Chapters of Opera | Page 3

German Singers Amalia
Materna Marianne Brandt Marie Schroeder-Hanfstängl Anton Schott,
the Military Tenor Von Bülow's Characterization: "A Tenor is a
Disease"
CHAPTER XI
GERMAN OPERA AT THE METROPOLITAN
First German Season Death Struggles of Italian Opera at the Academy
Adelina Patti and Her Art Features of the German Performances
"Tannhäuser" Marianne Brandt in Beethoven's Opera "Der Freischütz"
"Masaniello" Materna in "Die Walküre" Death of Dr. Damrosch
CHAPTER XII
END OF ITALIAN OPERA AT THE ACADEMY
The Season 1885-1886 End of the Mapleson Régime at the Academy
of Music Alma Fohström The American Opera Company German
Opera in the Bowery A Tenor Who Wanted to be Manager of the
Metropolitan Opera House The Coming of Anton Seidl His Early
Career Lilli Lehmann A Broken Contract Unselfish Devotion to
Artistic Ideals Max Alvary Emil Fischer
CHAPTER XIII
WAGNER HOLDS THE METROPOLITAN
Second and Third German Seasons The Period 1885-1888 More about
Lilli Lehmann Goldmark's "Queen of Sheba" First Performance of
Wagner's "Meistersinger" Patti in Concert and Opera A Flash in the
Pan at the Academy of Music The Transformed American Opera

Company Production of Rubinstein's "Nero" An Imperial Operatic
Figure First American Performance of "Tristan und Isolde" Albert
Niemann and His Characteristics His Impersonation of Siegmund
Anecdotes A Triumph for "Fidelio"
CHAPTER XIV
WAGNERIAN HIGH TIDE
Wagnerian High Tide at the Metropolitan Opera House 1887-1890
Italian Low Water Elsewhere Rising of the Opposition Wagner's
"Siegfried" Its Unconventionality "Götterdämmerung" "Der Trompeter
von Säkkingen" "Euryanthe" "Ferdinand Cortez" "Der Barbier von
Bagdad" Italo Campanini and Verdi's "Otello" Patti and Italian Opera at
the Metropolitan Opera House
CHAPTER XV
END OF THE GERMAN PERIOD
End of the German Period 1890-1891 Some Extraordinary Novelties
Franchetti's "Asrael" "Der Vasall von Szigeth" A Royal Composer, His
Opera and His Distribution of Decorations "Diana von Solange"
Financial Salvation through Wagner Italian Opera Redivivus
Ill-mannered Box-holders Wagnerian Statistics
CHAPTER XVI
ITALIAN OPERA AGAIN AT THE METROPOLITAN
The Season 1891-1892 Losses of the Stockholders of the Metropolitan
Opera House Company Return to Italian Opera Mr. Abbey's
Expectations Sickness of Lilli Lehmann The De Reszke Brothers and
Lassalle Emma Eames Début of Marie Van Zandt "Cavalleria
Rusticana" Fire Damages the Opera House Reorganization of the
Owning Company

CHAPTER XVII
THE ADVENT OF MELBA AND CALVÉ
An Interregnum Changes in the Management Rise and Fall of Abbey,
Schoeffel, and Grau Death of Henry E. Abbey His Career Season
1893-1894 Nellie Melba Emma Calvé Bourbonism of the Parisians
Massenet's "Werther" 1894-1895 A Breakdown on the Stage "Elaine"
Sybil Sanderson and "Manon" Shakespearian Operas Verdi's "Falstaff"
CHAPTER XVIII
UPRISING IN FAVOR OF GERMAN OPERA
The Public Clamor for German Opera Oscar Hammerstein and His
First Manhattan Opera House Rivalry between Anton Seidl and Walter
Damrosch The Latter's Career as Manager Wagner Triumphant German
Opera Restored at the Metropolitan "The Scarlet Letter" "Mataswintha"
"Hänsel und Gretel" in English Jean de Reszke and His Influence
Mapleson for the Last Time "Andrea Chenier" Madame Melba's
Disastrous Essay with Wagner "Le Cid" Metropolitan Performances
1893-1897
CHAPTER XIX
BEGINNING OF THE GRAU PERIOD
Beginning of the Grau Period Death of Maurice Grau His Managerial
Career An Interregnum at the Metropolitan Opera House Filled by
Damrosch and Ellis Death of Anton Seidl His Funeral Characteristic
Traits "La Bohème" 1898-1899 "Ero e Leandro" and Its Composer
CHAPTER XX
NEW SINGERS AND OPERAS
Closing Years of Mr. Grau's Régime Traits in the Manager's Character

Débuts of Alvarez, Scotti, Louise Homer, Lucienne Bréval and Other
Singers Ternina and "Tosca" Reyer's "Salammbô" Gala Performance
for a Prussian Prince "Messaline" Paderewski's "Manru" "Der Wald"
Performances in the Grau Period
CHAPTER XXI
HEINRICH CONRIED AND "PARSIFAL"
Beginning of the Administration of Heinrich Conried Season
1903-1904 Mascagni's American Fiasco "Iris" and "Zanetto" Woful
Consequences of Depreciating American Conditions Mr. Conried's
Theatrical Career His Inheritance from Mr. Grau Signor Caruso The
Company Recruited The "Parsifal" Craze
CHAPTER XXII
END OF CONRIED'S ADMINISTRATION
Conried's Administration Concluded 1905-1908 Visits from
Humperdinck and Puccini The California Earthquake Madame
Sembnich's Generosity to the Suffering Musicians "Madama Butterfly"
"Manon Lescaut" "Fedora" Production and Prohibition of "Salome" A
Criticism of the Work "Adriana Lecouvreur" A Table of Performances
CHAPTER XXIII
HAMMERSTEIN AND HIS OPERA HOUSE
Oscar Hammerstein Builds a Second Manhattan Opera House How the
Manager Put His Doubters to Shame His Earlier Experiences as
Impresario Cleofonte Campanini A Zealous Artistic Director and
Ambitious Singers A Surprising Record but No Novelties in the First
Season Melba and Calvé as Stars The Desertion of Bonci Quarrels
about Puccini's "Bohéme" List of Performances
CHAPTER XXIV

A BRILLIANT SEASON AT THE MANHATTAN
Hammerstein's Second Season Amazing Promises but More Amazing
Achievements Mary Garden and Maurice Renaud Massenet's "Thais,"
Charpentier's "Louise" Giordano's "Siberia" and Debussy's "Pelléas et
Mélisande" Performed for the First Time in America Revival of
Offenbach's "Les Contes d'Hoffmann," "Crispino e la Comare" of the
Ricci Brothers, and Giordano's "Andrea Chenier" The