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White They Waited for Her to Get Anxious and Renew Her Contract at $1,300 Per Night, Caruso's Only Equal in Drawing Power Signed With the Boston Symphony Management, to Whom the Metropolitan Will Now Have to Pay $2,000 Each for the W fi Farrar Nights )y Which New York Opera Must Have? or Invite a Deficit Extra receipts due to Farrar $4,000 Less Farrar's increased fee 700 Caricature of Miss Farrar as "Mme. Sans-Gene,' Drawn bv Caruso. GERALDIXE FARRAR wins?but so does metropolitan opera. For nn other season, at least. its famous "Farrar roles" will lie sung by Farrar. The loser in the affair i? the Metropoli tan Opera Company. Its financiers, who haM committed themselves to the policy arbitrarily placing :i limit on fee:; paid ' ? favorite tenors and soprano.-, have been outwitted by "Madame Butterfly." S*> .*ar iis Geraidine Farrar Is c..n. pined. that policy is suspended for the coming season, an-i probably for the following season. To -.secure Geraldine Farrar?whom it must have or risk facing a deficit?th* Metropolitan Opera manag' men; during the owning sea- >n will pay t>> Director K is. of the Boston Svruphony Orchestra, a arger fee for each ?>f her performances titan it would have had to pay under a direct renewal of her contract. The Farrar fee per performance under this season's contrac* wn- $1,300. She felt tliat her drawing power warranted an increase for ne>\: season io $i!,0ou, but she would have a- cepted $ 1 .."?U0. Now Director Ellis will ?ollect $1,800 or $-,000 for ea< h <>f her Metropolitan Opera performances. The subscription >-alc announcements for the coming season need to offer forty "Farrar nights." as her drawing power is neary or quite as great as Caruso's. \Vhi< h tneaiis that the Metropolitan man agement pays a total of $-S.ti'/t more be can-e of an opera star's superior business ability. But. according t?? the carefully prepared table printed further on, the Metropolitan Opera Company will sti.l gain by keeping Farrar something like Sl?Ci.?iOu ?>n the sea son. which would not come in at subscrip tion sale and box office without her name on the hills. For a good many season- it had been the custom of the Metropolitan director toward the end of January to approach hi? principal artists about renewals of con tracts. Last January Director Gattl Casazzn. intent upon crushing "fancy fee" aspirations, decided to act on the principle customary with large employers in other lines?if you want to keep down an em ploye's salary, don't go lo him to renew the contract; let hint pet anxious and roine to you. But Geraldine Farrar didn't get anxious in just that way. As "Mr. Gatti" didn't iome around, as usual, she went to Di i ret or Ellis, of the B??t'on Symphony orchestra, who quite willingly made a con tract with her for (he coming season. A? related above, she made no mi>take. There i- a new opera organization in Chicago that needs her badly. There will be opera In Boston. Besides. Farrar is very strong on Mr. Ellis's concert :i-t. Now comes in tho little joker about Farrar for the Metropolitan season after next. Mr. Ellis has to have some profit, on his Farrar contract?probably $300 a per formance?which hardly can be concealed from "Mr. Gatti." So when he hands Miss Farrar a contract f<?r the season of 1010 1;?17. naming $1,700 a< the fee. it will fie her cue to reply: "Why. Mr. Gatti, last season you paid Mr. Ellis $2,0001" The Metropolitan Opera management Is (making a determined effort to block the natural endeavors of Its principal tenors and sopranos to exact payment for their services beyond a certain limit. These efforts do not concern Caruso?at least, at present?for he is in a class by himself. Caruso is tho only living tenor who re ceives the same fixed fee per performance wherever he appears?in America or in Europe. Two years ago that fee was $>.'-'00. This year it is $2,500. For a soprano llie high salary mark was reached when l.uisa Tetrazy.ini received s I .son for each performance. During the last, two years Geraldine Farrar has led ihe sopranos. From $1,200, in 1913. she. lias been advanced to $1,300. Ucy "draw ing power' at t he Metropoli tan has come to be nearly as creat as that of Caruso, but not in Europe. When she let it be known that a re newal of her Metropolitan contract would call for $2,000 a performance, and the Metropolitan management made no approaches toward a renewal, she signed with the manage ment of the Boston Symphony organiza tion?next to the Metropolitan Opera the most important musical enterprise in this country. Like Caruso's. Farrar's i? now n name to conjure with in advertising the annual s:i o of subscription seats and boxes. The subscription sale is the mainstay of the opera season. The larger the number of favorite artists advertised the larger the advance sale for the who e season, even for Monday night*. though for those perform ances no definite casts are sdtedu ed. Therefore, to retain Farrar would do more toward Increasing the profits or diminish ing th'1 deficit of an entire season than is represented by the larger receipts for those individual performances of which she is rinnounced a? the special attraction. Rut even this tangible result/ as between Farrar and no Farrar seems to give o'o ? iuent support to the justice of her reported demand for a raise from $1,300 to $2,000 per performance. The following table ap proximates the exact situation: Ont per- Fifty jo ? - formance formaix receipts receipts A "Farrar roie" by Farrar $14,000 $70o,(ioo By h?>r best substitute at tlte same fee 10.000 500. mm $200 ' mhi 35,?> i' ? formatters These boxes can be sold by the opera management only for the twenty two Sunday night concerts. In this waj the Metropo'itan Opera Company evades an annua rent bill which otherwise would add at least $230,000 to the total annual cash expenditures above quoted. The Metropolitan Opera expen-e account is shared by twenty-one departments, of which number virtually one-half are busy fifty two weeks lr. the year. It Is hard y possible to make an exhibit of proportionate expenses except <>n the annua! basis, as in the foi.owing table. The reader will bear in mind that the amounts set against principal artists, conductors, orchestra, chorus, ballet, covers actual services dur nir twenty-four week? of the year; that wardrobe, property and stage hands work thirty weeks, and e'ectrMans forty weeks: Number of To'.al for p>.'op:<*. season Principal artists 51 $.SSO.Sf)n Three first conductors at $30,000, $ 12,000 and $5,000, and six assistants at $75 a week each 9 Ou.noi. Regular orchestra of ST. extra lli, and stage band .from il to 30 130 Chorus us Ballet 3G Technical and scenic de partment Wardrobe department... Property department.... Carpenter department.. Stage hands Electricians Management still gains through Farrar $3,300 $16.\ijtm Receipts of $11,000 represent ty/"capacity house"?all seats sold?which has corneal" be the expectation when either Caruso m Farrar Is billed for a favorite role. With out taking into account the circumstance that a proportion of the "substitute" per formances would fall on the Monday sub scription nights wuen seatholders are obliged to accept what is offered to them, the $10,000 estimate would be too high probably $0,000 would be nearer the truth But the Monday night subscription iic<e> sarilv enters into the computation. So it will be <een that Farrar. in manding a $700 increase in her fee ; performance was asking only a little nior than one-Sixth of the extra receipts drawn through her reputation and efforts, with out considering the favorable effect upon the annual subscription sale of the an nouncement that she heads the list of women principals. Now there are at least one hundred an 1 sixty performances each season in whl -li none of the prime public favorites appear, and of operas which have in themselves r. certain drawing power. Many of the-, are necessarily given at a loss. Fsunl * the four performances completing th Wagner "ring" are given at a profit. I mm.'', the price of orchestra seats for those p'v formances is $T> instead of $(?, the "biu night." pri( e. That it. is the "big nights." meaning favorite principals in their most successful roles, which save the Metropolitan from a deficit, or enable It to show a profit on a given season, is indicated by the fact that there has never been a season's profit as great as the extra receipts drawn by Farrar above those drawn when even the next most acceptable soprano appears in the same roles. The Metropolitan management figures that the average expense per performance is $8,000. Any amount under that means a loss. For the last, two or three seasons the. unntial expense bill for the home sea son and the t"'o weeks' road tour ii?-= footed up a round $1,700,000. This amount does not inc'nde rental for the Metropoli tan Opera House, which is paid by turnic.j -o\er to the stockholders in the real cstn-f company thf- thirty-live boxes In thr ;-?rrferre tlei?otherwise known as the "Diamond horseshoe"?for all opera por In "La Singing, Pity Me' Sti.loo 20,500 30,000 24,Ota ?rtoro (c)rcr Q.P.Tc 1C8,01R| 72.000 21,500 MISS GER'ALDINE FARRAR AS "LA TOSCA" From the Vivid and Much Admired Painting by George Burroughs Torrcy, the Distinguished Artist, and Copyrighted by Mr. Torrey. Miss Farrar?After Her Triumph. Baggage department Office staff Treasurer's department.... Superintendent's and Engi neer's department, in eluding watchman, door keepers, carriageinen and cleaners, and storehouse employes Rental of ti storehouses.... Productions and materials., Performing rights Transportation Advertising Miscellaneous?Heal, light, surance, upkeep, etc. ... 10.400 67,600 5,200 38,360 2r,.000 50,000 25,000 55,010 25,000 i,20ft Total annual expenses $1,700,000 It has already been shown that the re tention of a Caruso or a Farrar at even more than Caruso gels, or than Farrar will now ?-TaIn i.y outwitting "Mr. Gatti," is like taking out Insurance against an annual deficit. Calve :tl $1,500 a performance and Tetrazzini at $1.S'">. produced a similar ef fect on the annual bal ance sheet. Farrar's present fee of $1,300 is only a shade above that of Emmy Destin, who probably is next in the affections of Metro polUain audiences, but quite a distance below Karrar in drawing power. As Johanna Gadski. Olive Fremstad, Berta Morena and Melanie Kurt are of the Ger man dramatic type, of greatest vogue in the Wngner operas, none of them effects the annual financial statement as Farrar does. All these are practically in the $ 1,000-per-performance class. At present Frieda llempel. the German coloratura soprano?and a very pretty woman- upholds the best expectations or approaching the drawing power of Farrar, but her repertory does not include the operas which Farrar has made so profitable lo the Metropolitan Opera Company. Excepting l.eo Slezak. the big Czech tenor?whose heroic roles are limited in number?all the other artists familiar to Metropolitan audience draw fees ranging downward from $1,000 per performance to $400. Most of them are engaged by the mouth or season. As to the outcome of the efforts of the Metropolitan management to keep down the fees of favorite artists. It should be remembered that Director Gatti-t'asazza Is burdened with the difficult task of satisfy ing influential and rich subscribers, espe eially those who occupy the boxes in the "Diamond Horseshoe." While "Mr. Gatti,' as he is usually addressed around the opera House, has autocratic powers, y-t lie is distinguished for his ability as a diplomatist. With respect to Geraldine Farrar. how ever. he must now deal with Director Kllis. of the Boston Syniphon.% Orchestra. And it appears that the qualities of this public favorite as an opera prima donna In this affair are almost outshone by her ability as a financier. Rats to Reduce the Cost of Living? THiE State of Kansas has undertaken the job of finding out what meats and other foods are to be used by t.ho housewife In her efforts to reduce the cost of living. It is Intended that the same amount of nutriment ir.ust be obtained from the foods. The State Board of Health, the State university and the labor unions of the State are co operating in the tests, which will take a year to complete. Professor II. W. Emerson, of the chem ical department of the university, is con ducting the preliminary experiments with twenty-four white rats, .lust now the experiment is being carried on with cured and fresh meats. When this is completed wheat flour of various kinds, corn meal and other flours will be tested, and the. rats fed on bread and biscuits from different (lours and bakeTl in differ ent ways. Then fruits will be taken up u'd tested, so far as possible in the same manner. li has long been determined that a man of average weight and in good health and doing ordinary manual labor requires so much food a day, and that certain foods have certain calories of energy. A man who ate two pounds of meat a day. with bread and vegetables, was capable of doing a certain amount of work. Kansas is soing to try to find out v. hat foodstuffs tiie housewife should purchase to g<u the most energy for her husband and sons and what she can pur chase for the least money to get the best results. The twenty-four white rats, purchased by tiie State, will find out these thing.* for her. The rats were carefully weighed, even to the one-hundredth part of on ounce, and divided into tw.-lve groups. One set is being fed meats artificially smoked; that is. smoked with i 'quid preparations: used as substitutes for real, old-fashioned hickory wood smoke. To another set is being fed meat smoked in the old-fashioned way. To another -et of rats fresh meat is given. The other cages get the same sort of diet, hut the meat Is prepared in a different manner. One group has its fresh meat fried, another boiled and another roasted. In addition to the meat the rats nre all given exactly the same amounts of bread and vegetables, potatoes, beets, celery and other vegetables. The amount of meat given each cage of rats is carefully weighed, and after each meal whatever is left is removed from the caces and weighed again. This will determine the exact amount of food consumed by the rats. When the experiment is completed it will bo definitely determinedv whether fresh or cured meats, smoked, canned or corned pork, beef or mutton is the Best meat-food, nud by comparing the costs a pound of the different kinds of meat it will be easy to determine which gives the best results at lea. i expense. The ex periment i; expected to slir>.\ whether curing meats, smoking, canning or corn ing renders the meat') more or less di gestible than when fresh, more or less valuable as food and which is the most tasteful. Copyright, 1915, by the Star Company. Great Rrltaln Uipfhts Reserved.