Last of all there was Castle Garden. Children of to-day can remember when it was still the immigrants' depot, which it had been for half a century. Tradition says that it was built to protect New York City from foreign invasion, not to harbor it; but as a fortress it must have suffered disarmament quite early in the nineteenth century. It is now an aquarium, and as such has returned to its secondary use, which was that of a place of entertainment. In 1830 and about that day it was a restaurant, but for the sale only of ice cream, lemonade, and cakes. You paid a shilling to go in—this to restrict the patronage to people of the right sort—and your ticket was redeemable on the inside in the innocent fluids and harmless solids aforementioned. A wooden bridge, flanked by floating bathhouses, connected the castle with the garden—i.e., Battery Park. North and east, in lower Broadway and Greenwich Street, were fashionable residences, whose occupants enjoyed the promenade under the trees, which was the proper enjoyment of the day, as much as their more numerous, but less fortunate fellow citizens. There balloons went up by day, and rockets and bombs by night, and there, too, the brave militia went on parade. To Mr. White we owe the preservation of a poetical description written by Frederick Cozzens in an imitation of Spenser's "Sir Clod His Undoinge":
With placket lined, with joyous heart he hies
To where the Battery's Alleys, cool and greene,
Amid disparted Rivers daintie lies
With Fortresse brown and spacious Bridge betweene
Two Baths, which there like panniers huge are seen:
In shadie paths fair Dames and Maides there be
With stalking Lovers basking in their eene,
And solitary ones who scan the sea,
Or list to vesper chimes of slumberous Trinity.
The operas performed in the first season of Italian opera in America by the Garcia troupe in the Park Theater 1825–1826, were "Il Barbiere di Siviglia," "Tancredi," "Il Turco in Italia," "La Cenerentola," and "Semiramide" by Rossini; "Don Giovanni" by Mozart; "L'Amante astuto" and "La Figlia del Aria" by Garcia.
CHAPTER II
EARLY THEATERS, MANAGERS, AND SINGERS
The first opera house built in New York City opened its doors on November 18, 1833, and was the home of Italian Opera for two seasons; the second, built eleven years later, endured in the service for which it was designed four years; the third, which marked as big an advance on its immediate predecessor in comfort and elegance as the first had marked on the ramshackle Park Theater described by Richard Grant White, was the Astor Place Opera House, built in 1847, and the nominal home of the precious exotic five years.
The Astor Place Opera House in its external appearance is familiar enough to the memory of even young New Yorkers, though, unlike its successor, the Academy of Music, at Fourteenth Street and Irving Place, it did not long permit its tarnished glories to form the surroundings of the spoken drama after the opera's departure. The Academy of Music weathered the operatic tempests of almost an entire generation, counting from its opening night, in 1854, to the last night on which Colonel J. H. Mapleson was its lessee, in 1886, and omitting the expiring gasps which the Italian entertainment made under Signor Angelo, in October, 1886, under Italo Campanini, in April, 1888, and the final short spasm under the doughty Colonel in 1896. The first Italian Opera House (that was its name) became the National Theater; the second, which was known as Palmo's Opera House, when turned over to the spoken drama, became Burton's Theater; the Astor Place Opera House became the Mercantile Library. The Academy of Music is still known by that name, though it is given over chiefly to melodrama, and the educational purpose which existed in the minds of its creators was only a passing dream. The Metropolitan Opera House has housed twenty-three regular seasons of opera, though it has been in existence for twenty-five seasons. Once the sequence of subscription seasons was interrupted by the damage done to the theater by fire; once by the policy of its lessees, Abbey & Grau, who thought that the public appetite for opera might be whetted by enforced abstention. The Manhattan Opera House is too young to enter into this study of opera houses, their genesis, growth, and decay, and the houses which Mr. Oscar Hammerstein built before it in Harlem and in West Thirty-Fourth Street, near Sixth Avenue, lived too brief a time in operatic service to deserve more than mention.
I am at a loss for data from which to evolve a rule, as I should like to do, governing the length of an opera house's existence in its original estate as the home of grand opera.
The conditions which produce the need are too variable and also too vague to be brought under the operation of any kind of law. At present the growth of wealth, the increase in population, and with that increase the rapid multiplication of persons desirous and able to enjoy the privileges of social display would seem to be determining factors, with the mounting costliness of the luxury as a deterrent. The last illustration of the operation of the creative impulse based on the growth of wealth and social ambition is found in the building of the Metropolitan Opera House, Mr. Hammerstein's enterprise being purely individual and speculative. The movement which produced the Metropolitan Opera House marked the decay of the old Knickerbocker régime, and its amalgamation with the newer order of society of a quarter of a century ago. This social decay, if so it can be called without offense, began—if Abram C. Dayton ("Last Days of Knickerbocker Life in New York") is correct—about 1840, and culminated with the Vanderbilt ball, in 1882, to which nearly all the leaders of the old Knickerbocker aristocracy accepted invitations. "During the third quarter of the nineteenth century," said The Sun's reviewer of Mr. Dayton's book, "sagacious and far-sighted Knickerbockers began to realize that as a caste they no longer possessed sufficient money to sustain social ascendency, and that it behooved them to effect an intimate alliance with the nouveaux riches." To this may be added that when there were but two decades of the century left it was made plain that the Academy of Music could by no possibility accommodate the two classes of society, old and new, which had for a number of years been steadily approaching each other.
There was an insufficiency of desirable boxes, and holders of seats of fashion were unwilling to surrender them to the newcomers. So the Metropolitan Opera House was built in 1883, and the vigor of the social opposition, coupled with popular appreciation of the new spirit, which came in with the German régime, gave the deathblow to the Academy, whose loss to fashion was long deplored by the admirers of its fine acoustic qualities and its effective architectural arrangements for the purposes of display.
The period is not so remote that we cannot trace the influences of fashion and society in the rise of the first Italian Opera House, if not in its fall. The Park Theater was still a fashionable playhouse when Garcia gave his season of Italian opera in it in 1825–26, but within a decade thereafter the conditions so graphically described by Mr. White, combined with new ambitions, which seem to have been inspired to a large extent by Lorenzo Da Ponte, prompted a wish for a new theater: one specially adapted to opera. The new entertainment was recognized as a luxury, and it was no more than fitting that it be luxuriously and elegantly housed. It will be necessary to account for the potent influence of Da Ponte, who was only a superannuated poet and teacher of Italian language and literature, and this I hope to do presently; for the time being it is sufficient to say that it was he who persuaded the rich and cultured citizens of New York to build the Italian Opera House, which stood at the intersection of Church and Leonard