Music: Mascagni Sulks

Pietro Mascagni, due to arrive in the U. S. in a few days, together with the score of his new opera, II Piccolo Marat, and a company of Italian singers (TIME, July 28) is not coming, after all. Something very unfortunate has undoubtedly occurred. Said Mascagni, according to a Budapest despatch: “I had a contract to go to New York, but I am not going. New Yorkers don’t know anything about Art. They have money, but no conception of artistic things. I know what I am saying; I am saying what is in my heart. I sent my program to New York. Suddenly I got a cablegram asking me to change it. But I simply won’t do that. I am not going.

” Frenzied yawps of indignation followed on this side of the water. Defenders of American Artistic Ideals lacked no words, minced no words. A typical statement was that made by Herr Fritz Reiner, guest-conductor of the New York Philharmonic Orchestra:

“Mascagni has said that he would not come to America because it is a dollar country, empty of Art. His music is not good enough for Americans. American audiences are the best in the world. New York is the greatest centre of music in the world!”

Pietro’s last visit to America, in 1902, has now been recalled. It was an unmistakable fizzle. He was to collect $60,000—$4,000 per week. Received enthusiastically, his popularity rapidly waned. His manager turned against him and enmeshed him in embarrassing lawsuits. There was even a movement to deport his alien orchestra. He left in disgust. And now he remains abroad in equal disgust.

Be this as it may, Maestro Mascagni remains discussed abroad. Inundated under wreaths, well-nigh buried in bouquets, he last week responded 100 times to the frenetic applause of a Vienna audience which heard him conduct Verdi’s Aida. The performance was given in the huge amphitheatre, scene of numerous sporting events. On the stage were 2,000 musicians, singers, dancers—Italians; in the audience were 20,000 listeners—Austrians. Without imposing a defeat, the former scored a victory, orderly, harmonious. In this azione, were cast the finest singers of a honey-throated nation. Signora Poli-Randaccio was Aida, brought to the part of the Egyptian maid a southern warmth and temper; Giovanni Zenatello was heard as Rhadames, Maria Gay-Zenatello as Amneris. In the famed ballet-scene were 200 girls, “all beautiful.”