“On last Wednesday we published an authoritative announcement of considerable importance to the musical world and to every lover of music, namely, a statement in detail of Mr. Theodore Thomas’s intention of establishing in this city a permanent opera company. We venture to say that never in the musical history of this country, with the single exception of the formation of Mr. Thomas’s orchestra itself, has there been a scheme devised of more consequence than this one. Yet we doubt if the readers of any other New York journal besides the Evening Post know anything of it, unless it be in the way of mere rumor. The conductors of the country press, we are forced to say have exhibited a higher perception of the value of this news, and those who read the daily journals of our inland cities are to-day better informed of the most important musical news of the season than those New Yorkers who read only the morning papers.

There is wide room in New York for just such a work as this new one to which Mr. Thomas proposes to turn his hand. One does not need to attend many performances of what is called opera to perceive the leanness of the show—to speak merely of what the eye sees—and the fatness of the prices. Painted scenes, whose only attractiveness at the first lay in their perfect badness, accompany us, in their mildewed age, through all parts of the known world, wherever the play may be laid, and upon occasion are calmly set to exhibit the glories of heaven or the horrors of hell. The costumes exhibit a similar versatility; and one soon concludes that the expenditure of money decrease from the door to the stage with the square of the distance.

The ear does not need to take counsel with the eye in judging of that for which one especially attends the opera. There are always one or two good singers, and we often feel a glow of admiration for the brave way in which they struggle against the depressing influences which surround them. But that is all. The chorus is bad and the orchestra weak and uncertain. Every part of the entertainment is consistent with itself except the ‘stars.’ They do indeed shine above the bogs, but in their light we see the bogs more plainly. Unfortunately, the public is always invited to see the ‘stars’—everything is pitched, in the manager’s promises, to the level of the ‘stars’—the prices are adjusted to the effulgence and glory of the ‘stars.’ But as a star in the sky to this big world (the observer standing on the earth) so are the operatic ‘stars’ to the company. And the natural man goeth away muttering that if these be the legitimate results of the ‘star’ system, let the ‘stars’ go out!

The greatest objection to the present system, irrespective of its defects, is its costliness. We do not blame operatic managers for this, nor the leading singers themselves. The first are forced to put the price at a high figure to cover the expense incurred by them in procuring a few famous singers, and the latter exact an extravagant price for their services because they are taught in many ways that America is a great country, whose people have plenty of money and are lavish with it, and where singers of merit and reputation can make a fortune in one or two seasons. Moreover, these are birds of passage, visiting us simply as a commercial venture. But when opera is given in this city not in the character of a travelling troop [sic], but by a permanently organized and established company of musicians, our singers will learn to regard money less than art, while their services, according to the ordinary rules of business, will not be held at so high a rate.

Good operatic music ought to be furnished at a cheaper rate, say at the usual theatre prices. During both summer and winter Mr. Thomas furnishes the best orchestral music in the best manner at a price within the reach of persons of the smallest means. Those who have a little more money, but who are by no means rich, are enabled thus to attend frequently, with what benefit to themselves we do not need to say, and it would be possible to produce a similar change in the cost of operas.

The new ambition of Mr. Thomas grows out of what he has already accomplished. It is not a mere fancy, but the logical result of a systematic course in music. He has laid a broad foundation in the selection and training of his band. He has but to go on, moved by the same spirit and guided by the same principles, to the perfect attainment of a noble ambition, namely, to found a lasting institution in New York, where to the best orchestral music may be added vocal music of an equally high order, given with such aids of costume and scenery and gesture as may be fitting, and at a price which will not virtually shut the doors in the face of two-thirds of the community.

The particular methods by which this is to be done may be safely left to Mr. Thomas. Through contempt and jeers and opposition he has produced and perfected one of the finest orchestras in the world. Mr. Thomas has not changed, and to him we look confidently to perform what he has promised.”