This set includes a rare signed letter from Opera star MARY GARDEN and a program from the Tuesday evening, February 18th, 1913 performance of the Jules Massenet opera "THAIS" at the Metropolitan Opera House in New York City ..... The opera starred MARY GARDEN in the title role and the company included HECTOR DUFRANNE, CHARLES DALMORES, GUSTAVE HUBERDEAU, CONSTANTIN NICOLAY, MARIE CAVAN, MINNIE EGENER and LOUISE BERAT ..... The orchestra was conducted by CLEOFONTE CAMPANINI with FERNAND ALMANZ as Stage Manager ..... Biographical note: Born in Aberdeen, Scotland, MARY GARDEN (February 20th, 1874 – January 3rd, 1967) was a Scottish-American operatic lyric soprano, then mezzo-soprano with a substantial career in France and America in the first third of the 20th century. She spent the latter part of her childhood and youth in the United States and eventually became an American citizen, although she lived in France for many years and eventually retired to Scotland, where she spent the last 30 years of her life. In 1899 Garden began to study singing with the American soprano Sibyl Sanderson, who introduced her to Jules Massenet and Albert Carre, the director of the Opera-Comique in Paris. Impressed with her voice, Carré invited her to join the roster at the Opéra-Comique in 1900. Garden made her professional opera debut with the company on April 10th, 1900 in the title role of Gustave Charpentier's Louise, which had received its World Premiere only two months earlier. Although Garden had been preparing the role, her debut, at the eighth performance of the work, was unscheduled as she was a last minute replacement for Marthe Rioton who had become ill. After her debut, Garden quickly became one of the leading sopranos at the Opéra-Comique. In 1901 she starred in two World Premieres, "Marie" in Lucien Lambert's La Marseillaise and "Diane" in Gabriel Pierne's La Fille de Tabarin. That same year she sang the title role in Massenet's Thais at Aix-les-Bains, and sang both the title roles in Massenet's Manon and Messager's Madame Chrysantheme at the Opera de Monte-Carlo; all under the coaching of Sanderson. In 1902, Claude Debussy selected her to play the female lead at the Opéra-Comique debut of his Pelleas et Melisande. Garden's performances met with considerable critical acclaim. She also created a sensation as Salome in the French version of the Richard Strauss opera. Additional performances at the Opéra-Comique included the title role in Massenet's Griselidis (1902), "Violetta" in Giuseppe Verdi's La Traviata (1903), the title role in the World Premiere of Xavier Leroux's La Reine Fiammette (1903), and the title role in Saint-Saens' Helene (1905). In 1905 she sang at the Opera de Monte-Carlo in the World Premiere of Massenet's Cherubin, a role which the composer wrote specifically for her. The following year she returned to the Opéra-Comique to sing "Chrysis" in the World Premiere of Camille Erlanger's Aphrodite. In 1907, Oscar Hammerstein convinced Garden to join the Manhattan Opera House in New York City where she became an immediate success. She made her American debut at the Manhattan Opera House on November 25th, 1907 in the title role in Thais, a role which fitted her personality and art like a glove. She further astounded American audiences with her uncanny portrayal of a young boy in Massenet's Le Jongleur de Notre-Dame (1908) and in the United States premiere of Pelléas et Mélisande. By 1910 she was a household name in America and Garden appeared in operas in several major American cities; including performing with the Boston Opera Company and the Philadelphia Opera Company. Between 1910 and 1932 Garden worked in several opera houses in Chicago. She first worked with the Chicago Grand Opera Company (1910 –1913) and then joined the Chicago Opera Association in 1915, ultimately becoming the company's director in 1921. Although director for only one year, Garden was notably responsible for staging the World Premiere of Sergei Prokofiev's The Love for Three Oranges before the company went bankrupt in 1922. Shortly thereafter she became the director of the Chicago Civic Opera where she commissioned the opera Camille by 28-year-old composer Hamilton Forrest. She sang roles at the Civic Opera until 1931, notably in several United States and World Premieres. (Wikipedia) ..... PROGRAM DETAILS: The forty page program measures 7" X 10" inches and includes production credits, list of the members of the opera company, synopsis of scenes, promotional and historical text, schedule of upcoming engagements, list of patrons and wonderful vintage advertising, but no photos or bios ..... SIGNED CORRESPONDENCE: The single page, hand-written letter (with envelope) was sent to Mr. WILL J. DAVIS, Manager of the Illinois Theatre in Chicago. The envelope was postmarked August 16th, 1914 in Port Gibson, Mississippi. These items will be accompanied by a Certificate of Authenticity ..... CONDITION: With the exception of small moisture stains on the back cover (last scanned image) and moderate edge wear, this rare program is in excellent condition and will make a wonderful addition to the collection of any opera aficionado or historian. The signed letter and envelope are in very good condition. This set will be carefully packaged in a protective, carded sleeve and backed by stiff cardboard.