Venue(s):
French Theatre
Manager / Director:
Antonio L. Mora
Event Type:
Opera
Status:
Published
Last Updated:
1 December 2015
The Italian Opera ensemble, just as the German Opera ensemble, has “died”. Both companies carried the seed of death in them when they started out. Both were ill-managed. The German performances were not sufficiently rehearsed and prepared, and some of the performers could not live up to the demands of their parts. The blame is entirely on the impresario, for some of the performers were quite accomplished and experienced. There was simply not enough time given to prepare, even for the best of them. Every night, a different opera was put on stage. More care was given to the versatility of the repertoire than to the rehearsals. The audience, which was more supportive in the beginning, got smaller and smaller. Therefore the revenue was not profitable enough to support the ensemble.
The Italian Opera ensemble had many fewer chances to survive, because its success rested on only one prima donna, who was not well-known; neither here nor anywhere else. With her fiasco the entire opera sank.
“Max Maretzek and the Italian Opera have so long been regarded by the New York public as interchangeable (not to say synonymous) terms, that the introduction of a new impressario [sic] seems almost like an innovation. Yet there is one who has dared to tread in the war-path of this grand Sachem. His name is Mora. He is said to possess great wealth, and to be the composer of sixteen operas. The former possession will undoubtedly be of great advantage to him in his present enterprise, but the benefit of the latter is somewhat questionable. However, they can do no particular harm if they remain carefully laid away in his private portfolio, as we believe is his present intention concerning them. The success thus far has been limited. Some excellent artists have been employed, but there is too plainly a lack of experience in the general management. It is not probable that the enterprise will become permanent.”
The Mora opera has reached its deserved end--it is dead and buried. Mora, who has frequently referred to himself as a millionaire and probably would have liked to become one, has suddenly become so ‘small’ that he can not be seen any more, especially by the people who have lost money through him.