Maretzek Italian Opera: Roméo et Juliette: CANCELLED

“The prices of admission have been lowered to the ante-war standard.”

“We think that the example which Mr. Max Maretzek has set, of reducing the prices of admission to the Italian opera and the German drama at the Academy of Music, might profitably be followed by some of the other places of amusement in the City.  If we cannot have the ante-bellum rates we might at least have a compromise with the war rates now enforced.”

“The opera of La Favorita [incorrect—should be Romeo et Juliette], which was announced for representation yesterday evening, unavoidably postponed in consequence of the male choristers refusing to perform. A large and fashionable audience had assembled within the Academy and were patiently awaiting the rising of the curtain, when it was announced that the performance would not take place. The facts of the case were listed by the Director as follows:—A few minutes before the time had arrived for the commencement of the performance the male chorus demanded a full weeks’ salary for three days’ rehearsals. The demand was refused, and the men then stated that they would not appear upon the stage. An effort to compromise the matter was made, and the sum of $5 was offered to each man for every rehearsal, which would amount to $15 per week. This offer was rejected by the majority, and upon two or three consenting to accept and expressing a willingness to perform their parts, they were threatened with personal injury by the others if they did not agree with the ‘strikers.’ After some time spent in useless endeavors to effect a compromise, it was finally decided to suspend the performance entirely rather than to submit to the terms demanded. On the director’s books is a receipt signed by all the corps, including those who refused to perform, for salary paid in full to November 18. The audience received the excuse in good humor and then dispersed, after receiving their money back.”

“A deputation of the choristers now on a ‘strike’ at the Academy of Music called at the HERALD office yesterday and submitted the following copy of the contract under the provisions of which they asked an accession to their demands of Monday last.—[Includes copy of contract from July 1867 and choristers’ statement that the contract was not fulfilled for the week of November 4, when the Academy was closed, and incomplete salary for the week of November 11. Maretzek gave an offer; male choristers threatened to strike; Maretzek repeated offer and male choristers walked out.]

The management of the Italian opera at the Academy of Music, in reference to the strike of the chorus, stated, through Mr. Joel, that there were two rehearsals for Romeo and Juliet on Tuesday and Wednesday of last week. The entire body of choristers got paid on Monday, November 18, at noon, and went away without expressing any complaint regarding money matters. At half-past seven in the evening some of the men sent a notice to the management to the effect that they would not sing unless they received the balance of a full week’s salary. Mr. Maretzek offered them $5 each for both rehearsals for the new opera, but they refused, and he closed the Academy for the evening. One of the chorus who wished to sing was threatened by some of the strikers with death if he dared to go to the Academy that night. Romeo and Juliet was consequently given by the strikers in a lager beer saloon on Third avenue before a noisy and bibulous audience, the balcony scene being sung by a male Juliet standing on the table and a Romeo under the table. The female portion of the chorus took no part in the strike.” 

“We cannot say we are surprised at the failure of Maretzek’s experiment in reducing the prices of admission at the opera. As we said at the time, it could scarcely hope for success unless the artists and employes [sic] of the Academy also reduced their rates of charges. It is impossible for a manager or employer in any department to reduce his rates materially, while he has to pay high rates for everything that enters into his business;—and it is equally impossible for his employes to reduce prices for food, clothing and the other necessaries of daily life. The reduction in rates must be general to be successful. It must result from some general cause, such as relief from taxation, contraction of the currency, or something which shall take effect in all departments and upon everything alike, —else it will be temporary and ruinous to those who venture upon it.

It seems that Mr. Maretzek’s employes had consented to a reduced scale of payment in order thus to bear their share of the experiment. Since the destruction of the old Academy he has had a constant and unequal struggle to keep the opera going at all. The present season has been especially disastrous, and it was in the desperate hope of restoring its fortunes that he proposed a fortnight ago to return to the prices that prevailed before the war. The first night showed a full house, which was a partly due perhaps to the reduction, though we are inclined to attribute it largely to the attractiveness of the new opera which was then produced. But the prospect of renewed prosperity was too much for the employes who had consented to a reduction of salaries; and mindful of their agreement, and remembering only that on every previous strike the manager had acceded to their demands, the singers of the chorus, just before the opera was to open on the second night, refused to sing unless their demand for their former salaries was at once granted. Mr. Maretzek refused to yield, so the Academy was closed and is likely to remain closed for some time to come. The singers are thrown out of employment by their own act, and the public is deprived of Italian for the present at all events.

We presume this will put an end to all attempts at a reduction of prices in our places of amusement for the present season. Those of them, at all events, which keep up the character and attractiveness of their performances,—and several of them have very greatly increased them,—have a right to look for prices of admissions in keeping with the high rates they are required to pay for everything that enters into their expenditures. Singers, actors, musicians and artists in every department now demand and receive salaries two or three times as high as they did before the war, for the very good reason that it costs them two or three times as much to live; and while this continues to be the case no material reduction in the rates of admission can be expected.”

“The difficulty of Mr. Maretzek and a part of his chorus singers has not, so far as we can learn at the present writing, been reconciled.  There will be, at all events, no further operatic performances this week. As Mr. Maretzek is to begin his Boston season on the second of next month, it does not seem unlikely that he will prefer to organize a new chorus and postpone the reopening of the season until the return of the company from that city. We sincerely regret the heavy loss entailed on him by the suspension of performances this week, which is not far from six thousand dollars. Mr. Maretzek’s energy, courageous enterprise, and general management of the opera here for the several years past have entitled him to the sympathy which he will undoubtedly receive from all of our opera-loving citizens. When he shall resume operations again this sympathy will doubtless assume the form of substantial support.”

“Due to a strike of the chorus members of the Academy of Music, all Italian Opera performances are cancelled until further notice. The strike was announced unexpectedly and is claimed to be unjustified. The choristers demanded to be paid $20 for a rehearsal of Romeo and Juliet, when usually they are only paid for performances ($20 a week for 5 shows). Maretzek’s offer of $5 compensation for the rehearsal was rejected. Only 20 choristers called for a strike, we were told, and they threatened other members if they would sing. The performances for Monday, Tuesday, and Wednesday were almost sold out, which results in a loss of $6,000. However, Maretzek will not stage any performances this week to not yield to the strikers.

The choristers’ side of the story is the following: when the admission prices for operas were reduced, the chorus members’ salary was reduced from $20 to $16 per week, which they accepted. Last week, rehearsals took place daily; on Wednesday even a day and night time rehearsal [took place]. The choristers expect full payment for that week. Instead they were paid $ 6.40 for only two performances and none for rehearsals. They refused to perform when they did not get their full pay. Since they also do not plan to yield to Maretzek, the prospects for Italian opera are bleak in the near future.”

The opera has struggled this season. However, Maretzek has fought with his typical ambition and energy. After the successful lowering of the soloists’ salaries, another situation arose that was overlooked before: the usually high salaries of the male choristers for the rehearsals of Romeo and Juliet. When the demand for the high payments was denied, the choristers refused to sing. They did perform in the premiere, however, when their ultimatum of “Point d’argent, point de Suisses!” was not fulfilled; the evening of the second performance after the audience had already bought their tickets, they refused to perform. Maretzek offered a compromise which was not accepted and the performance was cancelled.

“Talking about harmony, and all that, have you noticed what a beautiful fight has been going on between Max Maretzek and his choristers? Max has got in a muss with the gentlemen who do the noisy choruses, and about in union when anybody has to be executed, or a banquet is on the carpet. The chorus-fellers had rather the best of it, and Max was obliged to shut up when the discordant elements broke loose, and return the opera-goers their money, which was very aggravating to the impressario [sic]. An odd people are these opera chorus chaps, full of crotchety ways and quavering actions—sometimes sharp and sometimes flat in the unpeaceful tenor of their playful lives; sometimes semi-brave when they get a manager in a tight place; at other times staving good fellows, but with very little grace in their composition. They are frequently the instruments for making harmony among men, but when they are touched on the tender chord of money, then discord reigns supreme, and lager bier suffers. We are sorry for Max. He is in a bad fix. He first went back to Bennett and the Herald, and that nearly collapsed him; then he reduced his prices ‘for the public good,’ and the good public ‘shook him’ on the half-shell; then the choristers wanted full pay for rehearsals, and that also grieved him sorely. Hear us while we make rhymes about

MUSICAL PEOPLE

Musicians are like lawyers—that

From truth’s not very far—

Because they get their living by

Their ‘practice at the bar;’

And that they are like children, too,

Is simple truth to say—

Because from morn to dewy eve

They ne’er do aught but play.

They get well paid, whate’er they do;

Be their labors short or long,

It’s mostly of an easy kind,

For ‘tis the merest song.

They’re paid for all their work, yet still—

Though they on money doat—

They always pay it back again

By giving you their note.

And oddest of all oddities

Of this most funny race,

Their best of music often is

The very part that’s base;

But stranger still than anything

We yet have put in rhyme,

Though they at times come very late,

Yet still they play in time.

And, funnier still, when they do play,

No matter when or where,

If in the foulest kind of place,

‘Tis in a good sweet air,

Then may they long enjoy that same,

And health, too, of the best;

And when played out, oh! may they then

Enjoy a peaceful rest.

. . . . Postscript.—The refractory choristers having seen the error of their ways, or the price asked for rehearsal, we don’t know which, have knuckled under to the troubled Max, and the show will go on as usual. . . .”