Brother Jonathan likes a show of economy, at least. Every politician in Congress, who wishes to be popular in Bunkum, invariably makes speeches against appropriations, mileage, &c., in order to prove that he is anxious to save Uncle Sam’s purse; but, at the same time, this same politician will have his pet appropriations, and not refuse his mileage either.
The small circle of fashionable people may subscribe and talk, but they can do little in this opera matter, without the support of the plain, unpretending portion of the inhabitants, who, after all, make up the audience, and bring in the money; and they have made up their minds to give only a moderate sum, and they will not give any more.
Then the Troupe must be a good one; or, if only a slender one, it must not attempt too much. The Seguins always drew well, because they only attempted _Operettes_ and _Vaudevilles_. Not that the Philadelphians do not like a higher order of music, but they are fastidious, and know when a good Opera is badly given. They will not go to hear the rich, full music of Norma murdered by a poor Troupe, with worn-out voices, and meagre choruses. Whatever they listen to must be well sung.
We wish that inimitable knight of the Baton—the white cravated Max Maretzek—would think a little of this. But if he does, there is one hint that it would be well to whisper in his ear, or in the ear of any other venturesome Opera proprietor, who is bold enough to undertake the establishing of an Opera here. There must be no cliques—no _donnas_ of different schools in the Troupe. We can all remember how weary we all were of the Biscaccianti and Truffi feud; and then, again, of the Truffi and Laborde cliques. The real lovers of music, who went for the love of the Opera, and not in a spirit of pedantic fashionable affectation, were ready to exclaim, with Mercutio,
Let the Opera be of either the French or Italian School, so that it be of one, alone. There is sufficient love for music with us, to make us liberal to either school, so that it be well represented. So far as our own taste is concerned, the Italian school is the more pleasing. The French _vocalization_ is too exaggerated, we think. It is a mere matter of taste, however, and we will be content to listen to either, so that we have an Opera.