself how to king in every one of his operas the part he assigned to her. She is the greatest and the only living authority to show us the tra- ditions and the intentions of this immortal com- wer. If, therefore the Arpeagioboy obeys not those ere adapted to sii Meyerbeer’s music, he onl; adds a new arpeggio to the stupidity, the bad faith and the barefaced ignorance and duplicity of his articles. Harm he can do to no one but to himself and to the editor of a respectable paper, which is soiled by the work of an entirely unfit and unreli- able reporter. Is it not revolting to know that this very same man who now finds Miss Kellogg a peer- less star who wrote, two years ago, an article of seven columns demonstrating the incapacity and un fitness of Miss Kell ever to be agreat singer? The nationality has not ng to do with artistic Lay beg and L pe does not lead the public. The bes' Pr is the want of popularity of a singer like Miss ellogg both in jand and America. She never drew there, she never drew here; not because she isan American, but because nothing in her is ex- traordinary; because a colonel is abad gen- eral; being in the first rank of second rate singers does not make a first rate singer, and it is nly bed taste and bad judgment that can try to ae an artist from a place which he can creditably il) to @ place which is beyond his powers. lonly add that tal @ note en dessous does not at all mean flat or false singing, but at- tacking the note told (from below), and that the ane song shorn of its final C” could not by anytieans be sung with aC, a note which neve! existed im it, the song being written in EF, and, therefore, no C can be either the finalnote or even the Jast note but oue on the chordos B. VIATOR, agreat throng of people. The butter merchants were there in greatest number. The stands are alb very neat and handsome. The proprietors aro cheerful and confident of success in their new lo- cation. The Long Island Farmers’ Club are lend- ing them all the aid in their power, and the presi- dent (Mr. Robert R. Willets), one of the goodly old- time Quaker millionaires of this city, was at the market yesterday, and said that the country wag- ons from that section will in future make their rendezvous there instead of at Vesey street. Last night, despite the fact that only seventy-five: out of the several hundred stalls that are rented are. yet occupied, the market was more than ever thronged with purchasers and pregented an ex+ tremely lively and picturesque appearance, WINE DRINKING AND DEATH. Coroner Herrman yesterday morning held anim quest at 182 Sixth avenue on the body of Laura cv, Purdy, thirty-two years of age, and @ native of Providence, R.-I., who died at theabove number, Deceased was very respectably connected in Provie dence, but coming to this city years ago, coms menced leading & dissolute and irregular lite, drinks ing to great excess, She continued in this course of life till Friday, when death ensued, Laura pre- tended to have been married, bat the police report. that such was not the case, as they had seen her floating about the Fifteenth ward for an indefinite ES oftime. Previous to her death Laura sald er husband compelled her to drink wine, which made her feel bad. When Coroner Herrman and Dr, Cushman entered the room occapied by deceased bon found bottles of so-called whiskey, wine, gin and brandy, and things: generally were in great disorder. : Dr. Cushman made @ post-mortem examination on the body, and the internal organs, showed tha deceased had been of very intemperate habits, and conclusive evidence was discovered to show that death resulted from Bright’s disease. The relatives who came on to take charge of the remains seemed much humiliated to think that Laura should have ied such a life and died C4 from home unattended by relatives or iriends, an under such circumstances. The body was taken on to Providence for inter ment, and such effects as she leit were turned over to the family. THE ASSAULT UPON AND TARRING OF JOHN ORAIG IX WEST STREET. His Death in the Hospital. The ante-mortem statement of John Craig, the unfortunate man without a home, employment o1 means of support, who on the evening ‘o! the ésth instant, as he pitched ont of the groggery 72 Wesf’ stree' by the keeper, bartender and others, hae icked and beaten, and then besmeared wit grease and tar, has heretofore been im the HERALD, it been taken some day: Coroner He! aig, Who was mp by over-indi nce in benzine and other poisonous fluids, lingered till five o'clock yesterday morning, and died in the hospital, but whether he expired from excessive intemperance or from the violence received must be determined by a post-morte: examination, Coromer Herrman has had him two or three persons on suspicion of be concerned in the outrage on Oraig, but they as- serted their innocence, and there Was NO evi to warrant their commitment to the Tombs. De- ceased has left a sister, who seems determined to see justice done in the premises, and Coroner Herr. mad Will aid her to the extent of his ability. 7 heving gs ago * in the Charity Hospital, Blackwell’s Islan " ty rrman., Or