of the most eminent operatic composers were given in the best manner by competent orchestras and ensembles, by distinguished conductors and soloists. Beginning with García's visit in 1825, New York received frequent attentions from foreign opera companies, and soon was enjoying an operatic life which has now grown to proportions surpassed by few cities in the world, but at least half of the nineteenth century had passed away before New Orleans lost its proud position as the real home of opera in America. W. D. D. FOOTNOTES: [37] One must except Mr. Sonneck, who has unearthed some interesting material on opera in America prior to 1750. The reader is referred to his article in 'The New Music Review,' New York, Vol. 6, 1907. CHAPTER VI OPERA IN THE UNITED STATES. PART I: NEW YORK The New York opera as a factor of musical culture--Manuel García and his troupe; da Ponte's dream--The vicissitudes of the Italian Opera House; Palmo's attempt at democratic opera--The beginnings of 'social' opera: the Academy of Music--German opera; Maretzek to Strakosch--The early years of the Metropolitan--The Grau régime--Conried; Hammerstein; Gatti-Casazza; Opera in English; the Century Opera Company. The vogue of English ballad opera, as we have seen, began to lose some of its hold on New York audiences during the first years of the nineteenth century. Symptomatic of an awakening desire for other forms of operatic entertainment were the adaptations of _Il Barbiere di Siviglia_, _Le Nozze di Figaro_, _Der Freischütz_, and similar favorites of the contemporary European stage. There existed in New York at that time a society of some brilliance, wealth, and culture--a modest replica of the upper circles of London, Paris, and Vienna. In these latter cities the opera flourished as a social function; it was one of the most important foci of fashion. Obviously New York could not remain long without such an addition to its fashionable life. Nor could English opera serve the purpose, for English opera had ceased to be the thing in London. Society had taken up Italian opera, and only Italian opera was then _de rigueur_. Why New York did not have Italian opera at an earlier date it is difficult to say. Possibly the field did not seem sufficiently tempting to the European _entrepreneurs_; possibly New York society had not yet affected that cosmopolitan air which had come to be the distinguishing mark of the socially elect elsewhere.