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third season of Italian opera June 3, 1851, with a portion of his company, the other part going South and coming to grief, and ultimately forming an independent opposition at Niblo's Garden. This opposition Max gallantly defeated, but the victory ruined the victor. The Astor House then closed its doors. In consequence of an accident to Sig. Beneventano and the illness of Sig. Bettini, the previously announced opera was not given, but " Lucrezia Borgia” had the following cast: Lucrezia, Sig. A. Bosio; Orsina, Sig. C. Vietti; Genarro, Sig. Lorini; Alfonsor, Sig. Marini; June 5, “Lucia di Lammermoor;" June 6, “Ernani," with Signora Truffi Benedetti as Alvira, Sig. Bettini, Ernani; Beneventano, Carlo; and Marini as Sylva; June 9, 13, “Don Giovanni;" June 10, “La Favorita;" June 12, "Lucia di Lammermoor;" June 17, first time in New York, Donizetti's opera (founded on Lord Byron's tragedy) of “Marino Faliero," with the début of Sig. A. Bosio.

Prof. Anderson, the magician who had been giving magical performances at Tripler Hall, and who had to vacate that place in consequence of its having been previously engaged for the début of Catherine Hayes, leased this house and appeared Sept. 22, 1851. He closed Oct. 16. On Nov. 3 Maretzek began a twenty nights' season of Italian opera.

“Norma" was the initial performance, with Signora Bosio, Signora A. Bertucca and Signorina Steffanoni in the principal rôles. On Nov. 20 the French company began in "La Dame de St. Tropez," with Mlle. Paul as Mlle. Leo Pickard, Robert Kemp and Mr. Dubriel in the chief rôles. The one act vaudeville, “God and Devil,” was also presented by Mr. Erneste and Mlle. Paul. German performances were given Nov. 22 by a company under the management of Chas. Stein. “Camps of the Warriors" was the initial performance, with "A Day in Naples" and "The Ugliest of Seven;" Nov. 29 "The Bell Ringer of the Church of Notre Dame, or Esmeralda the Gypsy Girl," was given for the first time in New York; Adelina Patti, announced as the Infant Prima Donna, appeared Dec. 2, for the benefit of Signora Novelli. The opera

“ Maria Di Rohan” was rendered. German opera was given Dec. 9 by the German Liederkranz, under the direction of A. Paur, when “ Czar and Zimmerman,”a comic opera, was first produced.

Prof. Anderson reappeared Dec. 24, and on New Year's Eve he gave to the poor one thousand five-pound loaves of bread, one thousand fourteen-pound pieces of beef or mutton. One thousand tickets were distributed the day before, and on presentation each one received a loaf of bread and a piece of meat.

Max. Maretzek began a season of twenty nights Jan. 19, 1852. In his company were Teresa Parodi, Amalia Patti, Lorenzo Salvi, Balbina Steffanoni, Pico Vietti, Costi, Beneventano, Rosi, Sig. Patti, Signorina Nevina, Bertucca, and Vietti. Jan. 31 Maretzek

published a card stating that, by the advice and approbation of most of the subscribers for the opera season, the prices of admission, commencing Feb. 3, would be fifty cents to balcony, sofas, dress boxes, and parquet, and twenty-five cents to the amphitheatre. Feb. 6 “Robert le Diable” was sung, with Sig. Salvi (his first appearance in America) as Robert. Julia Turnbull and corps de ballet appeared in the grand scene of the opera, also a musical band in the fourth act; Feb. 27 Signorina B. Steffanoni took a benefit, and the prices of admission were advanced. Sig. L. Salvi volunteered. The programme consisted of “La Gazza Ladra," the last scene of "Lucia di Lammermoor," with Salvi as Edgardo, Signora Pico as Pippo, Sig. Vietti as Giannetti, Sig. Beneventano as Fernando, Marini as Podesta, Costini as Lucia, and Rosi as Fabrizio. Salvi's benefit occurred March 1, when “Robert le Diable” was sung, for the last time. “ La Gazza Ladra" was repeated March 3 for Marini's benefit, and the season closed March 5.

S. S. Sanford appeared here April 19, 1852, with his New
Orleans Opera Troupe (minstrels), and his success in doing so
created some excitement among the Astor Place people. He had
to pay $1,000 in advance, for two weeks, before the keys were
handed to him, and had to furnish security that the scenery and
properties should not be injured. After Mr. Sanford had con-
cluded his performances E. P. Christy offered to give $200 per
night for the house, but the doors were thereafter closed against
minstrelsy. Charlotte Hale, wife of Chas. B. Hale, made her
American début here May 8, 1852, as Margaret Overreach, in
"A New Way to Pay Old Debts. May 10 G. V. Brooke ap-
peared as Othello, Lynne as lago, G. C. Jordan as Cassio, Arnold
as Brabantio, Harris as Montano, Miss Vickery as Emilia, and
Charlotte Wyette (first appearance in New York) as Desdemona;
Mr. Brooke also played in “Hamlet," "A New Way to Pay Old
Debts," "Merchant of Venice," "The Hunchback," "The Wife,"
and on May 19, in “The Corsican Brothers," which was followed
by Gertrude Dawes, who danced the Irish Lilt, and the romance
of “Karfa,” founded on the serious pantomime of “Obi, or Three-
Fingered Jack”:
Karfa
Mr. Stevens / Sam

M. W. Leffingwell
Capt. Orford
Hamilton Tucky

Seymour
Mr. Ormond
Sam Glenn Obi Woman

Bowes
Quashee
Moore Kitty

Mrs. Mason
Rosa

Maggie Mitchell Brooke closed his engagement June 5, and the house reopened June 7, with the first appearance in America of Donetti's trained animals, - monkeys and dancing dogs, - who gave pantomime performances. The house closed July 10, and was reopened Aug.

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27, 1852, by Frank S. Chanfrau, with Jas. Stark as King Lear. Mose" was produced, with Chanfrau in the title rôle, and Clara Fisher Maeder as Lize. Sept. i this house was called “The New York Theatre," and Sept. 3 Eliza Logan appeared as Bianca in “Fazio.” “The Two Bonny castles " was the farce; Sept. 6, “Love's Sacrifice,” with Eliza Logan as Margaret Elmore, John R. Scottas Matthew Elmore; Sept. 7, A. J. Neafie took a benefit and acted Othello to John R. Scott's Iago. Charles R. Thorne opened this house Sept. 13, with M. W. Leffingwell, Miss Wyette, Mr. Davenport, Mrs. Penson, Fanny Herring, O'Connor, and Harry Watkins in his company. The Bateman Children, Kate and Ellen, were the first attraction, in “The Young Couple," — Ellen as Charles de Blenville, Kate as Henrietta de Vigny. The fifth act "Richard III.,” Ellen as Richard, Kate as Richmond. In consequence of the illness of Mr. Thorne (who had not left his bed since the opening night) the house closed in two weeks. Mr. Thorne had expended $7,000 in improvements. His illness lasted eight months. F. S. Chanfrau again tried his fortunes here. He opened Aug. 27 with Jas. Stark in "King Lear;” Sept. 30, “Hamlet”: Stark as the Dane, R. Johnston as the Ghost, Harry Watkins as Laertes, Keene as Polonius, A. H. Davenport as Horatio, M. W. Leffingwell as first gravedigger, Mrs. Jones as Gertrude, and Mrs. Charles Thorne as Ophelia. This house would seat about seventeen hundred persons. On June 12, 1850, it was sold at auction to the Mercantile Library Association, for $150,000. On the 20th of the following May, the furniture was sold at auction. The building was remodelled for the purposes of the library at a cost of $250,000. It was opened April 19, 1854, with imposing ceremonies, as Clinton Hall.

On June 17, 1860, Valentine Vousden opened here with his monologue entertainment. Artemus Ward delivered his first lecture in New York here Dec. 23, 1861, called “The Babes in the Wood.” It consisted of a wonderful batch of comicalities, touching upon everything except the "Babes.” “One of the features of my lecture," he used to say, “is that it contains so many things that don't have anything to do with it.” Artemus Ward's right name was Charles Farrar Browne, and he was born in Maine, April 26, 1834. In addition to “The Babes in the Wood,” and “Mormondom,” “ Sixty Minutes in Africa" was one of his lectures.

. Mr. Browne died at Southampton, England, March 7, 1867. As a humorist, the fame of Artemus Ward was universal; as a lecturer, he was quaint, original, and entertaining to an indescribable degree.

THE MINERVA ROOMS

A

HUMBLE place of amusement called “The Minerva Rooms

was located at 460 Broadway. It was a large room or hall, used for various entertainments of a light order. The Sable Harmonists “warbled " here in November, 1847. The party con sisted of Plumer Archer, J. Farrell, W. Roark, Nelson Kneass, J. Murphy, Richard M. Hooley, Mr. Tichenor, and T. F. Briggs. On Sept. 22, 1852, the panorama entitled “Gen. Winfield Scott in Mexico" was unrolled.

In Feb., 1853, Risley's "Illustrated River Thames, and the Whole of the City of London,” was the title of an exhibition seen here.

THALIAN HALL

A

NOTHER humble house called Thalian Hall was situated at

492 Grand Street, near Clinton Place. It was used for concerts, balls, fairs, and the like. Charles T. White appeared here in 1849, as a performer on the accordeon.

STOPPANNI HALL

ON

N the corner of Walker Street and at 396 Broadway was

Stoppanni Hall, opened by Charley White in December, 1848, with a minstrel company called White's Serenaders. Among the performers were Master Marks (now Dick Carroll, Sr.), and Charles Jenkins, banjo soloist. One of the best of the old school minstrels ever seen was Charley Jenkins, and his “The Wild Raccoon Track was the hit of the times. Banvard's Panorama of the Mississippi was on exhibition here in September, 1850. On Dec. 3, 1851, P. T. Barnum was announced as manager, and he exhibited the panorama of Crystal Palace.

THE SOCIETY LIBRARY ROOMS

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THE Society Library Rooms were situated at 348 Broadway, between Catherine Lane and Leonard Street. They were occasionally used for concert purposes. Fellow's Ethiopian Operatic troupe, formerly Pierce's Minstrels, appeared here Sept. 9, 1850, and continued until the completion of their new hall on Tattersall's grounds, afterwards “444" Broadway. P. T. Barnum exhibited the Aztec Children here in December, 1851. Kimberly's Campbell Minstrels occupied these rooms for a long time. April 5, 1852, the New Orleans Opera and Ballet troupe, Samuel S. San

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ford, manager, opened here. This concern was announced as the only burlesque troupe, and the only American Opera Company in the Union. They introduced original songs, ballads, glees, and choruses, reels, jigs, and hornpipes Prof. Herman was the leader, and J. H. Kavanagh, musical director. They closed April 17, and went to the Astor Place Opera House.

TRIPLER HALL

situated on the west side of Broadway, nearly opposite Bond Street, on ground leased from John La Farge, who subsequently became owner of the building. It was erected by Mr. Tripler for the New York début of Jenny Lind, but was not ready at the stipulated time, owing to unfortunate delays. Its erection cost over $100,000. It was opened Oct. 17, 1850, by Mme. Anna Bishop, who was a great vocalist, as well as one of the most accomplished women of the English stage. She was versed in all schools, styles, and compositions of excellent music — English, French, German, or Italian — from the sublimest work to the simplest ballad, giving all with a brilliancy and power few could attain. Mme. Anna Bishop was succeeded here by Henrietta Sontag and Alboni, in concerts.

Prof. Anderson, known as “The Wizard of the North," appeared here Aug. 18, 1851, and gave a series of drawing-room entertainments, illustrative of the fallacy of Necromancy, Demonology, and Witchcraft. Catherine Hayes gave her first concert in America here, Sept. 23, 1851. She was the pupil of Sig. Felice Ronconi, brother of the great Giorgio Ronconi, and her first appearance in Italian opera was at Marseilles, France, May 10, 1845, as Elvira in “Puritani.” In California this lady was a great success, and it was there she lost, in 1856, $27,000 by the failure of Messrs. Saunders & Brennon, of San Francisco. One of the most successful benefits ever given in that city was the farewell to this lady. The fire boys had charge of the affair, and that fact was almost equivalent to turning it into a gold mine. The seats were sold at auction, and the greatest excitement prevailed. The bidding rose rapidly from $50 to $500, and thence - amid the cheers of an audience almost as large and enthusiastic as at the benefit itself — to $1,250. This is held to be the highest price ever paid in the annals of concert for a single seat. A Mr. Lobdell offered as high as $1,050, but, finding that he was hopelessly contending against a wealthy company, he withdrew and paid $1,000 for the second choice. The dress circle was occupied almost entirely by ladies, many gentlemen having vacated their seats for the gratifi. cation of the gentler sex. The profit accruing to Miss Hayes

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