Scarlet Masque Theatre Journal New Beginnings and Fond Farewells Vol. 1 | Page 50

Giuliani.” (New York Times, 2001). The decision was found to be so influential that
reporter Anthony Tommasini called it, “the most meaningful day of music in 2001.” (New
York Times, 2001). Kellogg retired in 2007, however, no one immediately succeeded
him as director (New York Times, 2005). This was sparked by severe financial deficits
and slashing of the budget to account for losses and plan ahead (New York Times,
2005). Additionally, the company left their home house and instead presented concerts
at Carnegie Hall and the Schomburg Center (New York Times, 2009). Despite Sills vast
budget contributions in the late 1980s, NYCO consistently struggled to stay afloat,
falling victim to bankruptcy in the fall of 2013 (New York Times, 2015).
Struggling little with budget, the Met at the turn of the 20th century instead had to
deal with a great deal of dissonance between the box holders and the creative directors.
Potentially, the arrival of prominent composer and conductor Gustave Mahler would
alleviate some of these stresses and get everyone on the same page. The conductor
made his debut at the Met in early 1908 to immense critical acclaim with Wagner and
continued to conduct operas by Mozart and Beethoven throughout the rest of the
season. Collectively, the board was thrilled with Mahler’s musical success, despite
some anti-Semitic views from the box holders—particularly J.P. Morgan, the source of a
great deal of conflict in the company's early years (Fielder, 2003). Later in the season,
the company began to also pursue the coveted La Scala conductor, Arturo Toscanini,
who had previously rejected its offer (Fielder, 2003). Along with Toscanini, the Met also
pursued Giulio Gatti, the director of La Scala at the time (Fielder, 2003). Upon the
acquisition of Toscanini, the Met had successfully secured the two greatest conductors
of the day, making it extraordinarily difficult for anyone else to compete.
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