Since Oscar Hammerstein's Manhattan Opera gave up the ghost in 1910, New York's Metropolitan Opera has had no real competition. The only flies in its monopolistic ointment have been popular-priced hopefuls like the New York City Opera Co., which tried a short experimental season four years ago.
The experiment was a qualified success and the City Opera stuck. Each season its troupe has been improved and its repertory expanded. Last week the young company opened its new season with a first-class production of Puccini's Madame Butterfly. The star was Camilla Williams, the first Negro prima donna with a steady job in a...
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