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In a few years his victory was complete. He continued in the work of abolishing the deficit. The standard of performances increased constantly. A war with Hammerstein came and, after many qualmy moments, was carried to victorious conclusion. Chicago opera competition was met without any serious loss of prestige. The great stars whom Gatti found waiting for him when he took the directorship passed with the years — Caruso died and Farrar left the organization. Stars as great have not arisen to take their places, yet the standing of the opera has gone higher. Titta Ruffo and Gallf-Curci have created no new glories for the Metropolitan. Among the newcomers only Jeritza has achieved something like old time Metropolitan stardom. It is here that we encounter an interesting phase upon which the coming season will have large bearing.
Gatti, in the beginning of his reign, placed himself as an enemy of the star system, of the domination of a company by a few famous and favorite singers. He gave emphatic attention to orchestra, chorus, ballet, production. The Metropolitan had always enjoyed fine orchestra conducting. This Gatti sustained with Toscanini and then with his present German conductor, Arthur Bodanzky. In Moranzoni, Papi and Haesselmans he has now a first-rate set of Italian and French conductors. Under Giulio Setti the Metropolitan chorus became a model. The productions — Samuel Thewman is the present stage manager — have kept to a high standard.
A Soprano
A month ago, TIME gave an account of the activities of Roland Hayes, Negro tenor. Last week a Negro soprano, Miss Louetta Chatman, was well received at her first appearance at Aeolian Hall, Manhattan. Although not the first Negro to be heard in recital, she was the first to have been trained by a teacher of her own race — Wilson Lamb.
Perosi's Psalms
Is Perosi sane once more?
It was announced that Don Lorenzo Perosi (TIME, May 19) would conduct a concert of his own composition at the Roman Cathedral of Fabriano. It was to be his new rendering of the Psalms for the dead, the performance lasting twelve minutes.
The leading music critics of Italy traveled twelve hours to hear him.
Months ago the mad Perosi, greatest of all living liturgical composers, retired to a Franciscan monastery, where the Brothers of the Brown Cowl have lavished care upon him.
His single concert has now roused the critics to unprecedented enthusiasm, for his setting of the Psalms is tempestuous, passionate and far removed from the character of his earlier work, such as the famous Stabat Mater, which the Vatican choir is now giving to Americans. The soprano part has almost insuperable difficulties.
When it was suggested to Perosi that he should compose a new and more elaborate work, he is said to have covered his face with horror. "Never," said he. "Besides, I am soon starting for a tour of America."
Is Don Lorenzo Perosi sane?