George Opdycke konstatiert in seinem Artikel "Summer Music Improves" in The Brooklyn Daily Eagle Nr. 226 auf S. 62 (= S. 4 des Sonntagsmagazins) einen Unterschied zwischen den Sommerkonzerten in den USA und in Europa:

"[...] Here it is addressed to the people; there, to a special audience gathered from two continents and willing to pay handsomely for the privilege of hearing special festival performances of operas by Mozart and Wagner, festivals devoted to the symphonic and chamber music works of this or that composer–Beethoven or Brahms, Bach or Bruckner. Contrariwise, the Summer opera season at [... einige Beispiele ...] are all of them popular enterprises, designed for the entertainmant of vast and hetereogeneous audiences. [...].

     The Stadium concerts [... auch "music which is unfamiliar" ...]. In the latter class, for example, belong the Bruckner symphonies, and certain of the tone poems of Strauss, presumably "unpopular" works, yet at the Stadium attracting large audiences to hear them.

     Of "novelties" a great number are presented each year [... Beispiele ...], or Bruckner and Sibelius. Yet the attendance at the Stadium steadily increases [...]."