Two grand opera companies in Chicago , Illinois, have gone by the name Chicago Grand Opera Company during the first half of the 20th century. Like many opera ventures in Chicago, both succumbed to financial difficulties within a few years, and it wasn't until 1954 that a lasting company was formed in the city.
13-659: The first Chicago Grand Opera Company produced four seasons of opera in Chicago's Auditorium Theater from the fall of 1910 through January 1914. It was the first resident Chicago opera company, and was formed mostly from an arrangement by the directors of the New York Metropolitan Opera Company (at "the Old Met" on 39th Street ) to acquire the assets of Oscar Hammerstein 's dissolved Manhattan Opera Company . Hammerstein had been producing opera in competition with
26-730: A season with no performances, the company was re-formed as the Chicago Opera Association , which ran from 1915 to 1921, and was re-constituted as the Chicago Civic Opera , which ran from 1921 to 1932. The second Chicago Grand Opera Company was an attempt to keep opera going in Chicago after the collapse of the Chicago Civic Opera in 1932. It produced three seasons of opera at the Civic Opera House from 1933 to 1935 before it too succumbed to financial difficulties. It
39-673: The Chicago Grand Opera Company . In 1914 she returned to the Metropolitan Opera, where she performed mostly comprimario roles for the next eighteen years. Most notably, Egener performed in the original productions of Frederick Delius 's A Village Romeo and Juliet in 1907, Reginald De Koven 's The Canterbury Pilgrims in 1917, Puccini 's Suor Angelica in 1918, Albert Wolff 's opera L'oiseau bleu in 1919, Deems Taylor 's The King's Henchman in 1927, and Taylor's Peter Ibbetson in 1931. Her final performance
52-524: The Met for a number of years. His opposition, and difficulties arising from its own management disagreements cost the Metropolitan a deficit of close to $ 300,000 for the 1908–9 season; whereas Hammerstein made a profit of $ 229,000. He had opera stars such as Luisa Tetrazzini , Mary Garden , John McCormack and Mario Sammarco at his service. However, he had considerably less success at his Philadelphia Opera House
65-549: The Metropolitan Opera Company, were represented in the affairs of the Chicago group by Andreas Dippel , previously second in charge at the Met under Giulio Gatti-Casazza , and who became General Manager in at the Chicago opera with Cleofonte Campanini as musical director. The company also spent several months each year performing in the city of Philadelphia where it performed at the renamed Philadelphia Metropolitan Opera House (previously owned by Hammerstein) under
78-603: The company included (in alphabetical order) Paul Althouse , Marguerite Bériza , Alfredo Costa , Armand Crabbé , Charles Dalmorès , Dora de Phillippe , Enrica Clay Dillon , Jenny Dufau , Hector Dufranne , Minnie Egener , Amy Evans , Dorothy Follis , Mary Garden , Jeanne Gerville-Réache , Orville Harrold , Gustave Huberdeau , Frances Ingram , Lydia Lipkowska , Vanni Marcoux , Carmen Melis , Lucien Muratore , Giovanni Polese , Albert Reiss , Myrna Sharlow , Tarquinia Tarquini , Luisa Tetrazzini , Carolina White , Alice Zeppilli , and Nicola Zerola among others. After
91-578: The details below. Request from 172.68.168.151 via cp1112 cp1112, Varnish XID 387963641 Upstream caches: cp1112 int Error: 429, Too Many Requests at Fri, 29 Nov 2024 05:41:10 GMT Minnie Egener Minnie Egener (1881–1938) was an American operatic mezzo-soprano . She made her professional opera debut in 1904 at the Metropolitan Opera as one of the flower maidens in Richard Wagner 's Parsifal . In 1906 she moved to Italy and spent
104-561: The following season, and on January 1, 1910, he confided to the press : "The operatic war is suicide." Otto Kahn and his associates at the New York Met offered to buy Hammerstein out, and on April 26, 1910, he accepted $ 1,200,000 for his Manhattan and Philadelphia opera houses, plus an agreement that he and his son Arthur Hammerstein would not produce any opera for ten years in New York, Philadelphia, Boston or Chicago. The Chicago company
117-631: The name the Philadelphia-Chicago Grand Opera Company in order to "satisfy the civic pride" of that city. The company notably presented the world premieres of Victor Herbert 's Natoma (1911) and Attilio Parelli 's I dispettosi amanti (1912). The company also mounted the United States premieres of Jean Nouguès 's Quo vadis (1911), Karl Goldmark 's Das Heimchen am Herd (1912), and Alberto Franchetti 's Cristoforo Colombo (1913). Notable performers who sang with
130-653: The next several years performing in operas with various theaters throughout that nation. In 1910 she performed the role of Alissa in Donizetti 's Lucia di Lammermoor with Luisa Tetrazzini at the Teatro Regio di Parma ; she also appeared in small roles at Covent Garden and at the Manhattan Center . Over the next four years she performed in several operas with the Philadelphia Grand Opera Company and
143-510: Was capitalized at a half million dollars subscribed by fourteen men, including: J. Ogden Armour , Martin A. Ryerson , John G. Shedd , J. C. Shaffer (in the elevator and grain business, part-controlled the Chicago Board of Trade ), Samuel Insull , Charles G. Dawes , Julius Rosenwald , Charles L. Hutchinson , A. G. Becker , all of Chicago ; and William K. Vanderbilt , Otto Kahn, and Clarence Mackay . The latter three, all directors of
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#1732858870620156-684: Was in December 1932 as Flora in Verdi 's La traviata which marked her 752nd performance at the Metropolitan Opera. Thereafter she taught voice first in New York City and later in New Orleans. She was married to the conductor Louis Hasselmans (1878–1957). She died in New York in 1933. Egener made a few recordings for the Victor Talking Machine Company including the famous 1917 recording of
169-668: Was succeeded by the Chicago City Opera Company , 1936–1939, and then the Chicago Opera Company , 1940–1946. There was no resident opera company after that until 1954, when the Lyric Theatre of Chicago was established, and renamed Lyric Opera of Chicago two years later. Auditorium Building Too Many Requests If you report this error to the Wikimedia System Administrators, please include
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