Backstage At The Opera Author:Rose Heylbut Text extracted from opening pages of book: BACKSTAGE AT THE OPERA By ROSE IIEYLBUT AND AIME GEUBER Pat/ wantc-r of The Metropolitan Opera J'LLUBTTUTKD THOMAS Y. CROWKLL ( X) MPANY : : NEW YOKK EDWARD JOHNSON AND LUCR. KHIA HOIO FOREWORD THE three sections of this book include one ( the last) which explains some of the details of actual operatic ... more »routine, and two which are devoted to reminis cences. The material in those two sections is presented solely as a series of personal impressions. There has been no attempt at either criticism or banner-carrying* Aime Gerber, Paymaster of the Metropolitan Opera Association, and affiliated with that organization for thirty-nine years, is responsible for the facts of the opera's life from 1898 to 1931. Rose Heylbut is re sponsible for the arrangement and writing. The mate rial dealing with events since 1031 derives from the impressions and observations of both. It is impossible, within the limits of one volume, to touch upon all the interesting names and events bound up with New York's opera since 1898. Other individ uals associated with the Metropolitan on terms of equal intimacy and over an equal period of time might select quite different highlights, I^ ot one reason or another, however, the facts here presented live most vividly in the minds of those responsible for this book; their selec tion has been based xipon general, human/* interest rather than upon formally critical evaluations or the emergence of tendencies; and they are offered entirely as personal recollections and observations, colored only by the nature of associations that have been happy. H0SK IlMVIJJUT, AIM: ft GERBKE, New York, Jww, J037. Til CONTENTS Part I Mostly Managerial CHAPTER PAGB I. MATTIUCE GuAtr 3 II. HEINIUCH CONIUED 26 III. Gnruo GATTI-CASABKA 56 IV. EnwAiiD JOHNSON 94 Part II Opera Glamour V. CONOKUNTNO Ll'FTC IN' TUTC HotTSE ..... 105 VI. THK OLDKR PKRSONAIJTIKN . . .* 120 VI L CARUSO .171 VIII. Tnw NKWMII PERSONALITIES 190 Part IT! Factory IX. SWTTTKC Ttnc SOKNIO ..... ..... 219 X. TUM C^ AHT ....... ...... XI, ( IKHTAIN MATTKUH OF ADMINISTRATION .... 275 XII. OPMHA HKOAIK'ASTIN< I ..... .... 2HB XIIL THE MHTUOI-OMTAN OFKRA ( Itni. n ..... J) 07 INDKX .............. 917 Part One MOSTLY MANAGERIAL CHAPTER I MAUEICE GRAU 1. IT ALL depends upon the point of view. To one not over-afflicted with realism, it is still the same Metropolitan Opera. The main auditorium, fronting Broadway, stands forthright and yellow and square, just as it did more than fifty years ago. The thickness of its walls, the height of its archways and ceilings, the great sweep of its staircases, and the clustered crystal of its lights, all tell of time that has been which is some thing of an achievement in this day of passing land marks* The ** front, though, is perhaps the only factor in the opera's life which has remained unchanged. The two wings on the side streets were added later. The neighborhood has become another world. In the beginning, the stately Metropolitan stood in a comparatively quiet section of town. During the day time hours, the streets had that unthrongcd look of the financial district on, a holiday* There was no rush of crowds, and traffic consisted mostly of hansom cabs and bicycles. The ISformandie Hotel was one block down, and many of the operatic folk made their headquarters there ( although one French tenor of the old days, who earned nine hundred, dollars a performance, complained that all hotels in New York were far too clear, and occu pied a furnished room that cost five dollars a week)* lalli Ijchmatm selected the old Normatulie, partly s 4 BACKSTAGE AT THE OPERA because of its dignified accommodations, and partly be cause she could get to work for an odd hour of practise or rehearsal, at any moment that suited her, and regard less of weather or cabs. Rumors still live of the great Lehmann's appearing suddenly and unheralded in the midst of an ensemble rehearsal, taking charge of things in her own imperious« less