Auditoriums 1
A. The Opera House, 1874-1902
By the time this promotional booklet was printed by Charlotte's Chamber of Commerce in 1904 the Opera House had come and gone. However, the building remained and can be seen here in the center of the block on South Tryon between 3rd and 4th Streets. In fact the promotional text on this page provides suitable company for the Opera House, which was built between 1873 and 1874 to much fan fare and anticipation as a symbol of Charlotte’s growing importance and sophistication.[1] The culture of the Opera House was also a reflection of the social climate of the period. Ugly racial scenes were played out here, especially in the early period of its existence, but it was also a place where races did come together, both on and off the stage. The Opera House was a shared space for all levels of Charlotte society and accommodated all expressions of entertainment from the cosmopolitan to the provincial, from highbrow opera and choral concerts to lowbrow minstrel and variety shows.
A national trend
The period from after the Civil War until the 1920’s was the golden age of Opera Houses in provincial American towns.[2] Across the states people clamored for popular entertainments and at the same time city leaders, wary of the vulgar reputations of “theatres” but keenly aware of the status symbol of the Opera House, encouraged their construction as a city improvement. Local newspapers trumpeted their advent, lavishly advertised and generously reviewed their shows and made efforts to educate the local populace in how to become polite audiences and to appreciate the more refined performances on offer. The Opera House was the predecessor of today’s large performance spaces such as the Blumenthal"s Belk Theatre, where Symphony is followed by Broadway Musical, Shakespeare by Farce, Opera by Popular Music, and all are interspersed with a variety of other events from local spelling b’s to visiting celebrities.
[1] Rupert T Barber Jr., “An Historical Study of the Theatre in Charlotte North Carolina, From 1873-1902,” Ph.D. Thesis, Louisiana State University and Agricultural and Mechanical College, August 1970, pp 24,25
[2] William Faricy Condee, Coal and Culture ; Opera Houses in Appalachia, Ohio University Press, Athens, 2005, p 3
Local Pride
Local newspapers took every opportunity to praise events at the Opera House, especially if they were considered to be morally uplifting. The following quote gives the flavor of their effusive language. The occasion was the 1881 performance of the popular operetta by Gilbert and Sullivan, “The Pirates of Penzance” by the locally renowned Gounod club who managed give the performance ahead of time for the annual Meck Dec Day Celebrations.
“Last night at the opera house was an occasion of music, flowers, lights, grace and beauty of form, colors and faces unparalleled in this city. The house was crowded and the audience at first sympathetic and hopeful, quickly became assured, enthusiastic and finally rapturous with applause. Bouquets rained upon the stage as success after success was scored, and people almost wept because there were no more bouquets to throw. Each member of the cast, however obscure his part may have been, may stand upon “tiptoe” as Shakespeare says when this occasion is mentioned for it was, beyond compare, a glorious one”[1]
[1] Charlotte Observer, May 20th 1881, quoted in Engelson, ““A History of adult community choirs in Charlotte, North Carolina: 1865-1918,”p88
B. YMCA, 1888-1909
In 1888 the Opera House was joined on South Tryon by the handsome Romanesque three story YMCA, which quickly became a popular venue for Charlotte’s succession of choral groups and clubs. It can be seen here in this postcard with its distinctive stonework, turret and tower. In the back of the building was a 750-seat auditorium, which was frequently the chosen venue for benefit concerts.
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Their conductor was Carl Gaertner, newly come to Charlotte to take up the position of head of music at the Charlotte Female Institute. He was a graduate of the Royal High School of Music in Berlin and the National Conservatory of Music in Philadelphia and was one in a line of highly trained classical musicians who left their mark on Charlotte’s music scene.
St. Cecelia Society
The St. Cecelia Choral Society was formed in November 1899 with the stated objective “to promote and cultivate musical taste and art." The group was typical of the choral groups that often performed at the YMCA and certainly one of the most successful and long lived.
The twenty-six strong female choir was led by Mrs. W.B. Ryder[1] and their first performance to benefit the Humane Society included a cantata called “Lady of Shalott”, and partsongs by American composers. Many other concerts followed benefitting other causes and including the Elizabeth College orchestra. Efforts were made to include fifty male singers to perform with them for the Meck Dec festivities of 1900, but unfortunately the men did not attend sufficient rehearsals and the concert was cancelled.
In 1901 the Society joined with the mayor, other city officials and representatives from Charlotte’s business community and the presidents of Presbyterian and Elizabeth Colleges to create an organization called the Carolina May Music Festival Association. The festival in May was hailed a success and included the Boston Festival Orchestra, that inaugurated the new 2,000-seat auditorium at Presbyterian College. The final concert included the festival chorus singing “Stabat Mater” and “Hail Bright Abode” from Richard Wagner’s opera “Tannhauser.”
The last performance of the St Cecelia Society was held on Valentine’s Day 1905. After this it was decided to attach the Society to the Charlotte Woman’s Club as an educational group called the Treble Clef.[2]
[1] During the course of its history there were three conductors, including Ryder, Joseph Craighill, and Harry Zehm, of the Elizabeth College music conservatory.
[2] Robert Allen Engelson, “A History of adult community choirs in Charlotte, North Carolina: 1865-1918,” DMA Thesis, Arizona State University, May 1994, pp 151-168
C. Academy of Music, 1902-1922
In 1902 the St Cecelia Choral Society along with other performing groups in Charlotte turned their attention to the brand new municipal auditorium, the Academy of Music, which was being built as part of the distinctive Trust Building two doors south of the YMCA and across the road from the old Opera House. The Academy of Music replaced the Opera House to become the major performance site for professional touring companies in Charlotte.
In December 1902 an ambitious rendition of the popular “ Mikado” by Gilbert and Sullivan was undertaken by a gathering of some of “best local talent” of the city at the Academy directed by David Huyck, minister of music at Tryon Street Methodist Church, and starring Robert Keesler, minister of music at Trinity Methodist Church. (Keesler also organized a community band known as the Keesler Cornet Band). The production was a benefit for the Alexander Rescue Home, a local orphanage. The following spring Huyck directed another community musical theatre at the Academy, “Said Pasha”.[1]
The Academy of Music had seating for 1,350 people on various levels, which was an improvement on the Opera House, which only seated 900. Similar to the Opera House, however, the Academy shared a building with various businesses. Despite the fact that it was supposed to be fire proof, a late night fire broke out and destroy the whole building on December 16th 1922. In this way the Academy of Music joined many such grand old performance spaces of the early Twentieth Century.
[1] Robert Allen Engelson, “A History of adult community choirs in Charlotte, North Carolina: 1865-1918,” DMA Thesis, Arizona State University, May 1994, pp 159,163
Don Richardson : Conductor for House Orchestra Academy of Music
Don Richardson, who arrived in Charlotte in 1900, became the popular conductor of the house orchestra at the Academy of Music, in addition to conducting the Davidson College Orchestra and Glee Club, and his own orchestra. Richardson’s energy was remarkable as shown by the reach of his influence on Charlotte’s music scene. During 1905-06 his orchestra gave concerts at First Baptist Church, the Colonial Club, the Elk’s Club and the Charlotte Woman’s Club. His purpose was to convince Charlotte to support a permanent orchestra.[1] Unfortunately this did not come to pass until the Charlotte Symphony was formed in 1932.
Richardson was originally from Clinton N.C., and was only 22 years old when he came to Charlotte. By popular belief it has been claimed that he taught 2,900 students during his long career, fifty years of which were spent in the Queen City.[2]
Academy of Music Program for comic opera "Dream City"
American diva Lillian Blauvelt, advertised here as "distinguished on two continents as an oratorio controlto" starred in this performance of "Dream City" on 26th September 1907. Comic opera was hugely popular during the late nineteenth and early twentieth centuries.