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The Seal of Muse: metropolitan opera, NY, USA

If the theater is really regarded as a showcase of urban culture, nothing can show new york as an international business center like metropolitan opera. Its architectural style, combining classical and modern, is huge and can accommodate more than 4,000 spectators. This is one of the few large theaters in the world.

At the beginning of American independence, culture and entertainment were far less developed than today. At that time, even the upper-class audience had nothing to see except a narrative opera (a hodgepodge of new words full of popular tunes) and an occasional visit to the Italian Opera House. Even fewer products are produced in the United States. 178 1 there was a musical comedy created by Americans called "The Temple of Minerva", and Washington personally attended and watched it. But this is mostly not for the drama, but for the author. This man's name is Francis Hopkins, but he is not a nobody. He was born a lawyer, worked as a judge and signed the Declaration of Independence. According to research, he designed the American Stars and Stripes. By the middle of19th century, Italian operas dominated the world in the United States, and several of them became synonymous with opera. 1854, an opera house of the Conservatory of Music was built in new york. In the following decades, most of Verdi's operas first met American audiences here. At that time, it was too difficult to enjoy the privilege of box in this cinema. Some tycoons were embarrassed because they couldn't sit in the box. They decided to build a big opera house of their own.

German Damrosh, led by a doctor of medicine, played an important role in the music industry in new york at that time. He changed the theater, put on a national drama, and held the American premiere of Wagner's Valkyria. However, before the end of a performance season, Damrosh died of illness, and his youngest son Walter took over as director, which officially opened the "German period" in the history of metropolitan opera. At this time, not only Wagner's later masterpieces, from the famous singer Tristan and isolde to the Ring of Nibelungen, were staged, but all the plays, no matter which country, were performed in German.

At the beginning of the 20th century, the manager of metropolitan opera was an Austrian named Heinrich Conrad, who recruited two legendary superstars for the theater: Italian tenor caruso and Russian bass Charlie Ryabin. Besides, he did two great things. First of all, he blatantly violated the intellectual property rights of Germans. Before the copyright of Wagner's masterpiece parsifal expired, he beat metropolitan opera to put it on the stage. As a result, the Wagner family, independent of Roy, was furious. This famous play has never been performed outside Bayreuther before. Secondly, he tried his best to stage Salome by Richard Strauss in metropolitan opera, which was adapted from the play of the same name by the Irish writer Wilde. At that time, Wilde's name was enough to silence a group of self-righteous gentlemen and ladies, but Strauss, who was introduced into Wagner's mantle, was criticized for his radical and bold music. To sum up, in the view of the conservative media in new york at that time, Salome's performance was simply obscene reading of the Bible and indecent, so the performance plan had to be aborted in the end. Mahler, the great composer, was then the director of the Vienna Palace Opera House. After 10 years of efforts, he is raising the level of the theater to a historic peak, but he is uneasy about the personnel turmoil. Metropolitan opera seized the opportunity to hire him. 1908 On New Year's Day, Mahler officially performed in the metropolis.

One of Conrad's successors is Gatti casazza, the former director of Scala Theatre in Milan. He has never invited another command giant. Needless to say, this man is Canini. In order to let the two masters perform on the same stage, the Metropolitan Theatre specially arranged a double-headed system, with toscanini as the chief conductor and Mahler as the chief conductor of German opera. Both of them are famous for their arbitrariness, and the effect of cooperation is not ideal. However, around this period, famous artists from metropolitan opera gathered, released more than 100 works and performed thousands of performances, which really made metropolitan opera famous all over the world. At this time, metropolitan opera became the number one opera house in new york, crowding out the most famous conservatory opera house at that time and replacing it with himself. At this time, a new opponent appeared: German immigrant Oscar. Hammers founded the Manhattan Opera House. Hammerstein is a businessman, smart and shrewd. He started with the invention of the cigar machine. Our famous playwright Hammerstein II (the author of The Sound of Music, Oklahoma and The King and I) is his grandson. Hammerstein recruited excellent actors, and when the new drama started, Salome, which metropolis dared not play, was also performed correctly. At that time, it was threatening, and it was likely to flood metropolitan opera. It's just that Metropolitan Real Estate has deep pockets. 19 10, it offered120,000 dollars, bought out Hammerstein's equity, and deprived him of the right to perform operas in new york in 10. Hammerstein went to London to seek another development, but lost to the Royal Covent Garden Theatre there and failed. When he wanted to return to new york, he was forbidden by metropolitan opera according to the treaty. At this time, metropolitan opera really became the overlord of many theaters in new york.