Abbey, Schoeffel and Grau

Last updated

Abbey, Schoeffel and Grau was a US theatre management and production firm, active from 1880 until 1896. The partners were Henry E. Abbey, John B. Schoeffel and Maurice Grau. Abbey and Schoeffel had been in partnership since 1876, and joined forces with Grau in 1882. They managed and ran a number of theatres in New York and Boston, including the Metropolitan Opera House ("the old Met") in 1883-4 and from 1891 to 1896, when Abbey died. Schoeffel and Grau remained at the Met until 1903.

Although individual biographies may individually credit them with bringing various singing, instrumental and acting stars to the US, the overall credit can be shared by all three, acting as a successful partnership for some sixteen years. Grau and Schoeffel had their own success from 1896 until 1903.

History

Henry Abbey and John Schoeffel became partners in the theatre business in 1876, Abbey dealing with the artiste management and Schoeffel looking after the business side. They began by hiring the Academy of Music, Buffalo, NY (1852–1956) [1] [2] in 1876–7 with Lotta, and later at Abbey's Park Theatre from 1876 to 1882 (when it burned down). In Boston they rebuilt the Beethoven Hall as the Park Theatre in 1879. They took the lease of Booth's Theatre, New York City, from Dion Boucicault on 1 January 1880 until 1 May 1881. [3] On 8 March 1880 they formed the company of Abbey and Schoeffel. [4]

They engaged Helena Modjeska and Sarah Bernhardt at Booth's Theatre in 1880 and 1881, and secured the lease of the Grand Opera House (formerly Pike's Opera House) in 1882. [3] They managed Christina Nilsson, Henry Irving and Lillie Langtry on tours of the US; the latter's début was delayed when Abbey's New Park Theatre burned down on October 30, 1882. [3]

In 1882 Abbey and Schoeffel invited Maurice Grau to join them. Grau had been managing light opera companies for some time before striking out on his own with the Maurice Grau Opera Company, which in 1881 had given a five-week season at the Teatro Solis in Montevideo, Uruguay. With a Brazilian conductor named Gravenstein [5] they presented a mix of grand opera and operettas: La traviata in French, Carmen , Donizetti's La fille du régiment , Thomas' Mignon , Victor Massé's Paul et Virginie, Offenbach's La Périchole and Lecocq's Giroflé-Girofla . [6] The three men formed the company of Abbey, Schoeffel and Grau to present grand opera. The partnership continued until the death of Mr. Abbey whose methods eventually cost him all his fortune and deprived Mr. Grau as well of his savings. [7]

They presented the 1883-4 opening season of the 'old' New York Metropolitan Opera House, which was a critical success but a financial failure. Abbey as manager was personally responsible for losses of $250,000. [8] The London-based banker Henry F. Gillig lost $200,000 in the Abbey-Grau Met debut. [9]

The firm returned to light opera and touring European acts including Henry Irving and Ellen Terry from 1884. From 1887 to 1888 they leased the Star Theatre (844 Broadway at 13th Street, previously Wallack's Theatre), and also from 11 October 1887 to July 1888 the then current Wallack's Theatre on 30th Street and Broadway. [10] They built the Tremont Theatre, Boston in 1888, managed by Schoeffel. [11]

Abbey, Schoeffel and Grau again took up the challenge of grand opera, with a short season with Adelina Patti in 1887 at the Met, [3] and in 1888 at the Teatro Solis, Montevideo; [12] this was followed by a season of grand opera at the Auditorium Theatre in Chicago in 1889, and tours of the US with Patti, Nordica, and Albani in 1890. [3] They returned to the Met in 1891, with Abbey managing for five years. Abbey's Theatre (at 1396 Broadway and West 38th Street) was built in 1893.

By 1895 the firm of Abbey, Schoeffel and Grau was in severe financial difficulties, and asked for extension of time to meet their obligations. The indebtedness was completely paid off. However, on 22 May 1896 the company failed with unsecured liabilities of $369,419.36 and actual assets of $162,54.85. Abbey had been ill. [3] On June 30 the directors of the Metropolitan Opera and Real Estate Company renewed their lease and continued with their contract to produce grand opera. The creditors received 40% preferred stock and 60% in notes of the firm of Abbey, Schoeffel and Grau, which had been newly incorporated in July 1896 with $500,000 capital, of which $200,000 was preferred stock. The new organisation started free from debt, but Abbey died in October 1896. [3]

Schoeffel and Grau continued in business, with Grau taking over the management of the Met from 1896 to 1897, and of Covent Garden from 1897 to 1900. Grau left the Met at the end of 1902–3 season, retired to Paris and died in 1907. [7] Schoeffel continued to manage the Tremont Theatre in Boston until his death in 1918. [11]

Related Research Articles

<span class="mw-page-title-main">Metropolitan Opera</span> Opera company in New York City

The Metropolitan Opera is an American opera company based in New York City, currently resident at the Metropolitan Opera House at Lincoln Center, situated on the Upper West Side of Manhattan. The company is operated by the non-profit Metropolitan Opera Association, with Peter Gelb as the general manager. The company's music director has been Yannick Nézet-Séguin since 2018.

<span class="mw-page-title-main">Henry Eugene Abbey</span> American theatre manager and producer

Henry Eugene Abbey was an American theatre manager and producer.

<span class="mw-page-title-main">Agnes Booth</span> American actress

Agnes Booth, born Marian Agnes Land Rookes, was an Australian-born American actress and in-law of Junius Brutus Booth, Edwin Booth, and – arguably the most notable – John Wilkes Booth, the assassin of Abraham Lincoln.

<span class="mw-page-title-main">Heinrich Conried</span>

Heinrich Conried was an Austrian and naturalized American theatrical manager and director. Beginning his career as an actor in Vienna, he took his first post as theater director at the Stadttheater Bremen in 1876. In 1878 he relocated to New York City where he remained for the rest of his career, serving initially as director of the Germania Theatre (1878-1881), followed by posts at the Thalia Theatre (1881-1882), New York Concert Company (1882-1883), and the Irving Place Theatre (1883-1903) In 1903 he became director of the Metropolitan Opera in New York City, a post he remained in until his retirement in 1908.

<span class="mw-page-title-main">Edmund Law Rogers Jr.</span> American actor (1850–1893)

Edmund Law Rogers, also known by the stage name Leslie Edmunds, was an American stage actor. He was also a founding father of the Kappa Sigma fraternity at the University of Virginia.

<span class="mw-page-title-main">Alice Nielsen</span> American opera singer (1872–1943)

Alice Nielsen was an American Broadway performer and operatic soprano who had her own opera company and starred in several Victor Herbert operettas.

<span class="mw-page-title-main">Solís Theatre</span> Theatre in Montevideo, Uruguay

Solís Theatre is Uruguay's most important and renowned theater. It opened in 1856. The building was designed by the Italian architect Carlo Zucchi. It is located in Montevideo's Old Town, right next to the Plaza Independencia. The theatre was named after the explorer Juan Díaz de Solís, who was the first European explorer to land in modern day Uruguay.

<span class="mw-page-title-main">Wallack's Theatre</span> Former theatres in Manhattan, New York

Three New York City playhouses named Wallack's Theatre played an important part in the history of American theater as the successive homes of the stock company managed by actors James W. Wallack and his son, Lester Wallack. During its 35-year lifetime, from 1852 to 1887, that company developed and held a reputation as the best theater company in the country.

<span class="mw-page-title-main">Charles Strine</span> American journalist

Charles William Strine was an American theatrical and opera manager best known for arranging the national tours and residencies of the Metropolitan Opera Company under the direction of Maurice Grau and Heinrich Conried.

<span class="mw-page-title-main">Celestina Boninsegna</span> Italian operatic soprano

Celestina Boninsegna was an Italian operatic dramatic soprano, known for her interpretations of the heroines in Verdi's operas. Although particularly eminent in Verdi's works, she sang a wide repertoire during her 25-year career, including Rosaura in the world premiere of Mascagni's Le maschere. Boninsegna made many recordings between 1904 and 1918, and her voice was one of the most successfully captured on disc during that period.

<span class="mw-page-title-main">Alessandro Polonini</span> Italian opera singer

Alessandro Polonini was an Italian bass-baritone. He created the roles of Benoît and Alcindoro in Puccini's opera La bohème, as well as Geronte de Ravoir in his Manon Lescaut. Polonini also created the role of the surgeon in Verdi's La forza del destino.

<span class="mw-page-title-main">Eugenia Mantelli</span> Italian opera singer 1860-1926

Eugenia Mantelli was an Italian opera singer who had a prolific career in Europe, the United States, and South America from the 1880s through the early part of the twentieth century. She possessed a flexible warm voice with a wide vocal range that, while focusing mostly within the mezzo-soprano repertoire, enabled her to sing roles normally associated with contraltos and sopranos. Indeed, during her lifetime she was often identified as either a mezzo-soprano or a contralto by music critics without much consistency. While she had an excellent vocal technique and an exceptionally beautiful tone quality, her gifts as an actress and interpreter were only mediocre.

<span class="mw-page-title-main">Florencio Constantino</span> Spanish operatic tenor

Florencio Constantino was a Spanish operatic tenor who had an active international performance career from 1892 through 1917. He was particularly admired for his performances in the operas of Giuseppe Verdi and Vincenzo Bellini; with the roles of the Duke of Mantua in Rigoletto and Arturo in I puritani being signature roles for the tenor.

<span class="mw-page-title-main">Yolanda Mero</span> Musical artist

Yolanda Mero was a Hungarian-American pianist, opera and theatre impresario, and philanthropist who supported destitute musicians.

<span class="mw-page-title-main">Park Theatre (Boston)</span>

The Park Theatre (est.1879) was a playhouse in Boston, Massachusetts, in the late 19th and early 20th centuries. It later became the State cinema. Located on Washington Street, near Boylston Street, the building existed until 1990.

<span class="mw-page-title-main">Tremont Theatre, Boston (1889)</span>

The Tremont Theatre was a playhouse in Boston, Massachusetts, in the late 19th and early 20th centuries. Henry E. Abbey and John B. Schoeffel established the enterprise and oversaw construction of its building at no.176 Tremont Street in the Boston Theater District area. Managers included Abbey, Schoeffel and Grau, Klaw & Erlanger, Thos. B. Lothan and Albert M. Sheehan.

Auguste Charles Léonard François Vianesi was an opera conductor, born in the Austrian Empire and later naturalised French. His repertoire consisted mostly of French and Italian opera, in which he directed some of the world's great singers including Pauline Viardot, Christina Nilsson, Marcella Sembrich, the brothers Edouard and Jean de Reszke, and Feodor Chaliapin in the opera houses of London, Paris, Melbourne, St. Petersburg, Boston and New York. He retired around the time when sound recording became commercially available, and he seems not to have left any recorded legacy.

<span class="mw-page-title-main">John B. Schoeffel</span> American theatre manager, producer, and businessman (1846–1918)

John Baptist Schoeffel, was an American theatre manager and producer, and hotel owner. With Henry E. Abbey he was involved presenting European theatrical stars in the US, including Sarah Bernhardt, Henry Irving and Ellen Terry: and with Maurice Grau he and Abbey managed opera singers as Adelina Patti, Christina Nilsson, Ernestine Schumann-Heink, Francesco Tamagno and Fyodor Chaliapin in their tours of opera houses in Boston, Chicago and New York.

Abbey's Park Theatre or Abbey's New Park Theatre was a playhouse at 932 Broadway and 22nd Street in what is now the Flatiron District of Manhattan in New York City. It opened as the New Park Theatre in 1874, and was in use until 1882 when it burned down and was never rebuilt as a theatre.

<span class="mw-page-title-main">Rudolph Aronson</span> American impresario (1856–1919)

Rudolph Aronson was an American impresario and composer who was most notable for founding the Casino Theatre in New York City.

References

Notes
  1. "Academy Theater, 245 Main Street, Buffalo, NY 14203". Cinema Treasures. Retrieved 18 May 2017.
  2. "Metropolitan Theatre / Academy of Music". History of Buffalo. Retrieved 18 May 2017.
  3. 1 2 3 4 5 6 7 "Death of Henry E. Abbey" (PDF). The New York Times. 18 October 1896. p. 25x. Retrieved 18 April 2017. NB Much detail about the Abbey, Schoeffel and Grau partnerships.
  4. Winsor 1881, p. 378.
  5. Brazilian violinist & conductor, see Gravenstein, Andre at MusicSack. Retrieved 22 May 2017.
  6. Salgado 2003, p. 125-6.
  7. 1 2 "Impresario Grau Is Dead". The Sun. New York City. 15 March 1907. p. 9a.
  8. Herx, Stephen (1999). "Marcella Sembrich and Three Great Events at the Metropolitan". Opera Quarterly. 15 (1): 49–71. doi:10.1093/oq/15.1.49. (subscription required)
  9. Leavitt 1912, p. 420.
  10. Brown 1903, p. 254.
  11. 1 2 "John B. Schoeffel dies in Boston at 72" (PDF). New York Times. 31 August 1918. Retrieved 12 May 2017.
  12. Salgado 2003, p. 126?.
Sources