The Chicago Civic

Run by Industrialists, Its Glories and Losses Are Great

Boris Godunov, with the Russian, Feodor Chaliapin, in the title role, will open the Chicago opera season on Thursday, Nov. 8.

This and L'Africaine are the season's novelties. Mary Garden will also revive Massenet's Cleopatre. One opera in English, Theodore Stearns' Snow Bird, is included in the general repertoire, which is predominantly French and Italian.

The Chicago Civic Opera Company is the descendant of the old Chicago Opera Company which gave New York's Metropolitan such a hard fight several years ago. But if the Eastern organization keeps on its way, tranquil in security and prosperity, the Mid-Western company faces infinitely disturbing questions and doubts. A little history will not come amiss.

The Chicago Opera Company, as all know, sprang out of the storied Ham- merstein venture. The formidable Oscar, putting on opera at the Man- hattan Opera House of New York, gave the Metropolitan management many bad dreams. But Hammerstein had no millionaires behind him. Opera war cost money. Finally he sold out to the Metropolitan. His chief orchestra conductor had been the shrewd and able Cleofonte Campanini, who now took the Hammerstein idea to Chicago. Chicago is the natural enemy of New York. Chicago would rival New York on the heights of opera. Campanini understood Americans as no American understands them, and with subtle persuasions he lined up Chicago capital that never failed him. Chief among his backers was Harold McCormick of the Harvester Trust, then the husband of John D. Rockefeller's daughter and now of Mme. Ganna Walska. The Chicagoans, not content with conflict at a distance, invaded enemy territory. They gave New York seasons, competing with the home organization for metropolitan patronage.

Campanini achieved fine success. He assembled a company of old Hammerstein stars and new ones of his own, one of the most brilliant companies ever assembled, with Mary Garden, Galli-Curci, Titta Ruffo, Muratore, Raisa, Baklanoff and others. He put on opera equal in general to the Metropolitan's best and in many respects more interesting. His New York seasons were awaited in the Metropolitan home grounds with eagerness. Though he did not make money for the company, did not "break even," he, nevertheless, achieved glories for Chicago, kept the peace in his company with suave authority, displayed great genius in the handling of financial backers. But the Chicago company was too much of a one-man affair, and when Campanini died several years ago, chaos commenced.

Mary Garden, with her enormous prestige, was made manager. One might have guessed that a soprano was a sorry person to direct an opera company, with its natural animosities between singers; that Miss Garden, with her inspired caprices, least of all was of a temperament for the job. Feuds and scandals immediately broke out. Muratore and Garden conducted a duel that was immense. There had been bad blood of long standing between Garden and Cavalieri, Muratore's wife. The deficit became a sum for awe and admiration. The New York appearance, especially ill-managed, lost heavily. The financial backing was not kept in line. Harold McCormick drew out. Garden grew disgusted with managership. One season (1921-22) was enough for her.

Thereupon the Chicago Civic Opera Company was formed with the idea of transforming the old organization into a truly municipal affair. Finances were raised by many small subscriptions made by inconspicuous people. The New York season was abandoned, but there were tours to cities such as Boston, territory not covered by the New York company. Samuel Insull was made manager. Mr. Insull is an interesting figure. The millionaire chief of the Commonwealth Edison Co., he had begun life as an office boy in the office of a Thomas A. Edison representative, had attracted the notice of the electrical wizard, had become his secretary. From this post he had risen to magnateship in electrical service companies. He attacked opera managership with little experience in music but much in industrial organization.

Last year, under Mr. Insull's management, the company achieved much popular success in Chicago. It played to packed houses. But the deficit at the end of the season was nearly a million dollars, it is said. For the coming season the organization must reduce the deficit.