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Show 'The time .Is: approaching rapidly fn America, when grand opera will B be In reach of every body,- , accord- ihg'to producers'of high grade musl- H cal-coriipanle's . and - managers .of op'era. house?, who are beginning to W realize that from a money-making Hj, standpoint it wlll.be necessary to cut the prices and open Uie .doors H to -those who cannot afford to pay fqr the high price scats. There -are njany of the grand , opera stars .of ..today who refuse to H, sing in the ten and twenty cent houses They will get over it in time howoveV, -when they .fliid they can sing to a. full house, at from ten cents to fifty qents. Today , they aro singing to empty seats much of tho time.. Akeady the. break from the high prjecs has begun. Stars who for merly, never .appeared , in houses where the scats sold for less than 32 and( $3 aro now glad to sing to crowds at' $1 to $2 a seat.' The moving picture Is respon-. flble for the downfall of the high' priced opera. The old theory was that the poor did not appreciate good m.uslc. They believed that a reduction In prices lowered the cs-tlmation cs-tlmation of the singer on the par; of.;the public. But managers of opera houses and managers of com-panles com-panles are beginning to find' that we . H; all-are, .more' or. less poor. Ht The.'rriovlng ;plcture. houscrfirst H' took Lhe patrons from the last row H' in ."nigger heaven." Then the pic ture houses began to make inroad? on. the gallery and into the balcony. Today. the picture show patrons are feVf h coming from the first lloor. But further than the Inroads from the moving picture shows is the growing consciousness of managers that the common people would go to 'hear grand opera If they had the price.;. The stars -who have come out Inr ..vaudeville' and appeared at tho te'n-and twenty cent houses have been received by large audiences. . Americans love music. They can Hyc without it .and when they need to 'economize they will economize on music first. That was learned long ago In Europe.'. Even South America dis-covered dis-covered that fact years ago. At Buenos Aires and Rio dc Janeiro they have municipal opera houses where the stars of Europe who would-refuse' to sing in America In anything lcs than a $2 house will lng for less than half that much there. Germany, Italy, France and Spain mM have amusement houses where tho masses can go and hear the classics. Immigrants coming to America never heax the great artists. They B, never hea,r Nordlca, Schumann- Efelnk.'Teytc, Gadskl or any of the other -grand opera stars here even though they did hear them across the water. The American Is Just as musical as 'the European. He Is only kept from the high class music by the price. The working girl getting $4 or,- $10 a week and the cheap clerk at a haberdashery cannot save enough to buy the music they would like, to hear. .They content themselves with go-Ing go-Ing to the cheap show houses and listening to the popular rag Urn music of the day. A3fERICAN MTJSICAI; EDUCATION" GOOD. Chevalier Giuseppe Angelinl. tho general musical director of the San Carlo Grand Opera Company, .who hap conducted opera all over the world, recently gave some Interest-ing Interest-ing facts upon the advantages of American musical training as com-pare'd'to com-pare'd'to those enjoyed in foreign cities. Signor Angelinl said: '"If the aspirant for vocal honors : is most careful in the selection of a ' teacher, a thoroughly good musical ' education Is obtainable in both fj Xo'rth and South America, and the ; North American boy or girl whose volqes warrant them in attempting to aualify for opera, need 'not stifle their ambitions- because they can-i can-i not afford a course under Euro- pe'an t,eachera. -While the music tf ache rs and schools of Europe re- ta,in. their prestige, there are similar Institution; In the States where on may receive as thorough training as Is p'oflible .to receive abroad. It is' undeniable that many of the ln-H; ln-H; structprs .in your schools are for- elg'ners; yet-the me th 6.1 8 that nb-Hr nb-Hr tain vy.ith ; these -are- somewhat difr- Hr f?r,ent' from those In vogue with H tbclr'EtJrQpea'n confreres," and are more Jn accord with the torn pern -i mijhts of the New World publiip. Tho differences.' between the American and European ways of instruction, hite not radically 'opposed, arc suffkient to emphasize their distinction, distinc-tion, and. Incidentally, to prove that the finished prdducts of the American Ameri-can institutions nrc.-capable of holding hold-ing their own against their French, Italian or German rivals. "Still, It must i not be Imagined that because u voice may bo cultivated culti-vated ns thoroughly in New York as in Berlin or. Paris, that the expense ex-pense will be less or the strain upon up-on the, mental or physical powers les exacting. The training of .a voice-Is lhe same tho World'over. It Is an expensive and a more or less exhausting process. It calls for., mopey nnd muscle; also infinite pa-tlpnco pa-tlpnco and a- genuine affection for hard work. "Singers must likewise remember remem-ber that Jt .takes, public HfO;to ripen their, .powers Even tho con ert stage- has no use for the. contented. Jt Is progress, and again; progress; jor .Qbllvjon. . All.of tho gr.eat singr crs are dally coached by their jnasp tcrs 'quito independent of . their private pri-vate practice. The looser stars of the musical firmament are likewise coached. In Addition, the artist -must "do his or her utmost nt bftoH public pub-lic appearance. All this tends to perfect them locally 'and. to round out their artistic career as a whole. Self -must not be spared, or,- mediocrity. medio-crity. If not worse, will surely rc- suit-. .-'.! . VAnInstnhra'naous.janl unla6ked- -for success Is almost unknown u. the1 musical world. There is no flashing Into sudden prominence, as In the case of the actor or actress. Musical rowarda only come after long experience before the public. That Is why the majority of grand opera slngcre arc of more "or lcs3 mature' age. On the other ' hand, singers are more apt to retain-' a hold upon their audiences than thclr-.eon-' temporaries of the sock and busk- yPPER left Lillian Nor-dica. Nor-dica. Upper right Luisa Tetrazzini. Upper center Schumann Heink. Center Maggie Teyte. Below, Be-low, from left to right Ida Cassuto, Sophie Charle-bois, Charle-bois, Gadski, Louise Homer. Matzene portrait of Carolina Caro-lina White. AT in. This Is because the world loves song fpr It's own sweet sake, and apart from the singer. Music Is rnnst difficult to woo, but once won. Is faithful unto death to those to whom she gives herself, yet she demands in return equal devotion. ' Many of the great opera artlsta maintain, however, that when all possible has been learned In America, Ameri-ca, the time should be spent abroud in order to properly assimilate that grace, elegance, refinement. Intel-Ic-cluallty, ropose -and dramatic effect ef-fect with-which. .,tha studies of Europe ure p thoroughly .imbued, and which modem audiences require." re-quire." .. , PUHLIC. TJJCKS BEST MUSIC. -- Contrary to the : belief of. many. It has been recently asserted by several of. America's leading Impresarios Im-presarios that the earv6f the AmcrU ''an public Is more susceptible to food music than any other In tho vorld. Ono of them says: "Of course, the music lovers of Europe, which is supposed to bo the home of grand opera the very eradje of operatic melody will take violent exception to this statement, but I am prepared to stand' by it. "Ask any grand opera artist who hits sung in Europe and America, particularly South "America and Mexico, and they will tell you that the swift Ob't appreciation of good music Is. to bo found -I here, and at the same time tho readiest disapproval disap-proval 6C Inferior music. Tho" moment mo-ment the American promoter begins to purvey, bad music, ho plays to empty seats. Americans will patrpn-. patrpn-. ize nothing but tho bust, for which they possess an' unerring instinct, .hls applies with equal force to IR09 A.BUPONT, erand opera or the table d'hote dinner. din-ner. "5y American I would not havo 3'ou believe that I mean tho Ger- man - Americans Spanish - Americans Ameri-cans or the Italian-Americans. There Is a widespread, but somewhat erroneous; er-roneous; impression broadcast in this .country that the real musl'c-loverri musl'c-loverri ' are' our friends who sit in the galleries. Every one . knows that the man of Italian or Spanish birth will rise in a fine frenzy over Italian opera; tho German-Americans will run riot over Wagner, (as long as it' Is -Wagner): 'but the Interesting thing Is that the native 'American, the man 'with the Anglo-Saxon Anglo-Saxon traditions.' hasa better and keener musical ear than moat of the foreign enthusiasts. "Why, then, is the American ear,-so. ear,-so. youthful In Its artistic-training , ,.ntl '?xPercnce, moro keenly appre- dative of music than the European ear, which has hoard centuries of great music I "by overy possible instinct the native American is musical, and yet but comparatively few people stop to-' re'alizo it. They are willing to accept the bald statement that because be-cause refined -musfe and by this I nean the- best- modern expressions of jt originated In Europe, that the European leads the World In his appreciation ap-preciation of It. Le.t us' see Jns why and how-the- American ear gets' this prcstlse fhat .l contend Is" Its own. ' "Go Into the average - American "home and,, with but fow exceptions you. will find .some form of musical instrument. It may bo a piano or ajjiechanlcal piano-player, but certain cer-tain it 'isthat you will find spmethin with which to mijke' sbnie'-klnd-of a melodious or unmelodlous sound.Asl" t J , any piano manufacturer and he. will tell you that more and better pianos are made and spld-ln the United States thnn In any other two coun- tries. The phonograph dealers will tell jou tho same thing. Their In- struments go to the farms as well s as to tho cities. Thus music is -a Part, of tho. home life In America An American family that does n6t boast of at least one member that can sing or play, lacks social standing stand-ing in tho community whether it be a city or a cross-roads village. "On the other hand this opportunity oppor-tunity does not como to the average European, whos dally wage Is far less than the averago American; therefore the child of the workman in Europe lacks the training effect or some musical Instrument ip tho house. Again, (Germany excepted), the opportunity for the studv of free music Is greater in America than In any other country. , "Naturally, the question arises, why has not the American ear been previously discovered? Simply because be-cause It had not, until vorv recent years, the opportunity of the enjoyment enjoy-ment of grand opera. For many years the- American ear was given copious flosos of ballads and ragtime. rag-time. Grand opora was an expensive expen-sive noveJty which only the wealthier wealth-ier classes cquld enjoy, and which, even; to tho present' day. comparatively compara-tively few music enthusiasts may enjoy;. but as tho .beautiful melodies and im-llllng arias of the great masters mas-ters came within tho hearing of the American oar, it- was quick and keen to respon'd.',' - In short., one must be a -"pqet of -tho voice-." "Poetry," some. one-has said, "is a criticism of life in terrruT ffi of the emotions." H The .true, artist ,1s. a deep student H of every orm"of song, o'en whllo perfectly awaro that hlB own voice $ .may be only used In a certain -way. 'l |