Scarlet Masque Theatre Journal New Beginnings and Fond Farewells Vol. 1 | Page 46

production (Fielder, 2003). Such difficulties and dissonance between the performers and
the board itself placed the company in a very difficult place towards the end of the
season, which convinced the general manager to look towards music as reprieve
(Fielder, 2003). This led to a rapacious search to find an established conductor to man
the musical helm and serve as a way to draw the audience in and reestablish the
company (Fielder, 2003). After a pass from the famed Arturo Toscanini, the company
was able to secure Gustave Mahler to conduct for three month periods each season
(Fielder, 2003). This would turn a new chapter for the Met itself, however, the company
would need to do a fair bit of self-evaluation to keep Gustave Mahler.
It is clear that the prioritization of wealth and social appearances made the early
years of the Metropolitan opera very difficult. Educated in music as the box holders may
have been, it seems as though the opera was an experience they envisioned to be
tailored to them. Though the gourmet food, lengthened intermissions, and social
niceties may have created a favorable experience for the box holders themselves, it
was not nearly as beneficial for the working or middle classes as they were unable to
indulge themselves in such manners due to simple practicalities. Additionally, the idea of
the box holders holding most of the say-so in regards to choosing the season—
particularly in the case of Salome—made matters increasingly difficult for normal
operations at the opera house. It is difficult to comprehend in modern times just how
much influence monetary matters and socialite mixing had on the events at the Met.
Though everyone in theory was able to attend productions at the Met and enjoy
the opera, it is very clear from historical accounts that the experience was very much
not for the common man, and nor was he truly welcome. This is an attitude that the Met
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