In Chicago

When Amelita Galli-Curci sings to a concert audience she gets $10,000--not always, but often.

When she sings to the opera audience in Manhattan she gets $3,500-- never more. She gets a similar amount when she sings in the Chicago Civic Opera.

Thus, while grand opera singing is good for her prestige, it is not essential to her financial happiness. Now she has decided to quit Chicago opera after she has completed her contract for the present season.

The head of the Chicago Opera is Samuel Insull, electricity and public utility magnate. The managing director is Mr. Polacco, orchestra leader. Mr. Polacco desired Galli-Curci to sing Dinorah when she opens in Chicago on Dec. 3, but Galli-Curci desired to sing Lakme.

When she received word that, willy-nilly, she must sing Dinorah, she telegraphed Mr. Insull:

" Basing my attitude on the established precedent of past seasons, I had assumed courteous consideration would be shown my desires regarding the opera to be selected, but as the present attitude of the company clearly indicates that you now deem this entirely unnecessary, I am obliged to accept your decision, inasmuch, as I am bound to the company for this season. I deem it fair, however, to inform you at this time that in view of your complete ignoring of even a preliminary discussion of my preference I shall not be with the company next season."

Commenting after publication of the telegram, she said: " I do not hold one of Big Tim Murphy's cards and I cannot be ordered around like a gashouse worker. I will not submit to the steam roller tactics of Mr. Insull."

And Mr. Insull said: "I hope Mme. Galli-Curci will exercise a woman's prerogative and change her mind."

The episode reveals: 1) the best opera managers do not regard any star as indispensable; 2) no star depends upon an opera manager for her (his) living.