The Opera in Brooklyn
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THE OPERA IN BROOKLYN.
It appears quite probable at the present time that we shall have an Opera House in Brooklyn, and that the lyric drama will, ere long, take up a local habitation among us. The meeting held a few days ago in the W.D., in reference to the subject, indicated quite a decided feeling in favor of such an enterprise, and a readiness to come up to the mark in respect to the "material" part of the undertaking that, we confess, rather took us by surprise.
That some place of amusement is badly needed in our city, is a fact that none will feel disposed to deny, and if any attempt is to be made to supply the want, of course it is for our interest to do it in a right shape, and furnish our citizens with first-class attractions, that may safely be placed in competition with any which New York can offer. All attempts that have been previously made to establish a theatre in Brooklyn have proved signal failures simply because at no time did the inducements held out more than rival those offered by any third-rate house, across the river. It is vain to expect pleasure-seekers to patronize second-rate performance here, when within a short distance, superior attractions are offered for the same money.
So far as we can perceive, this new operatic movement in the Western District is intended to remedy the want complained of. If the affair works properly, we shall have a handsome building, costing some $200,000, in which the tuneful children and spoiled favorites of the musical world will not disdain to appear, which the elite of society will grace with their presence, and to which they will lend their hearty support. Let the movement be prosecuted with energy by those who have the matter in hand and let one more effort be made before a final confession is rendered that we are wholly dependent on New York for an evening's recreation. If the requisite energy and public spirit be displayed, before long a Brooklyn "Academy of Music" worthy the name will be erected, and our citizens will have an opportunity of listening to the notes of such artistes as Piccolomini and Gazzaniga.1 The matter is practicable enough, and might be made to answer well in a pecuniary point of view, even without resorting to any of the expedients so well known to all operatic managers. Had we such a house we might look to an interchange of first-rate operatic "stars" between the New York and Brooklyn Academics, under the supervision of an Ullman2 or a Maretzek3. Let the gentlemen who have initiated the movement not suffer it to fall through by any want of zeal on their part. We do not think they will.