All-American

Signer Fortune Gallo, famed director of the San Carlo Opera Company, last week sent out a letter to music clubs, to critics, to concert managers. "I," said Fortune Gallo, "have announced my willingness to form an All-American Opera Company for the presentation of the works of American composers in English, next season . . . The first opera will be the new American opera Alglagla . . . by composer Frank de Leone [Akron, Ohio]. . . . The company will comprise not less than 50 persons. . . . No money will be spared." To the East, to the West, said Signor Gallo, his opera company would go, tour 100 cities (not yet booked) east of the Rockies, perhaps go farther west. The project is being backed by the National Federation of Music Clubs.

In such a small voice are mighty schemes made known. This All- American company may serve U. S. opera as the innumerable little municipal opera houses of Europe have served Italian, French, German opera--making it familiar to the people outside great metropolises, giving unknown composers, singers, a hearing. It will do this if Fortune again goes where Gallo goes.

Dark and stubby as a bottle of vino pastoso is Gallo. When he came to the U. S. from Italy, he worked in Manhattan, solaced his leisure tooting in a small brass band. Evening after evening the bandsmen practiced, their cheeks became sturdy to expel much wind, their fingers nimble to run upon the stops. "We will go on tour," they said. Gallo booked the tour. The band reached California. There, stranded on the golden shore had flopped an Italian opera company. Creditors were calling for the scenery, waiting at the stage door for the piano. Gallo took charge, christened the floundering company the San Carlo, sent it also on tour. Every year for 15 years that company, under Gallo's direction, has toured the U.S.

The San Carlo will continue its career as before, though it is likely that some of the U. S. singers will be transferred to the new organization. Most famed of these are Alice Gentle, whose home is in Seattle, Anna Fitzui (Chicago), Bianca Saroya (Philadelphia), Gilda Marcelle (Buffalo), Freda Werlein (New Or- leans), Bernice Shalker (Manhattan).

By rapidly increasing his fortune, Gailo has confounded those who declare that no company can give grand opera in the U. S. at $3 a ticket and avoid bankruptcy (TIME, Oct. 1, 1923). He has kept other irons simmering. He managed an unsuccessful English light-opera company, built around De Wolf Hopper; he managed the eternal Eleonora Duse in her last U. S. tour; the incomparable Anna Pavlowa has been under his direction. Next year, he will manage the Manhattan Police Band.