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THE GRAND OPERA SINGERS

OF TO-DAY

WORKS OF
HENRY C LAHEE

- $1.50

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Famoos Singers of To-day and
Yesterday - - -

Famous Violiiiists of To-day and
Yesterday - - - -

Famous Pianists of To-day and
Yesterday - - - -

Grand Opera in America -

The Organ and Its Masters

The Grand Opera Singers of To-
day - - - - Net a.50

Postpaid a.7o

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L. C PAGE C& COMPANY

53 BEACON STREET, BOSTON, c^lfASS.

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THE GRMD OPERA

SINGERS OF

TO-DAY

AM Aooooirr ov nn

LEADING OPERATIC STARS WHO

HAVE SUNG DURING RECENT YEARS,

TOGETHER WITH A SKETCH OF THE

CHIEF OPERATIC ENTERPRISES

HENRY C. LAHEE

Author of " FamouB Singen of To-day and Y<
terdav" "Grand Opera in America,"
"Famous Pianists of To-day
and Yesterday/' etc.

ILLUSTBATBD

L. C. PAGE AND COMPANY
BOSTON ^ •* •* MDCCCCXn

(nrOOBPORATBD)

All rights reaened

First Impressioiif September, 1912

THE COLONIAIi PRESS
C H. SDfONDB dt CO., BOSTON, U. B. A.

PREFACE

In writing '* The Grand Opera Singers of
To-day " the object has been to give some ac-
connt of the leading singers who have been
heard in America dnring the present century.
Those whose careers have been tonched npon
in ** Famous Singers of Yesterday and To-
day,'* and in *' Grand Opera in America *' are
not mentioned, except perhaps casually, in this
book.

The plan adopted has been to follow the
histories of the various opera houses, taking
each singer as he appeared in opera in America.

This book is not intended to be used as a
text book, or as a work of accurate history.
Undoubtedly also there are some singers who
should be mentioned and have not been; but
the writer has endeavored to get in all the
greatest, and those of the rising singers whose
history is likely to be of interest to the public.

The criticisms have been selected with care.

vi Preface

and are always from the most authoritative
eriticsy even though they sometimes directly
contradict one another. Such contradictions
only emphasize the difficulties of the singer.

Hekby C. Lahee.

CONTENTS

MOB
▼

I. Tbb Mbtbopoutan OpmuL-Hoima ukdsb Mav*

BioB Gbau 1

IL Tbb Mbtbopoutan Ofxba - Houbb undbb Hanv-

BiGB Conbibd 19

III. Tbb Mahbattan Opbba-Houbb itbdbb Obcab

HAioiiBKiyA'Bm 121

lY . Tbb Mbtbopoutan Opbba - Houhb miDSB Oatte-

Cabassa abd Dippbl 260

V. Tbb Boston Opbba -Houbb unbbb Hbnbt Rub-

8BLL 367

YI. Tbb Cbicago - Pbiladblpbia Compamt ttndbb

Andbbab Dippbl 420

VII. Conclusion 444

Indbx 453

LIST OF ILLUSTRATIONS

BIart Qaicdbh as Jean in " Lb Jonglbub de Nothb

Damb " (aee page 210) FronHBpieee

-Enrico Cabubo ^ ... 28

OuvB Fbbkbtadt as Isolde ....*. 4B

Bebsee Abott 64

Mabie Rappold 68

Gebaldinb Fabrab as Manon 82

Bebta Mobbna 100

luisa tetba2zini 128

EUIANOBA DB CiSNBBOS AS ORTRUD IN ** LOHBNGBIN '' 147

Alebsandbo Bonci 160

Maurice Rbnaud 166

Mart Gabden as Salome 180

Jeanne Gebville - IU^achb as Fricka in " Die Wal-

kurb" ..,...•.. 190

Giovanni Zenatello as Loewe in '^ Gebmania '' 198

Hector Dufranne as Athanael in "Thais" 206

Cabmen Meus 237

OUSTAY HuBEBDEAU AS HlOH PRIEST IN '' SaIISON ET

Dalila'' 240

EuifT Destinn 266

Mabia Gat 272

Bella Alten as Nedda in " II Paquacci " . . 277

BiccABDo Martin 282

Carl Jorn as Lohengrin 286

Pasquale Amato 290

AuMLA Glugk 298

X List of Slustrations

Edmond Cleicbnt 302

BSBNICB DB PaSQUALI AS GiLDA IN '' RlGOLBTTO " 310

Lbo Slbzax 318

Hkrican Jadlowkxb 320

ClARKNGE WmTBHILL AB WOTAN IN ** DlM WAI.KUBB " 324

Madams Chablbb Cahieb 328

Margabbtb Matebnaur 332

Putnam GsiswoiiD 340

AucB Nbxlbbn 360

Ltdia Lipkowssa 364

Felt Dbrbtnb 366

Jbeka Swabtz 369

Florencio Constantineau 372

Flobbncio Constantineau as Ca varadossi in " Tobca " 376

Bernige Fisher 388

Josi) Mabdonbs as Ramfis in " Aida " ... 390

EuzABETB Ambden 392

evbltn scotnbt 394

Edward Lankow 396

Vanni Margoux 396

Lucille Marcel 406

Carolina White and Sammarco in "Secret of Su-
zanne'' 426

Maggie Tetis as Cinderella in " Cendrillon " . 483

Marxa Whtkowska as Amnsris in " Aida " . . 436

THE GRAND OPERA
SINGERS OF TO-DAY

CHAPTEB I

THB MBTBOPOLITAN OPERA-HOUSE UNBEB MAXJBICE

GRAIT

In '* Famous Singers of Yesterday and To-
day/' and ** Grand Opera in America/' the
records of operatic doings were brought down
to the season of 1900-1901, of which Milka Ter-
nina was the dominating personality, and dur-
ing which Madame Louise Homer, now in her
prime, made her American debut in grand
opera.

Jean de Beszke had withdrawn, and did not
again return to this country, though his brother
Edouard remained a member of the Metropoli-
tan Company for some seasons.

Gloomy views of the operatic situation were
taken by some of the critics, and the future of
grand opera in New York (and consequently

2 The Grand Opera Singers of To-day

in other large cities) was a question which
agitated the souls of music lovers. ** Will Mr.
Gran discover some new and phenomenal
singers to take the place of those whose novelty
has worn off, or will he put some new operas
on the stage f " was a question propounded by
one writer.

Much doubt was expressed as to the supply
of great singers. This was supposed to have
been exhausted, and it was doubtful also
whether opera as a social function only could
be successful.

Maurice Grau was, at that time, director of
the Metropolitan Opera-House, and New York
was still the centre of operatic activities, the
Metropolitan Company visiting the other cities
of importance and giving short seasons of
opera. In this way Boston, Chicago, Pittsburg,
Baltimore and Washington each had their short
feast of opera, but Philadelphia had to take
hers during the New York season, the company
visiting that city on off nights. Music lovers
in those cities naturally felt that their lot was
hard when they had to live nearly the whole
year without opera, and then be surfeited with
it for one or two weeks, practically to the ex-
clusion of all other occupations.

The Metropolitan Opera-gouse

From this deplorable condition, which, how-
ever, was better than nothing, the country is
gradually emerging, and it is the writer's task
to follow out, in this book, the movements which
have resulted in the establishment of operatic
enterprises, — sometimes called permanent
opera, — in several of the chief cities, and
make some mention of many smaller companies
which now visit the lesser cities, throughout the
country. Music lovers practically all over the
land have opportunities now to hear the
standard operas sung by good, if not great,
singers.

Perhaps a brief review of the twenty years
which ended with Maurice Grau's resignation,
may prove to be the best method of leading into
the period to which this book is devoted.
Operatic regimes had generally ended in bank-
ruptcy, but Maurice Gran retired with a mod-
erate fortune.

Let us go back to the time of Henry E. Abbey,
who was the great rival of Colonel Mapleson,
whose operatic enterprises during the ** eight-
ies " enabled us to hear many of the greatest
singers of those days. Mr. Abbey's opening
year was a notable one, and has been called
one of '^ sweetness,'' while the seven German

4 The Grand Opera Singers of To-day

■B

seasons which followed were not qualified in
the same way.

Mr. Abbey opened his season in 1883 with
Gounod's ** Faust,'' an opera which still re-
tains its popularity. The cast was, Campanini,
as Faust, Christine Nilsson, as Margherita,
Novara, as Mephistopheles, Del Puente as
Valentino, and Scalchi as Siehel. Two days
later Madame Marcella Sembrich, who has but
recently retired from grand opera, made her
American debut in ** Lucia di Lammermoor,"
winning the golden opinions which she retained
to the end of her career. The other chief mem-
bers of the company were Madame Trebelli,
Madame Fursch-Madi (dramatic soprano)
Stagno, a very robust Italian tenor, and Victor
Capoul, the French tenor.

One of the great ^ ^ star casts ' ' of that season
was at the performance of ** Don Giovanni "
(Nov. 23, 1883) with Sembrich, Nilsson, Kach-
mann, and Mirabella, a performance which has
been compared to one given under Grau in 1899
with Sembrich, Nordica, Maurel and Edouard
de BeszkS.

The one novelty of that season was * * La Gio-
conda," an opera which has during the past
few years become popular, but which in the in-

The Metropolitan Opera-House

tervening period was not given except by
Henry W. Savage's English opera company.

There seemed to be a tendency toward the
dramatic as opposed to the merely ornamental
operaSy and in 1884-1885 Dr. Leopold Dam-
rosch gave a season of German opera, living
only long enough to see the artistic success of
his enterprise. He brought Matema to this
country, and after his death Anton Seidl was
imported to conduct, with Walter Damrosch
as his assistant. Then came a series of great
German singers, Lilli Lehmann, Emil Fischer,
Niemann, Marianne Brandt, Vogl and Max
Alvary, who brought new knowledge of Wag-
ner and his works to American audiences.

Financial losses caused a change of policy,
and Abbey and Grau became managers, put-
ting on French and Italian operas again, with
Jean and Edouard de Beszke, Melba, Eames,
PlauQon, and Lasalle, as the new attractions.

The Metropolitan Opera-House was des-
troyed by the fire in 1892 and a season with-
out opera ensued during the rebuilding, but in
1893-1894 Emma Calve as Carmen came into
view.

In 1895, the De BeszkSs and Nordica gave
^* Tristan and Isolde,'' and ** sang " it, estab-

6 The Orand Opera Singen of To-day

lishing a new standard for the performance of
Wagner's operas.

Then came the Damrosch-Ellis venture, which
lasted but a short time, and Maurice Gran re-
mained in nndispnted possession of the operatic
field for several years. He adopted the policy
of giving each opera in its own language,
and under his management German opera
stood on an equal footing with French and
Italian.

A review of the New York season, printed
in 1900, relates that the season had consisted
of ninety-six performances, including two rep-
resentations of the ** Nibelungen Bing.'* The
company afterwards made a tour to Baltimore,
Washington, Pittsburg, and gave twenty-six
performances in Philadelphia. The new
singers in the company were Milka Temina,
Theodore Bertram (a Wagnerian artist),
Friedrichs (who disappointed the public ex-
pectation in every r81e but that of Beck-
ines8er)y Albert Alvarez, and Pierre Comu-
bert, tenors, of whom neither proved success-
ful, and Susan Strong, who was practically
new.

In 1902 the chief events were the production
of de Lara's opera *' Messaline,'' and of Pad-

The Metrdpolitan Opelra-fiouM 7

erewski's ^' ManrUy" the debut of Madame
Benss-Belce as El^heth in '^ Tannhanser,''
and the special performance on the occasion of
the visit of Prince Henry of Germany to New
York. For this performance the prices charged
were from five dollars for a seat in the family
circle to thirty dollars for an orchestra chair,
and two hundred and fifty dollars for a box
seating six people.

For some time, in fact since Jean de Beszk^
withdrew from the Metropolitan company,
there had been much speculation as to the
future of opera on account of the dearth of
tenors, and few of those who sang succeeded,
at first, in pleasing the public. Among those
of the season of 1902 were Emil Gerhauser and
Aloys Burgstaller.

Burgstaller had received all his training at
the school established by Madame Wagner at
Bayreuth, and had sung there, and at Hamburg
and Frankfort. His chief successes were in
Wagnerian roles. He sang at the Metropolitan
for several years, in fact until 1909.

Emil Gerhauser was a native of Krumbach,
Bavaria. He was bom in 1868 and educated by
the Benedictine monks at Augsburg. At the
age of twenty-two he sang at Munich, and

6 The Orand Opera fiingen of To-day

was engaged there until 1892. Later he sang
at Carlsbad under Felix Mottl, also at Bay-
reuth.

One of the most interesting singers brought
to America by Grau was Gilibert, the French
baritone.

Charles Gilibert was bom in Paris in 1867|
and received his training at the Conservatoire,
after which he became a member of the Opera
Comique Company. His first noteworthy suc-
cesJB, however, was made in Brussels, at the
Theatre de la Monnaie, and later he repeated
it at Covent Garden. He was brought to this
country by Maurice Grau and made his debut
at the Metropolitan Opera-House on December
18, 1900, as the Duke of Verona in ** Bomeo et
Juliette." He also sang in ^' La Boheme," but,
during that season, he made no special success
in New York. In the following year he ap-
peared as Sergeant Sulpice in '^ La Figlia del
Begimento," and took New York by storm.

For some unexplained reason he was not re-
engaged by Conried, when Grau retired, and he
spent that season in touring the country in
concert.

When Oscar Hammerstein opened the Man-
hattan Opera-House he did not let such an ex-

The Metropolitan Opera-Hoiue d

cellent artist escape, and Oilibert was a loyal
member of the Manhattan Company as long as
it existed* He was to have appeared at the
Metropolitan Opera-House in 1910 in one of
the roles in ** The Girl/' which is said to have
been written especially for his voice, but his
nntimely death took place jnst before the open-
ing of the season.

Gilibert demonstrated that secondary roles
in opera can be made roles of great significance
in the hand of a true artist. Thus he raised
into their due importance the characters of
Domcairo in ** Carmen,*' Monterone in ** Bigo-
letto,*' Dr. Bartolo in ** II Barbiere,'' and
Maaetto in ** Don Giovanni.*' He excelled in
the bnflFo parts in ** L'Elisir d'Amore," and
** Don Pasquale," the cook Boniface in ** Le
Jongleur," and the Sacristan in *' Tosca," and
especially in the part of the Father in
** Louise."

On the concert platform Gilibert was noted
for his rendering of the Folk songs and Eight-
eenth Century Chansons of Gretry, Monsigny,
and others of that period. He was an ardent
supporter of his country 's music, and after his
last recital in New York, in March, 1910, he is
said to have remarked to a friend, that if he

10 The errand Opera Singers of To>day

mmmmmammma^Bsmssm^ssamassasBsaaBssassaaBm^amBMmm

should be called away he knew he had done his
dnty and reached the goal for which he had
striven since he came to this country, viz., to
win for the French music a steady place in the
hearts of Americans.

Gilibert was noted for the polish and refine-
ment which he exhibited in his professional
work and in his private life, and he was the
quintessence of jovialty and good humor. He
was gifted with not one of the greatest voices,
but he elevated his art through study and the
highest perfection of style.

Carrie Br;idewell, a contralto, who was ad-
vised by Madame Sembrich to take up an opera-
tic career, sang with the Metropolitan Com-
pany during the Gran regime, for three years.
At the end of her engagement she went to Ber-
lin to study, and while there sang at the Boyal
Opera-House, also in Vienna, Olmutz, Breslau
and in London. She made her first appearance
at the Metropolitan Opera-House in the
** Magic Flute,'* in a cast which included Sem-
brich, Eames, Temina, Fritzi Scheff, Edouard
de Beszke, Dippel, and Campanari. During
her engagement she was heard as Ortrud,
Siebel, Amneris, Erda, Lola, Maddalena in
** Bigoletto,*' Stephano in ** Borneo et Juli-

The Metropolitan Opera-House ll

ette/' Urbano in '' Les Hagnenots '' and the
Shepherd in ** Tannhanser/'

Miss Bridewell retired abont 1908, but re-
cently resumed her professional activities.

Marcel Joumet came to the Metropolitan
Opera-House in 1901. According to the ac-
connts published at the time he was bom in
Nice in 1868, and in Paris in 1869. He is said
to have inherited his artistic temperament
from his mother, and his love for music from
his father. At the age of twenty he gave up
his commercial career and studied music seri-
ously, entering the Conservatoire at Paris,
where he took the full course. His vocal
teacher was Seghettini, a well-known Italian.
In 1891 Joumet made his debut at Bezieres.
but after a month or so M. Calabresi, the man-
ager of the Theatre de la Monnaie at Brussels,
heard him and offered him an engagement. He
remained at Brussels for six years, and sang
also at Oovent Garden for four seasons, and
then in most of the musical centres of Eu-
rope.

During his seasons in America he was a
steady favorite, but in 1908 he left for Europe
on the plea of ill health. On being asked if
he would return he replied that *' as he desired

12 The Grand Opera Singers of To-day

to sing first bass roles as he did in other places,
it is necessary for him to wait until he is sixty-
one years old and has a voice like a Cossack
with a coldy before the people wonld call him a
genins and pay him $1600 a night, — nnless the
ideas of managers change. ' ' Other basses had
come to America, — one other bass in partic-
ular.

One of the noteworthy singers imported in
1902 was Madame Kirkby-Lnnn, an English
contralto. She made her debut at the Metro-
politan Opera-Honse in *^ Lohengrin/' when a
critic wrote, ** She gave splendid utterance to
the r61e. Her singing was marked by breadth
of method, admirable notions of phrasing and
impeccable intonation. Her lower register is
uncommonly rich, almost masculine in quality,
while the upper portion of her voice is de-
cidedly bright in color.*'

Madame Kirkby-Lunn was afterward heard
as Kundry in Henry W. Savage's production
of ^' Parsifal," and again later at the Metro-
politan Opera-House.

Georg Anthes was one of Grau's leading
tenors for some years. He was one of the
chief ornaments of the Dresden Opera-House.
Mr. Grau had been in communication- with him

The Metropolitan Opera-House 13

for some weeks when Anthes sprained his knee
and petitioned the intendant of the Dresden
Opera-House to dissolve his contract, which
had still some years to rmi. The request was
refused and Anthes decided to accept Grants
offer, and break his Dresden contract. Under
such conditions Anthes was imable to appear
in any German opera-house for a number of
years. He was at the Metropolitan Opera*
House for several seasons.

Maurice Grau retired from the management
of the Metropolitan Opera-House in 1903. He
is remarkable as the first grand opera impre-
sario to make grand opera profitable.

Grau was bom at Brunn, in Austria, in 1846,
and came to this country five years later. He
began his career as libretto boy in a theatre.
His education was completed at Columbia col-
lege. At an early age he began to assist his
father, Jacob Grau, a theatrical manager, and
before he reached his majority was earning a
large salary as advance agent.

His managerial career commenced when he
and Chizzola got together a capital of $2500,
and brought Marie Aimee and a French com-
pany to America.

It was Maurice Grau who took charge of the

14 The Grand Opera Singers of To-day

memorable tour of Anton Bubinstein, the great
pianist, and later of Salvini, the Italian trage-
dian: Then, with Hess, he brought out, 1874,
Clara Louise Kellogg, and in 1876, Offenbach.
The Offenbach enterprise was not successful,
but, by a happy thought, he combined Offen-
bach and Aimee, and saved himself from finan-
cial loss. It is not necessary to record his many
enterprises, but eventually he joined with
Henry Abbey in the management of grand
opera, continuing alone after Abbey's death.
He retired in 1903, broken down by overwork,
and died at Croissy, France, on March 14, 1907,
leaving a fortune of about half a million dol-
lars.

Maurice Grau's service to music per se was
not notable. He gave no incentive to com-
posers. He avoided experiments. He had
little sentimental interest in grand opera, and
very little enthusiasm. He simply tried to give
the public what it wanted, — so far as he was
able to find the public want. ** I have never
discovered a voice in my life,*' he is said to
have remarked, '* I have merely shown them
the difference between singing at home for
$2000 a year, and here for $25,000. I don't go
around discovering operas. I am not musician

The Metropolitan Opera-Hoiue 15

enough for that. Opera is nothing but cold
business to me."

Although not responsible for much that was
new, his efforts brought to thousands a better
knowledge of the works of the masters of music
There was nothing of the poseur about him.
He did not seek notoriety. Operatic manage-
ment was his only taste. The following quota-
tion from a letter written to him by Edouard
de Beszke at the time of his retirement will
show the opinion of the leading artists : ' ' You
have made of the Metropolitan Opera-House
an International Theatre, and the leading one
of the world. At the same time you have given
representations of the best works of the ancient
and modem repertoire and, so to speak, com-
pelled the public to imbibe taste for all that
was good in opera."

The secret of Mr. Grau's financial success
is said to have been his faith in '^ all star "
combinations, and he drew tremendous houses
at increased prices. He did not stimulate the
musical appetite of the people by giving them
new operas, but he appealed to them very much
in the same way as the late P. T. Bamum, i. e.,
by giving them ** the biggest show on earth,"
— that is to say, nowhere could there be found

16 The Grand Opera Siagera of To-day

a combination of so naany great singers as he
would present in one of his operatic pertormr
ances.

This policy, of course, tended to increase the
cost of opera. It is related that the subscrip-
tion for the season in Mr. Gran's day was
about $150,000, while at the present day it is
$700,000.

An amusing story is told about Maurice
Gran, by his brother Robert. Gran had just
closed his season in Chicago and was return-
ing to New York in company with his galaxy
of star singers, — Eames, Calve, Nordica, Plan-
Qon, the de Beszkes, etc. They were gazing on
the beauties of the scenery as the train drew
near to the Catskill district. The season had
not been lucrative, — in fact there had been a
large deficit. Mr. Grau approached his singers
and remarked: ^^ Gaze on, my children, and
gaze long at this wondrous spectacle, for it is
the last time any of you will ever view it at my
expense.*'

In a review of the operatic season of 1902-
1903, which was the last season of Mr. Grau,
Mr. Joseph Sohn declared that we were in a
stage of transition, and that, as regards the in-
terpretation of operatic roles, the scope of the

The Metropolitan Opera-Hoiue 17

performer had been enlarged at the expense
of the standard of quality. ' ^ Localization and
concentration of effort no longer exist, the per-
former being expected to master every style
and mode evolved during a century far more
prolific of musical achievement and develop-
ment than any of its predecessors."

This refers probably to the fact that most
of the great singers were expected to sing opera
in several languages, a condition which has
been considerably modified during recent years,
when there have been practically separate casts
for French, German and Italian operas. There
were occasions when such an opera as Oounod 's
" Faust, '* for instance, was given, and the
principals sang their parts in different lan-
guages, each choosing the language which
suited him best, — an arrangement which was
doubtless satisfactory to the singers, but hardly
gratifying to the audience.

Mr. Sohn goes on to emphasize the fact that
it was * * the dramatic element — that primary
requisite which gives verity and vitality to all
artistic representation — that does not receive
sufficient justice at the hands of our artistic
exponents, conductors and singers alike."

Mr. Sohn also advocated the employment of

18 The Omid Opera Singers of To-day

opera singers bom and trained in this oonntry,
and referred to the early experiences of
Madame Malibran and Adelina Patti, who
made their first successes in New York. He
also asked why it was necessary for American
singers to be obliged to go abroad and make a
d^but in Euroi>ey where they are frequently
greeted ** with frantic applause/' while there is
opportunity for them in their native land.

The solution of these questions has been
partly worked out during the succeeding years
and, more than that, several American singers,
some of them with little or no European train-
ingy have in the past few years made their
debuts in their native land and have won their
reputation.

Some account of these events will be found in
the succeeding pages, but mention is here
made of the situation at the time of Mr. Orau's
retirement. It is only fair to say in defence
of Mr. Grau, that it was his business to give the
American public what he believed it wanted,
and most certainly, the American public, or, at
least, that part of it that frequented the Metro-
politan Opera-House, was, in those days, in-
tolerant of singers without reputation.

CHAPTER n

THB METBOPOUTAK OPEBA - HOUSE T7NDEB HEIK -

BIGH GONBIED

When Maurice Gran resigned his position of
managing director of the Metropolitan Opera-
House there was much speculation as to who
would be his successor. The history of opera
in New York was a story of financial failure.
As one commentator put it, — opera had flour-
ished on f ailure, but as soon as one man was
completely ruined there was always another
eager to take his place. Thus, there were many
candidates to fill the place of Maurice Orau,
and possibly the fortune which he amassed by
grand opera may have given impetus to the
competition.

After proper deliberation the board of di-
rectors met and on February 13, 1903, elected
Heinrich Conried, who was at that time man-
ager of the Irving Place Theatre.

Conried was a native of Bielitz, in Austrian
Silesia, bom in 1855, and he became an actor.

20 The Grand Opera Singers of To-day

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In 1877 he found his way to New York and
took up the business of theatrical management
At one time he was associated with Oscar Ham-
merstein, who later, as will be seen hereafter,
became his great rival in the presentation of
grand opera.

In view of the fact that Mr, Conried's expe-
rience had been with the theatre, rather than
with the opera-house, there was much specula-
tion as to what he would do and how well he
would do it. (Mr. Conried promised great
productions and sweeping reforms in many
details of operatic management.) His views
on the ** star system '* were decided, and he
declared that it would be his ahn to secure ex-
cellence of ensemble rather than brilliancy of
individual performance. This was a bold dec-
laratioii after the great ** all star *' casts
which had been provided by Grau, for an audi-
ence which was notoriously difficult to attract
by anything but the names of great singers.
Of his productions ** Parsifal '* was the great-
est undertaking, but will be described at length
later.

That Mr. Conried 's election gave satisfac-
tion to the public may be judged by the press
comments of the period. Perhaps the most con-

The Metropolitan Opera-Hoiue 21

cise of these was that published in the ^^ Out-
look *' of February 28, 1903, which gives ex-
pression to the feelings of the public at that
time. From it we quote as follows :

^' Lovers of music are deeply gratified by
the selection of Mr. Heinrich Conried, manager
of the Irving Place Theatre in this city, to suc-
ceed Mr. Maurice Gran as manager of the opera
for the next five years. Mr. Conried possesses
the double qualifications necessary for a thor-
oughly successful high-class management of the
opera: he is a business man of large experi-
ence, who has demonstrated his practical sagac-
ity by his success, and he is also a man of artis-
tic education and taste, who has treated the
drama as literature and not simply as a means
of making money. The performances given
under his direction at the Irving Place Theatre
have been conspicuous, not only because actors
of first-class ability have appeared in them, but
because all the details have been supervised
with the utmost care, and everything possible
has been done to give the plays artistic har-
mony and completeness. This is precisely what
the opera at the Metropolitan Opera-House has
lacked. New York has had at times the most
brilliant singing to be found in any dty in the

22 The Grand Opera Singers of To-day

world. It has had, not only stars of the first
magnitude, but constellations — groups of ar-
tists of the highest rank ; but the details of the
opera have been sadly overlooked and under-
valued, and the performance has therefore
lacked, so far as the management is concerned,
thorough artistic treatment and artistic feeling.
It is precisely these qualities that Mr. Conried
will undoubtedly introduce into his manage-
ment. He has had very large experience in
studying the resources of the drama abroad
and in negotiating with foreign artists, and this
experience will serve him in good stead when he
transfers his work from the dramatic to the
operatic stage. The public may confidently
look, not only for the appearance of great
singers in the Metropolitan Opera-House, but
for careful and artistic stage management ; for
the treatment of the opera as one of the great
arts, and not simply as an instrument of pleas-
ure or a means of making money. Mr. Grau,
who is a man of great energy and persistence,
has laid a strong financial foundation on which
Mr. Conried will be able to build up an artistic
success.*'

The company of singers for the season of
1903-1904 included many of the old favorites.

The Metropolitan Opera-Honae 23

The sopranos were Marcella Sembrichy Emma
Calve, Milka Tenuna, Madame Oadskiy Aino
Ackte, Camille Seygard, Fanchon Thompson,
and Lillian Heidelbach. The altos — Louise
Homer, Edythe Walker, Josephine Jacoby, and
Marda van Dresser. The tenors — Enrico
Caruso, Ernst Krauss, F. Naval, Andreas Dip^
pel, Aloys Burgstaller, Jacques Bars, and
Ouardabassi. The basses — Pol Plangon, Rob-
ert Blass, and BossL

As a ralei the new singers did not please the
public, who not only preferred the favorites of
established reputation, but had been made to
believe that the supply of great singers in Eu-
rope was exhausted, — a theory which would
seem at least to lift a burden from the shoulders
of the manager, and which was exploded when,
a few years later, Oscar Hammerstein entered
the operatic field, and found admirable singers
in spite of the sad European conditions.

Of the sopranos Marcella Sembrich was then
at the height of her popularity, and she contin-
ued to be a prominent figure in opera for sev-
eral years. At the end of her operatic career
she was still able to draw large houses as a
concert singer, for her art was undeniable even
when her voice was no longer at its best.

24 The Grand Opera Singers of To-day

Emma Calve soon retired and married^ but
in 1912 she returned to America and appeared
in ** Carmen. '^ Being middle*aged and portly,
she was no longer the fascinating Carmen of
the '90 's, though her art had not deserted her.

Milka Temina retired from the operatic stage
with her powers undiminished, while Madame
Gadski still sings occasionally.

Of the contraltos all were known before the
time of Mr. Conried's management, Madame
Homer has pursued a continuously successful
career, and at the present time is one of the
most popular contraltos before the public.

Edythe Walker, a native of New York, had
been considered one of the most successful
American contraltos in Europe, and was sing-
ing at the Imperial Opera-House in Vienna be-
fore being engaged for the Metropolitan Opera-
House. She had been a pupil of Orgeni in
Dresden, and had filled engagements in Prague
and other Austrian cities before going to
Vienna. Her chief roles, besides the Meyer-
beer repertoire, were Wagnerian, and she had
met with success in Berlin as Isolde and Brunn-
hilde at the Boyal Opera.

In 1903 she came to the Metropolitan Opera-
House and on her debut in ** Aida '' she was

The Metropolitan Opera-House 25

reported as ' ' the possessoB of a voice of lovely
quality, though not of great volume. There is
a decided charm in her singing, the most marked
grace of which is the perfect evenness of its
quality up to the point where the pitch puts a
strain on her. Her voice is also a capital ve-
hicle for feeling. Her performance of the
scene with the priest in the last act was prob-
ably the finest that patrons of the Metropolitan
Opera-House can recall, and was only equalled
in the evening's representation by Gadski's
superb singing of the Nile scene. ' '

During later years Miss Walker has pursued
a most successful career in Europe, where she
is known as a Wagnerian singer. In London
she created the part of Elektra in Strauss 's
opera of that name on its production in that
city.

Of the sopranos who were new, the most im-
portant of foreign birth was Aino Ackte, a
Finn, from Helsingfors, who had begun her
vocal studies with her mother. She had also
studied art, but eventually found her voice more
promising. When she applied for admission
to the Conservatoire at Paris she was the first
selected from a hundred and ninety-seven ap-
plicants. In 1894 she took first grand prize

26 The Grand Opera Singers of To-day

and was at once given a debut at the Grand
Opera as Marguerite in ** Faust/* After sev-
eral years in Paris she made, in 1902, a tour of
Germany. Madame Ackte is a lyric soprano
and is known in private life as Madame Ben-
vail, being the wife of a professor of law at
Helsingfors.

Marion Weed, who also appeared at the Met-
ropolitan Opera-House, was a New York girl
who had been a pupil of Lilli Lehmann, and had
her first opportunity at Bayreuth, after which
she was employed at the Stadt Theatre in Ham-
burg until she was called to the Metropolitan
Opera-House.

Marcia van Dresser, who joined the Metro-
politan forces in 1903, began her career in light
opera, as a member of the Bostonians. Leav-
ing this company she took up dramatic work
and appeared with Augustin Daly, Viola Allen
and Otis Skinner. At the time when her dra-
matic career seemed to be most promising she
abandoned it and went abroad to study for
opera, eventually securing an engagement in
Dessau.

Bobert Blass is an American, who began his
operatic career in Germany. His name was, or
is, Lloyd D'Aubigny, and he was more famil-

The Metropolitan Opera-House 27

iarly known as Tom Dabney. He was intended
for the practice of medicine, and prepared at
Columbia University. But finding that he was
more interested in the stage, he sought a theat-
rical engagement and was employed by Angus-
tin Daly to sing in his Shakespearian revivals.
From that he worked into opera and has been
for several years a valuable member of the
Metropolitan Company.

Ernst Krauss was not a new comer, for he
had sung for two seasons when Damrosch was
at the Metropolitan Opera-House. He was now
engaged by Conned while singing at the Impe-
rial Opera in Berlin, where he was much appre-
ciated. He was given leave of absence to en-
able him to come to America.

Naval was a young Roumanian, who had
studied for the stage in Germany, and began
his operatic career at the Stadt Opera-House
in Frankfort. He was called thence to Vienna,
where he appeared in the first production of
** La Boheme '* at the Theatre am der Wien.
Bemg successful here he was engaged at the
Imperial Opera-House, where he remained until,
in 1902, he had a disagreement with Gustav
Mahler, at that time conductor. Naval was de-
scribed as being handsome, blonde, unmarried,

28 The Grand Opera Singers of To-day

SXEBBBBSaS^BSSBaBSSBSSSBBSSSBBBSBSBBBS!=BB=^SSBBBBB8BSS

and, in short, the ideal ^^ matinee girl's''
tenor.

Gnardabassi was a yonng Italian who had
been some time in America, and having ap-
peared with good snccess in concerts was taken
on by Mr. Conried.

Bossi had snng with Madame Sembrich in
Vienna in 1898, and dnring his American career
had great success in supporting her in buffo
roles in * * Don Pasquali ' ' and such works. Pre-
vious to his arrival in America he had been for
several seasons at La Scala, Milan. He be-
came a very popular singer in this country.
Bossi was bom in Rome in 1869. When he was
a young man his voice promised to be a tenor,
but he fell into the river and had an attack of
pleurisy after which his voice settled into bass.
He made his debut at Parma in 1891, and toured
South America with Patti.

Of all the singers engaged by Conried at the
Metropolitan Opera-House no one ever became
so great a celebrity as Enrico Oaruso. As an
actor and as a singer his art was inferior to
that of several of his rivals, but his voice was
one of the most wonderful organs ever be-
stowed upon man. His popularity became so
great that in April, 1906, a writer in the

The Metropolitan Opera-House 29

■SB

^^ Forum " described the situation as being
comparable with the old game of '^ What are
you going to give the old bachelor to keep house
with? '* in which the answer had to be invari-
ably the same. Thus, — * * What were the prin-
cipal operas performed at tiie Metropolitan?
Caruso. Who sang the chief roles T Caruso.
Why was German opera given so lateT Ca-
ruso." One might add to that another ques-
tion, '* What is Italian Opera? Caruso."

No singer in the history of opera in America
has been such a bonanza to newspaper writers,
for every doing of Caruso has been reported
and enlarged upon. We have waded through
several bushels of newspaper clippings bearing
upon Caruso and his career and there are very
few of them that seem worth repeating. One
dipping is amusing and comes from Berlin,
where, after the great singer had expressed
surprise at the fame which his voice had given
him, he is said to have stated that he had re-
cently been told that one of his ancestors was
the Emperor Carus, who during the year 282,
swept Persia like a devastating plague until
finally he met with a frightful death by light-
ning. As Caruso, himself, had narrowly es-
caped death in the San Francisco earthquake

30 The Grand Opera Singers of To-day

a short time bef ore, he declared that he should
'doubtless be convinced of his resemblance to
his illustrious progenitor as soon as he could
examine the picture of the emperor on the an-
tique coins of the time, and compare it with his
own features. It may be remarked in passing
that Caruso 's sense of humor is one of his chief
characteristics, and he is very clever at draw-
ing sketches of the people with whom he is as-
sociated.

Enrico Oaruso was bom at Naples in 1873.
He was the son of a mechanic who actually dis-
liked music, so that when the boy's musical
talent began to manifest itself the father would
give no aid towards its development. Notwith-
standing this Enrico began to sing in the
churches of his native city when he was about
eleven years of age. There was more or less
friction on account of music, between the father
and son, until the death of the mother which
occurred when the boy was about fifteen years
of age. It had been owing to the mother's en-
couragement that he had progressed in music
as far as church singing. She had always ad-
mired his musical talent and had called him the
treasure of the family.

Young Caruso now got employment in a

The Metropolitan Opera-House 31

chemical factory which was owned by a Bel-
gian, and he worked there nntil the owner re-
turned to his native land. By this time Enrico
was eighteen. He happened to meet one
Edonard Missiano, a baritone singer, who took
much interest in his voice, and who reproached
him for singing without having taken lessons,
to which Caruso replied that he had no funds.

Missiano told him not to worry on that ac-
count, he would take him to his own teacher
who would give him lessons for nothing if he
(Missiano) asked him, for he was one of the
paying pupils.

Accordingly Missiano took Caruso to his
teacher, Guglielmo Vergine, who gave his voice
a trial, but was at first unable to express any
very encouraging opinion. Missiano, however,
declared that the young man had been singing
all day and was nervous and tired. He suc-
ceeded in making another appointment, the re-
sult of which was that the teacher undertook
to give Caruso lessons for three years, and that
when ready for a professional career he should
pay Vergine twenty-five per cent of his earn-
ings during the following five years.

Caruso began his lessons, but there was more
or less friction between him and his teacher

32 The Orand Opera Singers of To-day

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because of the contract which he had made. He
was obliged to take engagements in order to
provide himself with the means of subsistence,
while his teacher wished him to do no profes-
sional work until he was properly prepared-

This state of affairs was temporarily ended
by Caruso's being called upon to serve in the
army, a service which is customary for every
able man in many of the European countries.
Caruso's own story of his life in the army was
published some years ago, and the following
anecdote, quoted from this story, will be found
amusing :

^* In Italy every man has to serve his time
in the army, but, happily for me, my military
duties were short lived, for I drew the attention
of the commander of the regiment. He had
heard me sing in the barracks where I prac-
tised in my leisure.

** The major questioned me closely one day
and, having great regard for my voice, made
my duties for the period of active service very
light. He also advised me as to how I might be
entirely exempted from active service if I had
friends of influence to take up my cause.

** So I started to unroll the red tape that
should free me, singing all the while in the bar-

The Metropolitan Opera-House 33

racks, to the great delight of the soldiers and
officers. My position became such that in a
short time, when a popular soldier was impris-
oned for some slight offence, I could obtain his
freedom by volunteeriug to sing any song the
officer on duty would care to hear.

'^ I well remember one lovely Easter day
when the officers gave a lunch to the soldiers of
the regiment At one end of the table sat the
commander. Major Nagliate^ at the other end,
facing him, sat Caruso.

^^ After the luncheon it was proposed and
universally seconded, that I should sing the
Wine Song of ' Cavalleria Busticana ' in honor
of the major. My song was greeted with most
enthusiastic applause and cries of ^ encore.'

^* The major silenced every one by raising
his hand, and then rose to make a speech.
What was our surprise and chagrin when he
delivered a very sharp lecture directed against
the regiment in general and myself in particu-
lar, saying that it was unpardonable to compel
me to sing at each beck and whim, and criminal
to request it after a meal, and that I was a fool
and didn't deserve the gift I held so lightly,
and that if, in the future, there was a repetition
he would not only put in irons the person, re*

34 The Grand Opera Singers of To-day

gardless of rank, who compelled me to sing, but
he would punish me too. ' '

During the time that Caruso was in the army
his father married a second wife, and she was
able to understand that a great career was pos-
sible for her step-son, so she tried to induce the
father to free him from military service. Ca-
ruso's brother, however, volunteered to serve
in his place, and was accepted. Thus after a
year and a half of military service lessons were
resumed with Vergine, and six months later,
in 1894, the new tenor made his d^but at the
Nuovo Theatre, Naples, in a new opera entitled
** L'Amico Francesco.'*

Then followed the usual round of scattered
engagements. He was at Caserto for a time,
then at Cairo, and, returning to Italy, he went
to the Fondo Theatre at Naples. Then he
toured Italy and Sicily and finally reached
Milan, where the important part of his career
really began, for he had now gained stage ex-
I)erience.

He appeared at La Scala, and remained there
four seasons. He also sang at St. Petersburg,
Moscow and Warsaw two seasons, three at
Bome, three in London, and he appeared at
most of the important cities of Germany before

The Metropolitan Opera-House 35

he made his first appearance in America, which
took place at the Metropolitan Opera-House,
New York, on November 23, 1903,

It is recorded that Maurice Grau at one time
entered iato negotiations with Caruso and could
have engaged him at a salary of $700 per
month, with the privilege of extending the en-
gagement for two years at a slight advance in
case the first season proved successful. But
Caruso was then scarcely known, and the ex-
periment of bringing to America singers with-
out any reputation was so great a risk, — much
greater then than now, — that the opportunity
was allowed to pass.

In 1902 Mr. Grau went abroad again to en-
gage singers and once more made overtures to
Caruso, but this time the singer had his plans
already completed. Mr. Grau nevertheless
succeeded in making a contract with him for
the following season, by which he was to make
forty appearances at a salary of $1000 a night,
and the right was conceded to extend the con-
tract for two more seasons at $1200 and $1400
per night respectively, dependent upon the suc-
cess of the first season. Mr. Conried followed
Grau at the Opera-House and Caruso made his
debut in New York during that season, as al-

36 The Grand Opera Singers of To-day

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ready stated. But there are somewhat con-
flicting stories as to the particulars of this first
contract. Conried is said to have declared the
Grau contract void, and to have succeeded in
engaging Caruso on more satisfactory terms.

The following story concerning the capture
of Caruso by Conried, has been pronounced
absurd by one of the leading critics of New
York, and we can take it for granted that he
is right. Nevertheless, it is suflSciently amu-
sing, even if merely fiction, to be repeated:

'* Conried wanted a good Italian tenor, and,
not knowing much about Italian tenors, he
walked along Broadway until he came to a boot-
black stand kept by an Italian. He asked the
proprietor of the stand who was the greatest
Italian tenor. ^ Caruso,' was the reply. Con-
ried returned to his office and asked his as-
sistants whether there was anything on record
about an Italian tenor named Caruso. In due
time the contract made by Grau was discov-
ered. Conried then went to the Italian Savings
Bank and asked one of the officials who was the
greatest Italian tenor of the day. * Caruso,'
was the reply again, to which was added the
information that the secretary of the bank
was personally acquainted with him. A con-

The Metropolitan Opera-House 37

versation was then held with the secretary, who
was authorized to enter into negotiations, and
finally to cable an offer to Caruso."

When Caruso first appeared at the Metro-
politan Opera-House on November 23, 1903,
the critics did not at once go into ecstasies over
him. The Tribune wrote as follows, concerning
his performance: ^^ Signer Caruso has many of
the tiresome Italian vocal affectations, and
when he neglects to cover his tones, as he al-
ways does when he becomes strenuous, his
voice becomes pallid. But he is generally a
manly singer, with a voice that is true, of fine
quality, and marvellous endurance. He had a
gratifying reception at the end of the first act,
though the chief honors went to Madame Sem-
brich, and Scotti.*'

During the remainder of the week Caruso
was a victim to the climate, but when he ap*
peared in ** Aida '' the Tribune began to com-
ment favorably, thus : * * The pleasure which
his singing gives is exquisite, scarcely leaving
room for curious questionings touching his
limitations. He is to be accepted for what he is
with gratitude, and no one who loves the art of
song ought to miss the opportunities which his
presence at the Metropolitan offers. '*

38 The Grand Opera Singers of To>day

The public flocked to hear Caruso, and, in
a short time, it became evident that opera, to
a New Torker, meant Caruso. His singing ap-
pealed to the average opera goer because of his
glorious voice, which he never spared. We
have had several tenors who were artistically
better singers than Caruso, but never one who
could take the audience ^ ^ off its feet " as he
could. His most successful parts were in
Italian operas, — as Rhadames in * * Aida, ' '
Manrico in ** H Trovatore,'' Turiddu in ** Ca-
valleria Rusticana,'* Johnson in ** The Girl of
the (Jolden West,'* and so on. He sang many
parts.

In the course of time, after a too strenuous
opera season, Caruso had some trouble with his
throat, which he overcame with a little rest and
care, but from that time the world has fre-
quently been needlessly alarmed with nmoiors
that Caruso will never sing again. He has
found it necessary to moderate his exuberance
and use discretion in his singing, and perhaps
his voice is not what it once was, but he re-
mains the greatest attraction amongst operatic
tenors of the present day.

Caruso is noted for his happy disposition,
and somewhat reckless ways. It was stated

The Metropolitan Opera-House 89

that his career was nearly cut short after his
early success in Naples, through his indulgence
in the luxuries of life with boon companions.
Even when the newspapers reported that,
'* Caruso was not up to his standard last
night/' he took no notice, but his love of pleas*
nre and the self-confidence of youth caused him
to reject every suggestion of reform. One day,
however, a warning came to him while he was
in a thoughtful mood, and brought a realization
of his danger. He abandoned his gay com-
panions, and shortly afterwards married a
singer named Ada Ciacchetti, with whom he
had been associated in opera at Treviso and
Bologna.

There are many stories told about Caruso.
Those which amuse us are such as illustrate
the bright side of his character. He is like an
overgrown boy, always in good humor and full
of pranks.

One anecdote tells how, while Emma Eames
was^ waiting her entry in the wings, Caruso,
coming up behind, slapped her lightly on the
shoulder and dodged behind a piece of scenery
near by. Quick as a flash the prima donna
looked round, and seeing some ^* supers " near
by, nearly froze them with her glance.

40 The Orand Opera Singers of To-day

In the first act of ** Tosca " the stage is ar-
ranged with Cavaradossi's easel, and his
brushes. One of the brushes is carelessly left
on the floor, to be picked up during the act by
the Sacristan. Each time that any one passed
that brush he would be sure to pick it up and
place it on the easel. As often as this happened
one of the property men would replace the
brush on the stage. Presently Caruso got a
hammer and nail and fastened the brush defi-
nitely to the stage. All then went well until the
curtain had risen and the sacristan with his
feather duster began his duties. Coming to the
easel he, as usual, stooped down to pick up the
brush and replace it, but it would not budge,
and had to remain where it was nailed, in spite
of the sacristan's eflForts.

The previous anecdote and several others
were told by one who had been a ** super *' in
the opera company, and who tells that Caruso
is always imitating the ballet or mimicking
some soprano as she takes her E in alt. He
tells how, one evening, when Caruso had been
pouring forth his adoration to Aida with the
utmost feeling, he came oflf the stage and, pick-
ing up the first ballet girl he met, waltzed her
about exuberantly. Sometimes, after singing

The Metropolitan Opera-Hoiue 41

one of his great arias, he would come off, grab
the hat and doak of some chorus man, and re-
entering, sing as lustily as any of them. Al-
most everything that Caruso does or has done,
has been fully described in print, even to his
^' oiling up " with the atomizer before going
on the stage.

There is another anecdote of Caruso. It re-
lates to his early friend Missiano, who set him
on the road to fame by taking him to Vergine,
the singing master. Edouard Missiano, when
Caruso first knew him, was well-to-do. He was
the son of wealthy parents, but, in the course
of events, financial reverses came, and, eventu-
ally, when Caruso returned to Italy, a few years
ago, he discovered Missiano broken in spirits
and health, and a poor man. Caruso told Mr.
Gatti-Casazza about his friend and succeeded
in securing an engagement for him at the Met-
ropolitan Opera-House, where he sang minor
parts in many of the operas* In the ^' Girl of
the Gk>lden West '' Missiano was Joe Castro,
and he was assigned a small part in ^^ La Gio-
conda," which was in rehearsal when Missiano
was taken ill and died suddenly. Missiano left
a wife and three children in Naples, and Caruso
is said to have sent the body of his friend to

42 Th« Orand Opera Singers of To-day

Naples for burial^ and cabled to the widow the
amonnt of his own earnings for the perform-
ance of '^ La Gioconda " in which Missiano was
to have appeared.

During recent years the troubles whidi Ca-
ruso has had, from time to time, with his throat,
have taught him greater discretion in his sing-
ing, and he has gained in artistic skill, though
perhaps he has lost something in the matter of
fervor, for of all singers, at least within the
memory of the average opera goer of to-day,
no one has given his voice more unsparingly
than Caruso.

There have been tenor *^ crazes " from time
to time, — in America we have admired Brig-
noli, Campanini, Bavelli (a short-lived ad-
miration), Tamagno, and Jean de Beszke, but,
as far as memory serves, there has been noth-
ing quite equal to the Caruso craze.

Olive Fremstadt was bom in Norway, and
was brought to this country while still quite a
young girl. It is said that her musical talent
was such that she appeared as a concert pianist
in her native land at the age of five.

On arrival in America she went to Minneapo-
lis, where she grew up and lived, teaching music
in that city and in Duluth. After some years

The Metropolitan OperarHouae 43

BeBai^sBBaBBaaBBB9aaDBBnBE^aHBBaaBBXB^aBsaa:^a

of hard and bitter struggle she went to Chicago,
where the struggle was equally hard, but the
field for endeavor was broader. She played
accompaniments, besides teaching the piano.
Presently she went on to New York and re-
newed the fight for her place in the musical
profession. Here, again, she gave lessons, and
she played accompaniments for vocal teachers
in their studios. She held a church position,
and, while she spent her days in work, she
spent her evenings in study. She also made
several concert tours, but none of these things
satisfied her ambitions, whidi were far above
both the church and concert platform.

Eventually she went abroad, though not until
after she had appeared in concert in New York
under Anton Seidl, on which occasion she dis-
closed a beautiful mezzo-soprano voice. She
decided to go to Germany, and was fortunate
enough to be one of a group of young Ameri-
can singers to be accepted by Lilli Lehmann.
Under her guidance the young singer worked
harder than ever and made a concert debut at
the Philharmonie in Berlin. Later on, through
Lilli Lehmann, she obtained a hearing at Bay-
reuth, and was so successful that she was en-
gaged for the opera at Cologne.

U The Orand Opent Slngem of To-day

Her operatic debut was made in Viennay
where she sang the role of Brangaene to Leh-
mann's Isolde.

Miss Fremstadt was a favorite of Madame
Wagner, nnder whom she studied Wagnerian
roleSy and her greatest snccesses have been in
those parts. She appeared in ^* Bheingold/' in
*^ Ootterdammemngy" and as one of the flower
girls in ^^ Parsifal. '^ During her life in Berlin
she sang often at von Moltke's drawing-room,
and at the houses of various exclusive music-
lovers, and her own concert in Berlin was one
of the greatest successes of her life.

After her appearances in Bayreuth and her
engagement for the opera at Cologne, she re-
mained in the latter city for some years, sing-
ing many r&les in the lighter operas, and taking
also the parts of Wtdtraute and Carmen, in
which latter she is said to have created a furore
which, in (Germany, rivalled Calve 's. She now
received offers from various opera-houses, but
was finally captured by von Possart, for the
Boyal Opera-House at Munich. Here she
played Brangaene, Fides, Carmen, Haensel
and other contralto roles. After her farewell
performance of ** Carmen '* it is related that
the students unharnessed the horses from her

The Metropolitan Opera-House 45

carriage and, hanging it with laurel wreaths,
drew her through the streets. This is the time-
honored manner in which students in Europe
show their admiration for opera singers.

She now sang in London, and was then en-
gaged for America, where she has continually
added to her artistic triumphs. Miss Frem-
stadt was married in Salt Lake City, during a
trip of the Metropolitan Opera Company in
1906, and is known in private life as Mrs. Sut-
phen.

It seems to he customary for reporters to ask
successful singers if they have any special ad-
vice to give to young singers. To this question
Miss Fremstadt replied, ^^ No one's advice
means very much along a road where every
inch must be worked out differently by different
people, some of whom realize the importance
of details, while others never can be made to
realize these things ; and if I were to offer ad-
vice, it would be summed up in these words,
' Learn how to study,' and this advice comes
from experience of the fullest and most bitter
sort." Most sound and succinct advice.

Successful singers are also frequently asked
about the comparative advantages of study in
America, and study abroad. This question

46 The Grand Opera dingers of To-day

Miss Fremstadt answers from a wealth of
experience: ** I think that the stndent is at a
disadvantage in America. Not so much, per-
haps, on account of lack of instructors, as be-
cause the incentive to study properly does not
exist here. I do consider that atmosphere and
the surroundings are the most necessary ad-
juncts in the making of an artist, and without
them I do not believe that an artist can rise to
a great height any more than I believe that I
could have become a great artist by remaining
in Minnesota, not doubting that my love for it
was as great when I was starving for it as
after I was surfeited ; but the systematic appli-
cation of what I heard as well as the assimila-
tion and absorption permitted, or rather
brought about, a development which could not
be accounted for or obtained in any other way. ' '
She also said: ^^ Success does not dex>end
any more upon instruction and natural equip-
ments than it does upon one's power of en-
durance. To achieve the goal one must be able
to cast aside every tie, home and family, to
overcome every obstacle, and to face any and
every hardship and remember nothing else but
study. Many have talent, but few have the for-
titude to study and overcome/'

The Metropolitan Opera-Houae 47

It would be possible to fill many pages with
oriticiszns extolling Miss Fremstadt as an ar-
tisty for she is considered one of the greatest
singers before the public at the present day.
Let one suffice, and this one followed her ap-
pearance as Brunnhilde at the Metropolitan
Opera-House.

*' Last Thursday's ' Walkiire * showed
Madame Fremstad as a Briiimhilde whom no
other dramatic soprano of to-day is able to
surpass in fulness and richness of voice, dig-
nity of singing style, plasticity of gesture and
action, passionate sincerity and intellectual
grasp of the personal as well as the psydio-
logical significance of the complex Brunnhilde
character. The * Ho jo to ho ' rang exultingly
through the rocky heights, the ' Todesverkiin-
digung ' was a deeply moving piece of vocal
declamation in which every word of the text
was charged with majesty and pathos, and noth-
ing so thoroughly affecting has been heard on
our opera stage for a long time as the Fremstad
version of the scene in which she subordinates
herself to the punishment inflicted upon her
by the helpless Wotan — himself more to blame
than Brunnhilde for that person's lovable
transgression.

48 The Orand Opera Singers of To-day

^^ Whether singing to reflect poignant tones
of woe or the youthful and passionate inde-
pendence of untamed womanhood, Madame
Fremstad employed her voice always with fine
and knowing art and showed that volnme may
he achieved without f ordng, and intensity sug-
gested without forgetting the grateful tenets
of hel canto. It was a glorious Briinnhilde per-
formance vouchsafed our puhlic hy Madame
Fremstady and the thunders of applause that
compelled her to take dozens of curtain calls
must he regarded as only a just tribute to her
impressive singing and acting art/'

When Miss Fremstadt made her debut at the
Metropolitan Opera-House in 1903 the follow-
ing report was made : ^ ' Miss Fremstadt has
everything appertaining to voice and appear-
ance in her favor, and though a tendency
towards the Teutonic stride and pose, which
Bayreuth has encouraged, militate against the
sweet naturalness of which the character of
Sieglinde is an index, she took rank with most
of her predecessors in the part, and New York
has heard the best representatives imaginable
in iV

At the end of the season of 1903-1904 the
usual reviews were printed and the manner in

The Metropolitan Opera-House 4^

which Mr. Gonried had performed the duties
which he had promised was held up to public
view. One of the best of these reviews was
published in The Nation on March 17, 1904,
and from this we quote, with permission, be-
cause it touches upon certain questions, and
conditions, which existed at that time, and
which, to some extent, exist at the present day.

^^ In some respects the New York opera sea-
son of 1903-1904 will be remembered as the most
interesting on record, and it is to be regretted
that it should have been marred by shortcom-
ings which were the more exasperating because
they were unexpected. When Mr. Conried suc-
ceeded Mr. Grau, he recognized the fact that
the one thing most needed at the Metropolitan
Opera-House was provision for more thorough
rehearsing of the operas produced; he prom-
ised a speedy reform in this respect, but it is
difficult to recall a season in which so many of
the operas were apparently pitchforked upon
the stage with no preparation at all. And
shortcomings were particularly noticeable in
the scenic department, which we had been told
was to be specially improved.

'^ It is only fair to bear in mind that it was
largely owing to circumstances beyond his con-

50 The Grand Opera Singers of To-day

trol that Mr. Conried was prevented from
making good some of his promises. He cer-
tainly did provide for most of the Wagner
operas and some of the others new scenic out-
fits, which were a great improvement on what
we have had before. ** Parsifal ** alone was
done in a manner equalling and, in some re-
spectSy surpassing the Bayrenth standard, and
the management reaped its financial reward in
receipts exceeding $200,000 for that opera
alone. There is reason to believe that no pre-
vious operatic year at the Metropolitan has
yielded so large a profit. For this happy re-
sult ** Parsifal '* was responsible in the first
place, and, in the second place — Donizetti!
The joint appearance of two such sterling ar-
tists as Mme. Sembrich and Signer Caruso led
to a renaissance of old-fashioned Italian opera
which caused the Donizetti works to draw
crowded audiences at every performance.

'^ In this fact lies the chief lesson of the sea-
son for the manager. The recent Donizetti casts
have never been excelled, perhaps never
equalled, here, while the Wagner casts have
usually been far inferior to those we have had
in previous seasons. New Yorkers pay the
highest prices in the world for opera tickets,

Btt

nie Mdtropolitea Opera-House 51

and in return they demand, quite justly, that
they should have the greatest singers in the
world. Mr. Conried's chief mistake has heen
the failure to engage, at whatever price, cer-
tain singers who are great favorites here —
Jean and Edouard de Beszke, Lillian Nordica,
and Emma Eames. Mr. Grau used to say that
his highest-priced singer, Jean de Beszke, was
also the cheapest. He always filled the house.

^ * While Mr. Conried had been at one time an
operatic manager abroad, he was, when ap-
pointed to his present place, unfamiliar with
the taste and demands of the New York public.
He had a vague idea that Europe was full of
young and talented singers who would be
promptly accepted here in place of the great
stars he refused to engage. He is absurdly
mistaken in this matter; there are painfully
few good singers in Europe, and some that are
admired there make little impression here, as
Mr. Conried has had occasion to notice in the
case of several of his importations.

'^ Mr. Conried harbors antiquated ideas re-
garding '^ stars '' and ^' ensemble." He ap-
parently needs to be told that an ensemble of
mediocrities is not desired or tolerated by
opera-goers who pay $5 for a seat. What they

52 The Orand Opera Singers of To-day

want is an ensemble of stars, after the fashion
of Mr. Gran. That is what fills the honse and,
notwithstanding the expense, yields a good
profit. For the Italian operas alone have we
hady this season, the hest available singers.
Instead of engaging the singers his patrons
want, he is trying to * * discipline ' * them — a
very dangerous process. It is trne that these
artists get much less in Europe than they do
at our opera-house; but they are not, as Mr.
Conried fancies, dependent upon him. Other
American managers are shrewd enough to
know their value; hence we have Fritzi Scheff
in an opera company of her own, and Calve
and Schumann-Heink preparing to follow her
example; we have Nordica, Melba, Bispham,
in the concert hall, with Gadski and Campanari
ready to follow them. Where is this to end?
Operatic afiFairs have reached a crisis, and this
is the time for the subscribers to make known
their wishes. '^

In reg&rd to this critic's censure of Mr. Con-
ried for failing to engage some of the old fa-
vorites, it may be suggested that perhaps Mr.
Conried was aware that these old favorites
could not keep on forever, and that, in his
judgment, their powers were on the wane, and

The Metropolitan Opera-House 68

that he believed he was serving the public best
by not re-engaging them.

This critic also says that there are painfully
few good singers in Europe. Perhaps it would
be better to say that there were few who were
so advertised as to make the New York public
familiar with their names. It is an astound*
ing fact that in a city which prides itself on its
musical judgment, so few singers, until the past
two or three years, have been able, or allowed,
to earn a reputation in New York, — an Eu-
ropean reputation has been a pre-requisite.
This condition was amusingly described by a
young singer who had studied in Paris and pre-
pared for her debut. Being patriotic, she de-
termined to make her debut in New York, and,
arriving from Paris, went at once to a well-
know New York agent and stated her desire.

* * My dear child, ' ' said the agent, * * what did
you come here forf Take the first steamer
back to Paris. Give me the name of your hotel.
Mr. X. is going over at the end of this week
to find singers. I will give him your address
and he shall discover you.*'

The lady took the proffered advice, and was
discovered.

The critic in the Nation also complains

54 The Grand Opera Singers of To-day

that the singers who have been popular
in opera are drifting into concert. ** Where
is this to end? *' he exclaims. It will never
end. There is a great public, — a huge
public, — beyond the reach of such opera com-
panies as can afford to employ the great
singers. This public wishes to hear the great
singers. One who has made a reputation in
opera, as Nordica, Schumann-Heink, and
Bispham, mentioned in this article, or, notably,
Bond of the present day, can find better com-
pensation, with less wear and tear, by heading
his own concert company, than by singing in
grand opera. At the time when these singers
take to the concert room they have become al-
most impossible for the operatic manager, on
account of their financial demands on the one
hand, and the public desire for new singers on
the other.

It is said that Signer Bond in one season of
concert work made no less a sum than $160,000,
in 1911 and 1912. Under the circumstances
why should Signer Bond sing in opera?

Bessie Abott, one of Conried's stars, though
bom at Ogdensburg, New York, is a member
of a prominent Southern family. Misfortune
overtook the family when Miss Abott was on

BESSIE ABOTT

The Metropolitan Opera-House 55

the threshold of young womanhood^ and she,
with her sister, was obliged to make^ her own
living. Being gifted with some musical talent
the two yonng women sought and secured en-
gagements in vaudeville, and were known as
* * The Twin Sisters, — Bessie and Jessie. ' *
They played their own accompaniments, Bessie
on the banjo, and Jessie on the guitar, and they
sang ^ * coon songs, ' ' with such success that they
were * * all the rage. ' *

In 1898 they secured an engagement at the
Empire Theatre in London, and sailed for that
city full of hope, for the Empire is the summit
of the ambition of the vaudeville artist.

On board of the same steamer among the
passengers was Jean de Beszk^, and he, hear<
ing Bessie sing at the customary ship's concert,
was so impressed with her voice, that when the
concert was over he stepped forward and in-
troduced himself. In London he heard her sing
again, and then gave her a letter of introduction
to Madame Freda Ashf orth of New York, and
advised her to return and study as soon as her
Empire Theatre engagement was finished.
This she did, and entered upon a long course of
study under Madame Ashforth, who then took
her to Victor Capoul, in Paris.

56 The Orand Opera Singers of To-day

There she continued nnder Madame Ash-
forthy and under Capoul and Fidele Koenig,
chef de chant of the Paris Opera.

Finally M. Gailhard, director of the Opera,
heard her and she was engaged for a three
years' contract, making her dehut as Jvliette
in ' ^ Borneo et Juliette. ' ' Her premiere was a
triumph and she was spoken of as the most
perfect Juliette ever heard.

In April, 1907, Miss Abott left the Metro-
politan Opera Company very abruptly. She
was announced to sing in Boston, in ^^ Marta,"
but, at the last moment, reused to go with the
company, and Mr. Conried was obliged to sub-
stitute another singer for her. There was some
comment in the papers, and Mr. Conried stated
that he had engaged Miss Abott to sing at a
weekly salary for five years. She now asked
to be released, giving as a reason that she must
go to Europe to her sister, who was in poor
health. Mr. Conried consented, on condition
that she did not sign a contract with any other
manager, but he learned that she was not actu-
ally going abroad. He stated also that she had
asked for twenty subscription performances in
New York at $500 each, and demanded that she
be permitted to sing at least forty times in the

The Mefcropolitati Opera-House 57

next season. To this Mr. Conried would not
consent, and legal proceedings were beg^un.
Miss Abott, on the advice of her lawyer, made
no statement, and the matter soon ceased to in-
terest the public.

Madame Marie Bappold is the wife of a
physician of Brooklyn, and a pupil of Oscar
Saenger. She made a success as a concert
singer, and in 1905 she appeared at the cele-
bration of the Schiller centenary at the Mon-
tauk theatre, when Heinrich Conried was one
of the performers in the same program. Con-
ried heard the voice and beheld the woman.

After Madame Bappold sang her first aria
Mr. Conried was impressed by the great beauty
of her voice and style of singing. When ques-
tioned why she had not called to see him
at the Metropolitan Opera-House, Madame
Bappold told the manager she imagined he had
enough singers, but he warmly replied : * * Not
enough like you; such a voice as yours I am
always glad to hear. You must prepare Elsa
for me for the next season."

The following November Madame Bappold
made her debut not as Elsa, but as Sulamith
in Goldmark's ** Queen of Sheba."

Since her first year at the ' Metropolitan

58 The Orand Opera Singers of To-day

Opera-House, Madame Bappold has remained
a member of the company for every season but
one, which she spent in Europe. After filling
an engagement in the Royal Opera at Bucha-
rest, Madame Bappold was decorated by the
King of Boumania, and when she went to Paris
to fill an engagement, the manager of the Opera
in Bucharest followed the singer thither, beg-
ging her to accept a prolonged engagement in
the Boumanian city. About this time, too,
Madame Bappold received enticing offers from
Berlin and Vienna, but Mr. Gatti-Casazza, of
the Metropolitan Opera-House, re-engaged her
for the Metropolitan Opera-House. All of this
battle over the securing of Madame Bappold
took place in Paris early in the summer of 1910.
She refused the European offers and returned
to her own country.

In 1910-1911, at the Metropolitan Opera-
House, Madame Bappold sang roles like Aida,
Leonora in ** II Trovatore,*' Eurydice in
** Orfeo,^* and other parts. The European
critics have declared her to be the ideal Elsa
and Elisabeth. The peculiar timbre of her
voice lends itself to singing the roles of both
the lyric and dramatic sopranos.

Bita Fomia is a native of San Francisco,

>' MislikiD Studio, New York

MARIE RAPPOLD

The Metropolitan Opera-House 50

where she was known as Bita Newman. Her
voice was discovered when she was very young,
and when Adelina Patti visited San Francisco,
the yonng girl was filled with a desire to become
a second Patti. Her father, at first, would not
hear of such a thing, but at length consented to
her going to study in New York. There she
met Emil BHscher, who told her that her voice
was remarkable and that she must go abroad.
She telegraphed to her father so frequently
and urgently that at last he sent money enough
to enable her to go for six months.

Her teacher in Berlin said that her voice was
a coloratura soprano, and she made her debut
in ^ ^ La Juive ' ' as Eudoxia at Hamburg, where
Marian Weed and Carl Burrian were singing
at the same time. She soon found that colora-
tura roles were ruining her voice, so she went
to Paris and began her studies anew, and when
she appeared again she sang meazo-soprano
parts. This was with the Henry Savage Com-
pany in 1906, when she sang such parts as Or-
trud, Amneris, Sieglinde, Carmen, etc. During
this engagement she once sang both Venus and
Elizabeth in the same performance of *^ Tann-
hauser," an epidemic of grip having incapaci-
tated several of the singers.

60 The Orand Opera Singers of To-day

Conned heard her when she sang in the Mon-
tank Theatre at Brooklyn, and he engaged her
for the Metropolitan Opera-Honse. Her great
opportunity came through the illness of Emma
Eames. She was called up by telephone after
six o'clock and asked to sing Leonora that
night. She had studied the part but had not
rehearsed with the orchestra. Nevertheless,
she took advantage of her opportunity and suc-
ceeded. Later on she had a somewhat similar
experience in Philadelphia, when Madame Sem-
brich was indisposed and Miss Fomia sang
Rosina in * * H Barbiere ' ' at twenty-four hours '
notice.

Madame Leffler-Burkhardt was bom in Berlin,
and accomplished most of her vocal study with
a pupil of the celebrated Madame Viardot-
Garcia, — Anna von Meisner. She began her
operatic career in 1890 at Strassburg as a color-
atura soprano in light roles. She then spent a
year at Breslau, and a year at Cologne. From
1894 to 1898 she was at Bremen, and there be-
gan to sing dramatic parts, such as Fidelio,
Isolde, Donna Anna, and Briinnhilde. She ap-
peared at Weimar and Wiesbaden, and in 1906
sang Kundry at Bayreuth. She obtained leave
of absence from Berlin, where she was engaged

The Metropolitan Opera-House 61

at the time when Conned sought her services^
and was thus able to be heard at the Metro-
politan Opera-House.

One of the German singers engaged by Con-
ried was Frida Langendorff, who had a voice
of great range, iBexibility and power, together
with dramatic style and musical intelligence.
Madame Langendorff inherited her talent from
her mother, who was her teacher. Her first
professional engagement was at Strassburg
opera, after which she visited other German
cities and finally was secured by Conried, She
sang at Bayreuth in 1904, when she was
coached for '* Die Walkiire '' by Madame Wag-
ner. She sang dramatic German parts.

Heinrich Knote was a German tenor, who
sang at the Metropolitan Opera-House during
Conried 's regime, getting leave of absence from
Munich where he was engaged. His Walther in
" Die Meistersinger ^' was considered the best
ever heard in New York excepting (the a<!-
counts here interject '* of course ") Jean de
Beszke's, and his success was instantaneous
and emphatic. After his first few appearances
he proved to be a drawing card, and filled the
house almost as surely as did Caruso. In fact,
Mr. Conried was spoken of as being a lucky

62 The Orand Opera Singers of To-day

man to have two first-^ass tenors at a time
when foreign managers were tearing their hair
in despair because of the impossibility of secur-
ing even second-rate tenors. Mr. Eoiote sang
in New York during several seasons.

At the end of the first season, or rather, in
the middle of his second season, the directors
of the Metropolitan Opera-House did Mr. Con-
ned the honor of presenting him with a reso-
lution asserting that at no time in the past had
operatic performances in New York been given
of the same uniform standard of merit as
during that season.

The audiences had been unusually large, ex-
cept for ** Parsifal,*' and this might have been
well attended but for two things, — first, the
price of seats was doubled, and, second, the
production by Henry M. Savage had discounted
the Metropolitan production. When the season
opened the sale for ** Parsifal '* amounted to
$38,000 for seven performances. Many of the
tickets doubtless fell into the hands of specu-
lators, for one could buy on the street, before
the first performance, good seats at half price.
For the second performance ten-dollar seats
could be bought for two dollars, and for
the third no speculator dared risk his repu-

The Metropolitan Opera-House 63

tation by showing himself near the Opera-
House.

It was recorded in an account of the season
that some amusement had been caused by at-
tempts to prove that Wagner was not wanted
by the fashionable patrons of the Metropolitan
Opera-House. Some of these society people
showed resentment, and tried to disprove the
charge by appearing earlier and staying later
at the Wagner performances than at others.
Monday evenings, in particular, were supposed
to have been kept free of Wagner, The refu-
tation of this serious charge as to Wagner,
was undertaken by a class of patrons that go
to the opera on account of the intermissions,
and disliked Wagner chiefly because the audito-
rium was darkened during Wagnerian perform-
ances,— so that really Wagner meant consid-
erable self-sacrifice to them. But the Monday
evening subscribers desired also to sacrifice
themselves, and began to protest in the news-
papers, so that Mr. Conried was obliged to
humor them by putting on ** Die Meister-
singer,'' which turned out to be the success of
the season.

In later seasons Mr. Conried ran against dif-
ficulties. In January, 1906, there were thrilling

64 The Grand Opera Singers of To-day

SSasaBSBBSSB^BBHBBSaBBrSSaHBBEBB^BBSaBBB^BaBI^BBaHBD

accounts of a strike of the chonts in New York.
Mr. Conried refused to be dictated to by the
labor union to which the chorus belonged, and
he decided to do without the chorus. A per-
formance of ** Faust '^ was given in this man-
ner. There were a few cuts, and the orchestra
filled in as best it could in certain parts, but the
performance was not recorded as one of the
most brilliant on record, — and there was little
more heard of the strike.

In 1905 Mr. Conried took umbrage at the
poor attendance in Boston when the Metropoli-
tan Company visited that city, and decided to
punish it the following year by remaining away.
What he accomplished by this was chiefly to
ensure a welcome in Boston to Oscar Hammer-
stein, who soon after commenced his opera-
tions, and, second, to fix a determination in the
hearts of Bostonians to have an opera company
of their own, and no longer be dependent for
their annual homoeopathic dose of opera on
the Metropolitan or any other visiting com-
pany.

When Heinrich Conried was appointed di-
rector of the Metropolitan Opera-House he
made various promises in regard to new produc-
tions, but the most important of these was to

The Metropolitan Opera-Hoiue 65

be the production of *' Parsifal/' Wagner's
last, and, as many people think, his most im-
portant opera. By the express wish of the
composer, and by European copyright, the
performances of '^ Parsifal " had been confined
to Bayreuth since 1882, previous to which
date there had been a few representations
at Munich for the particular gratification
of Wagner's friend and patron. King Lud-
wig.

It is not our intention to discuss the legal
points involved in Mr. Conried 's scheme. There
was litigation in New York courts, and the con-
troversy was decided in favor of Conried, —
Madame Wagner having endeavored to secure
an injunction to prevent the production of
'* Parsifal " in this country. It was generally
understood that ** Parsifal " was the exclu-
sive possession of Bayreuth until 1913.

The copyright law was effective in Europe
and held in check everybody there, but not so
Conried, — and Henry M. Savage, who gave
the opera in English, and in advance of Mr.
Conried, so that when the Metropolitan Com-
pany visited the other cities, and presented
'* Parsifal " at grand opera prices, those who
were interested had already had the opportun-

66 The Grand Opera Singers of To-day

ity to hear, and see, a very good presentation
at prices about one third of what Mr. Conried
charged.

For years there had been an air of mystery
about *^ Parsifal ** on which the Bayreuth pro-
ductions had thriven. Good American Wag-
nerites would go to Bayreuth, as others go to
Oberammergau, or as good Mahommedans
journey to Mecca.

Lectures on " Parsifal ^' had been given,
more or less, for several years, but now the
number of lecturers began to exceed the num-
ber of audiences, and every lecture was like
every other one, simply repeating what had
been already published in magazines and news-
papers innumerable, so that the public was
much too thoroughly prepared when the actual
production took place.

Not only were there lectures on ^* Parsifal,*'
but there were discussions religious, legal, eth-
ical and esthetic. Not oidy were musicians in-
volved, but clergymen, lawyers and politicians
discussed '^ Parsifal " to an extent that made
the efforts of a mere press agent appear puny
and childish. The scruples of religious people
were aroused and the opera was condemned as
sacrilegious, immoral, and irreligious very fre-

Tlie Metropolitan Opera-HouM 67

qnently by zealous individuals who knew next
to nothing about it. It is probable that never
in the history of opera has such a deep and ab-
sorbing interest been aroused in an operatic
premiere.

Mr. Conried 's astuteness was the cause of all
this remarkable interest, but he was not satis-
fied to relax his efforts towards success. The
financial safety of the enterprise was assured
some weeks before the first performanoci but
there was before him the task of living up to
the expectations which had been aroused, and
he made every possible eifort to ensure artistic
success.

In order to disarm such critics as made the
charge of irreverence against this New York
production, Conried engaged a staff of artists
who had been associated with the Bayreuth
enterprise.

As conductor he engaged Felix Mottl, one of
the most noted German conductors, who had
repeatedly superintended ** Parsifal '* per-
formances at Munich. Anton Fuchs, the regis-
seur, had charge of the performances given
under the direction of Wagner himself for
Elng Ludwig. Aloys Burgstaller, who sang
the title role, was trained by Madame Wagner

68 The Grand Opera Singers of To-day

to interpret it according to her ideals, as was
also Anton van Booy, who took the part of
Amfortas. Milka Temina, who played Kundry,
had won fame in the same role at Bayreuth.
Also Victor Kloepfer and several other singers
came with the endorsement of Bayreuth. Such
a company of artists, trained by Madame Wag-
ner herself, were a sufficient reply to the charge
of irreverence. Every detail as to chorus and
orchestra was rehearsed unceasingly until each
person was perfect in his part, and the same
careful preparation was enforced upon the
scene shifters, mechanics and electricians, so
that every person employed was absolutely fa-
miliar with his duties.

To add to the importance of the occasion,
*' Parsifal '* was given as something outside
of the regular subscription, and special prices
were charged. On account of the length of the
opera the first act began at five o'clock in the
afternoon, and after the first act there was a
long intermission during which the audience
was supposed to retire and dine.

The element left in doubt before the first per-
formance was the " atmosphere.** Bayreuth
was surrounded with certain traditions and
conditions which were said by many to make

The Metropolitan Opera-House 69

a performance of ** Parsifal'* elsewhere prac-
tically impossible. Notwithstanding this, the
attitude of the audience in New York, and else-
where, was one of complete self-surrender, and
of intense concentration upon the drama and its
music, and, according to critics who had heard
the opera in Bayreuth, nothing was lacking
even in the ' ' atmosphere ' ' necessary for a suc-
cessful representation.

In Wagner's music dramas, and in '^ Parsi-
fal " more than any of them, successful inter-
pretation depends upon the perfection of all the
factors musical, histrionic, and scenic, in fact,
that was Wagner's idea of the music drama of
the future, — an idea on which all the later
composers have planned their work.

In the Metropolitan Opera-House production
the scenic beauty was remarkable, and com-
pleted the essential elements.

For the work of the artists we quote from
the review written by Mr. Aldrich. After prais-
ing the excellent conductorship of Mr. Mottl, he
continues: '^Madame Temina's Kundry is
perhaps the most consummate impersonation
that this consmmnate artist has disclosed. The
strange antithesis of which Wagner has com-
pounded this part make it one of the most dif-

70 The Grand Opera Singers of To day

cult to compose and present with conviction;
but she has accomplished it . . . Mr. Burg-
staller as Parsifal presents many alluring
traits in his representation of the guileless sim-
pleton and the authority of the knight return-
ing to claim his kingship. There are tempera-
ment and subtlety in his scenes with the flower
maidens and with Kundry, and his magnetic
personality is potent throughout the drama.
Yet it cannot be denied that his figure on the
stage has a certain dumsiness, and that his act-
ing is marred by the exaggerations and man-
nerisms of pose and gesture commonly attrib-
uted to his training at Bayreuth. Mr. Van
Booy's Amfortas is a noble and dignified rep-
resentation of mental and physical suffering,
and his laments are voiced with piercing ac-
cents. There is praise due for Mr. Blass's in-
telligent and picturesque presentation of the
old Ournemanz. The flower maidens are a
dream of beauty and their beguilement of Par-
sifal is a piece of choral ensemble of rare flexi-
bility and tonal charm. All work together
with self-sacrificing devotion to Wagner's
ideals."

In short, the production of *' Parsifal '* was
a brilliant artistic success, of which the effect

The Metropolitan Opera-House 71

was largely discounted by too mnch ^ ' anticipa-
tion ' * and — too high prices.

At the condnsion of his second season Hein-
rich Conried was still on the upward path of his
operatic career. In reviewing the season, in
Harper's WeeUy of April 15, 1905, Mr. Law-
rence Oilman speaks of him thus:

' ' At the end of his second season as director
of the Metropolitan Opera-Honse, Mr. Heinrich
Conried can point to a notable record. Since
the spring of 1903, when he was selected for the
control of the Metropolitan as snccessor to
Maurice Grau, he has put America's most im-
portant operatic institution on a level with
those of Europe in several respects in which it
had hitherto been conspicuously inferior; he
has introduced to the American public five of
the most eminent of living singers ; he has sup-
plied new scenery and costumes for many of
the works in the Metropolitan repertoire; and
he has been the means of removing from mon-
opolistic control and making generally acces-
sible one of the world's supreme masterpieces
of music. Moreover, he has done all this in the
face of inniunerable obstacles and in spite of a
lack of qualifying experience; for his career
had not been of a kind to make him familiar

72 The Grand Opera Singers of To-day

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with the problems of operatic management in
dealing with which his predecessor, Mr. Gran,
showed himself so remarkably competent.

^^ His claim to distinction is in having main-
tained his productions upon that high level of
individual performance demanded by the opera-
loving public of New York, at the same time in-
sisting upon an ideal — unemphasized by his
predecessor — of justly balanced and intelli-
gently organized ensemble/'

When Oscar Hammerstein announced in 1906
that he intended to open a new opera-house, it
was evident that the Metropolitan Opera-
House management would have to make still
greater efforts in order to keep their prestige
with the opera-going public. A new operatic
war was inaugurated, which, while it may have
caused anxious moments to Mr. Conried and to
Mr. Hammerstein, operated immensely to the
advantage of the public, as will be seen by the
history of the next few seasons. The number
of new productions and revivals, the array of
singers, the improvement in chorus, in orches-
tras, in scenery, and, in short, in everything
appertaining to grand opera, was very great.
In addition to this the spread of grand opera
itself to other cities. All these things have

The Metropolitan Opera-House 73

developed since Oscar Hammerstein annoiinced
the opening of the Manhattan Opera-Honse.

Of the singers bronght to the Metropolitan
Opera-Honse in the season of 1906-1907 the two
who made the greatest sensation were (}eral-
dine Farrar and Lina Cavalieri. They were
briefly described in the Musician, from which
the following is quoted :

'^ The two most talked of sopranos among
those who joined the Metropolitan forces this
past year were Geraldine Farrar and lina
Cavalieri. The first named is a yonng Ameri-
can girl possessed of considerable beauty, who
made a quite unprecedented success in Berlin
and in other German cities. She has been
heard in French opera ; as Elvsaheth in ^ ^ Tann-
hauser " and as Madame Butterfly in Puccini's
opera. lina Cavalieri is an Italian of the
humblest origin, whose beauty and conquests
have furnished all Europe with food for con-
versation for a number of years. She has been
heard in Italian opera only. The fact that she
made a Paris and Monte Carlo success did not
convince us beforehand of her powers, for even
Americans who have remained at home have
learned that singers can succeed in those cities
and yet fail to ipeet the standard of American

74 The Qrand Opera Singers of To-day

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music lovers. The Cavalieri, however, has
proved to possess some interesting quaUties.
Hers is a voice that is most satisfactorily, if
not definitely, described as Italian. It shows
considerable lyric quality and often great
beauty of tone, which she pours out with that
prodigality which is also characteristic of her
fellow-countryman, Caruso, an appealing qual-
ity if the feat remains within the bounds of
good musical taste. It is a voice unevenly de-
veloped, with the registers imperfectly con-
nected, and several other evidences of a lack of
training. She produces some worn and unat-
tractive tones, and sometimes fails of the pitch.
Yet on the whole Madame Cavalieri is an inter-
esting addition to the company. To hear her
voice with Caruso ^s in their native opera, often
inspires the American opera lover, as well as
the Italian, to cry ' Viva V Italia/ ^'

In October, 1901, cable despatches from Ber-
lin announced that another American girl had
set all Europe talking because of her beauty
and her musical talent. Miss Geraldine Farrar
had made her debut to the musical world of
Europe in the role of Marguerite in ** Faust *'
at the Royal Opera-House in Berlin. As she
was not yet nineteen years of age her appear-

The Metropolitan OperaHoiiae 75

anoe in so difficult and prominent a role as this
was regarded as phenomenal^ and she was
hailed by musicians as the Jenny lind of Amer-
ica, and as a second Patti.

Geraldine Farrar was bom in Melrose, Mass.,
and lived in that dty nntil about 1896, when she
went abroad to study. Both her parents were
good singers. She is said to have been able
to carry a tune with unerring accuracy at the
age of three. When she was ten years old she
took part in an amateur production at Melrose,
and — her singing was not liked. Her voice
was so loud and strong that the others seemed
proportionately insignificant.

By and bye she was placed as a pupil under
Madame Long, of Boston, and this was the be-
ginning of her serious musical study. The
next year her father and mother took her to
New York and placed her under the care of
Emma Thursby, who soon said that she could
teach her nothing more, — her voice was al-
ready placed, her throat formation was perfect,
and she had not the difficulties to overcome
that most singers have.

She was one winter in Washington studying
technique and interpretation with Victor Ca-
poul, and during this period she sang at the

Singers

WMte House before President and Mrs.
McKinley.

It was on her retnrn to Boston that she was
taken to the Boston Theatre and introduoed to
Madame Melba, who, on hearing her sing, said,
^^ I hail yon as the coming Jenny Lind of Amer-
ica.*'

Then the yonng singer and her mother went
to Paris, and a few months later, to Berlin,
where she remained and worked hard with her
voice, and her dramatic training. She also
mastered French, Italian and German.

It was said that before going abroad she re-
fused several handsome offers to appear in
opera in this country, and that Mr. Grau even
offered her an engagement at $8000. It was
also reported that the salary at which she was
engaged for three years at the Berlin Operar
House was larger than any that had ever been
offered to so young a singer. Also that she set
tradition at defiance by refusing to sing Mar-
guerite in any language but Italian, whereas
it had been customary to sing it in German in
the Boyal Opera-House. In fact, Miss Farrar
seems to have set other customs in Germany at
defiance, for one of the rules of the opera-house
was that no persons except performers should

The Metropolitan Opera-Hovse 77

be allowed on the stage dnring a perf ormanoe.
This prevented Mrs. Farrar from accompany-
ing her daughter, and, as Miss Farrar refused
to go without her mother, an appeal was made
through the American ambassador to the
Kaiser. The rule was set aside in her case,
and she was always attended by her mother.

This is said to have set the press against her,
and in course of time the attentions of the
Crown Prince to her gave opportunity to one
of the papers to publish a libellous article on
the subject. Miss Farrar called on Ambassa-
dor Tower with a request to intercede with the
Emperor to put a stop to the scandalous gos-
siping of the member of his court, and she
brought suit against the offending paper.

Having thus thoroughly established herself
in Berlin, her fellow countrjnnen were prepared
to give her a rousing welcome on her return
to her native land, for she was said to be the
first American singer ever signed for a long
engagement at the Royal Opera-House in Ber-
lin, she had been asked to sing before the
Kaiser at the Wiesbaden Festival in 1902, the
Crown Prince of Germany had shown marked
devotion to her, she was a friend of the Boyal
family, and approved of by the ** mailed fist,*'

78 The Grand Opera Singers of To-day

at which all Europe trembles, and finally it was
reported that one hundred (more or less)
prominent Germans had proposed marriage to
her.

What American girl, — and some had accom-
plished wonderful things, — what American
girl had ever a career like thist

Miss Farrar was interviewed in 1908 and the
interview was printed in the New York Sun.
Much comment was caused thereby, with which
we have little to do in these pages. To the
writer the interview seems full of well thought
out and pertinent remarks as to the operatic
conditions which confront the young American
singer in her native land. Let us quote a small
portion of the interview: ** There are certain
pinnacles that cannot be reached except by long
climbing. There are psychological poises of
thought, feeling, and experience that are long
in developing. You cannot do at the beginning
of your career what you know you will be able
to do at the end of ten or fifteen years. And
so the great problem that is interesting me is
this: Is the public interested in watching the
slow unfolding of a young singer *s talent, or
must it have everything offered to it fried
brown and curled at the edges f Are they gen-

The Metropolitan OperaHoiiae 79

erons enough to give a chance t Are they
content to take what is offered so that it is
offered in the right spirit, and help the on-
going with their interest and sympathy! I
wonder. They have heen accustomed to get-
ting their talent f ull-hlown, ripe from the Euro-
pean opera-houses. Is there place as well for
the exuberance of youth that has not yet
arrived! I feel like a baby amongst my col-
leaguesy and naturally ask that question of my-
self frequently. ' *

Let us reply to a few of Miss Farrar's ques-
tions.

The public, as represented simply by the
Metropolitan Opera-House audiences, espe-
cially when the Metropolitan Opera-House
had practically a monopoly of grand opera
in America, was not at all interested in
watching the slow unfolding of a young
singer's talent, and must have everything
offered to it fried brown and curled at
the edges. Even then it was seldom satisfied.
The opening of other opera-houses and the es-
tablishment of opera in other cities has not
only given employment to a host of singers, but
has put upon the managers the burden — well,
not of making their houses profitable finan-

80 The Orand Opera SiBgers of To-day

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cially, for opera has always flourished upon
failure, — but of losing as little as possible.
Consequently, all the singers cannot be
high-priced stars, some of the singers must
be young and growing singers, who have
their opportunity. In Boston, in Chicago and
Philadelphia, and at the Metropolitan Opera-
House also, there are now many young singers
who have had their chance and who are succeed-
ing.

The public is not generous enough to allow a
young singer to make several fiascos, but, it
has now been shown that the public does take
great interest in the young singers who, first
taking small parts and disclosing good qualities,
are given larger parts and gradually work up a
reputation.

There is hardly yet place in the big com-
panies for the exuberance of youth that has
not yet arrived, but there is opportunity for
its arrival. The more companies, the more
opportunities.

G^eraldine Farrar was herself subject to more
or less depreciatory criticism. Her success in
Germany had led New York audiences to ex-
pect the almost impossible. If there is any-
thing absolutely unfair to the singer it is to

The Metropolitaa Opera-Honse 81

overdo fhe praise in advance, and then criticise
by the first performance. A singer should be
allowed at least a month in which to show his
ability in a new place.

The following criticism of Oeraldine Farrar
appeared in a New York paper after her first
appearance : ^ ^ There are perilously high stand-
ards of singing as well as of acting at the
Metropolitan, and Miss Farrar did not in all
respects touch the former of these. The waltz
song (Bomeo and Juliet) told the story of both
her graceful vocal gifts and their limitations.
It disclosed a voice of ample size and wide
range, charming so long as it was used in quiet
passages, but strident in its upper notes and
with a prevailing cold quality in moments of
stress/^

A more mature criticism was that made by
Philip Hale, when Miss Farrar first appeared
in Boston in April, 1907, as Marguerite in
** Faust ^':

^' It is not surprising that Miss Farrar was
much liked by the audiences of the Berlin Boyal
Opera-House. She was young, she was phys-
ically attractive, and whatever her vocal faults
may have been, her voice was undoubtedly of
more beautiful quality than that of any ap-

82 The Orand Opera Singers of To-day

planded Oerman soprano. . . . Miss Farrar's
voice is a lyric soprano of 'indisputable beauty,
and charm — not a dramatic voice and it would
not bear forcing, ^but it is the voice of a Mar-
guerite, a Juliet, a Manon. A fresh and youth-
ful voice with a tender and womanly quality.
As a singer pure and simple, she is not yet to
be reckoned among the truly great who shine in
both lyric and dramatic parts. She is not a
mistress of bravura, but as she is to-day her
singing is spontaneous and free and it works
a spell. . • . Her voice alone would give pleas-
ure if she were not a play actress of much
more than ordinary ability. Her Marguerite is
poetic yet very human. . . . Her facial expres-
sion, her gestures and her repose are all elo-
quent and, wonder of wonders, they are singu-
larly suited, yet without too deliberate atten-
tion to the music. . . . Young as Miss Farrar
is she has already mastered the great art of
preparing a dramatic climax. . . . And what
a pleasure it was to see a youthful, charming,
graceful Marguerite, and not a mature woman,
an ineffectively disguised matron, simulating
laboriously the amorous enthusiasm of maiden-
hood 1 ''
These are criticisms made at the beginning

GERALDINE FARRAR AS jMA.VO.V

The Metropolitan Opera-Honse 83

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of her American career. Dnring the intervening
years Miss Farrar has gained in every re-
specty and has been one of the strongest attrac-
tions whenever she has appeared in opera.

When Geraldine Farrar sang in New York in
1909 Mr. Finck compared her with Madame
Calv6 in the following words : ^ ^ America too
has produced a Calve. Her name is Geraldine
Farrar. Had she the gift of perfect coloratura,
she too would make her hearers shiver with
terror in the ^ Hamlet ' mad scene. That role
is not in her repertoire, but as Mignon she is
like Oalve in ^ Carmen,' so true to life that
one forgets she is acting, and again as in
Calve 's case one is so absorbed by the charm
of her impersonation that one may fail to
realize how beautiful is her song as such. Once
more she suggests Calv^ by the amazing mobil-
ity of her features ; every moment her facial ex-
pression changes with the words and the tones ;
an opera glass is needed incessantly lest one
may lose subtle details. Geraldine Farrar does
not copy Emma Calve in the least; she was a
pupil of Idlli Lehmann and probably never
heard Calve till she came to New York two
years ago. But she is an artist of the Calve
type. Belasco tried to induce her to give up

84 The Grand Opera Singers of To-day

the operatic stage and be an actress; but
that is not to be thought of. Give up that
lovely voice, — that art of emotional songf
Never. ' '

Mr. Conried's other leading attraction in the
season of 1906-1907 was an Italian singer named
Lina CavalierL The stories of her career which
found their way to this country previous to her
arrival, excited unusual interest* in her, and
when she arrived all agreed as to her beauty
though there were widely divergent opinions
as to her singing.

It is difficult to discover, amongst the multi-
tude of accounts of her career, the real truth.
She was a Roman of humble origin, and was
brought up amongst the surroundings of
extreme poverty. As a child she had to earn
money and help her mother. Some accounts
say that she sold programs at a theatre, others
that she worked as a factory girl, and others
that she sold flowers in the cafes of the Piazza
Colonna, and the neighborhood, where her great
beauty won her many admirers. One thing is
certainly true, that the proprietor of a music
hall engaged her to sing, — not on account of
her voice, but because he felt that her beauty
would prove an attraction.

The Metropolitan Opera-House 85

Again we have conflicting stories. One ac-
count says that one of the princes of Italy fell
in love with her and educated her, and married
her against the wishes of his family. Another
account says that while singing at the cafe she
met Leoncavallo, the composer, who gave her
lessons and fired her with an ambition to enter
the grand opera field. Again another account
says that she travelled from town to town with
a small company of wandering musicians, sing-
ing to the accompaniment of mandolin or
guitar. Perhaps a mixture of all three stories
may bring us near to the truth. She certainly
did not become a Soman princess, she evidently
did take music lessons, and there is no reason
why she should not have been a member of
some travelling comi>any. It is by no means
an unusual occupation for an aspiring young
singer.

Some time later Cavalieri made her appear-
ance at the Folies-Bergeres in Paris. Here she
was a rival of Otero, who was then fascinating
Paris with Spanish songs and dances. Cava-
lieri danced the Tarantelle and soon had an
immense following. Here, in Paris, comes a
mysterious story of a Russian prince, who fell
desperately in love with her and married her.

86 The Grand Opera SiBgers of To-day

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At any rate, she disappeared from her accxis-
tomed haunts, and for some time nothing was
heard of her. During the interim she had been
studying singing under Madame Mariani-Masi
and preparing for grand opera. She is said to
have made a successful debut at Lisbon in De-
cember, 1900, and after singing in various
Italian cities attained her ambition by making
her Roman debut at the Teatro Costanzi as
Mimi in ** La Boheme/*

An account published in 1902 says: ^^ This
beautiful woman was bom at Rome, December
25, 1874, and she was first a cafe-concert singer.
Her more serious studies were guided by Mrs.
Mariani-Masi. After her d^but at Lisbon, Miss
Cavalieri sang Mimi in Puccini's Boheme at
Naples; and she sang at Warsaw, Violetta,
Marguerite, as well as the other parts. Then
she appeared at Ravenna, Palermo, St. Peters-
burg, Florence and other towns. She returned
to Florence two months or so ago, and she had
then added to her repertory Manon and Fedora.
A correspondent in Florence says that her im-
provement as singer and play-actress is
marked, and that she no longer depends on her
beauty or the past fame of her caf4<M>ncert
nights.'*

The Metropolitan Opera-Hoiue 87

Madame Cavalieri sang in America several
seasons, Oscar Hammerstein engaging her
wlien her contract with the Metropolitan Com-
pany was at an end In 1908 she departed
from New York in a mysterious manner, but
returned the following season to the Manhattan
Opera-House.

In 1910 she became engaged to and married
Bobert Winthrop Chanler, a marriage which
she said was for comradeship but not for love.
In the following year a divorce was granted,
after financial arrangements had been agreed
upon. Madame Cavalieri was to have returned
to America in the season of 1910-1911, but much
discussion ensued, the public resenting her be-
havior towards Mr. Chanler, and the managers
declaring that her private life had nothing to
do with her career as an artist. Whatever may
be the correct theories in such cases Madame
Cavalieri did not return to America.

As to' her artistic standing compared with
other singers of the Metropolitan and Manhat-
tan Opera-Houses, Madame Cavalieri was not
one of the highest artistic rank. Without her
personal beauty she would probably never have
been engaged at either of those houses. One
of the most concise and best estimates of her

88 The Grand Opera Singers of To-day

was published in the Boston Transcript, April
4, 1908:

** Miss Cavalieri is counted an interesting
personality. She is a student of the theatre,
and not for nothing has she watched the mis-
tresses of acting at high pitch — Bernhardt or
Duse. The French word for Cavalieri *s beauty
is ^ troublanty' and it used to run up and down
the theatre last summer when she was singing
and acting Thais in Paris. It is a beauty that
has its fire and that is the mobile mask of a hot
and tireless energy of will. If will could make
a mistress of the art of song, she would long
since have been such. If will could make an
enthralling operatic actress, she would have
been such as early.''

When Oscar Hammerstein engaged lina
Cavalieri for the Manhattan Opera-House he
had the intention of letting her sing Thais,
in which role she had been very successful in
Paris. He had, however, failed to take into
account another lady in his company. As soon
as she heard of this engagement, or intention,
Mary Garden cabled her resignation. ** Thais "
was her opera, she said. Whatever " Thais "
was in America, she had made it, and she would
not remain in the company if any other person

The Metropolitan Opera-Honae 89

were allowed to sing fhis rdle. Madame Cava-
lieri, she said, excelled in Italian roles, while
she herself excelled in French parts, and, of
conrse, there was no such thing as jealousy in
the matter.

Hammerstein replied to her in a most diplo-
matic manner. He had two contracts with his
singers, he said. The first was written, the
second was unwritten. The latter was based
on loyalty and mutual respect. Miss Garden
had always been loyal, and they (he and she)
were good friends. If the occasion had caused
her anguish he would remove the cause, — and
the name of Madame Cavalieri was stricken
from the announcement of ^^ Thais.''

The disturbance spread amongst the singers
and musicians of the company, and there was
enmity between the French and the Italian
members. To such lengths did it go that even
Cleofonti Campanini, the conductor, was drawn
into the controversy, which is said to have been
the cause of his resignation, at the end of the
season, from the Manhattan Company.

Having reaped a large amount of glory from
the production of ** Parsifal " Mr. Conried
next decided to produce the much talked of new
opera of Richard Strauss — '^ Salome.'^ It is

90 The Grand Opwa Singers of To-day

not necessary to enter at length into the story
of the opera, which is known to every one who
reads the Bible. The libretto was written by
Oscar Wilde, and is said to be the most dramatic
play that he ever wrote. As a drama it had
been played in New York in 1905 by the Pro-
gressive Stage Society, and it had been given
at the Irving Place Theatre in 1906.

On its production at Dresden the music was
described as ^ ' grandiose and staggering in its
vehemence,'* — Wagner surpassed, — voices
quite secondary. ^^ Strauss has given the or-
chestra something," said the critic, '' which
only perfect musicians perfectly trained and
conducted could master, and so varied is the
score, so full of color, that it is quite impos-
sible for any but the largest and best equipped
opera-houses to produce it as it ought to be
produced. • . . The opera is packed with
^ motifs,' every person and every passion has
its ^ motif ' ; the result is an exasperating tangle
of ^ motifs ' impossible to unravel. The orches-
tration is most remarkable, — the strings have
sometimes as many as twenty parts, in order to
obtain unusual effects in color." Mr. Lawrence
Oilman in a hand-book which he issued at
the time of ^ ^ Salome 's ' ' production wrote :

The Metropolitan Opera-Honae 91

^ * Strauss reqtiires his violas and 'cellos to play
many parts inunemmorially delegated to vio-
lins; makes his double basses cavort with the
agility and abandon of clarinets; writes un-
heard of figures for the tympani players, and
demands of the trombonist that he transform
his instrument into a flute."

In addition to new effects on old instruments,
new instruments were introduced, notably the
** heckelphone,'' which is described as a
cross between an English horn and a bass
clarinet.

In parts of the opera some of the sections of
the orchestra play in keys half a tone removed
from the mode being used at the same time by
other groups of the orchestra. At one place the
orchestra plays in B flat major while Salome
sings steadily on B natural, and in almost
every phrase the singers end in a different key
from the one in which they began. The music
displays the greatest genius in the very epi-
sodes where it concerns itself with the unnatu«
ral, criminal elements of the story.

It is related that the production of ^^ Sa-
lome " caused a coolness between Strauss and
the Kaiser, for Strauss was informed that his
Majesty considered the writing of such an

92 The Grand Opera Singers of To-day

opera on such a theme as ^^ Salom6 " unworthy
of him and not conducive to the advancement of
pure art. Strauss replied that he was not go*
ing to take lessons from any one, no matter how
highly placed, unless his inherent knowledge
on the subject was superior to his own. The
(German Emperor decided that ^^ SalomS "
should not be sung at Berlin.

After all the tremendous amount of comment
and criticism and excitement in Europe Conried
produced this opera at the Metropolitan Opera-
House in January, 1906^ The cast was : SaiomS,
Olive Fremstadt; Herodias, Marion Weed;
Herod, Carl Burrian ; John the Baptist, Anton
van Booy.

The comment upon the opera was voluminous.
The Congregational ministers made a protest
against it, as did many other bodies of people
and individuals, but the matter was set at rest,
so far as New York and Mr. Conried were con-
cerned, through a letter sent to him by the
directors of the Metropolitan Opera-House in
which they said that the performance of *^ Sa-
lome " was objectionable and detrimental to
the best interests of the Metropolitan Opera-
House and protesting against any repetition.
This was doubly disappointing to Conried be-

The Metropolitan Opera-Hoose 93

cause the presentation of this opera was made
at a benefit performance for himself.

Some three or more years later Oscar Ham-
mer stein produced ^' Salom^ " and the storm
began again. Mary Garden appeared as Sa-
lome, Madame Doria as Herodias, Hector
Dufranne as John, and Dalmores as Herod.
In Boston and Chicago vigorous protests were
made, and Oscar Hammerstein politely with-
drew the opera, after having made himself the
centre of a newspaper storm. And here is a
lesson to be learned, — if an opera is too bad
for the people, or the people too good for an
opera, silence will kill it more effectually than
vehement protest.

The following estimate of the season's new
singers was published in the '^ Musician," in
July, 1907:

^' Frau Fleischer-Edel, who was imported
for Wagnerian roles, is a not imcommon type
of (German singer, although her voice is an or-
gan of considerable beauty and power. Un-
fortunately it is tainted with many of the vices
of tone production characteristic of that school
of Wagnerian singers whose methods have
never recommended themselves to lovers of
beautiful singing.

94 The Grand Opera Singers of To-day

'^ The same criticism applies to the Wag-
nerian tenor, Carl Burrian, a Bohemian from
the Dresden Opera-House. Bnrrian is an in-
telligent artist, but not one in the same class
with Knote, and his voice lacks the natural
beauty of Burgstaller 's. Nevertheless, those
who had the good fortune to be present at that
remarkable performance of Strauss 's extraor-
dinary opera at the Metropolitan are not likely
to forget Burrian's marvellous interpretation
of Herod. However the critic may feel about
* Salome,' musically or ethically, Burrian's
Herod must stand with the Mime of Beiss and
the Loge of Van Dyck, as one of the finely
wrought creations of the operatic stage.

^^ Madame Earkby-Lunn, the English con-
tralto, did not sing here for the first time this
season, but her previous appearances have been
80 few that her beautiful voice has not been so
generally appreciated before.

^^ Bousseliere, the new French tenor at the
Metropolitan Opera-House, proved a singer of
uneven qualities. His voice at times had much
beauty of tone, but he had, unfortunately, the
tendency to false intonation to which singers of
bis nationality seem peculiarly liable.

^^ Bousseliere was disappointing on the

The Metropolitan Opera-Hoiue 95

whole. Vocal affectations marred what would
otherwise have been enjoyable passages, and
when his opportunity came in the shape of top
notes he too frequently drove them vociferously
to be agreeable. His Romeo was a manly, if
not a handsome picture.

' ' Carl Burrian come to this country in 1907,
with the reputation of being a fine singer with
an extraordinary voice, and an accomplished
musician. He was a student in Berlin but made
his first operatic appearance in Hamburg, after
which he went to Buda-Pesth. When Maurice
Grau persuaded Anthes to break his contract
with the Dresden authorities and come to New
York, .Burrian was called to Dresden to take
his place.

^' Burrian 's most notable characters are
Siegfried, Siegmund, Tristan, and Herod in
Strauss 's ^ Salome,' which part he created in
1907 at the Dresden Opera-House. That Bur-
rian did not please all people in this country
may be gathered from the following criticism :
' Burrian, the new German tenor, is of the
strong-lunged, steel-toned, hard-fisted, work-a-
day Teutonic variety, — strenuous, intelli-
gently strenuous, but little else.' "

This, however, is hardly a fair or detailed

96 The Orand Opera Singers of To-day

oritidsm of Bnrrian'a artistic ability, and per-
haps the aocoant given by Mr. H. T. Parker, of
the Boston Transcript, of Mr. Bnirian's per-
formanoe of Herod will show that he has great
merit:

" Bnrrian is more than a deolaimer of
Strauss *B broken phrases above a writhing
orchestra. He sings, indeed, according to the
Qerman school as it now goes, but according to
that school in its best estate. He has its dear-
ness of articulation, but it is an artionlation of
the phrases of the mnsic as well as of the text
He maintains, oftener than he chops, the mel-
odic line. He sings with freedom and he sings
in time. His voice has the tenor quality, a little
hardened, it is true, bnt not often pinched or
gritty. He sings with intelligence, and he
clothes Ms tones, when he will, with an emo-
tional quality that is more than energy. They
can come even sensuously to the ear.

" In no one of his parts has he touched the
vividness of character that makes the Herod a
subtle, uncanny, creeping and haunting thing.
He takes his Siegmund and Siegfrieds and
Tristan with clear and straightforward capa-
bility. There is not much individuality in his
impersonation of tiiem; seldom does a partio-

The Metropolitaa Opera-Hoose 97

Qlar stroke in action or tonal quality stir the
listener. Yet with all this pmdent soundness
they are neither uninteresting nor inert. Per-
haps ^ businesslike ' is the truest word for Mr.
Burriauy with his Herod for the exception to
prove the rule.*'

Carl Burrian had various legal troubles, —
when he came to America he broke his contract
with the Dresden Boyal Opera, and the King
of Saxony brought suit against him in the
courts of Prague, through Count Seebach the
intendant. The King won his suit and Burrian
was condemned to pay a fine of $3700. In the
meantime, while Burrian was at the Metropoli-
tan Opera-House, he signed a contract to sing
at the Boyal Opera-House in Vienna, the fine
being paid by the Vienna management.

Burrian left America in February, 1912, and,
though he had won a large measure of artistic
success, he departed declaring that he was glad
to get out of the country, and that its so-called
liberty was a myth. Under the circumstances,
which had to do with his private life, perhaps
this was the highest praise that he could have
bestowed upon the American people.

Mr. Burrian took opportunity to express
some views about American audiences, for the

98 The Grand Opera Singers of To-day

following ** interview '* appeared in the New
York Times in 1908 : * * When opera in New York
begins at eight, the audience arrives about nine.
It is not good form to remain after eleven. In
the boxes there is a continual coming and going,
and people look at each other instead of what
is happening on the stage. The climax of the
opera is the intermission, when women in grand
toilettes promenade on the arms of their es-
corts. Bayrenth may well hide its diminished
head. If the tenor has a solo in the latter part
of the opera he must sing it to himself, — the
audience is no more. The restaurants have
daimed it. The way in which Wagner is cut is
fearful. To hear a thing quickly is the motto
of the new world. Mahler has had to submit in
silence to this cutting of Wagner's operas. He
is a great artist and wants to set German opera
on its feet in America. American audiences
flock to French and Italian opera but not to
German. ' *

There have been lusty efforts to set German
opera on its feet during the past fifty or more
years, and it does not seem to remain erect.
Perhaps it is topheavy, but it certainly does
have an enthusiastic, if not large following.

In regard to the inattention of audiencee

The Metropolitaa Opeia-Boiue M

perhaps the only remedy would be to put the
boxes in the gallery^ and the gallery seats
where the boxes usually are. The singer is
not aware of the presence of the true opera
lover stowed away under the roof, parting with
its hard-earned dollar, and frequently making
a real sacrifice for the sake of the music

Claude Bousseli^re is the son of a blacksmith
of St. Nazaire, France, and was brought up
with the idea of following his father's trade,
which he did for two years. Then his voice at-
tracted notice and he went to Paris, presented
himself for matriculation at the Conservatoire,
without preparation, and was accepted on the
spot. Three years later, at the age of twenty-
three, he won the first prize for singing, and
was engaged to sing at the Grand Opera in
Paris. Although he has had many opportuni-
ties offering great temptation, he has steadily
refused to leave the Grand Opera, and until
his engagement for America, is said to have
made only one exception, when he went to Brus-
sels to create the part of Prometheus.

Bousseliere has a dear ringing voice, and is
personally much liked among singers.

When Madame Morena first appeared in
America in February, 1908, she was described

100 The Orand Opera Singers of To-day

8BaK^B^^B^BaBaBaBBBBBSEHB^9BBaBBS^BBBaSB

as one of the yonngest singing actresses of
opera at Munich, — her Semitic comeliness, her
personal charm, her imagination and expression
as an actress and the emotional coloring of her
tones have established her with the public in
Germany. Munich knows her chiefly in the
parts of the younger women of Wagner's
operas, — Elsa, Elizabeth, Senta, and Sieg-
Unde, and especially as a remarkable Leonora
in Beethoven's ** Fidelio/'

'* Morena, — tall, broad-shouldered, deep-
chested, but not stout. Well formed and of
an ideal build for the Wagnerian heroic r^les.
Her features are classic in their regularity, —
her dark hair, parted in the middle, waves sim-
ply back from her forehead; her warm brown
eyes gaze out frankly from under level brows.
Although much heralded, she came up to and
surpassed expectations, when she made her de-
but in 1908.'' Thus she was pictured.

Berta Morena was bom at Mannheim of poor
parents, and for years it seemed as if her talents
would not be known outside of her home world.
Her introduction to the larger world of music
came about through Franz von Lenbach, a
great painter, who admired her beauty, when
he met her in Munich, and introduced her to

BERTA MORENA

The Metropolitan Opera-House lOl

Ernest von Possarty the director of the Boyal
Opera. Von Possart heard her sing, and after
a hrief course of study she was engaged by
him and made her first appearance as Agathe
in * * Der Freyschutz. ' * She was then only nine-
teen years of age, and she revealed so much
promise that she was hailed as a rising star.
Her operatic career being now really begun,
she appeared as Selika in ^^ L'Africaine/'
Senta in '' The Flying Dutchman," Elizabeth
in ** Tannhauser,'' Santuzsa in ^^ Cavalleria
Busticana," Sieglinde in '^ Die Walkiire," and
theBwE^ BrunnhUdes, and as Isolde in '^ Tris-
tan und Isolde."

Soon after her arrival in America it was real-
ized that she had made an impression upon the
public. One critic wrote that she had made a
greater impression than any German singer
since Ternina's time. ^^ In a sense, Berta
Morena has been a pupil of Temina, for when
she went to Munich to succeed to many of the
parts taken by Temina, the elder singer was
generous of help and counsel."

Practically Miss Morena made her reputation
and had her career in Munich, but in more re-
cent years her fame spread and brought her to
other houses, and eventually to America.

102 The Grand Opera Sixigers of To-day

In 1908, when Bhe first visited this country,
she was described as follows: ** She is young
and comely with not a trace of housewifely
savor and unconsdous provinciality that hung
about most of her sister German singers. Dis-
tinctly she is a woman of the world. Moreover,
and again in agreeable contrast to most of her
recent predecessors, she is alert and elastic in
body and mind. As Sieglinde, as Elizabeth or
as Leonora, she is good to see. Once, as the
report from Munich goes, she was a cold statu-
esque beauty. The comeliness has ripened,
warmed and softened into a dark-haired, dark-
eyed, clear-skinned comeliness of singularly
sympathetic charm. It is mobile now, and Miss
Morena's face and figure are elastic now to
whatever she would have them express. Face
and form touch the spectator's imagination
with womanly suggestion when she disguises
herself as Elizabeth, and as Leonora her fea-
tures and figure and the wholesome charm that
springs from her make her becomingly illusive
as the wistful, anxious, pretending and myste-
rious youth that is Fidelio. So in all she has
done Miss Morena has shown the pictorial sense
that wins the eye and the imagination. She
commands a rather unusual sympathy, a quick

The Metropolitan Opera-Honae 108

and favoring predisposition to all that she is
about to do.

^^ This same sympathetic quality dwells in
her tones. Her voice is full, warm, dear, truly
transparent in its upper notes, smooth and sup-
ple in all its range. It has beauty itself ; it is
used with a skill that is rare among the younger
German singers, and it has unmistakable and
immediately persuasive emotional qualities.
She has knowledge and training in singing,
and she respects her medium. As Leonora in
^ Fidelio ' she heightens often the expressive
quality of Beethoven's relentless music, and
her tones seem the voice of the character and
the moment. Still more in Elizabeth her voice
is potent with feeling, and with the peculiarly
womanly and sympathetic feeling that is the
unique trait of Miss Morena's temperament.
The emotional quality does not command, it
persuades and warms the listener. Thus she
imparts character, mood and passion with her
tones, but she is persuasive in the purely his-
trionic side of her art. There she does not go
much beyond intelligent convention, but she
keeps it unlabored, and infuses it with the same
persuasion that is in all she does. The mag-
netism of sympathy is in her, and she h^s

104 The Grand Opera Singera of To-day

stirred her audiences to a quick and warm
liking that has rarely rewarded a German
singer in America in recent years. Unmista-
kably she has the sense of beauty."

In March, 1912, an interview was printed in
one of the musical journals in which Miss Mo-
rena gave expression to some opinions which
are worth repeating. The first will be of in-
terest to musical students, and refers to the ad-
vice given her by Von Possart, who is a cele-
brated actor, in regard to the expression of
emotion. She said: ^' Possart told me to watch
and notice how things were done, but above all
to get into the skin of the characters I was sing-
ing, to feel the emotions they were supposed to
be feeling and then to act in the way that I
thought they would act under the circumstances.
That is precisely what I did and that has been
my method to the present day. I feel in my own
heart what the one that I am personating feels.
It must be sincere. I cannot make believe or
imitate. If I were only to endeavor to sham
emotion, to simulate feeling, nothing would
come of it. If I am expressing joy on the stage
I am, for the moment, truly joyous. That is the
way, I should think, every singer would go
about it. However, individualities differ, so

The Metropolitan Opera-Hoiue 105

one cannot lay down rules. Cnrious thongh,
isn't it^ that I need the make-np, the scenery,
the stage settings, in order to feel and, conse-
quently, to act at all."

The next matter of remark will also be of
interest to the students of opera, as well as to
American audiences. It refers to the ' ' special-
ization ' ' which dominates everything in Amer-
ica, and from which the opera singer is not im-
mune: '^ One does get so tired of singing the
same roles over and over again, especially when
there are only four or five of them. In Gter-
manj an artist gets a chance to do a great vari-
ety of parts ; in fact one has to, because there
we do not have a special company to do Italian
works, another for French operas, and a third
for Oerman pieces. And the repertoire of even
the smaller houses have to be so much more
comprehensive. If they do Wagner and the
modem things, they have not therefore aban-
doned ' Les Huguenots,' ' L'Africaine,' ' La
Juive,' and all the rest of the old-time
favorites. They have far more need of them
than they do here, for the Germans hold
to them more tenaciously, even if they are
worn. ' '

To which the reply of the average American

106 The Grand Opera Singers of To-day

BBasaB^BSSaSSBaSSBBBBBBXaaBSSBBBaBa^BBBBBaBBBMi

opera-goer would probably be that nothing but
** the best ^* will do here. Does not the im-
presario announce that he has engaged Ma-
dame So-and-so to sing certain parts, thus
giving the impression that the Madame is a
specialist, although she probably has a reper-
toire of thirty or more operas f

The following will be of interest to opera-
goers in general, as it has a bearing on operatic
manners in America as compared with those
of Germany: ^^ I do like American audiences,
but there is always one thing that puzzles me.
Why must they arrive at the opera after it has
started and leave before it is over, whereas
when in Europe they are the most devout of all
listeners f Yes, that is one of the most amazing
phenomena that I have ever remarked. At the
festivals in Munich the Americans sit from
beginning to end in the profoundest, most rev-
erent cpntemplation, as though they were at a
religious service. Their attentiveness sur-
passes that of the Germans themselves at such
times, or the English or any others. But here I
Never does the whole audience dream of being
on hand for the start, nor does it remain till the
close. To the singer on the stage this is most
nerve-racking. It takes all my power of con-

The Metropolitan Opera-House 107

centration sometimes to keep my nerves tromt
giving way, for it is a terrible strain to be oon-
scions of this continual disturbance in the au-
dience, to hear a sort of constant hum, as of a
swarm of bees. Even though the artist may not
be able to see what is passing in the auditorium
the sense of disturbance is bom to him very
keenly/*

The answer to this may be, perhaps, that the
Americans who go abroad to hear opera are
mostly music lovers whose occupations are
away from the few cities in which opera can be
heard. They go as a matter of business and
education, while a very large proportion of
the audiences in American opera-houses con-
sist of those who go as a matter of pleasure,
or regard the opera as a social function. Such
people at least occupy the seats from which dis-
turbance would be most apparent to the per-
former.

Miss Morena also remarks pertinently on
the size of American opera-houses: ** The au-
ditorium of the Metropolitan seems really too
large — too large for even Wagner operas.
The distances in it are so great that all sense
of intimacy between singers and audience is
lost. Facial expression counts for nothing at

108 The Grand Opera Singers df To-day

all unless one nses one's opera glasses contrnu*
onsly, and this, in the end, mnst mean a great
strain. Yet the play of features is of such im-
portance in Wagner I And, besides, in propor-
tioning one 's gestures to the size of this house
one has often to exaggerate them, and this
makes them seem very foolish. There is no
reason to suppose that the Wagner oi)era8
would sound too heavy in a smaller place. The
Prinz Begenten Theatre in Munich, and even
the Bayreuth house are very much smaller, and
yet no one ever complains that they are not
large enough. Why, Bayreuth seats only
twelve hundred. A singer feels so little on the
stage of the Metropolitan and it seems as if he
must go to all sorts of extremes to make dear
his action to the people in the remote parts of
it. Then there is also the great temptation to
force the voice, although this is unnecessary,
as the acoustics of the place could hardly be
better. '»

Perhaps the best reply to this comment is
that the price which the impresario is obliged
to pay to the singers in this country is so much
larger and the expenses generally so far ex-
ceed those of Germany, especially in the cities
where opera is subsidized, that even with the

The Metropolitan Opera-House 100

greater seating capacity opera has seldom been
made to meet its expenses.

The following review appeared in one of the
leading musical journals in 1912 :

^' Berta Morena's Sieglinde is not new to
New Yorkers, and has been acclaimed previ-
ously as one of the commanding portrayals in
the Wagnerian annals of this metropolis. The
role requires, before all things, loveliness of
appearance and charm of voice, then gentle
womanliness and thoroughly human appeal.
All those requisites are Madame Morena's in
generous measure, and she gave of them freely
and fully last Thursday afternoon, making her
Sieglinde contribution a joy to the soul of even
the most fastidious Wagner enthusiast. Plas-
ticity and grace in gesture and masterful com-
mand of tone production and the entire gamut
of emotional inflections again were striking
features of the Morena performance. She has
made the Sieglinde character her own, and is
one of the Wagnerian impersonators who may
be said unreservedly to represent the exact
ideal Wagner had in mind when he penned
the music and fashioned the actions of the
most sympathetic of all that composer's hero-

ines.''

110 The Grand Op«ra Singers of To-day

^^ Madame Morena's Elsa is a movingly
beautiful impersonation, one of the loveliest
ever witnessed on the stage of the Metropolitan
OperarHouse. First, a vision of girlishness as
she appears before the King, singing the
* Dream * with perfect repose and a vocal art
that was faultless. Every gesture, every shade
of expression on the classic countenance was a
study, as she is questioned about the knight
of her fancies. When the knight does arrive,
one beholds again a transformation of the eyes
and features, all indicative of ecstasy, surprise
and tenderness. It is the art of facial expres-
sion, of gesture, of emotion — the great art of
acting — that Madame Morena has mastered,
and the command of it constitutes her a great
artist. In the more emotional scenes, one was
moved again by her temperament and dramatic
force. Elsa, which every aspiring debutante
imagines is a part easily learned, is in fact one
of the most difficult roles, demanding of the
singer the widest possible range of dramatic
expression. The visionary Elsa of the first
act is not the same woman of the third act,
where, overtaken by curiosity, she insistently
exacts the truth concerning her lord's origin.
In this third act Madame Morena was stri-

The Metropolitan Opera-House ill

^^gly forceful in voice and action, as in
other moments she was all gentleness and re-
serve. * *

Lillian Grenville, whose family name is Goert-
ner, is a native of New York. She was edu*
cated at the Convent of the Sacred Heart in
Montreal, and while singing at vespers her voice
was noticed by M. Fortier, the music teacher,
who predicted a great future for her. Two
years later Mrs. Goertner took her daughter to
Paris and Naples to study singing. Although
her mother did not want her to go on the stage
Miss Goertner sang for the director of the
opera-house at Nice and was engaged. She
took her mother's maiden name for the stage,
and after Nice sang at the Teatro Lyrique in
Milan and at the San Carlo in Naples. In five
years she won a reputation as an opera singer
in France and Germany, and eventually came
back to America and became a member of the
Metropolitan Company.

Jane Noria was well known in America under
her proper name of Josephine Ludwig. She is
a native of St. Louis, and sang two seasons in
Henry M. Savage's English Opera Company.
Then she went abroad to get experience in the
world of Grand Opera. She sang several sea^

112 The Grand Opera Singers of To-day

sons in France and Italy before coming back
to her native land.

Henrietta Wakefield was, when she joined
the Metropolitan Company, its youngest con-
tralto. Her career began when, at twelve years
of age, she was a member of the choir of the
Nortii Presbyterian Church in New York, her
native city. She was a pupil of Emily Winant,
who is still remembered as an excellent church
and oratorio singer.

Mr. Conried heard her sing and engaged her,
and she made her debut in the part of Adrietme
Lecouvreur with Caruso in the cast. When
Ghistav Mahler was conductor Mrs. Wakefield
was cast for the Peasant Mother in " The Bar-
tered Bride, *^ and Cieca in *^ La Gioconda.*'
She has had parts in many of the standard
operas, and has been busy in recent years with
concert engagements after the opera season.

Feodor Chaliapine attained his prominence
in the operatic world only after trying many
other occupations. He was bom at Kazan,
where he learned to read and write, and was
then apprenticed to a shoemaker. At the age
of sixteen he worked in a shop at Kazan op-
posite to which was a baker 's shop in which was
employed Maxim Gorky, who had not then be-

The Metropolitan Opera-Eoiue 113

aa^:ssmxaBaammmi^mt^aaaaaaammmtaammmKammamaaaBammaa

gun to write. Later, Chaliapine became for-
warding clerk in the service of the Ural Bail-
way Oompany, at Ouf a. Near him again was
Oorky, engaged at testing wagon wheels and in
shnnting operations.

Chaliapine again changed his occnpation and
worked at loading melons on a cargo boat for
the princely stipend of seventeen cents a day.
He was fond of the theatre, and now and then
wonld throw np his occnpation and join a com-
pany of strolling {layers. He was in tnm come-
dian, singer in operetta, street vender, handy
man at the theatre in Tiflis, porter, chorister,
and eventnally became a pnpil of Professor
Onssotof of Tiflis, who gave him his first real
lessons in singing. These led to such good re-
sults that he was engaged at the opera at St.
Petersburg. Like most Russians (apparently)
he has been imprisoned on suspicion of political
intrigue — he was a friend of Gorky.

The following criticism appeared after his
performance in ** Mefistof^le '^ ** Chaliapine
is undoubtedly an artist even if his ideals are
not praiseworthy. His physical appearance
ought not to create greater admiration than his
splendidly rotund voice and his eloquent decla-
mation. His interpretation of Mefistofele was

114 The Grand Opera Singers of To-day

B9aHB^BBSBB^BBBaBBBBBBaSBBBSBBE8SBB8BBBaBBB^a^B^^HiB

splendidly pictnresqae, but did not please the
critics, calling to mind the vulgarity of conduct
which his fellow-countryman, Gorky, presents
with such disgusting frankness in his stories of
Russian life. When he appears on the Brocken
he is bestiality incarnate. ' '

Another account of him is more complete:
^^ Chaliapine, the Russian basso, is a man of
large physical presence : his voice is as tremen-
dous as his physical aspect ; at one moment its
suavity caresses; at another its power over-
whelms; he has a lively histrionic sense; his
notions of costume are pictorial, not to say ec-
centric ; on and off the stage he loves the roman-
tic pose ; and he is equally impressive in parts
as different as Mefistofele in Boito 's like-named
opera, and the portentously comic BasUio of the
* Barber of Seville.* Distinctly he makes his
audiences ^ sit up * — the first bass singer to
accomplish this feat in America in many a
year. * *

On Conried^s retirement Mr. Henderson re-
viewed the situation in an article published in
the New York Sun. '' The taste of the pub-
lic to-day is far below that of the public which
attended the performances in the old Academy
of Music twenty-five years ago. All that a

The Metropolitan Opera-HovM 116

singer has to do in order to have success is
to sing loud, and fast or high, and if he can do
two of these at once he is great. If he can do
all he is greatest. Refinement of style, perfect
beauty of voice from top to bottom, intelligence
in phrase and nuance, acquaintance with correct
method of delivering the music of any partic-
ular period or composer, count for nearly noth-
ing. The antics of Chaliapine, the enticing
physical industry of Geraldine Farrar, the in-
excusable slaughter of measures of Marguerite
by Mary Garden, are applauded as much as the
vocal feats of Tetrazzini. All these we owe to
steady and persistent debasement of public
taste by downward movements of standards at
the Metropolitan Opera-House."

This view was perhaps too pessimistic, and
may have been the reason for Miss Garden's
opinion, expressed in an article in Every-
body's Magazine in which she remarks thus:
*^ Critics 1 I once heard a critic defined as a
man who walks at the head of the procession
crying, * Come on I ' But I rather agree with
the other version, that a critic is a man who
walks at one side of the procession crying
' Come ofFl ' Those dear, sweet, well-meaning
elderly gentlemen, called critics, who don't live

116 The Grand Opera Singers of To-day

with us to-day, ought to be put tenderly on the
shelf, having passed the age limit, just as
singers pass it. Their usefulness is over when
their minds and hearts refuse to work, just as
a singer's usefulness is over when his voice re-
fuses to work. Certain of them . . . greet every
attempt to do something new, to bring a fresh
message to the stage, to give the young a chance
to shake up the old routine and bounce people
out of their ruts into the broad road of prog-
ress, not with encouragement, nor with toler-
ance, but with scorn and jeers. Put them on
the shelf, I say, and pat young blood in. If
America is striding forward into a new appreci-
ation of opera, and an appreciation of new
opera, it isn't the old fogies who are the leaders
of the game. The leaders are the young; leaders
are always the young. These old fogy critics
with their stilted and stunted ideas, once fought
valiantly for Wagner, against the old fogies of
their day. Now they are condemning Bichard
Strauss and Debussy and Beger. It is time
they fell back and young critics took their
places. The banner of artistic progress is only
to be borne on by men with young enthusiasms
and by those who march breast forward. No
wonder the old fogies don't see whither we are

The Metropolitan Opera-HouM 117

going: they are looking backward! " Probably
Miss Garden did not know how yonng some of
the critics are, nor does she appear to have
studied the individuality of style and vocabu-
lary affected by some of them, which are natur-
ally of more importance in the eye of the critic,
than the singer or the opera. There is a large
variety of critics*

The fact that Mr. Conried became the subject
of critical attack was, perhaps, largely due to
his failing health, for in 1906 he was obliged to
go abroad. On his return in 1907 he talked of
all that he was going to do, but he was never
really able to resume his active control of the
Metropolitan OperarHouse. His resignation
followed, and he returned to Europe, where he
died.

When Conried took up the management of
Orand Opera at the Metropolitan Opera-House,
there were a great many reforms which he pro-
posed to inaugurate. Of these the abolition of
the ** Star ** system was one. He would have
a more perfect ensemble, and rely less upon the
one great singer. It was not long before he
found that the star system, or something of
the kind, was essential to success, for audiences
would not get together to hear unknown singers.

118 The Grand Opera Singers of To-day

Grau had already set the pace with his '^ all
star " combinations, and now Conried found
that the only way to secure both the perfect en-
semble and the audience was by having a com-
plete oufit of stars. He tried to ** discipline **
his singers, and while many people will agree
that this was perfectly justifiable, he succeeded
in getting rid of several of the established fa-
vorites. Some of these retired permanently,
others went into opera elsewhere, and some
have dallied with opera at intervals.

Towards the end of his career he was less
successful in pleasing the public. He met with
heavy reverses in the San Francisco earth-
quake, for his company was in that city at the
time of the disaster. In December, 1906, Mr.
Conried suffered a paralytic, or apoplectic
shock. A Swiss specialist came to America to
take charge of him, and for a long time hi&
illness remained a mystery and he conducted
the affairs of the opera from his private room.
When he sailed for a foreign sanatorium the
question of a successor became vital. He re*
turned, however, and held his post until the
spring of 1908, when he resigned and retired
to Meran in the Austrian Tyrol, where he died
in April, 1909.

The Metropolitan Opera-Hoiue 119

Many anecdotes are told of Conned, but those
which are of most interest to ns, are those deal-
ing with his lack of musical knowledge, and
with his dictatorial manner. On one occasion,
we are told, he had engaged a mezzo-soprano
to sing the part of the first Bhine-daughter, in
^ ' Bheingold. ' ' Felix Mottl was the conductor,
and when he came to the rehearsal he protested
to Conried. Miss X. was a charming lady and
an excellent singer, but her voice was not what
is wanted, or what Wagner wanted for that
part. ** Now you know that, Mottl, '^ answered
Conried, ^' and so did Wagner and so do the
singers; but does the public know thatf '^

An amusing case is cited, in which Conried
was right, however, about a lady whom he had
engaged in Germany to come over and teach
singing in his opera school^ as he called it. On
board the steamer she fell and broke an arm.
As it was quite impossible for her to play the
piano in order to accompany her pupils she
asked Conried to provide an accompanist. ^ ' I
engaged you, madame," he said, ** with two
arms, and when you arrived here with one only
it was no fault of mine." So the lady had to
pay for the accompanist herself.

At one time Conried had shown his least

120 The grand Opera Singers of To<day

■■HHHBHIBiHH^Hl^BHBBBBMaBHHMBnMaHHHIBiBIBBaHaBBBi

pleasant side to the members of the press, and
the press had ceased to praise inartistic per-
formances at the Metropolitan Opera-House
long before the Manhattan Opera-House
opened. When the opening of the latter house
was greeted with a loud burst of approval Mr.
Conried was much enraged. Sending for the
very courteous gentleman who was then his
secretary he said, ^^ You see now how I have
suffered from tEe result of your personal un-
popularity. This would never have happened
if the gentlemen of the press did not dislike
you so much.'' He dismissed the secretary,
and became less positive with the press. Ham-
merstein's success was especially galling to him
as they had been formerly associated, and he
felt that a manager who had achieved the Met-
ropolitan Opera-House could not have a rival.

CHAPTEB m

THE MAKHATTAN OPERA - HOtTSE UNDEB OBOAB

HAMliEBSTEIN

In 1906 there came forth from the ranks of
theatrical managers one, Oscar Hammerstein,
who announced that he would give Grand
Opera, and forthwith built a house for that
purpose, without any directors, trustees, cor-
porations and other impediments to eflBciency
which are associated with almost every large
business enterprise.

Within the space of three years Oscar Ham-
merstein produced more new works, that is to
say, works that were new to America, than the
Metropolitan Opera-House had brought forth
in the previous ten years, during which the
Metropolitan Opera-House had been under the
management of Abbey, Schoeff el, and Qrau ; of
Grau alone, and of Heinrich Conried. He
stimulated the interest in opera which is to-day
greater than ever before and which is spread-
ing all over the country. To a great extent he

121

122 The grand Opera Singers of To-day

has put an end to the reign of ^* the Star," for,
in former days, the singer was everything. To-
day a new production generally brings a well
filled house, and Qrau's old saying, that to in-
sure a comfortably empty house he had only
to announce a new opera at the Metroplitan
Opera-House, no longer holds good.

Some day, when the biograi^y of Oscar Ham-
merstein is written or when he publishes his
'^ Beminiscences, " there will be some interest-
ing reading. Apparently Hammerstein was aK
ways getting into difficulties, yet his difficulties
seemed to help business. He had differences
with his singers, he was continually bringing
sxut against somebody or having suit brought
against him, but nobody ever suffered by the
process, and it was all duly announced in the
papers, that is to say, the beginning of the suit
was announced, the end vanished into thin air.

Oscar Hammerstein was bom in Berlin in
1847. He ran away from home with only thirty
dollars in his pocket, and when he reached New
York and was in a starving condition he found
a sign on Pearl Street, ** Cigarmakers wanted.
Paid while you learn. '^ He applied for a job
and got it, and lived a year on eight dollars a
week. Meanwhile he wrote articles on cigar-

The Manhattan Opera-House 123

BBoaaBBaB

making, and within five years became editor of
a trade publication. He invented an ingenious
process for making cigars, and patented it.
While making cigars he wrote ' ' musical atroci-
ties," to use his own phraseology. He com-
menced his managerial career by opening a
theatre in Harlem, called the Harlem Opera-
House, which has for some time been used for
moving pictures. In this establishment his
artistic taste was plentifully illustrated, and a
long season of light opera, under Heinrich Con-
ned, was given at great financial loss.

He then built another theatre at 125th Street
and Fourth Avenue, and called it the Columbus
Theatre. It has since been used for vaudeville.

Then followed the first Manhattan Opera-
House on West 34th Street, where Macy's store
now stands. Here he made great efforts, far
ahead of the times, to inaugurate his operatic
career. Grand Opera well given, met with great
losses, but the financial tide was turned when
Bial took the house and turned it into a variety
theatre, with such stars as Yvette Guilbert,
Dan Leno, Albert Chevalier, Loie Fuller, etc.

Following this came the Olympia at Long
Acre Square, which established a new theatre
district. Losses were sustained here also, and

124 The Grand Opera Singera of To-day

Hammerstein one day walked out dispossessed
and as poor as when he began. Even a bene-
fit arranged by his friends turned out a loss,
and every one supposed that Oscar Hammer-
stein was ruined.

Nothing daunted, however, he secured some
land at 42nd Street and 7th Avenue, and built a
theatre, creating again a new theatre district
and owning what was called a Broadway
Theatre for a Seventh Avenue rental.

He then built the Hackett Theatre and the
Belasco Theatre. His enterprise in the new
Manhattan Opera-House is referred to else-
where, but after he had abandoned this greatest
undertaking, he went abroad and built a magni-
ficent Opera-House in London, where he gave
brilliant performances during the season of
1911-1912.

It has been said of him that no man is so
loved by his employees, and no impresario
brought forth by the last generation has so
mastered the intricate and difficult mazes of
operatic direction. Rarely, if ever, is there an
illness recorded at a Hammerstein representa-
tion, and never a change of opera. He thrives
on worries that killed others.

Oscar Hammerstein announced his first sea-

The Manhattan Opera-fioiue 125

son of Grand Opera on April 30, 1906. ** I
have set in motion/' he said, *^ the great and
intricate machinery for founding snch gigantic
and noble purposes." Grand Opera wonld be
nothing without superlatives.

His company included the f olloiving singers :
Soprani, — Madame Melba, Madame Gilibert-
LeJeune, Madame Mazarin, Kate D'Arta, Ma-
dame Fametti, and Luisa Tetrazzini. Mezzi, —
Madame Bressler-Gianoli, and Madame Gay.
Contralti, — Madame de Cisneros, and Ma-
dame Zaccari. Tenori, — Bonci, Bassi, Dal-
mores, Altschevsky. Baritoni, — Maurice Re-
naud, Sammarco, Ancona, Mendolfi. Bassi, —
I Edouard de Beszk^, Braz and Maglinez. Buffi,

Gilibert and Giandi.

Of Madame Melba much has been said in a
former book. She has continued her wonderful
career, but of late years has appeared more
frequently as a concert than an opera singer.

At the end of the season of 1906-1907 a sum-
mary of the new singers of the season was pub-
lished in the Musician, which is, with permis-
sion, reproduced here. Some of the singers
have remained and built up great reputations,
others have faded from the American opera-
goer's vision, but the review is interesting as

12Q The Grand Opera Singers of To-day

showing the impression made by the singers
dnring their first season.

' ^ Bonci has been hailed as a rival of Caruso,
— not merely in the advertisements of his manr
ager, — and it is maintained by many of his
countrymen that he is the greater tenor of the
two. But it is diflBicnlt to understand how the
musically sophisticated can make any such
claim. Bonci, although possessed of some right
musical feeling, sings with a perpetual tremolo
and with a dry, nasal and far from luscious
tone ; while Oaruso 's voice, however ill-advised
his manner of using it, is the very embodiment
of Italian sunshine. The explanation of Bond's
Italian popularity may lie in the tendency of
his countrymen to look coldly upon those of
their artists who accept the tempting dollars
of foreign countries, and are, consequently, less
heard in Italy.

^^ Begina Pinkert, a Polish coloratura singer
of European reputation, was more in the public
eye — or perhaps one should say ear — than
the other new singers at the Manhattan. She
proved to be a thoroughly accustomed routine
artist, capable of a well trained vocal agility;
but suffers, like Bond, though in a less degree,
from the tremolo.

The Manhattan Opera-Hoiue 127

Bxn

^^ Pauline Donalda, a young Canadian singer
who sang at Oovent Garden, was, on the whole,
the most pleasing of the new sopranos of the
Manhattan Company. Her voice is light, fresh
and agreeable, having, in certain tones, some^
thing of the quality of Sembrich's. With the
exception of a few tight, incorrectly produced
tones, her organ is excellently trained.

*' Two other Manhattan singers are Miss
Buss and Begina Arta. B. Arta is an Ameri-
can who is said to have sung with success
abroad. Neither of them were singers whose
art or natural endowment call for admiring
comment.

'' Madame Bressler-Gianoli, a French singer
who appeared here a few years ago in the short-
lived venture of a New Orleans company, made
a success at the Manhattan. It was a success,
however, rather of the theatre than of the
Opera-House, for neither her voice nor her
vocal art was of the first class.

'' Eleanor de Cisneros, another American
girl, seems to have lost what voice she had,
when, as Eleanor Broadf oot, she sang here with
the Savage company six years ago, in spite of
which fact she is said to have won laurels in
Europe.

128 The Grand Opera Singers of To-day

^^ Dalmores has a young strong voice but is
hardly yet a singer of distinction. M. Altschey-
sky sang with a large quantity of badly pro-
duced sound with dramatic intent. His method
is hopelessly faulty. M. Benaud is an artist,
though his voice during his short engagement
here seemed to have lost much of its original
beauty. Sammarco, a young baritone new to
America this season, has a fine voice. Signer
Arimondi (bass) is also a worthy artist. In
spite of the pleasing qualities of some of the
recruits to the ranks of the opera singers this
season, we have heard no one who can in any
way impair the lustre of such names as Melba,
Sembrich, Gadski, Eames, and Sdiumann-
Heink, or dim our memories of Jean de Beszk6,
Lilli Lehnmnn and Temina, in their prime. ' '

Luisa Tetrazzini, announced by Hammerstein,
is undoubtedly the greatest coloratura soprano
of to-day. An excellent account of her and her
art was written by Mr. Pitt Sanborn and pub-
lished in several papers, in 1912 :

** The true history of a * diva,' could it ever
be written, would make curious and engrossing
reading. By ^ diva ' we do not mean any woman
that has disting^iished herself as a singer,
but those goddesses of song who have been a

LUISA TETRAZZINI

The Manhattan Opera-Hoiue 129

caste apart sinoe the days when Faustina and
Cuzzoni made life miserable for the great Han-
del in London. The * divas ' are fewer than they
nsed to be, the art of song has fallen on evil
daySy but one we have now, and we doubt
whether any of the glorious line is more mys-
terious than Luisa Tetrazzini.

** A mystery Madame Tetrazzini is, and she
will probably remain such. Nevertheless, a good
deal has been written about her in this country,
a good deal which has ignored even the facts
that are obtainable, and much of it not without
the suspicion of more or less prejudice. Ma-
dame Tetrazzini is not ^ chic, ' she is not a fash-
ionable prima donna. Whether she is an intelli-
gent and reflective artist, or whether she is just
an imbecile singing by the grace of God alone, or
what she is, those that write most about her are
not in a position to know positively, for she is
an Italian, and operatic Italians, with rare ex-
ceptions, are about as available for purposes
of psychological observation as a skylark sing-
ing in high heaven. It has been necessary to
study her art across the footlights.

*^ Luisa Tetrazzini has been quoted as saying
that she taught herself to sing. Her voice and
her trill she had from God, and she listened to

130 The Grand Opera gingers of To-day

her oldest sister, Eva (now Mrs. Cleofonte Cam-
panini). A few months of repertory (and her
repertory is not the ten or the dozen parts she
has snng in New York and London, but some
thirty or forty), completed her preliminary
studies. Such training is a contrast to the
seven laborious years of the great tradition,
and mi^t account for the crudities in her sing-
ing, which were most evident the first night she
sang here, and which have been harped on ever
since, but does it account for her perfect attack,
her wonderful control of breath, her clean exe-
cution of ornaments, her exquisite portamento,
her proficiency in sustained singing, especially
her ability to phrase with the roundness and in-
comparable grace of the pure old Italian style f
Who shall ever know thisf

'' Back in the nineties Tetrazzini appeared in
Italy with success and was then heard in some
of the Italian seasons at St. Petersburg. Those
Italian seasons in coldest Russia have had dis-
tinguishing features. Singers like Sembrich
and Battistini were members of the company;
Oaruso also, singing for the first time his robust
roles. Luisa Tetrazzini was then regarded as
a highly promising young florid soprano, and
she had a chance at the GUdas and Liicias when

The Manhattan Opera-fionM 131

Sembrich did not sing. When Sembrich did she
sometimes appeared with her, as Donna Elvira
to her Zerlina, as FUina to her Mignon. She
is a pretty woman still, but then she was also
slim, and nature made her a oomedian. So
when St. Petersburg first saw ^ La Boh^me '
she, as a matter of course, ^ created ' Musetta,
and how gloriously she must have sung the
waltz. Then one fine day the young Italian
singer took French leave and flitted off to Span-
ish America. She was successful at Buenos
Ayres, but she vanished from that great city.
The legend has it obscure hill towns heard her.
She turned up again in Buenos Ayres, but at
a minor theatre. Again the veil. Then
one of those wandering Italian companies
with pompous names that work up the long
Pacific Coast found itself in San Francisco, and
Tetrazzini was the star. San Franciscans ac-
claimed her a second Patti. This was before
the earthquake had shaken them into New York
and carried her fame to the East.

'' Conried took note and placed her name on
his list for the Metropolitan season of 1905-1906.
It was said she would sing the page in * The
Masked Ball.' But she did not, nor anything
else. San Francisco suffered earthquake and

182 The ilrsnd Opera Singers of To>day

fire and Oscar Hammerstein once more deter-
mined to become an impresario. He announced
Tetrazzini for his first Manhattan season.
Again she came not. Some said the mountains
of Mexico this time. In the autumn of 1907 she
suddenly emerged at Covent Garden, and peo-
ple that walked in darkest London saw a great
light. Oscar Hammerstein lost no time. First
he engaged her for the next season, then he de-
cided he must have her at once, and he did.
Despite the Conned threats of a previous con-
tract she faced a New York audience on the
Manhattan stage early the following January,
and the rest is plain sailing.

^ ' What Tetrazzini was in Russia, what hef ell
her in the South American hill towns, what in
the jungles of Mexico, it is impossible for the
present writer to say. Whether she had only
high notes in Bussia, whether the hill dwellers
can only hear above the staff he knoweth not.
But certain it is when she first sang at the Man-
hattan she was chiefly admirable for her extra-
ordinary upper octave. In it the tones were
perfectly produced, strong, pure, dazzling in
their flame-like play of color. When she sang a
thing like the * Carnival of Venice ' variations,
her staccati, her chromatic runs, her echo

The Manhattan Opwa-Honse 133

effects, her swelling and diminishing of a
tone, the ravishing curve of her portamento
showed a vocal virtuoso in that exalted re-
gion without a peer. The feats of Sembrich
and Melba paled in comparison. But those
inexplicable crudities and inequalities I A
woman who in ^ La Traviata ' had just sung
* Ahl fors* e lui ^ surpassingly well could de-
claim ' Dite alia giovine ' in a choked, metal-
lic parlando that would not be tolerated in any
respectable vocal studio. Some of the sounds
she emitted in the lower portion of her voice
were like nothing but the clicks of an old-fash-
ioned talking machine before those devices had
been perfected. However, Tetrazzini never
sang here so badly as that first night.

^* When she returned the next season the
crudities had largely disappeared, and her me-
dium register, previously deficient, she had re-
covered or developed. The return to vocal civ-
ilization, singing in London and New York un-
der the guidance of Campanini and in competi-
tion with such singers as Melba and Sembrich,
were doing their work. But the apotheosis of
Tetrazzini came last spring when, after a year's
absence, she returned here to sing in concert.
Then the voice was almost perfectly equalized.

134 The Grand Opera Singers of To-day

a glorious organ from top to bottom. Even in
the lowest register she was ready with a firm,
rich tone, as in ^ Voi che sapete.' She not
only sang great florid arias with perfect com<
mand of voice, technique and style; she sang
Aida's * Bitoma vincitor ' as scarcely a dra-
matic soprano has sung it here; she sang Sol-
ve jg^s song from * Peer Gynt ' like a true
Lieder singer, and the page's song from
^ Figaro ' she sang with an adorable and Mo-
zartean simplicity. It was an astonishing and
enchanting display of great soprano singing in
every style, and the most wonderful display of
sheer vocal virtuosity New York can have
heard since the prime of Adelina Patti.

^^ Of course, when Tetrazzini came here, she
provoked comparison at once with her seniors,
Sembrich and Melba, the two great coloratura
sopranos that have given the generation of
New Yorkers that knew not Patti its standards.
Melba is familiar to most local opera-goers since
her debut here in 1893 ; Sembrich, since her re-
turn after an absence of many years in 1897.
Sembrich, the younger singer, who appeared
here in the early eighties, must be left out of
consideration. Melba had the evenest soprano
voice throughout its liberal range that has been

The Manhattan Opera-House 135

heard here in our time. Her singing has always
been called cold and with reason. The voice
itself was full and rich, its flexibility extraor-
dinary, her vocal utterance incomparably spon-
taneous and easy. And there is reason to sup-
pose that Melba has not lacked temperament,
but she never related it to her singing. That
was a business which she discharged in a work-
manlike manner, without enthusiasm, at the
least cost to herself. At her best, there was a
certain insolence in the easy way she spim her
cantilena, a disdain as she tossed off fioriture,
but she never sang them as if they meant any-
thing to her or had anything in particular to do
with musical expression. Her phenomenal trill
was just a trill, her scale of matched pearls just
a scale. In their way they were perfectly beau-
tiful, but it was the beauty of faultless machine
work.

'^ This singing never fell below a high level,
but it never rose from the astonishing to the
transporting. There was a lack of complete-
ness in Melba 's singing — crudity is hardly the
word for anything in a way so finished; she
made little use of her great vocal means. She
could sing in a wonderful full voice and in a
wonderful half voice, but who ever heard her

136 The Orand Opera Singers of To-day

pass from one to the other with the exquisite
swelling or diminishing of tone that carries
you away when Tetrazzini sings t One might
stretch a point and say in her famous crescendo
trill, but nowhere else. Her use of portamento
was so sparing that her phrases generally
seemed cut in lengths, not deliciously rounded
and poised as by Sembrich and Tetrazzini.
Any one who recalls her treatment of the word
* Salee ' in the * Willow Song * in Verdi's
' Otello ' knows just where she fell short. She
had the technique for great Italian singing, but
never quite the style, quite the feeling. How
cold her ' Caro Nome * left an audience that
was worked up to cheers by Tetrazzini *s I

^ ' Melba sang accurately and with the dignity
of good workmanship. Her singing was stereo-
typed, without the excitement of the unex-
pected, the suddenly improvised, the inspiration
of the heat and joy of song. Sometimes, as
Tetrazzini 's harshest critics insist, that so-
prano injures the music by the variation she
introduces ; of tener she lifts it above the clouds.
This sort of thing, was inherent in the great
Italian style as in the Italian temperament.
Melba had neither. Melba 's style was
rafher mid-century French, the style of

The Manhattan Opdra-fioiud t37

^ Faust ' and ' Borneo et Juliette,' than that
of the older Italian roles, though in many re-
spects she sang those roles so well and so de*
lightfully.

'' That art of Italian phrasing Semhrich pos-
sessed in its perfection. She was one of the
singers who, as a certain musician of obviously
Teutonic leanings once said of Marietta Al-
boni, could ^ by beauty of tone, perfect vocal-
ization and grace of phrasing make a divine
poem out of a phrase absolutely dripping with
idiocy. ' But beautiful as her voice was, it was
not quite a voice of the first order like the
voice of Melba and Tetrazzini, and it was not
physically capable of some of the coloratura
feats theirs lent themselves to, at least since
her return here in 1897. One must admit that
there are and there have been greater colora-
tura singers than Marcella Sembrich. Her al-
most unique musicianship, her intelUgent versa-
tility, which made her at home in all styles of
music except only the heavy dramatic, forbid*
den her by the lightness of her voice ; the pre-
vailing evenness of her singing, its warmth, its
inspiration, made her for decades a singer
peculiarly precious to all who love real singing,
whether in the opera-house or the concert hall.

1$8 The ftrand Op^ra flingeyg of To day

^ ' In the delivery of the older Italian cantilena
Sembrich has been equalled in our day
only by a very few singers, like Battistini,
Bond and Tetrazzini at her best. She was also
a singer of brilliant bravura, as one who buckled
on the armor of song and went forth joyously
to the fray with sunlight glinting from every
facet of her panoply. But in the exquisiteness
that is still a master quality of her sustained
singing, her coloratura lacked something. Tet-
razzini, to all her brilliance, adds that exquisite-
ness, that ease and delicacy. Nor had Sem-
brich a trill to compare with the trills of Melba
and Tetrazzini, and now and again, in ^ The
Magic Flute * and ^ Lakme,' for instance, she
essayed here feats that only a perfectly fresh
voice like Tetrazzini 's, with an unworn high
staccato, can undertake with safety.

* ^ One is forced to conclude from some things
that Tetrazzini has done during her pres-
ent engagement at the Metropolitan, that there
are still times when affected by nervousness or
indisposition she allows some of the old crudi-
ties to crop out in her singing. By seizing on
such moments and ruthlessly applying the mi-
croscope one can concoct a veritable Jeremiad
about her. Tet nine times out of ten her sing-

The Manhattan Opera-House 139

ing is not only flawless^ but so transporting in
its warmth and beauty, that you forget the art
of it in sheer delight. Her proficiency in colora*
tura is generally recognized, the largeness and
purity of her high staccato, her extraordinary
command of the trill, her wonderful chromatic
runs, her knowledge of tradition and taste in
ornamentation. But she is no less great as a
singer of sustained song. ' It was not her
coloratura that I admired the most,' said Vic>
tor Maurel after he heard her first, ^ but her
singing of some of the andantes.' Perfectly
placed tones, the Italian roimdness and grace
of phrase (which she shares with Sembrich in
contradistinction to Melba), a warm, vital,
spontaneous delivery give her cantilena its
magic. She has been charged with a tremolo.
If she is guilty, we fear Sembrich must be held
guilty too, and what shall be said of Gadski,
Bonci, Clement, Amato, not to mention Benaud
and Elena Gerhardtf

^^ Some dear people are shocked to death be-
cause her costuming is a thing sui generis.
Often her inspirations in that respect are more
amusing than the ^ chic ' creations of a Pa-
quin. You don 't see every singer with the sem-
blance of a p^cock stretched from her throat

140 The Grand Opera Singers of To-day

to the tip of her train, or arrayed in the fauna
and flora of the vasty deep. Many a woman ir-
reproachably gowned, who sings like a peacock,
might look to the clam and be wise. Tetrazzini
has tripped out on the stage dispensing smiles
and kisses like an overgrown soubrette, and
then she has begun to sing: a dignity has in-
sensibly molded her features, suffused her
whole being, as if the god of song were finding
utterance through her. Nor is it any part of
the listener's enjoyment whether her singing
is the result of the painful labor of years or
whether she happened upon it like Keats on
his poetry, Schubert on his music. Only Sem-
brich and Melba in our day have been worthy
to be compared with her, and in some respects
she is a greater singer than Sembrich, in some
not, but in all, save sheer voice, a greater than
Melba. One can afford to forget the quibbles
and just be thankful that the Metropolitan
stage, in days when real singing is all too sel-
dom heard, boasts, if but for a few perform-
ances, one woman still in the prime of her voice
who can sing like a vicar of song on earth. ' '

When Tetrazzini appeared in Boston in
March, 1909, the following criticism of her ap-
peared in the Herald: ^* When she rises to her

The Manhattan Opera-House 141

greatest heights, either in sustained medodic
phrases or in florid passages, her voice is her
own, unlike other voices, and in some respects
incomparable. Her tonal emission is delight-
ftilly free and spontaneous. Her phrasing is
now and then chopped by a desire to take this
or that long passage in one breath. Her upper
notes are uncommonly brilliant, and at the same
time liquid, for her brilliancy is never metallic.
Her scales are unusuaUy even, while her trill is
not always of uniform excellence. She excels
in the ease and abandon of her bravura, in her
ability to swell and diminish a tone and then
connect it with the first one of a new phrase,
and in many other technical matters. What-
ever she does is as though in a joyous mood.''

In San Francisco, which city claims the
honor of having '* discovered '' Tetrazzini, she
has recently sung in an open air concert before
many thousands of admiring auditors. She
received a great ovation. Madame Tetrazzini
is in ^private life Madame Bazelli.

Madame Begina Pinkert began her American
career at the Metropolitan Opera-House on the
first night of the season of 1906-1907, with com-
paratively little '* advance notice.'* Madame
Pinkert is a native of Warsaw, and grew up

142 The Grand Opera Singers of To-day

with no intention of taking to the operatic stage.
Her mother was fond of music hut did every-
thing in her power to keep from her daughter 's
mind the idea of a professional career.

Thus the young girl was allowed to study
only piano at the Warsaw Conservatory, and
at the age of fifteen she was ready for gradua-
tion. The professors, however, objected to
awarding the diploma to any one so young, and
they insisted on her remaining another year.
During this year one of the professors tried
her voice and pronounced it excellent, so he
advised her to take singing during her last
season at the conservatory. She did so, and in
due time received her diploma as a pianist, and
a gold medal, but, in the meantime, had become
so interested in her vocal studies that she now
made singing her chief study. In a short time
she went to Berlin and placed herself under
Madame Desiree Artot. She made her debut
at La Scala in the *' Barber of Seville,*' and
remained there for several seasons. She sang
all over Europe and made several professional
trips to South America, besides which she sang
three seasons at Covent Garden before coming
to America.

Madame Pinkert is of medium height with

Tbe Maiihattan Opera-Honaa 143

dark eyes, black hair, dear pale complexion.
She is graceful on the stage and is full of ani-
mation. Some critics have said that she resem-
bles PattL Her voice blended well with that
of Bonci, with whom she sang in several
operas.

Panline Donalda's father was a Russian, her
mother a Pole. He translated his name of Lich-
tenstein into Lightstone and became a natural-
ized British subject. His daughter was bom
in Montreal where she attended English
schools, finishing at McGill University. Con-
nected with McGill is the Royal Victoria Col-
lege of Music, which was given to the Uni-
versity by Lord Strathcona when he was Sir
Donald Smith. The girls who attend this school
are called ** Donaldas ** in honor of the
founder, and this accounts for the stage name
of Pauline lightstone.

After completing her studies at Montreal
Miss Donalda went to new York and sang for
Salignac and for Dufriche, who were then at
the Metropolitan. They urged her to go
abroad, and she went to Paris where she
studied for two years with Duvemoy, at the
same time taking lessons in acting with Lherie.
She made her debut at Nice in ** Manon,*'

144 The Grand Opera Singws of To-day

and she is noted for her perfect French dic-
tion.

Oscar Hammerstein in telling of the super-
stitions and oddities of his singers, said that
Pauline Donalda never went on the stage with-
out tearing a button off her clothes, for luck.
Tetrazzini's idea was to drop a dagger on to
the stage three times. If it stuck upright it
was a good omen, and she would sing well. But
if not she would be disturbed and anxious all
through the opera.

Madame Bressler-Gianoli was a native of Ge-
neva. She was educated at the Paris Conserva-
tory and made her operatic debut in her native
city at the age of nineteen in *^ Samson et Da-
lila." She sang in *^ Carmen '' for the first
time in 1895 and appeared occasionally in a
Wagnerian role. In 1900 she was engaged at
the Pbris Opera Comique.

Madame Gianoli first came to America in 1903
singing Carmen and other roles with the New
Orleans Opera Company. This company visited
New York, but had no success and became
stranded. Mme. Bressler-Gianoli sang scenes
from ** Orfeo ** at a benefit performance for
the company at the Metropolitan Opera-House.
She did not return to America until Oscar Ham-

The Hanhattan Opera-Honae 145

merstein engaged her for his first season, 1906-
1907, at the Manhattan Opera-Hoose. She
made a sensational trimnph as Carmen and her
initial appearance in that rdle, on Deoember
14, 1906, gave Mr. Hammerstein the first
feather in his operatic cap. Her performances
of this role were always distinguished by great
dramatic as well as musical effectiveness and
strong individuality. She was singing it on
one occasion at the Manhattan Opera-House
when she was wounded by Charles Dalmores,
the Don Jose, the accident resulting from Mme.
Oianoli's near-sightedness by which she was
long troubled.

Mme. Bressler-Gianoli returned to the Man-
hattan Opera-House for Mr. Hammerstein 's
second season, but aside from Carmen sang no
important rdles. Thereafter she returned to
Geneva and remained until Andreas Dippel
engaged her for the Metropolitan Company
in 1910. She was not satisfied with the parts
to which she was assigned at the Metropolitan
Opera-House, however, and returned to Eu-
rope, singing at La Scala, Milan, in * ' Carmen, * *
** Samson et Dalila *' and ** La Favorita '* and
appearing also in other cities. Failing eye-
sight forced her to relinquish her work and.

146 The Grand Opera Singers of To-day

incidentally, to decline another offer from Mr.
Dippel.

Mme. Bressler-Gianoli died at Geneva in
May, 1912, after an operation for appendicitis.
She had been engaged to retnrn to opera in
America in the season of 1913. She was sur-
vived by several children.

During the Grau regime at the Metropolitan
Opera-House Madame Murio Celli secured an
engagement for her pupil, Eleanor Broadf oot,
who had just returned from her first operatic
venture, a month's tour of Mexico. Miss
Broadfoot was to appear in small roles, but
during the engagement she had an unexpected
opportunity to show what she could do with
larger parts. *' H Trovatore ** was to be given
in Philadelphia, with Madame Eames as Leo-
nora. All the regular contraltos of the com-
pany were either ill or overworked. Miss
Broadfoot was asked to sing, and was hurried
on from New York to Philadelphia. There was
no time for rehearsal, but she succeded so well
that Mr. Grau complimented her.

After two seasons with the Metropolitan
Company she went abroad to Italy, to try and
win a name. She married a young Cuban,
Count de Cisneros, a journalist and artist, and

[

The Manhattan Opera-Hoiue 147

descendant of a very old family. When she
arrived in Italy she found that the Italians
were not ready to hear Eleanor Broadfoot, the
American from the Metropolitan Opera-Honse^
without some financial consideration. She
therefore had her cards printed Eleanora de
CisneroSy and was not only urged no more to
pay for her engagements, but secnred a con-
tract at Turin, where she made her debut as
Amneris in ^* Aida.'' In addition to her suc-
cessful career in America, where she has ap-
peared at all the leading opera-houses, she has
travelled in the antipodes, South America and
in Europe, reaping many laurels. She is tall
and of great personal beauty, beside possessing
an unusually fine contralto voice. She has sung
at Bayreuth in the Wagner opera festival, tak-
ing the part of Briinnhilde and Brangaene, but
has also made her mark in French and Italian
opera. One of her favorite roles is that of
Delilah, and it is reported that Madame Melba
hearing her dissolved into tears and declared
that she was the greatest Delilah in the world.
Madame de Cisneros toured Australia in the
Melba Opera Company.

Alessandro Bonci, the tenor who was brought
by Hammerstein to rival Caruso, was bom in

148 The grand Opwa Singers of To-day

^Bassss=ssBSBSB^^BS=ssssas^^SBB^:^ass:^ssssBissssssB:8s:

1870 at Casena in the Bomagna. He is said to
have commenced singing as soon as he could
talk.

At the age of twenty he entered the Bossini
Conservatory of Music at Pesaro, where he
studied under Pedrotti and Felice Coen, making
such progress that in three years he was ap^
pointed to the position of solo tenor at the
Church of Santa Maria in Loreto, where the
choir consists of sixteen picked voices.

After six years of hard training Bond was
engaged to sing the tenor role in Verdi's
** Falstaff '' at the Boyal Theatre in Parma,
where the audiences are noted for their critical
faculty. He was successful and was at once
offered an opportunity to sing the title role in
** Faust *' at the Del Verne Theatre in Milan.
From that he eventually went to La Scala, the
Mecca of all opera singers, where he made such
a success in ^^ I Puritani " that his name soon
became famous throughout Italy.

He made a tour including Florence, Naples,
Palermo and so on to Warsaw, St. Petersburg,
and all the great cities of Europe, and then to
South America. He made a lasting impression
in Paris by his wonderful singing in ** Don
Giovanni.*'

The Manhattan Opera-Housa 149

Bonci has gained high honors in Europe, for
he has had conferred upon him by the King of
Italy, the title of * * Commendatore della Corona
d 'Italia,'* one of the highest orders given to
illustrious Italians. He is '^ Singer of the
Chamber " to the King of Spain and the Queen
Mother, the King of Portugal, and the Arch-
duchess of Austria. At King Edward VII 's
reception to ex-President Loubet of France,
Bonci was the only opera singer invited to ap-
pear at his Majesty's concert.

On his engagement at the Manhattan Opera-
House he was spoken of as insignificant in
stature, devoid of histrionic sense, but dowered
with one of the purest, most delicate, supple,
and exquisitely modulated tenor voices of our
time. After his first hearing he was recognized
as the rival of Caruso, although the two singers
excel in such entirely different phases of their
art that the word rival seems absurd in this
connection. The rivals were the Metropolitan
and the Manhattan Opera-Houses.

Perhaps the most complete criticism of Bond
is that written by Mr. Parker, in the Boston
Transcript, in April, 1908:

*' The new tenor is pure voice and artistry
themselves. He is small of stature and of

160 The Grand Opera Singers of To-day

slight, but wholly unaffected presence. His
acting is discreet operatic convention and
adroit ingenuity in the keeping of his histrionic
and physical limitations unobtrusive. He
handles them even with a certain grace and
quiet that make them need no other veil but
the charm and perfection of his singing. He
is no heroic, dramatic, or romantic tenor. His
voice is as light as his body, but is of an ex-
quisite and enticing brightness, deamess, pli-
ancy and smoothness. It is of purest tenor
quality, and the most austere master might not
plausibly quarrel with his use of it. He is a
singer of delicate voice and perfectly mastered
artistry.

^' Only Madame Sembrich, of the familiar
singers on our stage, is to be compared with this
tenor in knowledge of the art of song and in the
practice of it. Its refinements, its graces, its
subtleties are alike at his command. Mr. Bond
might be of the eighteenth century instead of
the twentieth in his skill with the ornament of
song. He is master of exquisitely sustained
and ordered tone in flowing and songful pas-
sages. He can * spin ' his voice with a pliance
that our generation has almost ceased to expect
in singers of his sex. From his lowest to his

The Manhattan Opera-Honae 151

BBB

highest note his voice is of a smooth and flaw-
less suavity. The brightness of his tone is al-
most crystalline^ and the undulations that give
it life are delicacy itself. His singing flows in
perfectly rounded phrases, and he has the sense
of pure song as a painter has the sense of fine
color, or a writer the sense of the intrinsic
beauty and power of words. He was bom for
such music as Mozart's. He has the scrupulous
elegance of diction and the little graces and
ardors of song that suit the music of Wilhelm
Meister, and Puccini. The pleasure of Mr.
Bond is the pleasure of the beauty of a pure
tenor voice that is an emotion in itself, and of
an artistry that is fine intelligence and taste.
Caruso's eulogists have said that his voice is
golden. By the same comparison Bond's is
silvern. ' '

At the opening of the season of 1906, when
Bond was being compared with Caruso, the
following critidsm appeared, and it seems to
sum up the comparative virtues of the rivals,
well and condsely:

^* Those who are seeking the highest pleas-
ures that may be found in the singing of men
will probably go to hear Signor Caruso for
sensuous charm of voice, and Signor Bond for

152 The Ghnnd Open Singers of To-day

exemplification of much finer artistic skill. In
nearly all things which enter into the art of
vocalization he is incomparably finer than his
rival at the Metropolitan. His tones are im-
peccably pnre, his command of breath perfect,
his enunciation unrivalled by any singer now
before the local puUic. His phrasing also, his
sense of proportion, symmetry, repose — ex-
quisite. The voice is a pure tenor with a tinge
of that pallid quality from a love of which we
have been weaned by the tenors who have won
our favor since Campanini was with us, but it
has a fine nobility in the highest register and in
all its phases it is as completely under his com-
mand as are the keys of the pianoforte under
the diabolically ingenious fingers of Rosenthal. ' '
Madame Bonci has known her husband since
his earliest days at Loreto. He was singing
then in the church choir, making daily pilgrim-
ages to Parma to study with Felice Coen, who
is responsible for the much praised singing of
the little tenor. Madame Bond's father was a
dealer in religious books, pictures and symbols,
and made a comfortable fortune. As soon as
Bond learned enough to go on the stage he be-
came engaged to the daughter of the man who
had already helped him to success.

The Manhattan Opera-Honae 158

The following incideiit of the operatic war
waged between Conried and Hammerstein will
be found amusing, inasmuch as it indicates
the shrewdness of Hammerstein. — Once upon
a time the Metropolitan management decided
to engage Bonci, who was a member of the
Manhattan Company. Bond was approached,
listened, and an agreement was reached. The
news was announced with due flourish. Ham-
merstein had nothing to say at first, but when
the report was well circulated he announced
that he was most flattered to find that the Met-
ropolitan people had to com^ to him for good
artists, — he cited Campanini (the conductor),
Dalmores, Bassi, and Sammarco, all of whom
had been approached by representatives of the
Metropolitan Company. He repeated that he
was much flattered, and took the occasion to
announce the engagement by him of the great
Italian tenor Zenatello. Some time later he also
announced that Signer Bond was not free to
make any engagement with the Metropolitan
Company as he was bound to the Manhattan
for two more seasons, unless he (Hammer-
stein) was willing to release the singer.

Eventually Bond became a member of the
Metropolitan Company, though not until Ham-

164 The Grand Opera Singers of To-day

merstein had gone out of business, but in recent
years he has not appeared so much in opera as
in concerts in which he is unrivalled, and in
which he is said to reap a far greater financial
reward than in opera.

Ivan Altschevsky was one of Hammerstein's
new tenors in the season of 1906-1907, and was
described as one who sang with a large quantity
of badly produced sound with dramatic intent,
but with a hopelessly faulty method. He did
not stay long in America, but some time later
he is said to have lost his mind and to have
been without resources.

Altschevsky was the son of wealthy parents
and had been reared in luxury with the belief
that he would inherit large property from his
father. When the father died it was found that
everything was spent and the property mort-
gaged. Young Altschevsky was thrown on his
own resources. He took to singing, and was
able to earn a living by his voice. When Ham-
merstein heard him he was singing in a cafe at
Brussels. After returning to Europe he cre-
ated the leading role in an opera called ^^ Le
Gobzar ' ' and had surprised the audience by the
unusual fervor of his singing and acting. After
the performance it was found that he had lost

The Manhattan Opera-House 155

his reason completely. Schaliapiney the Rus-
sian basso, organized a benefit for him in Paris.

Maurice Benaud was bom at Bordeaux in
1862. He studied at the Conservatoire in Paris
and then under Gevaert and Dupont at Brus-
sels. He made his first appearance at the The-
atre de la Monnaie, in Brussels, and remained
there for ten years, making occasional visits
elsewhere during his engagement. In 1896
Benaud went for a short time to the Opera
Comique in Paris, but was soon engaged for the
Grand Opera-House.

Some years ago M. Benaud left the Opera
and became an independent singer.

Maurice Benaud is tall, lithe and vigorous,
with a voice of full, rich baritone quality, capa-
ble of a wide and very adroitly modulated
range of tonal color, from delicacy to power,
from lyric smoothness to piercing poignancy.
Always a singularly acute intelligence, a dis-
cerning imagination, and a minute and adroit
artistry guide his singing. Every detail is pol-
ished and adjusted to its due place in the musi-
cal and emotional whole of the part or song.
His singing and his characterization in opera
seem to be the result of long and penetrating
stu^y and of adroit and subtle imagination.

156 The Grand Opera Singers of To-day

His is indeed an artistry that lacks spontaneity
and impulse. Sometimes, in fact, the results
of calculation are too obvious in it, and it
becomes unduly self-conscious and anxious.
These occasional traits are rather the excess
of his virtues, — of his varied natural gifts, his
pliancy of temperament, his keenness of in-
telligence, his fineness of imagination, his fond-
ness for reflection, and his liking for significant
and individual detail. There is romance as well
as reflection in his temperament.

The following criticism of Benaud's inter-
pretation of the role of Scarpia and his compar-
ison with that of Scotti will be most interest-
ing: '^ The essential difference is the stress that
Benaud lays on the cruelty of Scarpia. Scotti,
a hard, unscrupulous, passionate man, who
can be cruel as he can be almost anything else
that is evil, when occasion and disposition
prompt. To Benaud 's Scarpia cruelty has be-
come a second nature and essential pleasure.
He is cruel for the perverse sensual pleasure of
cruelty. Benaud 's Scarpia suggests a man of
far more acute mind than Scotti 's."

Maurice Benaud has been called the '^ Edwin
Booth "of the operatic stage. Among his most
famous impersonations are Mefistofele in

MAURICE RENAUD

The Manhattan Opera-House 167

■E^^^BBBBBB^SaBIBBBMBBBBaBBH^BBaB^l^aaBlBHBai

Boito's opera of the same name, Rigoletto in
Verdi's opera^ and the monk Athanael in Mas-
senet's ** Thais/'

When Heinrich Conried succeeded Maurice
Grau^ at the Metropolitan Opera-House he
found in his desk a contract which would have
bound Benaud to that theatre for a number of
years, but, being ignorant of operatic affairs
and of those pertaining to the French stage in
particular, he had never heard of Benaud, and
let the contract go by default. Oscar Ham-
merstein, better informed, sought Benaud and
kept him as one of the chief ornaments of his
company, as long as he continued to manage
tbre Manhattan Opera-House.

One of the leading critics wrote of him in
1910 : ^ ' His distinction is an artistry of the in-
tellect and the imagination as well as of song
and histrionic action, an artistry that is essen-
tially subtle, that exacts like qualities in those
that understand and admire, and that thus re-
mains intrinsically an artistry for connoisseurs.
• . • There are as many Benauds as the actor
has characters. ... He is a singer by dint of
intelligence and knowledge as well as by grace
of voice and labor. ... He is in possession of
an exalted speech that often is more poignant

156 The Ckand Open Siiigen of To-day

and vivid than the spoken word.'* In short,
Mr. Benand is a remarkaUy talented actor,
and, as in the case of Mary Cku^en, the andi-
enoe is fascinated by the character presented,
and forgets the mere voice.

In 1912 M. Benand expressed some views on
stage management, in an interview with a rep-
resentative of Musical America, which are
worthy of the pemsal of all opera lovers. Ex-
tracts from the interview are as follows :

** We have lost sight of the function of opera
to-day ; we have neglected to consider the ideal
it shonld fulfill. The historical and the poetic
drama have practically disappeared from onr
stage. It is to opera, therefore, that the most
imaginative and poetic figures, the gods and the
goddesses and mighty heroes must seek their
refuge if they wish to live on. Is it not, there-
fore, most necessary to give this art the careful
tending and cultivation that it requires and that
we decidedly owe itf I am not accusing any
operatic institution in particular, nor do my
renuirks apply to America solely, for one finds
many miserably bad representations in Eu-
rope.

" In respect of mtse'en-scdne and often cos-
tuming, opera to-day has not advanced beyond

The Manhattan Opera>House 159

the time of Louis XIV,'' he declares. ** What
crudities, what ridiculous effects of anachro-
nism ! The painted skies in visible sections, the
stiff and ungainly coulisses at the side of the
scenes — all with which the theatre has long
since dispensed — what business have they in
opera to*dayf How littie is done to modify and
ameliorate flagrant operatic absurdities, how
little the art of the stage manager appears to
concern itself with softening and toning down
the weaknesses of situations and the fatuity of
incidents 1

^^ The individual artist himself can improve
matters only in so far as he is assisted by the
stage managers and his own colleagues. In Paris
I appeared in Saint-Saens 's ' Henry VIH.'
In the first act there is a long aria, ^ Qui done
commandef ' Now it is useless and ineffectual
always to deliver an aria or a cavatina standing
in the conventional posture and going through
its full length as unconcernedly as though it
were nothing more than a mere song, quite un-
related to the surroundings. So in Saint-Saens's
opera I sang almost the whole first part of this
number seated and only moved about later.
But to produce analogous effects through the
rest of the opera it is necessary that the other

160 The Qnad Opera Siiigera of Tb-day

partidpanto should evince more than the nsnal
imagination.

^^ Consider the first act of ' Bomeo et Jnli-
ette/ What have we on the stagef A crowd of
guests at a festival and an old man. What hap-
pens f The old lord exeUums, ' Livrons-nous a
la danset ' — * Let ns dance 1 ' Does it not seem
the most natural thing in the world that several
couples should rise, begin to dance and then be
followed in turn by others f But instead of that
we see these guests and courtiers quietly re-
maining inactive while from the back appears
a corps of ballet performers dressed in cos-
tumes entirely different, which goes through a
series of evolutions and then withdraws. Is
there any excuse for such foolishness f

*^ Consider again * Carmen/ in which I am
in a few days to appear as the Spanish bull-
fighter. In the second act EscamUlo has been
invited to drink with a crowd of his friends.
The throng appears singing his praises, forms
in a double line and then he enters alone, the
last of all, drinks and tells his comrades, all of
them Spaniards, mind you, the story of a bull-
fight. Sheer absurdity, ridiculous in the high-
est degree ! My idea for improving the episode
would be to make this individual enter either

The Manhattan Opera-Hoiue 161

first of all or, better still, in the midst of the
crowd of his admirers and perhaps carried on
their shoulderS) since snch a cordial welcome
is supposed to await him. And then an effect-
ive tonch might be added, if, as he came in, his
arms were fiUed with flowers to scatter among
the women. That the honored guest should
make his appearance after all the rest have
entered the inn passes comprehension. But
what would youf If managements are not dis-
posed to effect this reform what can the lone
singer dof

* ^ We see performances of ^ Bigoletto ' in
whidi the Duke and others wear the costumes
of an epoch one or two centuries later than the
period of action. Nothing is done, no one com-
plains. The public, you say, is not any the wiser
and does not appreciate the anachronism. That
may be. But if the public does not know it, it
seems to me that the journalists should. Ac-
curacy, sense and logic are surely necessary in
the staging of an opera. Perfect management
can make even such a work as ^ La Favorita '
acceptable to-day. As for the Wagner dramas
I can only say that I always prefer to hear the
tetralogy in concert form than otherwise. The
ideal pictures of its characters which exist in

162 The Oraod Opera Singen of Td-day

our imaginatjOM are created by the mnsie and
destroyed by what the stage shows as. Think
of Wotan as he stands nixm the rocks in the
' Walkiire/ We have been led by the mnsic
to look for a figure as grand and as mighty as
an archangeL The conception is never realised.
I feel in such a case as I shonld if I saw some
great piece of literature, with personages of
which I had formed a vivid mental picture,
translated into life through the medium of the
stage. I need scarcely say that I would never
desire to witness the dramatization of any book
which I hold dear."

Charles Dalmores was regarded as one of the
most distinguished tenors now living. His
reputation is widespread, for he has excited
admiration in Bayreuth, Vienna, Paris and
most of the chief cities of Europe. His voice
is a noble organ, manly, tender, and always
sympathetic. He sings with great skill and
always as a musician, and he is an accomplished
and impressive actor. He became a member of
the Manhattan Company in its first season.

An excellent biography of him, given by him-
self, appeared in the Etude, the editor of which
journal has kindly given permission for its
reproduction in these pages :

The Manhattan Opera-Hotue 163

** I was bom at Nancy on the 3l8t of Decem-
ber, 1871. I gave evidences of having musical
talent and my mnsical instruction commenced
at the age of six years. I studied first at the
Conservatory at Nancy, intending to make a
specialty of the violin. Then I had the mis-
fortune of breaking my arm. It was decided
thereafter that I had better study the French
horn. This I did with much success and attrib-
ute my control of the breath at this day very
largely to my elementary struggles with that
most difficult of instruments. At the age of
fourteen I played the second horn at Nancy.
Finally, I went, with a purse made up by some
citizens of my home town, to enter the great
Conservatory at Paris. There I studied very
hard and succeeded in winning my g^al in the
way of receiving the first prize for playing the
French horn.

^* For a time I played under Colonne, and
between the ages of seventeen and twenty-three
in Paris I played with the Lamoureux Orches-
tra. All this time I had my heart set upon be-
coming a singer and paid particular attention
to all of the wonderful orchestral works we re-
hearsed. The very mention of the fact that I
desired to become a singer was met with huge

164 The Grand Op«m Slngen of To-day

ridicole by my friends, who evidenfly thonght
that it was a form of fanaticism. For a time
I studied the 'cello and managed to acquire a
very creditable technic upon that instrument.

^' Notwithstanding the success I met with the
two instruments I was confronted with the fact
that I had before me the life of a poor musician.
My salary was low, and there were few, if any,
opportimities to increase it outside of my regu-
lar work with the orchestra. I was told that I
had great talent, but this never had the effect
of swelling my pocketbook. In my military
service I played in the band of an infantry
regiment, and when I told my companions that
I aspired to be a great singer some day they
greeted my declaration with howls of laughter,
and pointed out the fact that I was already
along in years and had an established profes-
sion.

" At the sedate age of twenty-three I was
surprised to find myself appoiated Professor
of French Horn at the Conservatory of Lyons.
Lyons is the second dty of France from the
standpoint of population. It is a busy manu-
facturing centre, but is rich in architectural,
natural and historical interest, and the position
had its advantages, although it was away from

The Mmhittiiit Opefa-HooM

the great French centre, Paris. The opera at
Nancy was exceedingly good, and I had an
opportunity to go of ten« Singing and the opera
was my life. My father had been manager at
Nancy and I had made my first acquaintance
with the stage as one of the boys in ^ Carmen. '

** I have omitted to say that at Paris I tried
to enter the classes for singing. My voice was
apparently liked, bnt I was refused admission
upon the basis that I was too good a musician
to waste my time in becoming an inferior
singer. Goodness gracious I Where is musi-
cianship needed more than in the case of the
singer f This amused me, and I resolved to
bide my time. I played in opera orchestras
whenever I had a chance, and thus became ac-
quainted with the famous roles. One eye was
on the music and the other was on the stage.
During the rests I dreamt of the time when I
might become a singer like those over the foot-
lights.

** Where there is a will there is usually a
way. I taught solfeggio in the Lyons Conserva-
tory as well as French horn. I devised all sorts
of ^ home-made ' exercises to improve my voice
as I thought best. Some may have done me
good, others probably were injurious. I lis-

166 The Orand Opera Smgera of To-day

tened to singers and tried to get points from
them. Gradually I was unconsciously paving
the way for the great opportunity of my life.
It came in the form of an experienced teacher,
Dauphin, who had heen a basso for ten years
at the leading theatre of Belgium, fourteen
years in London, and later director at Geneva
and Lyons. He also received the appointment
of Professor at the Lyons Conservatory.

'^ One day Dauphin heard me singing and
inquired who I was. Then he came in the room
and said to me, ^ How much do you get here for
teaching and playingf ' I replied, proudly, ^ Six
thousand francs a year. ' He said, ^ You shall
study with me and some day you shall earn as
much as six thousand francs a month.' Dau-
phin, bless his soul, was wrong. I now earn six
thousand francs every night I sing instead of
every month.

** I could hardly believe that the opportunity
I had waited for so long had come. Dauphin
had me come to his house and there he told me
that my success in singing would depend quite
as much upon my own industry as upon his in-
struction. Thus one professor in the conserva-
tory taught another in the art he had long
sought to master. Notwithstanding Dauphin's

The Manhattan Opera-House 167

confidence in me, all of the other professors
thought that I was doing a perfectly insane
thing, and did all in their power to prevent me
from going to what they thought was my ruin.

'^ Nevertheless, I determined to show them
that they were all mistaken. During the first
winter I studied no less than six operas, at the
same time taking various exercises to improve
my voice. During the second winter I mastered
one opera every month, and at the same time
did all my regular work — studying in my spare
hours. At the end of my course I passed the
customary examination, received the least pos-*
sihle distinction from my colleagues who were
still convinced that I was pursuing a course
that would end in complete failure.

'^ This hrought home the truth that if I was
to get ahead at all I would have to depend en-
tirely upon myself. The outlook was certainly
not propitious. Nevertheless I studied by my-
self incessantly and disregarded the remarks of
my pessimistic advisers. I sang in a church and
also sang in a synagogue to keep up my income.
All the time I had to put up with the sarcasm
of my colleagues who seemed to think, like many
others, that the calling of the singer was one
demanding little musicianship, and tried to

168 The Orand Opera Slngen of To-day

make me see that in giving up the French horn
and my conservatory professorship I wonld be
abandoning a dignified career for that of a
species of musician who at that time was not
supposed to demand any special musical train-
ing. Could not a shoemaker or a blacksmith
take a few lessons and become a great singer f
ly however, determined to become a different
kind of a singer. I beUeved that there was a
place for the singer with a thorough musical
training, and while I kept up my vocal work
amid the rain of irony and derogatory remarks
from my mistaken colleagues I did not fail to
keep up my interest in the deeper musical
studies. I had a feeling that the more good
music I knew the better would be my work in
opera. I wish that all singers could see this.
Many singers live in a little world all of their
own. They know the music of the footlights,
but there their experience ends. Every sym-
phony I have played has been molded into my
life experience in such a way that it cannot help
being reflected in my work.

^' Finally the time came for my debut in
1899. It was a most serious occasion for me
for the rest of my career as a singer depended
upon it. It was in Bouen, and my fee was to be

The Manhattan Opera-House 169

fifteen hundred francs a month. I thought
that that would make me the richest man in the
world. It was the custom of the town for the
captain of the police to come before the audi-
ence at the end and inquire whether the audi-
ence approved of the artists' singing or
whether their vocal efforts were unsatisfactory.
This was to be determined by a public demon-
stration. When the captain held up the sign
' Approved ^ I felt as though the greatest mo-
ment in my life had arrived. I had worked so
long and so hard for success, and had been
obliged to laugh down so much scorn that you
can imagine my feelings. Suddenly a great
volume of applause came from the house and I
knew in a second what my future should be.

'^ Then it was that I realized that I was only
a little way along my journey. I wanted to be
the foremost French tenor of my time. I knew
that success in France alone, while gratifying,
would be limited, so I set out to conquer new
worlds.*'

Vittorio Arimondi was the leading basso of
the Manhattan Opera-House in 1907. Ari-
mondi was bom in Saluzzo (Turin). He be-
gan his vocal studies under Cima, and for sev-
eral years spent his time in grounding himself

170 The Grand Opera Singers of To-day

aBtamtmaammamBtma^tm

thoroughly for his career. His official debut
was made at Varesi in the opera ** Guarany *'
by Gomez. This engagement was followed by
others and soon he was invited to sing at La
Scala in some trial performances, the result of
which was that he was engaged for four sea-
sons, under satisfactory conditions. Then he
sang three seasons at the Costanzi in Borne,
and three at the Teatro Fenice in Venice. His
fame spread and he went to St. Petersburg,
Moscow, and Berlin. After his first appear-
ance he was engaged regularly each season to
appear in those cities.

At Prague, Arimondi is said to have sung
eighteen times and created the greatest sensa-
tion ever produced by a basso. After filling
engagements in many cities of South America
and the West Indies Arimondi secured an ap-
pearance at Covent Garden in London and sang
there each season for six years. His first ai>-
pearance in America was made at the Metro-
politan Opera-House during the regime of
Abbey and Grau.

Madame Arimondi was an excellent singer
with a mezzo-soprano voice. She was known
under her maiden name of Aurelie Kitzer.

In 1908 Arimondi celebrated the twenty-fifth

The Manbattan Open-House 171

anniversary of his first appearance in opera.
In 1883 he presented himself before Verdi, the
composer, as a candidate for a part in ** Fal-
I staff." Verdi heard him sing and offered him

the part of Pistol.

Abramo Didur was spoken of as a famous
Polish basso who has come to the Manhattan
Opera-Honse. When he appeared in ^' Rhein-
gold " at La Scala a critic wrote of him,
*^ Barely has been heard at La Scala a voice
as magnificent as that of Didnr, an authentic
basso cantante. Full of color, plastic, a true
voice of Wotan/^ Didur was educated music-
ally at the Conservatory in St. Petersburg.
He made his debut at Lemberg and was then
engaged for the Imperial opera at Warsaw,
after which he sang several seasons at La
Scala, in Milan.

In criticizing Mr. Hammerstein 's first season
of opera Mr. Finck wrote : ^ ' Had the pace set
on the opening night been kept up, Mr. Ham-
merstein would have found his opera-house as
profitable as the cigar-making machine which
enables him to indulge in such experiments.
Of course it could not be kept up. Curiosity
filled the house the first night; merit alone
could fill it subsequently, and merit is not

172 The Orand Opera Singers of To-day

always rewarded as promptly as it should
be.

^* For a week it seemed as if the Manhattan
Opera-House would be chiefly a Bond opera-
house. The audience was large when he sang,

— small when he did not sing. It was a war
of tenors, — Bond versus Caruso. But grad-
ually the criticisms in the newspapers con-
vinced the public that there were other good
singers in Hammerstein's company, and that
the performances were actually better on the
nights when he did not happen to sing. Still
there were not as many hearers as there should
have been for the admirable performances
given of * Faust,' ' Carmen,* and particularly
' Aida.*

^^ In none of these operas were the casts at
all comparable to those that have often been
heard at the Metropolitan Opera-House, yet
the ensemble was so excellent that the general
impression was astonishingly good. For this
result Mr. Campanini was chiefly responsible,

— Cleof onte Campanini, brother of the famous
tenor who used to enrapture American audi-
ences. It is no exaggeration to say that the
conductor has aroused as much enthusiasm as
the tenor used to. So marvellous is his gen-

The Manhattan Opeia-House 173

eralship, so absolutely is every factor in the
complicated operatic ensemble under his con-
trol, that the average opera goer feels the spell,
the magic of his personality, and applauds for
him as he does for Bonci and the other vocal
favorites.

** . . . Madame Melba was not a member of
the Hammerstein company the first month of
its career. In the meantime the female con-
tingent was undeniably weak. Madame Pinkert
proved herself an excellent coloratura singer
but in sustained melody she has been less satis-
factory. None of the other women singers
quite proved herself of what is known in New
York as the * Metropolitan standard ; ' never-
theless, some good impersonations have been
given by Bressler-Gianoli, De Cisneros, Buss.

'^ Much stronger is the list of tenors, bari-
tones, and basses. Bond has not made such a
sensation as it was expected he would, as the
rival of Caruso. His voice lacks the volume,
the luscious quality, the spontaneity of utter-
ance that characterize Caruso's; his strength
lies in his style — his artistic phrasing, his
skill in filare la voce, his good taste. In a word
he is a first-class singer with a voice not quite
first-class. His colleague, Bassi, has a better

174 The Gtrand Opera Singers of To-day

voice and sings well, too. Indeed, the company
is exceptionally well supplied with good tenors,
Dalmores and Altchefsky being real artists,
too. The baritone Benaud gets as much as
Bonci, and fully deserves it; he is a wonder-
fully picturesque Don Giovanni and Rigoletto.
Ancona and Arimondi also must have honor-
able mention.''

Mr. Joseph Sohn, reviewing the season in the
Forum, admirably summarized the achieve-
ments of Mr. Hammerstein in the following
paragraph :

^^ Mr. Hanmierstein has truly ushered in an
operatic New Year, if not a new era in operatic
annals. For New York has never before in its
history had so fine an ensemble, such finished
performances of Italian opera, as have been
given at the new opera-house in Thirty-fourth
Street.

** New York had long been prone to think
that there was a dearth of good singers abroad :
Mr. Hanmierstein has brought over a whole
shipful of them. He has introduced several
conductors whom it would be difficult to dupli-
cate. He has presented an orchestra drilled
to a nicety, and ever in absolute accord with
singers and chorus. He has produced a chorus.

The ManliattaiL Opera-Honse 175

not consisting of lay figures, but of wide-awake
men and women, who not only sing admirably
together, but whose grouping on the stage is
natural, life-like, and vivid to the last degree.
He has been at pains to present scenery and
costumes which are never incongruous, but gen-
erally appropriate and pleasing; and, instead
of presenting a few ^ stars,' surrounded by a
most disappointing aggregate of satellites, he
has given us an agreeable variety of excellent
singers of the principal roles, as well as uni-
formly competent interpreters of minor parts.
• • . Our Manhattan opera, if continued along
the lines followed this season, should receive
the unstinted support of every true music-lover
in New York City.''

During the early part of Hammerstein 's sec-
ond season, on November 30, 1907, Mr. Law-
rence Gilman published an excellent article on
the opening of the second season at the Man-
hattan Opera-House, from which we are per-
mitted to quote the following paragraph:

^^ Mr. Hammerstein 's season, it cannot be
too vigorously emphasized, deserves the atten-
tion of all those who realize the significant part
which can be taken in the musical activities of
a community by an operatic institution which is

176 The Grand Opera Singers of To-day

vital and alive and untrammelled in all its
parts; which is not dominated by traditions
that have ceased to be valid, or by inordinate
and obstructive personal influences. It is an
altogether singular fact, a fact to be appre-
ciated and to be celebrated, that Mr. Hammer-
stein has determined to produce, and is actually
producing, new works of interest and impor-
tance ; that he is not depending for his appeal
upon a stale and de-vitalized repertoire, or
upon the attraction of a few voices: this is
what one means by the assertion that the Man-
hattan Opera-House is alive and vital in all its
parts. If the actual performances were far
less excellent and praiseworthy than they are,
the influence of the house as an institution
would still be stimulating and profitable, and
its activities a source of benefit to operatic art
in its best estate. When it is reflected that Mr.
Hammerstein is actually preparing to produce
half a dozen new operas that have never been
heard in America — works of the calibre of
Debussy's ' Pelleas et Melisande,' Charpen-
tier's * Louise,' Massenet's * Jongleur de
Notre Dame ' and * Thais,' some idea of the
scope and value of the work that is being under-
taken at the Manhattan Opera-House will be

The Manhattan Opera-House 177

appredatecL And let it be remarked, as a dr-
cnmstance the import of which needs no em-
phasis, that Mr. Hammerstein is undertaking
the production of at least one of these new
operas, Debussy's * Pelleas et Melisande,'
with a full realization of the fact that he is ex-
tremely unlikely to find any commercial profit
in the venture. Debussy's lyric drama will not,
in all probability, make a wide popular appeal,
for it is rare and subtle and strange to a de-
gree ; but the work is of extraordinary artistic
importance, and it is realized by Mr. Hammer-
stein that its presentation, for the first time in
America, will redound to his credit in ways that
are permanent and valuable/'

During Hammerstein 's first season he wisely
confined himself to giving performances of
operas which were old favorites, and relying
upon his chorus and orchestra, as much as upon
his soloists to give as nearly as possible a per-
fect production. During the second season,
however, he produced four new operas, i. e.,
Charpentier 's ** Louise,'' Massenet's ** Thais,"
Debussy's '^ Pelleas et Melisande," and Offen-
bach's ** Les Contes d 'Hoffman." This latter
had, however, been given by an opera bouffe
company at the Fifth Avenue Theatre in 1882,

178 The Grand Opera Singers of To-day

TUider Maurice Grau, so that it was a revival,
rather than a new production. That Hammer-
stein showed good judgment is seen by the fact
that these four operas have been given many
performances. ^ ^ Pelleas et Melisande, ' ' a mod-
em lyric drama, has been given many times
under varying circumstances, and has caused
more discussion of an sBsthetic nature than any
opeTBL of the present day.

Mr. Hanunerstein replenished his staff of
singers judiciously. He engaged Madame Nor-
dica, who had broken with the Metropolitan
Opera-House, and he brought over from Paris
a singing actress of remarkable ability, — Mary
Garden. His new tenor was Zenatello, and an
excellent contralto, Madame Gbrville-B^ache.
All these singers have become distinct favorites.

No singer has appeared in America who has
caused more diversified comment than Mary
Garden. No singer has given the American
public more food for thought. No singer has
proved to be a more complete artist.

Miss Garden ^s own account of her early
career is given thus : — She began to learn the
violin at the age of six, and when twelve years
old she played at a concert. Now she wanted
to play the piano, and began to study that in-

The Manhattan Opeta-Hoiue 179

strmnent, and practised five hours a day.
When she was sixteen she took part in an ama-
teur performance of ** Trial by Jury *' in Chi-
cago, where she was then living, and she de-
veloped a desire to learn singing. She worked
hard for two years with Mrs. Duff, but longed
to go to Paris. An opportunity came when she
was nineteen, and she went for a year or two,
without any definite plans. She knew no
French, but lived where she had to speak
French and in six months was able to read her
first book in that language, and in a year she
could converse quite well.

She began investigating teachers. One said
he could put her on the operatic stage in twenty-
six weeks. She thought it over and decided
that this was too short a time. She eventually
h^rd Trabadello and began to take lessons
with him. She continued for a year and then
went to Chevalier, remaining with him until she
made her debut at the Opera Comique, in 1900,
through the help of Sybil Sanderson. On this
occasion she went on quite unexpectedly in the
third act of ^^ Louise,'' and pleased the audi-
ence.

Miss Garden never took a lesson in acting in
her life. When she has a new role she thinks it

180 The Grand Opera Singers of To-day

all out. And she seldom plays any part twice
in exactly the same manner.

She is an American of Scottish descent, and
made her artistic reputation practically in one
city — Paris — at the Opera Comique, al-
though she occasionally appeared elsewhere,
as for instance Brussels and London. She was
content in Paris and made no effort to return to
America until Oscar Hammerstein found her,
when she was willing to come, with the prestige
of an already notable career.

Miss Garden's is a singular and penetrating
personality on the stage. She invariably sug-
gests her operatic character, sometimes with
large and vivid illusion, but oftener with an ex-
ceeding felicity and finesse. She can bear her
part as an accomplished operatic actress in the
intricate and exotic ways of modern mu§ic-
drama as Parisian composers and librettists
write it — while her singing is less a pure art
in itself than a means to a more suggestive and
poignant dramatic expression. She is accus-
tomed to a theatre small in its audience room,
where very close intimacy between singer and
listener is possible, and where every delicate
suggestion, and every stroke of finesse, may go
home, and where the charm or power of the per-

ARDEN AS SALOME

The Manhattan Opera-House 181

sonality passes the footlights and penetrates
those beyond.

Miss Garden seems inevitably to regard her
singing as primarily a suggestive and idealized
speech. Her voice in itself is not remarkable
for compass, body, or quality. The connois-
seurs may readily find flaws in the technical
artistry of her singing. Hers is not the voice
for the full-blooded coloratura of Violetta's
music. Bather the virtue of her singing is her
ability to shape and color the significant and
haunting phrase, to thread her way through an
irridescent web of them, such as Debussy's
music for Mdisande, and to give each a char-
acteristic and persuasive shimmer and edge.
In all her parts her singing abounds in subtle,
shaded felicities. At moments her singing is
like a new and strange speech — as new and
strange as Debussy 's music. The listener feels
the captivating fascination and the penetrating
suggestion, and leaves the tests of cold technical
blood until the spell has passed.

It took time for Americans to understand
her, and at the first American performance of
*' Thai's," although she received practically no
applause, it was nevertheless felt that she had
made a distinct success.

182 The Grand Opera Singers of To-day

jgiaas^^^ia^ammBssmm

It would not be possible in the limited space
of this book to quote extensively from the criti-
cisms of Miss Garden's impersonations, but in
order to show the diversity of opinion let us
quote three reviews of her interpretation of
Carmen, which has been considered one of her
least popular characters:

(1) — '* From the moment of her first en-
trance the artist invested Carmen with every
physical charm and allurement which tradition
demands of the role, but she also succeeded in
making the perennially fascinating cigarette
girl of Merimee something more than merely an
unreasoning creature of passion and pleasure.
The (harden view of Carmen presented a
woman elementally intense in her feelings and
yet sufficiently mistress of herself to enjoy her
triumphs over men for the sake of the sense
of power such experiences give her. She
studied her victims even while she herself fell
under the spell of her passions, and with her,
complete mastery of the one possessed seemed
synonymous with satiety. Miss Garden con-
ceived her Carmen as a decided fatalist, for in
the famous card-song the dread omen of death
seemed to interest rather than to frighten her,
and at the end of the opera Don Jo$e and his

The Manhattan Opera-HouM 183

knife aroused her to scornful laughter and
haughty unbelief until he made the fatal lunge,
and she realized that her power over him was
not sufficient to outweigh his jealousy. Then,
even in her death agony. Carmen looked her
surprise, and without any trace of terror died
bravely — and gracefully.

' ^ Coquetting appeared to be as the breath of
life to Carmen, and she sounded the keynote to
her character as early as her first entrance,
when she flirted with every man who came near
her, and went to those who did not. The sol-
diers who captured her were honored lavishly
with Carmen's glances and smiles, Zuniga
basked complacently in the light of her irre-
sistible invitations, and Escamillo, who looked
maddened beasts in the eye, quailed before the
all-conquering orbs of the Sevillian wanton.
While Carmen, even in the readings of other
artists, always had used those same personages
for her machinations, it remained for Mary
Garden to insist that the girl was not a slave
to money or to passion, and she made clear her
theory in every phase of her delineation. It
was an absorbingly interesting character study
and the audience followed it with the keenest
sympathy. ' '

184 The Gtrand Opera Singers of To-day

SSSB^B^SSBSBBSB^BIBBBBBSSBBSaSSSSSSSSSSBBSBSSSBBB^B

(2) — ^^ Miss Garden made a serious and in
some respects successful attempt to sing the
music She must have astonished many of her
hearers by the fidelity of her intonation in many
passages, but in many others her quality of tone
was not only harsh but even distressing. Ac-
cording to Miss Q-arden, Carmen was not so
much a gypsy as a termagant of the streets of
Seville. It seemed to be her idea that men of
the types of Don Jose and Escamillo could be
overcome by the most vulgar animalism. There
was no poetry, no subtlety, none of that inde-
scribable magnetism that one finds in the orig-
inal character. Bude vigor, boisterous action,
and something that looked like an undying
pique animated her. It has been well said that
some artists mistake temper for temperament.
It was the former and not the latter which fitted
the scowling eyes and moved the writhing form
of this quite unseemly Carmen. Bichard III
remarked, * Was ever woman in this humor
wooed? ' He did not mean it in this way,
but Don Jose might properly have asked
himself the question and answered it, ^ Not
by me.'''

(3) — ** Miss Garden's performance was re-
markable in many ways. It was original with-

The Xanhattan Opera-House 185

oat being extravagant^ thoughtfully conceived
and yet apparently spontaneous ; characterized
by a wealth of ingenious detail that was not ex-
crescent ornamentation, but as a constant and
natural revelation of character. In her effort
to present her own conception of Carmen, Miss
Garden did not find it necessary to do violence
to Bizet's music or to appear as a strange and
unfamiliar figure.

** We saw Carmen as we fancy her from
reading the story and the libretto; not neces-
sarily as other women of talent have portrayed
her, for there may be reasonable differences of
opinion concerning the precise manner in which
Carmen should act in the scenes provided for
her by the librettists. We saw a Carmen that
was not modelled on that of another, and yet
was the woman whose loves never lasted over
six months — EscamiUo thus flattered her, for
six weeks or six days were enough for the satis-
faction of her caprices.

** This Carmen was sensual, stony-hearted,
as one subject to the passion that * hardens a'
within, and petrifies the feeling.' The ruin of
this man and the death of that one were indif-
ferent to her. A fatalist, she was not a coward.
She knew her power over men. Officer, soldier,

186 The Grand Opera Singers of To-day

bull-fighter in turn pleased her vanity and sat-
isfied her long^g.

^ ' Miss Garden 's Carmen was not a tough girl
of the tobacco factory, not a gutter snipe, not
a vulgar rowdy. The smugglers knew her
shrewdness and her power and she queened it
over them. She could assume a baleful repose,
and never was she so dangerous as when she
was mute. She was not noisy, chattering,
shrewish. When she gave way to her temper,
she was ready to kill.

* ^ This character was brought before us in
flesh and blood. Miss Garden accomplished
this by the modulation and the coloring of the
voice, by uncommonly effective facial expres-
sion aad by significant gestures. All ftese
worked together with the utmost naturalness
and with irresistible effect. Miss Garden did
not find it necessary to act like a spoiled child
or to be aggressively vulgar. Even in her
sensual appeal to Don Jose there was the inde-
finable something that saved the scene from the
grossness of ill-considered realism.''

Miss Garden, in an interview, gave a word of
advice to girls departing to Paris : * ^ Do not
talk too much about your plans for the future.
Do not be insistent upon that debut at the Paris

The Manhattan Opera-House 187

Opera, — or even any operatic debut Go over
there quietly, study and discover for what you
are 'best fitted. If it is opera, and you work
earnestly for that career, be sure that your op-
portunity will come. No real talent was ever
allowed to languish neglected and unseen."

But she stirred up a long discussion by some
very pertinent remarks which she made in an
interview with the representative of one of the
daily papers. The paragraph which caused the
discussion is this :

* * To-day if you go on the French stage you
have got to have something besides a voice.
You must have a personality. A mere voice
bores them in Paris, and it is getting to be the
same way in America, where people don't like
to hear a voice coming out of an expressionless
face. * *

Miss Garden had said that in her early days
she had been assured that ^' if she could pro-
vide the voice and the personality " as an
equipment for the operatic stage the matters
of education and training could be taken care
of. The editor of the Evening Sun commented
upon her remarks at some length. He said :

'* The ideal prima donna is no longer con-
sidered a demi-goddessy to be hailed as a prod-

188 The Grand Opera Singers of To-day

igy of nature and accepted devoutly as a diva,
but is regarded critically as a finished product
of many processes, whose raw material is a
precious voice combined with its perfect setting
of an exactly poised personality, physical and
spiritual, unalloyed with any detracting capac-
ity for human emotions. Love, hate, pride, de-
spair — all such dross is burnt out of the liquid
treasure in the crucible of training/^

Then came the arguments as to ^^ What is
personality t *' A writer in the Musical Courier
sums it up in the following paragraph:
^^ It may be in some degree illuminating
(since there is no hope of rounding up the
definition of it in a word) to think that this
* personality,* for an artist, consists in a pro-
found understanding of one 's art, of one 's life
and nature in relation to it, and in the bringing
of one^s every resource — physical and spir-
itual — to bear upon it, the term spiritual being
intended to include the emotional capacity,
whether in its crude state in the temperamental
artist or in its clarified state in the artist who
employs it sympathetically to artistic purpose.

** Personality is, therefore, fundamentally
tmder standing, for one cannot use either his
physical or his spiritual nature to purpose

The Manhattan Opera-Ronse 189

without understanding. And if one is not
gifted with spontaneous understanding the
pathway to it is long and hard. Yet it is the
true path, and the lyrical artist who does not
make it his chief pursuit, but depends upon
emotional display or mere voice, leaves behind
all hope of becoming a great artist. ' '

An excellent article was published by Mr.
Arthur Farwell in Musical America, but its
length prohibits quotation here. The subject
is one which is closely connected with the mod-
ern view of operatic art, and we would advise
our readers to look up Mr. Farwell 's article.

It must not be forgotten that Miss Garden
has given wonderful impersonations of such
characters as Marguerite, Griselidis, and Me-
lisande, and that her reputation does not de-
pend upon characters of another type, such as
Salome, Thais, Sappho, and Louise, though the
sensational press has devoted more attention
to her performance of such characters than to
those of a higher type. The great merit of
Miss Garden's art is that she has never been
content with merely the externals of a char-
acter, but has made a deep psychological
study of the nature of each personage that she
represents. She does not regard her roles

190 The grand Opera Singers of To-day

merely as singing parts, but believes that each
character should be delineated with as much
care and attention to detail as the character in
the spoken drama. She has constantly pointed
out in interviews that acting has been too much
neglected in opera, and that she has striven to
establish a standard which shaU regard the
histrionics of an opera as of more importance
than the singing.

Jeanne Oerville-Beache was bom in the south
of France. Her father was colonial governor
of Guadeloupe. She studied singing in Paris
with Bosina Laborde and Criticos, but the
wishes of her family delayed her first appear-
ance in opera, which finally took place at the
Opera Comique on December 20, 1899, when
she sang the rdle of Orpheus in Gluck's
opera'.

She next created the part of Catharine in Er-
langer's ** Juif Polonaise, '* in April, 1900, and
the part of Oenevieve in Debussy's ** Pelleas et
Melisande " in April, 1902. She sang at la
Monnaie in Brussels in 1904 and at Covent
Garden in 1905, and came to America as a
member of the Manhattan Company in the fall
of 1907, making her American debut as the
Blind Mother in ^^ La Gioconda '^ on Novem-

I IN " DIE WAI-KIRE "

The Manhattan Opera-Houae 191

ber 4. She appeared with great Buocess also
as DalUa, Carmen, the Queen in *^ Pelleas et
Melisande/' and Anita in '' La Navarraise."
Her voice is particularly warm, luscious and
southern, her face and figure striking and she
has mudi dramatic force.

Madame Gerville-Beache in private life is
Mrs. George C. Bembrand.

A critic in Philadelphia, after a performance
of ^' Samson et Delilah," declared that Ma-
dame Oerville-Beache was the greatest con-
tralto since Alboni. He praised ^* her velvety
voice, her magnetism, personal beauty and
charm, her ability as an actress and the remark*
able tone effects she produces with her beauti-
ful organ.*'

It was due to Emma Calve that Madame Ger-
ville-Beache went on the stage. When she was
sixteen years of age one of her friends induced
Calve to hear her sing, and Calve embraced her
and said that she must go on the stage, and
that with such a voice it would be a crime if
she were prevented. So her studies were pur-
sued under M. Criticos, a Greek residing in
Paris, who had also been a teacher of Jean de
Beszke. She was coached in the ** Prophet "
and ** Orfeo ** by Madame Viardot-Garcia, and

192 The Grand Opera Singers of To-day

■B

as DaiUa she was coached by the composer,
Camille Saint-Saens. In this part she made a
tremendous sensation in Brussels and Paris,
which she duplicated later in America.

As one critic remarked : ' ^ It was all up with
poor Samson when Delilah appeared."

The following excellent review of Madame
Oerville-Beache's impersonation of DalUa was
written by Mr. Philip Hale, when the opera
was given in Boston in March, 1910 :

** Mme. Gerville-Beache took the part of
DalUa last night for the first time in Boston.
She was heard here as a member of Mr. Ham-
merstein's company in April, 1909, and her
reading of the letter in * Pelleas et Melisande,'
her brilliant Amneris, and her intensely dra-
matic Anita in * La Navarraise ' are well re-
membered. When ^ Tristan und Isolde ' was
performed here recently she took the part of
Brangctene in two representations, but the
music was not well suited to her voice.

** In the course of the years certain imper-
sonations stand out in bold relief — as Jean
de Beszke's Romeo, Milka Temina's Isolde,
De Lucia's Canio, the Carmen of the earlier
Calve, the lago of Victor Maurel. This list
might easily be extended, and the Dalila of

The Manhattan OP^i^^-House 193

Mme. Gerville^Beache should surely be in-
cluded.

^^ Grave and learned divines have speculated
concerning the character of the woman of Sorek
and arrived at entertaining conclusions.

^^ It is not necessary, however, to dilate on
the psychology of the character in discussing
Mme. Gerville-Beache's impersonation. When
a woman takes the part of Helen of Troy, Cleo-
patra, DalUa, or any other noble dame of an-
tiquity whose face or personal fascination
played havoc with men, it is only reasonable to
ask that the temptation be at least intelligible
to the spectators. Last night the weakness of
Samson was not without excuse, for Mme. Ger-
ville-Beache was a seductive apparition.

^* Saint-Saens 's music displayed her voice in
its sumptuous beauty. The lower and middle
tones of his voice are peculiarly full and rich,
and although the extreme upper tones are not
so inherently beautiful and not so freely
emitted, the singer used them skilfully for dra-
matic purposes. It is an unusual voice, the
voice of Eustacia Vye, and seldom are tones of
such truly contralto quality now heard on the
operatic stage. The voice alone should have
led Samson astray.

194 The Grand Opera Singers of To-day

^* But Mme. Gerville-Beache also acted the
part with much more than ordinary skill. Her
facial expression, her gestures and attitudes,
her nuances of sensuous enticement, her inten-
sity of passion, together with the spell of her
voice, made her impersonation irresistible.
And this performance was free from extrava-
gance, nor in the scene of seduction did she
become inartistically sensual. ' '

Young American women are always anxious
to find the sure road to success, and the repre-
sentative of Musical America asked Madame
Gerville-Beache to give some advice to operatic
aspirants. Although the history of recent
years does not indicate any lack of American
prima donnas, the comments of the great singer
will be of value to aspirants for operatic
honors, and permission has been given to quote
the article.

** Silly pride, or rather what a lot of silly
girls call pride, is responsible for the scarcity
of native prima donnas in this country," said
Mme. Oerville-Beache, the famous contralto, in
Chicago, the other day.

'^ No sooner does a young woman find she
can sing a scale than she sets her mind on be-
coming an opera singer. This is a pardonable

The Manhattan Opera-RouM ld5

ambition; what is unpardonable, however, is
the ^ proud ' attitude the young person begins
to assume toward all other lines of musical en-
deavor. She simply ignores them all, studies
for several years, learns three or four parts,

and then calls on one of the worthies who have

operatic roles to distribute. She may have a
splendid voice, she may know the roles so well
that she could sing them backwards, and yet she
cannot secure a position. She cannot make a
dSbut in this country. Injustice t Not at all.
What would she be good for t

^^ It would take two years of constant re-
hearsing to fit her for her first appearance and
then, let me tell you, there is a vast difiference
between even a dress rehearsal and a public
performance. An opera-house is not a training
school. Training schools never trained any-
body anyhow. You must learn to do things by
doing them. The girl who is not wealthy
enough to go to Europe and buy several appear-
ances at some of the microscopic opera-houses
one finds in almost every German and Italian
city should begin at the lowest rung of the
ladder.

^' She should sing in the chorus of a musical
comedy company, then be promoted to a regu-

196 The Grand Op«ra Singers of To-day

lar singing part. Later on she should spend
a year or so in the choms of a regular opera
company. By that time she would have famil-
iarized herself with almost every phase of life
on the stage, with the various stage conven-
tions, with the orchestra, with the audience.
She would have learned to be prepared for any
emergency.

*^ Furthermore, she would have been self-
supporting all the time and she would have ac-
quired a knowledge of real life. Unfortu-
nately, the majority of young women conceal
their laziness under the mark of pride. Chorus
singing being too much like work, they affect to
despise it. Singing in musical comedy is work,
too, arduous work. Therefore, they shun it.
It's too low for girls from ^ good families.'
And then, slowly but surely they go to seed,
some begging in ladylike fashion from patrons
of art, some teaching, some falling back on their
family for support. And all the while America
is borrowing from Europe singers who weren 't
too proud once to get a training and who now
capture all the big fees. There are just as
many good voices here as in Europe, but the
fatal pride of too many young women allows
most of that good material to go to waste. ' '

The Kanhattan Opera-House 197

Giovanni Zenatello was brought to America
by Oscar Hammerstein in 1907, and made his
first bow to American audiences at the Man-
hattan Opera-House as Rhadames in ^' Aida.''
He was then regarded as a tenor with a voice
of great beauty, power and of fine virility, —
^^ a true tenor rising in the upper register to a
delicate beauty that is delightful. He has
agreeable stage presence, but the exuberance
of acting and delivery might well be toned
down. It would be idle to compare Zenatello
and Bonci or Caruso. He is more robust than
Bond and undoubtedly more capable of sing-
ing a wider range of parts. The manly quality
of his singing is most pleasant and it is certain
that he will have a fine measure of success.'^

Since that time Zenatello has gained in every
branch of his art, and is now considered one of
the finest operatic tenors before the public in
America. At the close of the Manhattan Opera-
House he became a member of the Chicago
Opera Company. He also married Maria Gay
after a romantic courtship of four years.

Zenatello is a man of humble origin, with an
absorbing love for music, so that he began his
studies while earning his living in other ways,
and although offered help when his prospects

198 The Grand Opera Singers of To-day

became known, he preferred to win fame by his
own efforts, and finally secured a d6but at the
San Carlo Theatre in Naples.

One of his favorite roles is that of Pinkerton
in ^' Madame Butterfly," a part which he cre-
ated on the production of that opera at Brescia
in June, 1904. The work did not find favor with
the Italians and was withdrawn. Puccini then
set to work to revise it, and on its reproduction
at La Scala, when the work proved to be a great
success,. Zenatello was again the Pinkerton.

Giovanni Zenatello is a native of Verona^
He is short, well-proportioned and fair. When
he first studied singing he was taught as a bari-
tone, but he could not find an engagement be-
cause his voice sounded small. At last, in 1898,
he succeeded in getting a contract as baritone
with a small company at Naples. He sang
with this company for a month but was not
satisfied with the result of his training, and was
quietly working on tenor roles. One night,
when the opera to be given was ** Pagliacd,'*
the regular tenor was taken ill and the manager
was at his wits' end, when Zenatello volun-
teered, and sang the part in fine style. For two
years he continued to sing with small com-
panies until he had saved up some money, and

( LOEWB IN -GERMANIA"

The Manhattan Opefa-Bonfle Idd

then he went to Milan and sought an engage-
ment as a tenor. Now he was successful, and
secured a debut at La Scala, after which his
career was established.

Zenatello's success at Oovent Garden was
what led to his engagement in New York, for
Madame Melba was singing at Oovent Garden
at the same time and was so delighted with his
work that she urged Hammerstein to secure
him. Hammerstein acted on her advice and
cabled an offer to him.

Zenatello's Otello is admirable. He lacks
physical bulk, — his Moor is tall, spare, quick
of glance and alert of elastic movement. His
voice has penetrating intensity. By every
token of physical aspect this OteUo has the
sensitive and tense passions that such a frame
often eift^loses.

Mario Sammarco is one of those singers who
were drawn into the profession in spite of ad-
verse home influences. When he was a boy he
was infatuated with singing and with the the-
atre, and sometimes used to run away from
home with his companions to go to the marion-
ette shows which are to be seen in all Italian
towns. His father urged him to devote himself
to non-musical studies, which he did, and had

aoo The errand Opera Singers of To-day

very Uttle time for his vocal work. However,
he was determined to become a singer, and
joined a choral class at Palermo. The director
noticing what a passion he had for singing gave
him some private lessons, although without
much faith in his future, saying that his voice
was too small to justify his thinking of singing
in a theatre. Later on the teacher admitted that
he might perhaps be able to sing small parts.

It was not until he took the part of Valentine
in an amateur performance of '^ Faust," given
by some of his friends, that Sammarco 's father
relented. Several people who were present said
that he should study for the stage and the father
gave in. Sammarco now went to Cantelli, a
singer who had toured with Carlotta Patti> and
presently made his debut in ** Le Villi," an
early opera of Puccini's. ^

On his appearance in America the following
review was published : * * The debut of Sam-
marco makes claim for serious attention. Sam-
marco is an Italian baritone of great renown in
Italy, and a favorite at Covent Garden. He
sang the prologue to * Pagliacci ' in a way
that brought the audience to its feet, — his
greeting was the longest and loudest that has
befallen any new artist here for years. He is

The Manhattan Opera-Houae 201

an exquisite artist in the use of his vocal
powers. He achieves dramatic effects without
shouting, and is an actor of no mean ability. ' '

At the close of the Manhattan Opera-House
Sammarco became a member of the Chicago-
Philadelphia company.

Oscar Hammerstein had the gift of discover-
ing that which would create the strongest im-
pression. He decided to produce ^' Pelleas et
Melisande/' an opera composed by Debussy , to
the libretto of Maurice Maeterlinck. This work
was first produced in Paris in 1902, and it took
four years to establish it in the repertoire of
the Opera Comique, for at first it was anything
but a success, and the people used to whistle and
cry out during the performance. The balconies
and the galleries, so Miss Garden related, were
the first to catch the spirit of the opera.

One writer declared that Debussy had
achieved the perfect fusion of the arts of music,
of the drama, and of the theatre, which is the
goal and ideal of the opera in our time.

A writer in a New York paper, after hearing
the opera in 1911, said : ' ^ It would be impos-
sible to conceive a finer vehicle of expression
than that invented by Debussy through the sim-
ple, yet original process of abolishing rhythm.

202 The &rand Opera Singers of To-day

melody and tonality from mnsic, and thus leav-
ing nothing but atmosphere. Membranous
music is the most fitting expression of the char-
acter of Melisande. Yet it is one of Mary Gar-
den's greatest parts. Her individual method
finds itself in most felicitous consonance with
the music of Debussy. She, too, long ago, re-
vised dramatic singing by the process of elim-
inating from it rhythm, melody and tonality,
and thus in ' Pelleas et Melisande ' arrives at
artistic territory which she had spied out even
before Debussy had claimed it as his own. . . .
But there is not a minute when Mary Garden
as Melisande is not beautiful, — when her pose,
gesture and facial expression are not perfect
in their dramatic expression. ''

Debussy, in discussing his music, is said to
'have remarked : * * I have been reproached be-
cause in my score the melodic phrase is always
in the orchestra, never in the voice. I tried with
all my strength and with all my sincerity to
identify my music with the poetical essence of
the drama. I wished, intended in fact, that the
action should never be arrested, that it should
be continuous, uninterrupted. I wished to dis-
t>6n8e with parasitic musical phrases. When
listening to an opera the spectator is wont to

The Manhattan Opera-Houae 2QS

experience two kmds of emotions which are
quite distinct, the mnsical emotion on one hand,
— the emotion of the character on the other.
Generally they are felt successively. I have
tried to blend these two emotions and make
them simultaneous. Melody is, if I may say
so, almost anti-lyric, and powerless to express
the constant change of emotion or life. Melody
is suitable only for the song, which confirms a
fixed sentiment. I have never been willing that
my music should hinder, through technical
exigency the changes of sentiment and passion
felt by my characters. They should have per-
fect liberty in their gestures as in their cries, in
their joy as in their sorrow. * '

When the production of this opera was an-
nounced at the Manhattan Opera-House it was
said by intelligent observers who had heard the
work in Paris, and who jj^ad many opportunities
of seeing and judging the artistic calibre of the
New York public, that ** Pelleas et Melisande '*
would strike over their heads, and that many
listeners would be bored. The result was quite
the contrary, — a large and brilliant audience
followed the work with interest and at the con-
clusion of the fourth act there was a sincere
demonstration of approval.

204 The Orand Opera Singen of To-day

Hlte

Oscar Hammerstein was brought before the
curtain and made a characteristic little speech :
^* If the sublime poetry and music of this work
meet with approval it places this city at the
head of any city in the world in its musical ap-
preciation* As for me, my only object in pro-
ducing it was to endear myself to you and per-
petuate myself in your memories."

* *' The work is the most exotic ever attempted
here on the operatic stage," wrote another re-
viewer after the performance. '^ It is not an
opera, not a music drama. It has no ^ tunes ; '
it has only a few phrases, that might really be
taken to be ^ motifs. ' There is little about the
music that is consecutive, little flowing musical
speech. And after all has been recorded that*
is not in this music there still remains to be told
what is chiefly in it and upon what the whole
fabric rests, namely — jnood. * '

The work was produced in February, 1908,
with almost the same cast which had sung it in
Paris. — Mary Garden as Melisande, Jean Pe-
rier as Pelleas, Hector Dufranne as Crolaud,
Mile. Sigrist as Tniold, Madame Gerville-
Beache as Oenevieve. Arimondi as Arkel and
Orabbe as Le Medicin were not in the Parisian
out

The Manhattan Opera-HouM ios

BBsaaft

In view of the interest caused by the extraor-
dinary musical work the following description
of the composer may be in place here. It was
made by a writer in the Boston Transcript:
* ^ I met Debussy, and was struck by the unique
ugliness of the man. His face is flat, his eyes
prominent, — the expression veiled and sombre,
— and, altogether, with his long hair, unkempt
beard, uncouth clothing, and soft hat, he looked
more like a Croat or Hun than a Gaul. But
there is talent in the man 's face, unique talent.
His high cheek bones lend a Mongolian aspect
to his face. The head is brachycephalic, the
hair black. The man is in his music. ' '

Jean Alexis Perier, whose impersonation of
Pelleas was considered by many critics to be
inimitable, was bom in 1869 in Paris. After
studying at the Conservatoire, he gained first
prize for singing in 1892, and first prize for
opera comique. He sang at the Menus-Pyasirs,
the Folies-Dramatiques, and the Bouffe-Pari-
siens until, in 1900, he became a member of the
Opera Comique. His voice has little sensuous
charm, nor is his tonal delivery flawless, but
his diction is dramatic and he is an excellent
actor.

Hector Dufranne was bom in Belgium and

206 The Orand Opera Singen of To-day

made his debut at the La Monnaie as Valentine
in '^ Faast." He filled an engagement at Co-
vent Garden and was then made a member of
the Op^ra Comiqne in Paris, where he created
the r61e of the Father in ^' Louise." Later he
appeared snccessfnlly as Golaud in ^' Pelleas
et Melisande*" Dnfranne has been regarded
as the possessor of the best voioe coming from
France since Pol PlanQon. He is also a most
excellent actor.

In reviewing the third season of the Manhat-
tan Opera-House, in Harper's Weekty, Mr.
Lawrence Oilman wrote: ** Mr. Oscar Hammer-
stein continues in his favorite pastime of com-
passing the impossible. He has just brought
to a successful conclusion his third season of
opera in New York. For the third time, that
is to say, he has confounded disinterested skep-
tics and interested opponents by giving opera
to the manifest satisfaction of his public, with-
out material support beyond that supplied by
himself, and in the face of an opposition of the
most formidable character — an opposition to
which for three years it has been confidently
predicted that he would succumb. This de-
ponent is not informed as to whether Mr. Ham-
merstein, by reason of these activities, is richer

! AS ATHANAEL IN "THAIS"

The Manhattan Opera-House 207

or poorer, of whether his financial condition re-
maias unaltered. The point of importance is
that he is, as Mr. James would say, still ' in the
game ; ' and that he has, on the whole, kept faith
with his puhlic. He has given, during the
twenty weeks of the season just past, perform-
ances of opera which have at least equalled in
interest and excellence those of the far more
resourceful institution which is his rival; and
he has, for the most part, made good his prom-
ises and fulfilled the expectations which he
aroused.

'' The production of ^ Salome ' was brilliant,
impressive, memorable — one of the most ef-
fective that Mr. Hammerstein has accom-
plished ; the performances of ^ Tosca * have
not, in certain respects, been equalled in New
York; those of * Othello ' and ^ Samson et
Dalila ' were both admirable.

^' Certain other performances, of familiar
works, remain pleasurably in the memory by
virtue either of effectiveness of ensemble or
brilliancy of individual impersonation — as
that of ^ La Boheme,' with Melba, Gilihert,
Zenatello, Sammarco, and De Segurola ; ' Bigo-
letto,* with Mr. Benaud as the tragic Jester;
* Louise,' because of the personations of Miss

208 The Orand Opera Singen of To-day

Garden^ Mr. Gilibert, Mr. Dalmores ; ^ Les
Contes d'Hoffmaniiy' because of the marked
effectiveness of the performance as a whole.

** Of individual achievements none has been
more remarkable than that of Miss Garden.
To impersonate, even acceptably, such ex-
tremely diverse characters as MeUsande, 8ch
lome, Louise, Jean the Juggler, would be suf-
ficiently noteworthy ; yet in each of these roles
Miss Garden was far more than acceptable : she
was always eloquent and often inimitable. The
unfaltering accuracy with which she differen-
tiated these types and exposed their character-
istics was beyond praise. This lyric actress has
definitely established herself as one of the most
powerful and subtle histrions now on the stage.
Her dramatic instinct is unerring, her skill is
extraordinary. The MHisande which she has
now exhibited during two seasons is an inter-
pretation of exquisite and touching veracity —
one of the most perfect things that the modem
theatre can show; but her Salome, her Thais,
her Louise, are scarcely less successful. Miss
Garden has been the most brilliant adornment
of the Manhattan's season, as, indeed, she was
of the one which preceded it. It is pleasant to
see that Mr. Hammerstein apparently appre-

The Manhattan Opera-Hoiue 209

elates his possession of this astonishing
artist.

* ^ la condnsion, it may be said that the Man-
hattan 's third season has been, if less stimula-
ting and memorable than its predecessor, rich
in interest The quality of its proceedings has
been of a well-sustained excellence, and they
have had the indispensable element of vitality. ' '

During his third season, 1908-1909, Mr. Ham-
merstein relied still more upon new productions
than upon great singers, though he had a good
assortment of singers. In his announcement
for the season Hammerstein promised a large
number of new operas, according to the habit
of the impresario, and during the season he
fulfilled more than the average amount of prom-
ises. The total record of the season was as
follows: In French — ** Salome '* (10 perform-
ances), ** Thms *' (7), '* Le Jongleur de Notre
Dame '' (7), ** Les Oontes d'HofiEmann '' (7),
** Samson et Dalila ^^ (6), *^ Louise '' (5),
** Pelleas et Melisande *' (4), ** Princesse d'Au-
berge '' (3), '' Carmen '' (2), *' La Navar-
raise'' (1). In Italian — *' Lucia '* (7)
"OteDo'' (6), '*Tosca'* (5), ** Oavalleria
Eusticana '' (5), '' I Pagliacci '' (5), '' Eigo-
letto '' (5), '' La Traviata '' (5), " La Bo-

210 The Orand Opera Singen of To-day

heme '' (5), " D Barbiere '' (3), " Grispino e
la Gomare" (3), ''La Sonnambula " (3),
*' Les Huguenots '' (2), " Aida " (2), " I Puri-
tani '' (2), " H Trovatore '' (1). There was
also one performance of the prologue to
Boito's '' Mefistofele," one of the carnival
scene from ** Princesse d'Auberge," two of the
pantomime '' La Chair/' and three of the pan-
tomime '' La Mort de Cleopatre/'

Of these Massenet's '^ Jongleur de Notre
Dame '* and Blockx's ** Princess d'Auberge '*
were absolutely new to New York, but the pro-
ductions of '' Salome '' with Mary Garden in
the title r61e, of " Otello/' '* Tosca " and
^^ Samson et Dalila/' in which latter Madame
Oerville-Beache excelled, were considered supe-
rior to any representations of these operas
that had been seen in this country. Moreover,
Salome had apparently become part of the cus-
tomary diet of the New York opera goer.

Of the singers Mary Garden showed won-
derful versatility and power, distinguishing
herself in such diverse roles as Melisande, So-
lome, Louise, Jean the Juggler, Thais. Ma-
dame Melba was at the Manhattan Opera-
House for a brief season of two weeks. Ma-
dame Tetrazzini appeared frequently in the

The Manhattan Opera-House 211

coloratura roles. M. Benand justified his repu-
tation as a singing actor.

The new singers of the season were Madame
Labia, Madame Mariska Aldrich, Madame
Doria, Signer Sammarco, an excellent baritone,
Hector Duf ranne and Vieulle.

Maria Labia first appeared in America in
the season of 1908-1909 as a member of the
Manhattan Company. She is a member of an
old Venetian family, one of her ancestors, it
is said, was a member of the celebrated ^* Coun-
cil of Ten,'' whose methods are revealed by
Lord Byron in * * The Doge of Venice. ' '

Her father lost his fortune and died, leaving
his widow with three daughters to educate and
start in life. The oldest became a dramatic
soprano, married and retired. The second be-
came a violinist, and the third, Maria, entered
upon an operatic career.

It is related that Maria's grandmother was
an excellent singer, and knew all the florid
music of her day, having learned from some of
the most celebrated masters who flourished
about the middle of the nineteenth century.
She taught her daughter, who was a contralto
and who married early, and sang only in pri-
vate. She, however, was able to impart her

212 The (strand Opera Smgers of To-day

knowledge to her children, as above rela-
ted.

Maria appeared first in concert, singing in
Milan, and then in Russia. At the age of
eighteen she accepted an invitation to go to
Stockholm and sing in a season of Italian
opera, after she had finished her concert tour
in Bussia. She sang Mimi, Nedda, Santuzza
and Marguerite, but she soon realized that her
voice was developing into a dramatic, rather
than a lyric soprano.

She now went to Berlin, learning German
and studying the parts of Tosca, Carmen and
Marta in * * Tiefland, ' ^ which latter role she cre-
ated and sang eighty times.

On her first American appearance the fol-
lowing criticism is one of the most reliable:
^' Madame Labia not only has youthfulness
(she was said to be only twenty-three) and
loveliness of form and feature to commend
her, — she has also youthfulness and loveli-
ness of voice, and a splendid complement of
dramatic talent. Her facial expressions, her
movements, her poses all publish a vitality
which make one harmony with her exuberant
vocal expression. There is splendid metal,
clear and ringing, in her voice, and it is sur-

The Manhattan Opera-House 213

charged with emotioiL In quality, especially
in the upper register, it frequently brings re-
minders of the youthful Calve, but its utterance
is more untrammelled, more spontaneous."

In these latter days all successful singers are
induced to express opinions on some subject of
general interest, and Miss Labia was attacked
on the subject of matrimony, as regards pro-
fessional singers. She declared that *^ no
woman can be a great artist, and a good wife
and mother at the same time. If she attempts
it she will either neglect her home for the sake
of art, or will sacrifice her art to good house-
keeping." There is doubtless much truth in
this assertion, and yet we can point to several
excellent singers who are admirable mothers.
We are not in a position to express any opinion
as' to their housekeeping ability.

Madame Labia was considered excellent as
Tosca, and worthy of much admiration in other
parts. She was the most a«tisfactory among
the women singers who were new during the
season of 1909*1910, at the Manhattan Opera-
House.

Madame Mariska Aldrich is an American
and was bom in Boston. She married J. Frank
Aldrich, formerly representative in Oongress

214 The Grand Opera Singers of To-day

8BSSSBBBBBBBBaBaBBaiBS:i^BaBSBHBBBBHaBHaHHHaHBBHBBaail

from Illinois^ and studied in Paris with Alfred
Girandet for two years before making her de-
but While in Paris she met and was heard
by Oscar Hammerstein, who engaged her for
the Manhattan Opera-House on a contract for
five years, to alternate between his New York
and Philadelphia houses. She was to take the
place of Madame de Cisneros, who had gone to
Europe, and she made her debut at the Man-
hattan Opera-House, in 1908, in ^^ Samson et
Dalila."

She is a woman of much personal charm and
was compared with Madame de Cisneros. She
was tall and more slender than de Cisneros.
Her features and coloring were perfect and she
had a charm of manner that amounted to mag-
netism.

Madame Aldrich began her serious study
with Madame Cappiani, the well-known teacher
of New York, and with Vianesi. Then she
studied with Bandegger and DarewsM in Lon-
don, who prophesied an operatic future for her.

Her maiden name was Mariska de Norvath,
and she at first intended to make her debut in
Paris under that name, but when Mr. Hammer-
stein engaged her she decided to appear in her
native land under her married name.

The Manhattan Opera-Hoiue 215

Madame Aldrich is the mother of several
children and in this respect has been compared
with Madame Schmnann-Heink.

She declared that she would not sing Wag-
ner until she was thirty years of age. Madame
Aldrich sings in six languages and speaks five.

Notwithstanding the ** five years' contract '*
with Hanunerstein, Madame Aldrich appeared
in 1909 as a member of the Metropolitan Com-
pany.

Augusta Doria is the stage name of Augusta
Klousy a Boston girl, who made her first Ameri-
can appearance in grand opera in Philadel-
phia in November, 1908. In her younger days
Miss Klous lived in the South End of Boston,
and developed the great ambition to be an opera
singer. She tried for a church position but
was nervous and could not sing well at sight,
moreover, she had then taken but few lessons
in singing. But she had a voice of deep con-
tralto of extraordinary richness and beauty.

Presently she secured an engagement in light
opera, and joined the ** Prince Pro Tem *'
company, which was playing at the Boston
Museum. This was in 1893. After some time
she managed to get to Berlin where she became
a pupil of Julius Hess. She returned to Bos-

216 The errand Opera Singers of To-day

■BSBBBBSSSI^=BSSBBBBSBaB^=:BBBSS=aBttB:=asasaSBaS8S

ton in 1894 and gave a concert at Chickering
Hall, when the critics praised her voice and ad-
vised further study, — study for opera. Need-
ing more money she joined the *^ Parlor
Match '' company, managed by Evans and
Hoey, and towards the end of 1895 she was
able to go to Vannucini in Florence. Here
again she met with some obstacles, of which not
the least was poor health.

Miss Klous now proceeded to London and
sang at various social affairs, but soon turned
up in Paris, where she studied with Bax until
his death, — then with Verquet, the famous
tenor. At last her opportunity came and she
made her debut at Monte Carlo, as Emilia in
" Otello.^'

She now became a pupil of Madame Mar-
chesi, and soon Carre engaged her for the Opera
Comique, but she never sang there. Instead
she accepted an engagement at the Monnaie, in
Brussels, and appeared on November 20, 1900,
as Brangaene in * * Tristan und Isolde. ' '

In 1902 she was a member of the opera com-
pany at Bouen, and created a role in a posthu-
mous opera of Qodard^s entitled " Les
Guelf es. ' ' She also sang a season at Antwerp.

Miss Klous married a Belgian, and became

The Manhattan Opera-Houae 217

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known as Madame Doria. In 1908 she joined
Oscar Hammerstein 's forces at the Manhattan
Opera-House and made her American dehut in
Philadelphia as Delilah. She met with instan-
taneous success, her voice, skill, beauty and his-
trionic ability being quickly recognized and
wannly praised. Her first appearance in New
York was on December 16 of the same year, as
Nicklausse in ^^ Les Contes d 'Hoffmann/'
She also sang Emilia in ^' Otello " with Melba,
Zenatello, and Sammarco.

During her engagement at the Manhattan
Opera-House she sang in ** Aida," ** H Trova-
tore," ** Tannhauser," ** Herodiade " and
other operas. At the conclusion of her engage-
ment she returned to Europe, and filled long
engagements in Italy and St. Petersburg, and
in March, 1912, she made a success in Paris, at
the Municipal Theatre of La Gaite, in the lead-
ing role in ** La Favorita," her interpretation
of this part being called a true musical treat.
She also sang '^ Herodiade " in Paris and was
complimented by the composer of that opera.

In 1909 Mr. Hammerstein gave a preliminary
season of opera at popular prices, meeting with
fair artistic success but with a financial deficit
estimated at $50,000. During this season Mar-

218 The Orand Opera Smgen of To-day

guerite Sylva made her first appearanoe on
September 1, in '^ Carmen/* and on Septem-
mer 9, Elva Orippon, a French dramatic so-
prano, and Panl Dnffanlt, a French tenor, made
their American debnt.

On November the 4th the regular season
commenced with the first performance in
America of Massenet's '' Herodiade," which
was well* staged and proved to be one of the
great successes of the year.

Massenet's '' Sapho " was given for the first
time in this country on November 17, 1909,
with Mary Garden, Trentini, Alvares, T^Alnn^
and Dnfranne. Massenet's '' Oriselda " was
also given its American premiere with Mary
Garden in the principal part

On November 26 '* Tosca " was given, intro-
ducing Carmen Melis to the American public

But the greatest operatic event of the season
was the production of Richard Strauss 's opera
'' EUektra," with Madame Mazarin as Elektra,
and Madame Gerville-Beaehe as Clytemnestra
(she was afterwards replaced by Madame
Dona). Madame Mazarin is a French dra-
matic soprano, a great tragedienne and sLoger,
and she held the audience speUbound.

Towards the aid of the season '' Lakme "

The Manhattan Opera-House 219

was given with Madame Tetrazzini in the title
role.

Thirty operas were given, — eighteen
French, nine Italian, three German, — one
hundred and seventeen performances.

In the year 1908 there loomed upon the
operatic horizon another work by Richard
Strauss, said to be more nauseating than
** Salome.'* This was ** Elektra,'* a modem
version by Hugo von Hoffmannsthal of an old
Greek tragedy. Before it was performed in
Dresden Oscar Hammerstein announced that
he had received from Bichard Strauss the ex-
clusive rights to his opera ** Elektra '* in the
United States, and a date was fixed for the first
performance in Jftnuary, 1910. This had to be
deferred and the production actually took place
on February the first of that year.

There was much interest exhibited in the
production of * * Elektra. * ' A correspondent in
Dresden wrote in regard to the libretto and
music: ^* A wave of uncompromising sensuality
has spread over German literature in recent
years; its expression is most pronounced, as
it is most easily distinguishable, in the products
of the stage. . . . This tendency in all its un-
mitigatisd unhealthiness seems to have taken

220 The Grand Opera Singers of To-day

SsaaHaBaBBaBBHBaaBBB^EBBBBMa^B^EaBBBBaBr^HBBaailB

firm hold of Richard Strauss. In its extreme,
midisciplined expression it probably appeals
most strongly to his special talent for finding
the most f reqnent expression for violent, lurid
effects. ... If the orchestral apparatus was
unprecedently ambitious in * Salome,' it has
not grown less so for * Elektra. ' A body of
instrumentalists that can hardly be placed in
even our largest theatres, have tasks set them
which rival in difficulty only those of the solo-
ists on the stage. In the matter of the exacting
quality of the new music all previous standards
must be set aside. The seemingly impossible
has been accomplished, — ^ Salome ' has been
outdone. • . . Incontestable, at first blush, is
the stupendous devemess in devising new and
surprising tone effects, and further an inven-
tiveness that piles Pelion on Ossa, climax on
climax, to such an extent that ere we have
reached the culminating scene one's powers of
receptivity are fairly exhausted. The final pic-
ture, where Elektra in an ecstasy of gloating
vengeance prances about the stage with hideous
maniac contortions, is assuredly as abhorrent
a picture of all that is disgusting as can be
imagined."
In this opera one of the new orchestral ef-

The Manhattan Opera-House 221

fects was produced by beating the bass drum
with birch rods. In *^ Salome " the snare
drums take part of their pmiishment from
wooden hammers.

There are several amusing and some serious
anecdotes regarding the first performance of
the opera. The regular singers of the opera
house declined one after another to take lead*
ing roles and eventually the part of Elektra
was taken by Lucille Marcel. Madame Krull
was the first singer cast for the part, and the
following anecdote is told of an event at a re-
hearsal. Richard Strauss called out to Madame
EruUy ^ ' You must be still more hateful in your
acting of that speech." She did not hear, but
Madame Schumann-Heink, who was standing
forward on the stage^ caught what the composer
said, and addressing Madame Erull inter-
preted thus, ^^ The Boyal General Music Di-
rector says you must be still more like a col-
league in your maimer of expression."

It was reported that Herr Schuch, the con-
ductor, strained a muscle in his arm trying to
bring out the full force of the orchestration.
Madame Schumann-Heink after three perform-
ances was so hoarse that she had to postpone
her appearance at the Boyal Opera in Berlin,

222 The errand Opera Singen of To-day

and when she was asked to sing the part of
Klytemnestra in America she declared vehe-
mently that she would not sing it for $3000 a
performance though she had many children and
needed the money^ but the horror of being
chased by the insane and murderous Elektra
was too much for her.

Once von Schuch rapped for silence in
the orchestra: *^ That part, gentlemen/' said
he, ** we will repeat; moreover, with all your
power. It was not satisfactory the first time.
I thought I heard the voice of a singer."

A critic from London wrote : * * You either
love it or loathe it. The one thing certain is
that, if you take any interest in the modem
development of musical art, you cannot ignore
it.''

After the opening performance in New York,
Madame Mazarin, who took the part of Elektra,
was asked as to her feelings. She declared
that she had neither eaten nor slept for two
weeks, while rehearsing the part.

'' Elektra is a tragic embodiment of ven-
geance," she said, ^^ but it is vengeance gone
mad. You go mad yourself in singing it. To
make your face a mask of terror is simple
enough* But to communicate your terror to

The Manhattan Opera-House 223

every individual in those dim rows beyond the
footlights yon mnst have something more than
facial contortion ; yon must put your soul into
your eyes, and it is not always so easy to man-
age your soul.'*

Madame Mazarin fainted with exhaustion at
the end of the first performance. Madame Qer-
ville-Beache, who sang Klytemnestra, resigned
her part permanently and was replaced by Ma-
dame Doria.

In London the part of Elektra was taken by
Edythe Walker, an American singer who has
been mentioned in these pages. She was con-
sidered inimitable in the part. Her acting was
superb and singing a little short of wonderful.
Miss Walker said that she was always exhausted
and unable to move for some time after each
performance. Then she would have a thorough
massage and a good supper, and she felt all
right the next day.

The performance at the Manhattan Opera-
House was considered a great success. The
artists were adequate, the orchestra and scen-
ery were excellent, and so were the box office
receipts which are said to have amounted to
$19,000. But how about the audience f

Reports say that the audience departed si-

224 The Grand Opera Singers of To-day

lently, most of them showing signs of the hor-
rible experience which they had just undergone.

The production of ^* Elektra " was the chief
sensation of 1910. This opera of Richard
Strauss, when produced in Germany, Austria
and Italy, had caused, in each country, a tre-
mendous sensation, and in New York it did not
fail to provide critics and public with matter
for pen and tongue. Mr. Hammerstein warned
his patrons that this was no ordinary opera.
" Don^t be bamboozled,'' he said, '* with the
idea that ^ Elektra * is musical rot; that it is
artistically ^ impossible ; ' that it is composed
by a mad man to a poem written by a mad man
about a mad woman, and possibly that only a
mad impresario would think of producing it.
That is all current cant. Forget it !

** To be sure, it is difficult, excessively diffi-
cult, for both the orchestra and the singers to
learn and interpret. Strauss has unquestion-
ably gone the limit. He has travelled close to
the North Pole, but there is no Dr. Cook fake
about his adventure. The proof is there in the
score, in its real music. Quite true he casts
aside the sensuously beautiful time and time
again ; he lays on the color with his brasses in
pretty thick daubs now and then. He is not

The Manhattan Opera-Hovuse 225

chary in using disoords, awful discords, when
he wishes ; hut he means something every time
he does it. He intends to express a hateful idea
or portray an ugly emotion. He can be just as
beautiful in his musical expression when he
musically illustrates the recognition of brother
and sister and the love which binds them one
to the other.'*

A few excerpts from the writings of the
critics concerning this remarkable opera may
be permitted

Mr. Arthur Farwell wrote in Musical Amer-
ica:*^ One might remark upon the innumerable
extraordinary things which Strauss makes the
orchestral instruments do, but to describe these
would only mislead one into supposing that
such startling effects dominate over lyrical
beauty, which is not the case. The horrors of
the drama are from first to last enveloped in an
ideal lyrical atmosphere, so that one knows not
whether he is torn most by the awf ulness of the
story or enchanted most with the infinite lyrical
magic of this music. So complex is the tonal
web that the unusual dissonances fall into their
natural place and pass by almost unnoticed. ''

That this view of the case was not shared by
all alike is shown by Mr, W. J. Henderson in

226 The Grand Opera Singers of To-day

■■

The Sun: ^^ The orchestral background is one
▼ast kaleidoscope of continually changing
color. Jarring discords, the desperate battle
of dissonances in one key against dissonances
in another, settle themselves down into total de-
lineations of shrieks and groans, of tortnres
physical in their clean definition and audible in
their gross realism.

^' Can you conceive of the inward scream of
a conscience in the flames of the inferno being
translated into polyphonic utterances of instru-
ments writhing in a counterpoint no longer re-
quired to be the composition of two or more
melodies which shall harmonize with one an-
other, but of melodies which shall spit and
scratch and daw at one another like enraged
panthers f

'' Snarling of stopped trumpets, barking of
trombones, moaning of bassoons and squealing
of violins are but elementary factors in the
musical system of Richard Strauss.'*

And Mr. Finck in The Post wrote: " If the
reader who has not heard ^ Elektra ' desires to
witness something that looks as its orchestral
score sounds, let him, next summer, poke a
stick into an ant hill and watch the black in-
sects darting, angry and bewildered, biting and

The Manhattan Opera-House 227

clawing in a thousand directions at once. It's
amusing for ten minutes, but not for two hours.
Is this progress?

'^ Is it progress to use the human voice as
Strauss doest Madame Schumann-Heink, who
is noted for her robust voice, found the strain
of singing Clytemnestra, in Dresden, so great
that she resigned after the first performance.
She has related how, when conductor Schuch,
out of regard for the singers, moderated the
orchestral din, Strauss declared, ^ But I don't
care a hang about the voice ; I want the orches-
tra fortissimo I ' At the Manhattan, Mr. De la
Fuente probably used too weak a dynamic scale,
for the voices were usually audible, and once
in a while one could actually understand the
words."

Mr. Krehbiel in The Tribune writes : * * The
noise of the explosion of ^ Elektra ' is pver.
How long will the reverberations lastt Until
public curiosity is satisfied. Not a moment
later. That has been the story of Richard
Strauss 's operas from the beginning. Each is
looked forward to with the expectation that it
will provide a sensation, a new thrill. The
sensation having been felt, the thrill experi-
enced, there is an end of the matter. Such art

228 The Grand Opera Skigers of To-day

works are not like jealousy, ' which doth make
the meat it feeds on. ' Interest bums itself out
speedily because it finds no healthy nourishment
in them; nothing to warm the emotions, exalt
the mind, permanently to charm the senses^
awaken the desire for frequent companionship
or foster a taste like that created by contempla-
tion of the true, the beautiful and the good. ' '

** Salome " repelled many people on account
of its disgusting details. '^ Elektra " gave
the audience cause for reflection. The opera
was briefly described thus : ** It is a story of an
unceasing cry for revenge on the part of Elek-
tra. Her father Agamemnon has been slain by
her mother, Klytemnestra, and the latter 's
paramour, ^gisth/us. The brother, Orestes,
has been banished* Between waiting for
Orestes, loathing her mother, and despising
JEgisthus, endeavoring to lash the soul of the
sister, Chrystothemis, into a revengeful fury,
Elektra turns into a mad creature. She slinks
about the stage in rags, her eyes wild and her
soul aflame with rage. She digs in the court-
yard of the castle to find the axe which slew
her father, — digs like a dog seeking a buried
bone. The news is brought to her that her
brother, Orestes, is dead. She decides to do the

The Kanhattan Opera-Hoiue 220

deed herself. Orestes arrives disguised, and
the murder is accomplished.

" The score simply drips cacophony. It re-
quires an orchestra of one hundred and fifteen
instruments, and pays no regard at all to the
human voice, on which the demands are super-
human.''

Grand opera is dassed under the head of
^' amusements."

Marietta Mazarin is a thoroughly French
singing actress. She intended at first to be an
actress and was trained for that purpose by
Lelois at the Paris Conservatoire. But M. Las-
san discovered that she had a voice, and she
changed her mind about her career and studied
singing under Lassan until she made her debut,
which took place at the Paris Opera-House in
'' Aida." After this she. had engagements in
several cities of Europe before she was brought
to the Metropolitan Opera-House. Here Ma-
dame Mazarin made a sensational appearance
as Elektra, on its production in New York,
January 29, 1910. Although she had witnessed
a performance of the part by Madame Krull at
Cologne, she did not begin to study it herself
until New Year's day, less than a month before
the first performance.

230 The Grand Opera Singers of To-day

Madame Mazarin was described as beautiful,
young, witty, piquant, magnetic, intellectual,
sentimental, tactful, and everything charming.
A little romance was connected with her visit
to America inasmuch as her devoted admirer,
Pierre Louzy, a poor student from Paris, fol-
lowed her to this country and prevailed on her
to marry him. The wedding took place on De-
cember 7, 1909, and was done secretly, as the
happy couple feared that it might be displeas-
ing to the impresario. It was not at all dis-
pleasing to the newspaper reporters. Some-
thing of the romance was dimmed by the fact
that Louzy is the second husband.

Although she was one of the singers engaged
by Mr. Hammerstein at the opening of the Man-
hattan Opera-House, Madame Mazarin did not
come into prominent notice until after her
startling impersonation of Elektra.

Of Madame Mazarin 's interpretation of the
part of Elektra, at the production of Strauss 's
opera of that name in New York, Mr. Finck
says: " The chief honors went to Mariette Ma-
zarin, whose Elektra will be remembered as one
of the most powerful and repulsively fascina-
ting impersonations ever witnessed on the
operatic stage. She could hardly have achieved

The Manhattan Opera-House 23t

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such a result had she not been an actress before
she went on the operatic stage. In sordid at-
tire, fanatical facial expression and mad ges-
ture, she was the exact embodiment of the text
and the mnsic, striking terror into the heart at
the gruesome climaxes, especially the digging
for the axe, and the moments when the king
and queen are being murdered. When both
were dead, wonderful was the change in her face
— a look of triumph which was reflected in the
music, and makes its closing pages an atone-
ment for all that had gone before. She actu-
ally sang the music allotted to her throughout
the opera, though it makes cruel demands upon
the voice. The mad whirl of the dance of death
exhausted her so completely that when she ap-
peared with the other singers before the cur-
tain, in response to tumultuous applause, she
fainted away. Is it progress to assign to
singers such inhuman tasks t "

During this season Hanmierstein brought
forward a large number of singers new to
America, as grand opera singers.

Marguerite Sylva was born in Brussels where
her father. Christian Smith, was a physician.
She was musically educated at the Brussels
Conservatory, and made her debut at Drury

282 The Onnd Op«ra Singen of To*day

Lane, in London, when very young. Not know-
ing English she memorized the words of the
opera and sang with apparently a thorough un-
derstanding of their meaning. Miss Sylva first
came to America with Beerbohm Tree's dra-
matic company in 1895, and afterwards went
into light opera at the Herald Square Theatre
in New York. In September, 1898, she ap-
peared as Suzette in ** The French Maid,'* and
was then leading woman in '^ The Princess
Chic'' In 1899 she was in '^ The Fortune
Teller " company when there were associated
with her Alice Neilsen and one or two other
singers who have become well known.

On September 14, 1906, after studying in
Paris with Madame Delattre, Marguerite Sylva
made her Parisian debut at the Opera Comique,
as Carmen.

In 1909 she became a member of Hammer-
stein's company, in which her impersonation
of Carmen was spoken of as being, * * as far as
composition of the part is concerned, the most
interesting, the most distinguished, the most
vivid that has been seen since Calve first visited
this country. Sensual, but never vulgar, never
common, and sung with beauty of tone, etc."

Madame Sylva is known in private life as

The Manhattan Opera-Honse 233

Mrs. William D. Mann, her husband was form-
erly manager of the Herald Square theatre in
New York.

Soon after Marguerite Sylva appeared at the
Manhattan Opera-House in 1909 she was inter-
viewed by the ubiquitous newspaper man and
gave some very valuable advice to prospective
opera singers in regard to Paris, from which
city she advised them to keep away. Incident-
ally she told a pathetic story of her own early
struggles in New York, which does not abso-
lutely fit in with the foregoing biographical ac-
count as to her first coming to America, yet the
difference is slight, — she is more likely to have
got her theatrical engagement in a minor part
while in New York, than to have been engaged
abroad and come with the company. Managers
do not generally pay for ocean voyages of the
minor characters, however much they may like
the impression to go about that they are doing
it. A certain amount of magnificence always
impresses the public.

Miss Sylva said that when she was eighteen
she ran away from her home in Brussels be-
cause her mother would not let her wear a silk
dress on a rainy day. She thought her mother
was a tyrant, although she had ample oppor-

234 The Grand Opera Singers of To-day

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tnnity later to change her mind. With fifteen
dollars in her pocket she arrived in New York,
and immediately began to seek employment at
the theatres. The managers laughed at her and
said, ** Why, my dear girl, you can't speak
English. How can you expect to play? *'

It was not very long before her fifteen dollars
had shrunk to ten cents, and yet no employ-
ment. She was very hungry, having eaten noth-
ing for two days, when she went into a cheap
restaurant. Not knowing what to get for her
money she watched the people, and when the
waiter came she ordered a share of the biggest
thing that she had seen carried past, and was
much relieved when she found that it cost only
ten cents. She ate ravenously, finishing every
bit. When she went to her room she was very
sick, the people in the house were frightened
and sent for a doctor. He tried to find out
what she had eaten, and eventually was able to
explain to her that the rind of watermelons is
indigestible.

In a week she was well enough to resume her
hunt for employment, and she found that she
could have sung in choruses, but she would not
do this. She tried to learn a little English, es-
pecially the names of things to eat. Then came

The Manhattan Opera-House 235

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her opportunity. She was engaged to play the
part of a French maid, with a theatrical com-
pany. In a short time she was receiving good
compensation, and was ahle to send money home
to her mother, who had prophesied that she
wonld soon be writing home for funds.

Later on Miss Sylva went to Paris, and on
account of what she saw there she issued her
warning to young American singers, which, by
the way, called forth a quantity of indignation
from the managers of the principal theatres in
Paris, who vehemently asserted their respecta-
bility and their paterfamUiarity, if we may coin
a word for the occasion.

Salla Miranda, a young Australian, from
Melbourne, who went to Paris for study, was
engaged by Hammerstein in 1909 for his pre-
liminary season of opera at popular prices.
She did so well that she was engaged for the
regular season. She was young and gifted,
with a voice high and flute-Uke, and sympathetic
in the middle and lower registers. Miss Mi-^
randa had made her debut in Paris during the
previous year, as GUda in '^ Bigoletto," and
had made a hit in ' ^ Les Huguenots. ' ' She had
also sung at the Luxembourg in Holland and at
Covent Garden.

236 The Grand Opera Singers of To-day

Emma Trentim is a native of Mantua, and
her father was a soldier. After his death she
was sent to a convent where she remained for
six years. One of the nnns, noticing the qual-
ity of her voice, decided that it was worth train-
ing. She was taught solfeggio at a school in
her native city and then her mother was ad^
vised to take her to Milan, to the Conservatoire.
In this enterprise a prosperous neighbor gave
a little help, and she went through her course
satisfactorily. After graduation it was still
difficult to find an engagement, but at last an
opening was offered at a small town called
Ivrea, where she made her debut in ^' La Tra-
viata." She was then seventeen, and did not
understand acting, but as she knew how to sing
she made a success. Engagements followed in
Turin, Pfdermo, Rome, Naples, and Milan, and
it was in Turin that Oscar Hammerstein heard
her and thought that she would be an acquisi-
tion for the Manhattan Company. He engaged
her for five years. She was always popular
with New York audiences, and like many Ital-
ians, she was superstitious, so she invariably
asked the manager for a quarter of a dollar
** for luck *' before going on the stage.

Trentini distinguished herself chiefly

CARMEN MELIS

The Kanhattan Opera>House 237

by her characterization of Yniold in '^ Pelleas
et Melisande," which has been called ingenious
and picturesque.

When Carmen Melis made her debut in New
York on November 26, 1909, as Tosca the Olohe
said: ^^ Madame Melis is seemingly a singing
actress in the best sense of the word. Unlike
most of the singers at the Manhattan Opera-
House she has come here almost unheralded.
Only the more notable therefore is her success,
because won simply and solely on personal
merit, and in no wise discounted by the flourish
of anticipatory tnunpets.

'^ Madame Melis is young. The charm of
youth is in her face, her figure, voice and bear-
ing. There is no suggestion of immaturity.
She is a woman. Character informs the clearly
chiselled features and the head, crowned with
abundance of jet black hair, is finely poised.
The warmth of temperament that imbued her
acting yesterday, was controlled by judgment
and no little art. And Madame Melis is effectiye
in song as well as in action. The voice itself is
delightfully fresh. If at times the singer was
somewhat reckless in her use of it, at others
she sang with skill and taste as well as genuine
feeling. ' '

238 The Grand Opera Singers of To-day

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Carmen Melis was born in Cagliari, on the
Isle of Sardinia. She studied with Madame
Teresina-Singer of Florence, and later in Paris
with Jean de Beszke. Her operatic debut was
made at the San Carlo Theatre, Naples, in 1906,
in Mascagni's ** Iris/' She created the part of
Thais in Massenet's opera of that name, at the
Costanzi Theatre in Bome, and met with such
success that Massenet wrote her a personal let-
ter expressing his warmest thanks for her in-
terpretation of his heroine.

She appeared at Milan, Venice, Palermo,
Cairo, Odessa and Warsaw, always winning
laurels. After her engagement at the Manhat-
tan Opera-House she came to the Boston Opera-
House in its second season and was chosen to
create the part of Minnie in * * The Girl ' ' in the
Boston production. She has filled many parts
and has been a leading attraction.

In 1909 a new tenor was announced, who was
to make Caruso and Bonci look to their laurels.
Tliis was John McCormack, a yoimg Irishman
(bom in Athlone, 1884), who made his debut at
the Manhattan Opera-House on November 10
as Manrico in ** La Traviata," with Tetra2s-
sdni.

McCormack was educated at the Summer

The Manhattan Opera-House 239

Hill College, County Sligo. He entered into a
singing competition in Dublin in 1903 and rend-
ered his selections with such thrilling effect
that he captured the prize. Spurred on by this
success he went to Milan and studied seriously
for two years. His voice is a lyric tenor, soft,
true and sweet, and while he had not absolute
control he sang with wonderful grasp an<l with
excellent phrasing. It was acknowledged that
not in many years had a voice been heard so
pleasing and acceptable, so free from rough
usage and so accurate even when forced.

Mr. McCormack has lately been and still is
a member of the Chicago-Philadelphia Opera
Company, and has distinguished himself in
many roles.

Nicolo Zerola, who has been recently singing
with the Chicago Opera Company, first ap-
peared in this country with the ** Italian *'
Opera Company at the Academy of Music. He
suddenly gave up his engagement with this
company, causing something of a stir, and went
to Hammerstein. The *' Italian '* company
apologized for Zerola 's absence, which was, of
course, on account of illness, and a few days
later the *' Italian '* company ceased to exist.
Meanwhile Oscar Hammerstein declared that

240 The Grand Opera Singers of To-day

Zerola was under contract to him, and when
he found him singing in another company he
was indignant and took immediate steps to stop
him.

Some excitement was caused by the engage-
ment at the Manhattan Opera-House of a tenor
singer whose name was Carasa, and who was
therefore expected (apparently) to become a
rival of Caruso. He appeared at the Manhat-
tan Opera-House in September, 1909, in the
preliminary season, and appeared to be a tenor
of good promise, — young, good physique, and
possessing a manly voice.

Gustav Huberdeau has been in America sev-
eral seasons and has built up a reputation as a
satisfactory and reliable singer. He is noted
for his ** devil '' parts, for he sings Mephisto-
feles in ** Faust,*' the Devil in ** Griselidis,'*
Mephisto in ** The Damnation of Faust *'
(Berlioz), and Satan in Cesar Franck's ora-
torio ** The Beatitudes,'' in addition to which
he has ready for performance, Mefisto in
Boito's opera *' Mefistofele."

M. Huberdeau was bom and educated in
Paris, a member of a military family. He sang
as a boy in a church choir, and having good
musical talent and no taste for a military life,

i man PRIEST IN "SAMSON ET DALILA "

The Manhattan Opera-House 241

he entered the Paris Conservatoire and de-
voted f onr years to hard stndy. Having served
his year in the army he graduated from the
Conservatoire and made his debut at the Opera
Comique in ^^ II Barbiere." Although he has
sung in many opera-houses in France he re-
mained for several years a member of the Opera
Comique.

In New York he created the r81e of Orestes
in '' Elektra/'

Orville Harold is a native of Indiana, where
he wa« bom on a farm, his mother was French,
father English. He spent some of his early
years in Kansas, but returned eastward and
went to Indianapolis. He began to meet with
success in his musical efforts, and having, an
excellent memory and being a quick stud j^, he
became a very useful singer. He accompanied
Tetrazzini on a concert tour and thus aroused
her interest. When Hammerstein engaged him
he was filling engagements in the variety
theatres.

When Hammerstein first h,eard Orville
Harold he decided to send him abroad to study
with de Beszke, but found that he could get
sufficient instruction in New York.

Henri Scott, the American basso, was one of

242 The Grand Opwa Singers of To-day

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the operatic ^^ finds " of Oscar Hammerstein
who engaged him for the season of 1909-1910
at the Manhattan Opera-House, just as the
young singer was completing his plans for go-
ing ahroad. He made his debut in the rdle of
Ramfis in ^^ Aida/' and the striking resem-
blance between the quality of his voice and
style of singing to that of the famous French
basso, Pol Plan<2on, was at once noted.

Mr. Scott is a native of Philadelphia, Pa,,
and enjoys the distinction of being undoubtedly
the first entirely American-trained singer to
achieve success in one of the principal com-
panies in the United States, as well as in a
European city; for he not only obtained his
vocal training at home but learned all his roles
and stage deportment, besides mastering three
foreign languages, here in America.

At the close of the last season at the Man-
hattan Opera-House Mr. Scott went abroad for
the first time and soon found his way into It^ly,
where he secured an engagement to sing in
Bome. During the season of 1910-1911 he sang
at the Teatro Adriano, making his debut as
Mephistopheles in " Fausf His success in
Bome resulted in his engagement by Director
Dippel of the Chicago Grand Opera Company.

The Manhattan Opera^Honae 243

Prior to his advent into opera, Mr. Scott
achieved quite a reputation as a concert and
oratorio singer, and in 1908 supported Oaruso
in the celebrated tenor's first and only concert
tour in America.

Until a few years ago Mr. Scott was also a
famous athlete, having been a champion oars-
man for several seasons.

One of the foremost baritones now appear-
ing on the operatic stage in America is Giovanni
Polese, who is a member of the Boston Opera
Company. Bom in Italy, he early showed signs
of possessing a voice of great quality and
marked dramatic ability. For besides being a
great singer his acting is well above the average
seen on the operatic stage.

Signer Polese received his musical education
in Italy, and made his debut in Milan, and his
name is familiar to all opera goers in the prin-
cipal cities of Europe.

Oscar Hammerstein engaged him for his
Manhattan Opera Company, where he made
his first American appearance.

Signer Polese joined the Boston Opera Com-
pany in 1911, and has been of great value to
the organization ever since.

'^ Mr. Polese 's Sheriff is an interesting fig-

244 The Grand Opera Singers of To-day

nre; not so quietly sinister in action and re-
pose as was another sheriff we have seen ; not
80 melodramatic ; hut it is not too extravagant,
and in the second act there is a fine hrutality
when he would hold Minnie in his arms. ' '

In January, 1910, it hecame an open secret
that the rivalry between the Metropolitan and
the Manhattan Opera-Houses was producing
results which were financially disastrous to
both. A deficit of a million was expected at
the Metropolitan Opera-House, while the astute
Oscar Hammerstein owned up to a loss of a
quarter of a million. There were nmiors of
strained relations between Mr. Dippel and the
directors of the Metropolitan, but to this we
have referred elsewhere. Efforts were made
to unite the interests of the two houses, and
eventually an agreement was reached by which
Oscar Hammerstein quitted the operatic field
in America, and promised to keep out of it, or
out of certain cities for a period of several
years. The Philadelphia-Chicago Company was
formed and Andreas Dippel became manager.
This company took over the scenery of the
Philadelphia house and many of Mr. Hammer-
stein's singers. Other fragments of the wreck
went to the Metropolitan Opera-House, and the

The Manhattan Opera-Hoiue 245

fierce competition was at an end. In its place
was established a sort of operatic trust by
which New York, Boston, Philadelphia and Chi-
cago were to have companies of their own, but
were to be affiliated through the exchange of
leading singers.

The Metropolitan Opera-Honse gained
strength in the French department of its com-
pany by taking over Benand, Dalmores, Sam-
marco, and Gilibert. Madame Tetrazzini also
went to the Metropolitan.

One of the best reviews of the competition
was written by Mr. H. T. Parker, in the Boston
Transcript, as follows :

** Through his first season as an operatic
manager, even when public favor had begun to
crown his work, Mr. Hammerstein was fearful
of the Metropolitan. During his second, when
Miss Garden and Madame Tetrazzini had
joined his forces, and * Louise ' and * Pelleas '
stood in his repertoire, he was contemptuous
of it During the third, when the Metro-
politan was struggling through the change
from the regime of Mr. Oonried to the present
ordering of its affairs, he was loftily patroni-
zing. Last spring (1909) when the Metropoli-
tan had promised ' the full strength of its oom-

246 The Grand Opera Singers of To day

pany ' to mistmstful Chicago, and Mr. Caruso
was the victim of half nervous and half vocal
ills, it was in sore straits for a tenor. Out-
wardly, for three years, the temper of the Met-
ropolitan towards Mr. Hammerstein had been
lofty contempt. Who was this parvenu man-
ager pushing into our field f Last April it had
to swallow its pride, put aside the pretence of
disdain, and entreat from Mr. Hammerstein
the loan of the tenor, 2Senatello.

** The director of the Manhattan acceded to
the request, veiling his Olympian satisfaction
under words of brotherly solicitude for the
plight of ^ the other house.' Being an astute
man of business, he also exacted — or believed
he had exacted — his price; the opportunity
when he chose, to take his company to Chicago
unhampered by his rival. Accordingly he made
his preparations to send his company to Chi-
cago in the course of the current season. One
theatre only, in Chicago, is suitable for opera
on a large scale, the Auditorium, and when Mr.
Hammerstein sought it, contracts between its
management and the management of the Metro-
politan denied him access to it at any time
available for him. Mr. Hammerstein, as his
way is, chose not to recollect that he had ex-

The Manhattan Opera-Honse 247

duded the Metropolitan Company from the
Boston Theatre in similar fashion last year.
As for Chicago, he had been spitted on his
weapon; he had been tricked by the Metro-
politan, or he believed that he had been tricked.
He was, and still is, angrily vindictive. He
resolved to fight the Metropolitan at every tnm/
and so far as he can lay his plans in advance,
he has laid them. ' '

Mr. Parker continues : ^ ' The gods proverbi-
ally love a good fighter. Mr. Hammerstein is
a good fighter; he loves fighting for its own
sake; and the gods have been kind to him ac-
cordingly. In expansive and intimate moments,
especially at the end of a season, he has some-
times confessed (as gossip runs in New York)
that he has been surprised at his own good
fortunes. He has his own courage, his own
faculty of constructive imagination, his own
tireless diligence to thank for many of them,
but thq operatic fates have been kind. They
gave him Mr. Benaud, because ill-informed and
provincial Heinrich Conried had never hap-
pened to hear of one of the illustrious singing
actors of our time. They gave him ^ Louise '
and * Pelleas, ' ' Thais ' and * Les Contes
d 'Hoffmann ' which, for long, the Metropolitan

248 The Grand Opera Singers of To-day

might have had for the asking. They opened to
him the neglected mine of Massenet's operas —
the Manhattan began last month with his thirty-
year-old ' Herodiade ' for * the first time in
America.' When Europe yielded him no no-
table and promising new opera, a year ago,
there was * Salome,' which the Metropolitan
had whipped from its doors in a truly Ameri-
can spasm of intriguing prudery, awaiting suc-
cessful revival. Strauss 's ^ Electra,' the most
considerable new venture of the current winter
at the Manhattan, has had only a short vogue
of curiosity in Germany. Here in America, the
chances are that Mr. Hammerstein will some-
how kindle interest in it."

Mr. Hammerstein so pushed the Metropol-
itan Company that he caused them to perform
the greatest task ever undertaken by an opera
company in American, one hundred and twenty
subscription performances at the Metropolitan
Opera-House during a season of five months'
duration, forty more at the New Theatre, and
one or two a week in Brooklyn, Philadelphia
and Baltimore; eleven performances in Bos-
ton, and three or four weeks in Chicago. In
fact, the Metropolitan directors were forced to
maintain practically a double company, of

The Manhattian Opera-Hoiuw 2^

which one portion or another was almost in-
cessantly on the road. This made a great drain
upon the strength and endurance of the com-
pany, but it resulted in what was called a tidal
wave of music. *' From New York to San
FrandscOy'' said an enthusiastic writer, ** from
Atianta to Los Angeles, from Boston to Seattle,
from New Orleans to Minneapolis — you may
follow any degree of latitude or longitude and
come across cities and towns of all sizes in
which music flourishes as never before. ' ' How-
ever much the finances of the two houses suf-
fered the musical community throughout the
land was very much benefited. Prophecies
were made that within a few years there would
exist a chain of opera-houses throughout the
land, similar to those which all the European
countries possess.

Mr. Lawrence Oilman writing in Harper's
Weekly on the ^^ Passing of the Manhattan
Opera-House, " pays tribute to the courage,
ability and genius of Hammerstein in the fol-
lowing passages :

" Withm the space of three years Mr. Ham-
merstein produced at the Manhattan Opera-
House more new works than were given at the
Metropolitan Opera-House during a period

250 The Grand Opera Singers of To-day

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comprising the last two seasons of the Abbey,
Sohoeffely and Gran regime, the entire five sea-
sons during which Manrice Gran ruled alone,
and the first three seasons under the consul-
ship of Conried : a period covering ten seasons,
and extending from 1896 to 1906 — the year, it
will be observed, of the opening of the Man-
hattan Opera-House and the salutary but per-
turbing irruption of its proprietor and manager
into the torpid operatic life of the metropolis.

** This, then, was the second of Mr. Hammer-
stein's triumphs. He found our operatic civil-
ization in New York — which, then, was the
same as saying in America — stagnant and
decadent, suffering from inanition, from lack of
energy, fresh impulse, and adventurous pur-
pose. He has left it with a taste for and a sin-
cere curiosity concerning new works, an inclina-
tion toward new conceptions in musical art, a
wholesome and thoroughgoing distaste for rou-
tine and hackneyed repertoires : with, in short,
a larger outlook, a quicker responsiveness, a
more plastic and eager spirit.

^' Mr. Hanmierstein, the impresario who was
a personage, will not readily be forgotten. He
had a genius for unwisdom, a propensity for
doing egregious, inexplicable, and wantonly

The Manhattan Opera-Home 251

foolish things, which was often vexatious to his
well-wishers; yet he had a more than com-
pensating genius for accomplishment. His in-
tuition was extraordinary, his insight had at
times the quality of inspired clairvoyance ; his
store of native shrewdness was large and fre-
quently available; and his resiliency of spirit,
his intrepid audacity, his resourcefulness, his
buoyant and adventurous energy, have become
proverbial. But the memory and the praise of
his deeds will persist after the man himself has
become a legend — a legend amusing, romantic,
incredible. ' '

Miss Garden, in speaking about the improved
standard of opera in America and especially in
regard to French opera, said :

** And the man who has brought this about
over here is Oscar Hammerstein. He was al-
ways the man who knew what the moment de-
manded. It is ridiculous to say that a city
where there are about sixty theatres could not
support two opera-houses. If Oscar hadn 't had
a moment of disheartenment, if there had only
been somebody to buck him up, he wouldn 't have
given up the fight here. Campanini said to me
that if he had remained with Hammerstein he
would never have let him shut the Manhattan

262 The Orand Opera Singers of To-day

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Opera-House up. They cannot do at the Met-
ropolitan what our company did. To do mod-
em French they need a modem French com-
pany^ and it is a great pity they don't have one,
as the opera going public wants French opera
nowadays. ' '

A story characteristic of Hanmierstein is
that of the planning and building of the Phila-
delphia Opera-House. After he had decided
on the venture he soon secured a sight at North
Broadway and Poplar St., and stated that he
would have his theatre built in six months, and
that it would be the finest opera-house in the
world. His plans were drawn up and approved
in a week, and the architects and builders fur-
nished with rough drafts. The plans were put
through the building department at the City
Hall in forty-eight hours and by April 3 all
contracts were signed. Hammerstein then
started for Europe in search of talent, leaving
the supervision of the work in competent
hands. There is an amusing story concerning
a strike of plasterers, which must have taken
place, of course, after his return from Europe.
After scouring other cities for men and finding
that the unions had forestalled him, and that all
the rsmx whom he engaged were met at the

The Manhattan Opera-HooM 253

station and turned back to their homes, their
fares being paid by the union, a happy thought
struck him. He hired sixty or more men who
were out of work, sent them out of Philadel-
phia with instructions to get on the trains near
that city and come in as strike-breakers. They,
too, were met by the xmion pickets, stopped, and
received five or ten dollars each to return to
their supposed homes. Finding that his plan
worked successfully, he kept it up until the union
had paid out some $25,000 in this way. But he
had to keep on hiring new men to avoid the
recognition of ** repeaters." This story might
be more plausible if Mr. Hammerstein were his
own building contractor.

His Philadelphia Opera-House had a seating
capacity of forty-five hundred. There was but
one balcony and one row of boxes twenty- eight
in all, and the balcony had a seating capacity of
twenty-five hundred.

Hammerstein was fond of injunctions. On
one occasion a tenor named Albani was engaged
to sing with the San Carlo Company in Bos-
ton. He was under contract to Hammerstein,
or, at any rate, Hammerstein claimed a con-
tract with him. The performance took place
with Hanmierstein's constable standing behind

254 The Ctrand Opera Singers of To-day

Albani on the stage, much to the amusement
of the andienoe. Constantineau was onoe
threatened in a similar way and had to resort
to a ruse to escape service of a writ. Mar-
guerite Sylva was also enjoined from appear-
ing with the Boston Opera Company on the
gronnd of a contract existing with Hammer-
stein. She declared, however, that Hammer-
stein had broken the contract by assigning to
her a part inferior to that for which she had
been cast in '* Griselidis.**

It frequently happens that a contract with a
singer is a very complicated affair and covers
much more than the amount of money to be
received and the number of performances. For
instance, it is related that Caruso, in 1911,
signed a contract with the Imperial Opera-
House at Vienna in which certain rules of the
house were waived for the distinguished tenor.
Although smoking is strictly prohibited Caruso
was to be allowed to smoke until the curtain
rose. A fireman was specially detailed to stand
behind him to throw the ends of his cigarettes
into a basin of water. Again, no one is allowed
on the stage behind the scene who has no di-
rect business there, — Caruso had permission
to be attended by his doctor, prompter, sec-

The Manhattan Opera-HouM 255

^■^^■BBB^IBBHBHBaBBBB^BSI^BaB

retary, and conductor^ who were allowed to
escort him to his dressing room and back
again.

During the past decade lawsuits have been
found excellent sport, and perhaps good ad-
vertising by opera singers as well as by man-
agers. The ill-fated Mascagni tour was the
cause of a large array of suits and counter-
suits, of which one heard little beyond their
institution.

An amusing story is told of the escape of
Dalmores from America and how he avoided
service of a suit for $25,000 brought against
him by the Metropolitan Company. Dalmores
donned the uniform of the comet player of the
ship's band, and went on board unsuspected by
the minions of the law.

Madame Tetrazzini made a sensational es-
cape from a small army of process servers who
wanted to hand her papers in a suit for $39,000
brought against her by an impresario, who said
she had broken a contract made with him in.
1904. The lawyers of the impresario had sue*
ceeded in finding out that Madame Tetrazzini
was booked to sail by the Mauritania, so
they placed a careful watch at the gangway.
The prima donna was equal to the occasion.

256 Tht Orand Opera Singers of To-day

She rigged up her maid to represent herself
and sent her in an automobile to the ship, where
papers were duly served on her, but Tetraz-
zini, going to the dock dressed as a maid and
in an ordinary hack, ascended the steerage
gangway unobserved, and the steamer was off
before the mistake could be rectified.

So far as the purposes of this book are con-
cerned we have now finished with Oscar Ham-
merstein, but it must not be supposed for a
moment that the end of Oscar Hammerstein
came with the dosing of the Manhattan Opera-
House. Not at all. He has built and opened an
opera-house in London and has stirred up the
management of Covent Garden as he did that
of the Metropolitan Opera-House. He has pur-
sued similar tactics in England to those which
he pursued in America. When the wealthy
people did not sufficiently patronize his house
he reduced the fees and gave '^ opera for the
people. ' ' Yet King George attended the open-
ing of the theatre and congratulated Hammer-
stein on his achievement and wished him pros-
perity.

He has already startled the old world with
one of his discoveries, — a young American
girl from Allentown, Pa., Felice Lyne. Without

The Manhattan Opera-HouM 267

.preliminary advertising he put her on to sing
OUda in '' Bigoletto '' with Maurice Benaud
and Orville Harold. The house was not f ull,
and nothing extraordinary was expected, but
as soon as Miss Lyne began to sing people
stirred in their seats with amazement.

Miss Felice Lyne is a native of Kansas City,
where her father and grandfather were osteo-
pathic physicians. When she was a small child
her father moved to Allentown, Pa., where she
attended the schools and college. She also took
singing lessons of Frank S. Hardman, who
urged that she be sent abroad to study. Ac-
cordingly, in 1908, Mrs. Lyne took her daughter
to Paris where she studied under de Beszk^
Madame Marchesi and d'Aubigne.

In July, 1910, she met Oscar Hammerstein,
who sent for her to come with her mother and
see him. She took no notice of the request, as
she had heard that Hammerstein was out of
grand opera for good, and she would consider
nothing else. No one had then heard of his
London plans, but it was rumored that he was
going to manage light opera. Hence Miss Lyne
refused to see him or to take up any proposi-
tion. She was considering an offer from Hans
Gregor of Berlin, and there were tentative

268 The Grand Opera Singera of To>day

propositions from Covent Garden, but she
wanted to sing in America.

Oscar Hammerstein had no intention of let-
ting her slip. He was convinced that she was
well worth while, so he sent her an offer of a
five year contract with a large salary. This
offer was refused. Then he almost doubled
the offer and again he met with a refusal.
Then he told her of his London plans and she
signed the contract.

When she stepped upon the stage at the new
opera-house, she was absolutely unknown.
She had not been singing ten minutes when
the audience realized that they were listening
to an unusual singer, and she met with a tre-
mendous reception. The news of her success
was soon spread abroad and in a few days she
became famous, but success was apparentiy too
much for her, and before the end of the season
she had a dispute with the impresario in which
she is said to have inflicted punishment upon
his devoted head with the score of an opera, the
cause being that she felt her contract to be un-
fair. She had the prima doima spirit without
the experience which lends some justification.

Miss Lyne is very small and has charming
stage presence and personality, also a wonder-

The Manhattan Opera-House 259

fnl voice, which fnlfils dramatic demands with
spontaneity and grace. Experience will bring
dramatic force and mastery, and perhaps teach
her to be kind to the poor impresario, who has
many troubles.

CHAPTEB IV

THE lOBTBOPOLITAN OPBRA - H0TJ8B XJNDSB QATTI -

GASAZZA AND DIPFEL

OwiNQ to the failing health of Heinrich Con-
ned during the season of 1907-1908 it was evi-
dent that his resignation of the directorship of
the Metropolitan Opera-House could not be
long delayed. When Conned resigned, the
board of directors appointed, as temporary
administrator, Andreas Dippel, the tenor, who
had long been connected with the house. At the
end of the season Dippel was given authority
to go abroad and engage soloists and chorus
for the following season.

In the meantime the board of directors were
looking about, and eventually succeeded in en-
gaging Signer Qatti-Casazza, manager of the
opera-house of La Scala, at Milan. Signor
Casazza stipulated, as part of his agreement,
that he should bring with him his conductor,
Arturo Toscanini, who had been associated with
him for some years at La Scala.

260

The Metropolitan Opera-Home 261

The Metropolitan Opera-Honse was sup-
posed, by the public, to be under the dual con-
trol of Casazza and Dippel, and it was appar-
ently so understood by Dippel. Mr. Casazza,
on the contrary, understood that Dippel was
his assistant, as his own contract stated that he
would have supreme control, at least for one
year, with the privilege of renewing the con-
tract for two or more years. These matters
are mentioned at" this point as they will help
to account for incidents to be related hereafter.

Signor Gatti-Casazza is a native of Ferrara,
where his father was president of the municipal
theatre. Although educated with the idea of
becoming a civil engineer, young Casazza was
so closely associated with the theatre that he
naturally took a great deal of interest in oper-
atic matters, and when his father moved to
Borne, he, at the age of twenty-four, was of-
fered the presidency of the theatre as his
father's successor.

Signor Gatti-Casazza remained at Ferrara as
president of the theatre for five years, during
which time his work was so efficient that he
brought the theatre into prominent notice
throughout Italy.

Dniing his last year at Ferrara there was a

262 The Orand Opera Singers of To-day

crisis in the affairs of the opera in Milan, and
La Scala was closed. Nothing of the kind had
happened since 1778. The city was either un-
able or unwilling to furnish the customary sub-
sidy. A stock company was formed, and Gatti-
Casazza was elected director of the opera-
house. After ten years of successful manage-
ment at La Scala, he was invited to the Metro-
politan Opera-House in New York, and took up
his duties at the beginning of the season of
1908-1909.

Andreas Dippel first came to this country in
1890 when he was a member of the German
opera company, whose performances under the
baton of Anton Seidl made an epoch in operatic
performance in this coxmtry. Like many other
singers, Dippel was intended for a commercial
career, and previous to the discovery of his
vocal gifts had some years' experience in busi-
ness life. After his appearance in America in
1890, he returned to Germany, and in 1893 was
appointed one of the principal tenors of the
Boyal Court Opera at Vienna. He came back
again to the Metropolitan Company in 1898
with a greatly enhanced reputation, and made
a success of the part of Siegfried^ notwith-
standing the fact that Alvary was still fresh in

The Metropolitan Opera-Hoiue 263

the memory of opera lovers in America* Sinoe
that time Dippel had remained with the Met-
ropolitan Company, where he was a most use-
ful member, being able to sing in Italian,
French and German, and having a large reper-
toire. Dippel was therefore an excellent man
in the emergency of Conried's retirement.

Rivalry between the Metropolitan and the
Manhattan Opera-Houses was now at full blast.
It extended beyond singers, to the production
of new works, the chorus, the scenery, and the
whole field of operatic management.

We are permitted to quoie the following arti-
cle from the Nation which gives a good view of
the situation at this time :

^' Operatic managers and their press agents
have a habit of magniloquently proclaiming
each new season as the most brilliant ever
planned. For once this assertion may be ac-
cepted as an approximation to the truth. The
constellation of operatic stars to be seen and
heard during the next twenty weeks at our
Metropolitan and Manhattan Opera-Houses is
dazzling. Germany laments the loss of her best
singers, and so does France; while we have
so many of these great vocalists that some of
tham will get what has been wittily called

204 The Orand Opera Singers of To-day

' hnsh money,' since it will be impossible, es-
pecially at the Metropolitan, to give the guar-
anteed nmnber of appearances, which neverthe-
less must be paid for.

** Notwithstanding this array of talent, the
singers are by no means to have everything
their own way. Heretofore it has been gener-
ally the policy to trust to the fact that, in the
opinion of the large paying public, ^ the singer 's
the thing,' and the opera of secondary impor-
tance. But of the present season the popular
singers are not to be the only feature; we are
to have a number of new and interesting operas.
For this reform Oscar Hammerstein is respon-
sible. His surprisingly successful experiment
of producing operas by Charpentier, Debussy,
and Massenet that had been previously
shunned, refuted the inveterate belief that the
public does not want operatic novelties.
Pleased with his success in venturing where
Mapleson, Gran, and Conried had feared to
tread, he is about to make his local patrons
acquainted with Massenet's * Griselidis ' and
* Le Jongleur de Notre Dame,' Breton's * Do-
lores,' Jan Blockx's * La Princesse d'Auberge,'
which will be absolutely new here; and Mas-
senet's ^ Manon,' Saint-Saens 's ^ Samson et

The Metropolitan Opera-fiooM ^06

Dalila,' and Bizet's ^ Les Pecheurs de Perles,'
which to most of our opera-goers will be as
good as new. It is to be regretted that to these
he is going to add the morbid ^ Salome ' of
Bichard Strauss.

'^ It is probable that even if Mr. Hammer*
stein had not set a good example, the new man-
agers of the Metropolitan would have paid
more attention than theit predecessors to fresh
works. The joint managers have been casting
about for unfamiliar operas to enliven the stale
Metropolitan repertory, and their promises,
most of which will probably be kept, are cer-
tainly alluring to those who believe that in
music as in literature and the drama new pro-
ductions should have a hearing. Of special
interest will be D 'Albert's ' Tiefland,' the most
successful German opera since Humperdinck's
'Hansel and Gretel; ' Humperdinck's new
opera, * The Children of the King,' which is to
have its first performance here on any stage,
probably under the composer's own direction;
and Goldmark's * The Cricket on the Hearth.'
Italy will be drawn on for two works new here
— Puccini's * Le Villi' and Catalani's * La
Wally; ' while Paris will contribute its latest
success, Laparra's ' Habanera.' Bohemia is to

i66 The C^»IlA Opera aingwrs of !fo>day

be represented by Smetana's ' The Bartered
Bride/ and Bussia by Tchaikovsky's ^ The
Queen of Spades.' * The Pipe of Desire,' by
Prof. F. S. Converse of Harvard, is also prom-
ised. This will be, as the prospectus says, ' the
first work by an American composer to be
heard at the Metropolitan Opera-House.' "

One of the most important additions to the
Metropolitan Company in 1908 was Enmiy
Destinn, a woman of unusual and diversified
talent.

Emmy Destinn is a Bohemian and her fame
was made in Berlin, singing in German. When
she came to America it was said that she had
never sung Wagnerian roles and did not expect
to do so, yet Elizabeth and Elsa are two of the
roles in which she has distinguished herself in
this country.

Miss Destinn was born in Prague, and her
real name is Bittl. She sings under a sou-
briquet taken from one of her teachers, Madame
Loewe-Destinn, with whom she studied singing
when she began serious work in that line. At
first when she began to study music the violin
was chosen, and the voice was not cultivated
for some time.

When Madame Loewe-Destinn had sufficiently

Capyrisht by Miibkia Sludio. New York

EMMY DEariNN

The Metropolitan Opera-House 267

maaaHKBaBamaaaamta^aKaamBsssssxxtssBasssssammssaa

prepared her pupil, she took her to Berlin and
obtained a hearing before Von Hnelsen, the
intendant of the opera-house. Von Huelsen
engaged her at once, and she remained in Ber-
lin until she came to sing at the Metropolitan
Opera-House in New York, though she had ac-
cepted a few temporary engagements elsewhere,
as, for instance, when she sang in London in
1905 and achieved a great triumph in ' ^ Madame
Butterfly," and as Donna Anna and Aida.

In 1901 Cosima Wagner invited her to sing
Senta in the first Bayreuth production of * * Der
Fliegender Hollander.'' These performances
made her famous to the outside world. In her
dramatic success Miss Destinn has been com-
pared to Madame Oalv6, indeed, she has been
called by some Americans the greatest (German
singing actress of the day.

When Richard Strauss produced his much
talked of opera ** Salome ** Emmy Destinn
created the role of Salome in Berlin, and was
selected by Strauss to sing the part in Paris.

Miss Destinn is said to be a collector of an-
tiquities and to be the possessor of a fine col-
lection, which she keeps at her home in Prague.
She is also fond of cats, and has three in her
retinue. She is also a writer of poems, play9,

268 The Gtrand Opera Singers of To-day

BBOHB

etc. Miss Destinn may also be considered an
optimist, for she does not think that the drama
is on the dedine, nor that the opera singers of
old were very mnch superior to those of the
present day. In an interview in 1912, she ex-
pressed some views similar to those of Miss
Morena. '^ One is given so little chance to sing
a wide variety of roles at the Metropolitan.
My repertoire indndes something like eighty
operas, and see what I have been doing all
the winter! Only Aida, Tosca, Nedda, San-
tuzea, Elizabeth, Elsa, Eva, Marie, Oioconda,
and The Girl! Only ten parts, in other words.
And then think of it I One is expected to sing
only twice a week when I should like to be sing-
ing three or four times, as I do in Germany.
The repertoire here is so small compared with
those of the German houses! "

Perhaps Miss Destinn is suffering from the
efforts of former singers who, being paid for
the season, sang as seldom as i)ossible, while
the custom now is to pay so much a perform-
ance, the singer being guaranteed a certain
minimum number of performances. It is won-
derful how often singers are in condition to
sing when each appearance adds to their in-
come, and per contra, they are delicate, fragile

The Me^politan Opera-ffoiue ^i

things when they are paid by the month or the
season. Then again the impresario must be
considered. He is striving to give the public
* * the best. * ' Hence he must have a large num-
ber of good singers^ in order to impress the
public with the magnificence of his under-
takingy and to give the desired variety, and he
must not allow his best singers to be too acces-
sible. He must try to keep the public hungry.

Since her first appearance in 1908 Miss Des-
tinn has steadily tightened her hold upon her
American audiences. Let us quote two criti-
cisms which appeared in 1912, the first relates
to her appearance as Tosca, the second to her
interpretation of Minnie in the ** Girl of the
Golden West.'' The latter is interesting as
dealing with the matter of nationality in music

*^ Thursday evening marked an epoch in a
somewhat varied career of Puccini's * Tosca *
at the Metropolitan. The Tosca of Emmy Des-
tinn was an accident due to the indisposition
of Olive Fremstadt. Not before had the Tosca
been heard in New York, and seldom has a
Metropolitan audience so completely aban-
doned itself to joyous astonishment as on this
occasion. The applause following Mme. Des-
tinn's * 'Vlssi d'Arte * seemed likely to go on

270 The ftrand Opera Singers of To-day

indefinitely. At the end of this act she had to
acknowledge fifteen recalls. The rdle of Tosca
haSy it is said, been much haggled for by Metro-
I)olitan sopranos. Let there be no ungracious
comparisons. Suffice it that Mme. Destinn
amply compensates the acutely exploited
physical lure of some of her predecessors with
a vocal perfection refined to the n'th power.

* < Mme. Destinn uses her voice as a skilled
composer, a composer, say, like Puccini, uses
the instruments of an orchestra. The oboe
takes whispered phrases from her mouth with
scarcely a sense of transition. Into the await-
ing trumpets she pours streams of fiery gold.
Her tones sweep aslant the shinuner of strings.
Over and beyond this her dramatic instinct is
warm, vital and sincere."

** Miss Destinn sang the music of Minnie as
it had not been sung here. Her glorious voice
and her supreme vocal art gave eloquence to
Puccini's music. Her impersonation was en-
grossing. This Minnie was not too conscious
of her face and not a vain coquette. Primitive,
a woman of instincts rather than acquirements,
she knew the roughness of the life and was
without thought of her own superiority. She
knew her Bible and had old-fashioned ideas

The Metropolitan Opera-House 271

conoeming love and duty. And in her heart
she was romantic. The Sheriff, picturesque
figure that he was, would not have appealed to
her even if he had not been married. Johnson
was her man, and the moment he was in danger
she forgot the other woman. A simple but an
intense soul.

^^ And in the portrayal of this woman Miss
Destinn was not conventionally melodramatic
in song and gesture. Her repose was more
effective than the restlessness of others. How
every gesture told I How expressive her face
in every scene I The apparent simplicity of
her art might well be studied by singers who
insist on proving to an audience that they are
acting.

'' It has been said that only an American
woman is fitted by nature to take the part of
Minnie. Mme. Nordica and Miss Farrar would
agree to this and argue the point fluently and
even warmly. But Johnson and Minnie and
the Sheriff and the miners and the Indian
couple and the others on the stage are only
Italians masquerading as men and women of
other nations and singing Italian music. Let
us not take opera too seriously. Miss Destinn
is by birth a Czech, It would not matter

272 The Grand Opera Singers of To-day

whether she were a Bussian, a Spaniard, or
bom in Brattleboro or Terre Hante. On the
stage she is Minnie."

A mezzo-soprano who has shown distinct
originality and whose popularity has steadily
increased is Maria Gay, a Spaniard, who ap-
peared at the Metropolitan Opera-House in
1908. She did not begin her musical studies
until she was sixteen years of age, and then her
progress was interrupted by an uprising against
the monardiy, in which she took a prominent
part, and spent nearly six months in jail for
singing a revolutionary hymn at a meeting of
the Separatists.

Madame Maria Gay was brought up in an
atmosphere of art She studied sculpture, but
through a change in fortune she was obliged
to abandon this study, and she took to the
piano. When Baoul Pugno visited Barcelona,
her home, she played and sang for him, and he
advised her to cultivate her voice. She had not
time then for study, nevertheless Pugno en-
gaged her to sing at some of his concerts.
After a while she was invited to other places,
and one day sang in one of Ysaye's concerts at
Brussels. On this occasion the director of the
Theatre de la Monnaie was present and she

MARIA GAY

The Metropolitan Opera-Hoiue 273

was introdnced to him. He made the startling
suggestion to her that she learn the part of
Carmen, of which, he assured her, she was
quite capable. He gave her five days in which
to learn it, and as this seemed like a challenge
she took the matter up and began.

She had known the cigarette women of Bar-
celona since she was a child and was able to
represent the character to the life. She worked
hard at the music, and sang the role at the
end of the five days. She was successful, but
realized that to follow up the success she must
study singing. She proceeded to Paris and
there met an American soprano, Ada Adiny,
whose pupil she became, and in a year she be-
gan to sing again in opera.

Since that time her fame has increased and
she has sung in most of the large cities of
Europe and in all the South American cities in
which opera is given.

Madame Gay's interpretation of the role of
Carmen was called the sensation of the season :
** A more vital, carefully constructed, strongly
consistent interpretation of the role has rarely,
if ever, been seen here. It was not without
precedent, but as far as at least one aspect of
the character was concerned, it was developed

274 The Grand Opera Singers of To-day

BBS

with unshirking, inexorable logic, with multi-
plicity and perfection in detail, to a point that
had not been reached before. Many were an-
tagonized by the frank interpretation. As
many more were roused to the smnmit of en-
thusiasm by the force and verity of it." In
fact, a warm and widespread discussion was
inaugurated on the part of the general public.
One critic called it a '^ raw and bleeding slice
ofUfe/'

Other roles in which Madame Oay has dis-
tinguished herself are Pilar in '^ La Haba-
nera," which was called ** a strong and sombre
impersonation, intense in its concentrated re-
pose, intense again when it flamed across the
shadows; " DalUa in ^^ Samson et Dalila," —
** artistic, not overplayed, and vocally beauti-
ful to hear; " Lia in ** L 'Enfant Prodigue," —
a soprano role; Scmtuzza in ^' Cavalleria Bus-
ticana, " — * * an impersonation of grim real-
ism, at times stirring by its sheer dramatic
force, and provocative of pity; " Azticena in
** H Trovatore," — ** a characterization highly
vitalized, illusive and convincing; " Amneris
in ** Aida; " Maddalena in ** Bigoletto," and
Oenevieve in ***Pelleas et Melisande," in which
** her every act and phrase was authoritative."

The Metropolitan Opera-Hoiue 275

After a romantic courtship of some two or
three years, during which she had been asso*
ciated with him in opera, Maria Gay married
the tenor Zenatello. |

Frances Alda, who is now Madftme Gatti-
Casazza, is an Australasian by birth, being a
native of Christchurch, New Zealand. At the
age of fifteen she went to Melbourne, for, both
parents dying when she was quite young, her
grandparents took charge of her. She passed
her girlhood in comfort, and was educated at
a fashionable private school. Her aunt,
Frances Saville, who was an excellent singer
and had appeared at the Metropolitan Opera-
House in New York under Maurice Grau, now
took a great interest in her, and she had an-
other relative who had been an operatic man-
ager. It was therefore not difficult for her,
wlien she wished to earn some money, to secure
an engagement with Williamson and Musgrove,
the Australian theatrical managers, to appear
in a revival of Sullivan and Gilbert operas,
and she sang first in ** The Sorcerer.**

In due course she went to London, and sing-
ing one day unprofessionally at a social func-
tion she met Marcel Joumet, the operatic
singer. He remarked upon her voice, and ex-

276 The Orand Opera gingers of To-day

pressed a high opinion of it. A mutual friend
repeated the remark to her, and she was soon
in Paris looking up Madame Marchesi, who
V promised to make a prima donna of her in
twelve months. It is related that during her
studies Madame Melba heard her and remarked
to Marchesi that it was a pity her new pupil
had no voice to train. Notwithstanding that
opinion she appeared less than a year later (in
1904) at the Opera Comique, where she re-
mained for a season singing lyric soprano roles.

From Paris she went to Brussels where she
created the leading part in an opera founded
on the ** Sleeping Beauty,'* and sang many
other parts, notably Marguerite, in " La Dam-
nation de Faust. '* The critics were charmed
with her voice and her beauty of face and figure.

After her success in Brussels she accepted
an engagement at Parma, though attempts
were made to dissuade her. This engagement
proved to be a stepping-stone to Milan, where
she appeared as the heroine of Charpentier's
** Louise,'* under the management of Signor
Gatti-Casazza. Thence she went to Covent
Oarden, and then to Buenos Ayres previous to
coming to the Metropolitan Opera-House.

It is said that in 1906 she was engaged for

BELLA ALTEX AS NEDDA IX " IL PAGLIACCI "

The Metropolitan Opera-House 277

the Manhattan Opera-Honse, but she never
sang there. Perhaps there is some truth in the
story that an all powerful prima donna of that
house, on hearing of this engagement, cabled a
brief but emphatic message to Oscar Hammer-
stein, and caused him to change his mind.

During her career at the Metropolitan Opera-
House her best success was made as Desde-
mona when Slezak sang iDtello. In this role it
was said: *^ She makes a beautifully pathetic
and affecting little figure alongside the towering
Slezak, and her acting has an extremely deli-
cate and wistful beauty. She sang with a pure
and limpid beauty of voice, giving much variety
of expression to the * Willow ' song and de-
vout feeling to the * Ave Maria.' '* She has
also been mentioned as * * the most brilliant, the
most picturesque and most charming Manon on
the opera stage."

Bella Alten has made herself popular in New
York in such roles as Musetta in ** La Bo-
heme,'* Nedda in '* H Pagliacci,** Columhina
in ** Donne Curiose,'* Senta in " The Flying
Dutchman, ' ' and especially as Oretel in * * Han-
sel and Gretel." She studied with Engel and
Joachim at the Imi)erial Conservatory in Ber-
lin, and later went to OrgenL Her first appear-

278 The Grand Opera Singers of To-day

ance in opera was made at Leipzig, after which
engagements followed in Berlin, Bnmswick,
Cologne, and Covent Garden. It was while she
was at Covent Garden that Conried heard her
and engaged her for the Metropolitan Opera-
House. Miss Alten is Mrs. Hermann Deri.

Madame Le£9er-Burkhardt secured leave of
absence from the Boyal Opera-House in Ber-
lin in order to come to America and fill a short
engagement at the Metropolitan Opera-House.
She was born in Berlin and studied with Anna
von Meisner, a pupil of Madame Viardot-
Garcia.

Madame Burkhardt began her career in 1890
at Strassburg, as a coloratura soprano. She
spent a season at Breslau and one at Cologne.
From 1894 to 1898 she sang at Bremen, and
there she commenced to study dramatic roles.
She then appeared at Weimar and at Wies-
baden and in 1906 sang Kundry at Bayreuth.

Leonora Sparkes was a well known concert
and opera singer in England. Dippel heard
her at Covent Garden and after a private hear-
ing offered her a contract at the Metropolitan
Opera-House in 1908. She has been a member
of the company ever since.

Felide Elaschowska, a Polish dramatic

The Metropolitaa Opera-House 270

mmmmaamammtm

soprano who was at the Metropolitan Opera-
House in 1908-1909, came first in 1895 as a light
coloratura soprano. She sang at Wiesbaden
and Frankfort, and became leading dramatic
soprano at the Grand Ducal Opera-House at
Darmstadt.

Madame Marianne Flahaut was one of the
leading beauties of the Paris Opera-House.
She was bom at Huy, near liege, in Belgium,
and was the daughter of a wealthy manufac-
turer. As she grew up a longing for artistic
fame seized upon her, and she went to the con-
servatoire at Liege, where in the course of
three years she won first prizes for singing,
piano and opera. She was now engaged for the
Grand Opera at Paris and made her d^but
there as Amneris in ** Aida.'* She remained
in Paris for nine years before coming to the
Metropolitan Opera-House, and during that
time she appeared in numerous rdles, among
which the most successful were Erda with Jean
de Beszke as Siegfried, as Fricha and Ortrvd,
and as Fides in ** Le Proph^te." She also
made a great success as Orpheus and it was
with a view to his revival of this work in New
York that Conried engaged her, for she seemed
an ideal Orpheus.

280 The arand Opera Singers of To-day

Madame Flahaut is tall and stately, — six
feet or more, — she has grace and charm, soft,
sympathetic face, voice sweet and low, besides
which her manner has distinction and her move-
ments are harmonions. Nevertheless Madame
Flahaut did not prove to be a distinct success.
She made her American dSbut on January 8,
1909, as Amneris in ^^ Aida '' when she was
spoken of thus:

^^ Madame Flahaut is a mezzo-soprano from
Paris. Her voice is of very good quality, —
impressive because of the beauty of its tone.
She has a strikingly handsome presence and
displays knowledge of stage routine. She is a
valuable member of the Metropolitan en-
semble.^'

Jeanne Maubourg, who has been a member of
the Metropolitan Company for some years, was
previously engaged at the La Monnaie in Brus-
sels for several seasons. She is a Belgian by
birth and belongs to a dass of singers called
the ^* Dugazons," who derived their distinction
from Madame Dugazon, a celebrated light
mezzo-soprano who was the first exponent of
this particular style of singing.

Miss Maubourg has a large repertoire and
has become a favorite owing to her extraor-

The Metropolitan Opera-Houae 281

dinary intelligence and fascinating manner of
acting. Before coming to America she had ap-
peared two seasons at Covent Garden, and had
snng at the Opera Comique, in Paris.

On her return to America, in 1911, Miss Mau-
bourg brought with her a husband, Claude
Benedict from the Chatelet Theatre in Paris,
whose real name is Claude Marie Bede. The
marriage took place at the City Hall in New
York, when Miss Maubourg's real name was
divulged as Gossaux. She made her first ap-
pearance at the Metropolitan Opera-House as
Lola in ** Cavalleria Busticana," in 1908.

Eiccardo Martin is a native of HopkinsviUe,
Kentucky. At the age of fifteen he left home
and went abroad to study the piano. He re-
turned to America, however, and entered Co-
lumbia University where he became a pupil of
MacDowell, who was at that time professor of
music in that university. He acquired some
proficiency in composition, and wrote several
songs, and a chorus which was sung by the'i
Mendelssohn Glee Club. In this way he came
in contact with many singers of prominence.
He now returned to Germany, but soon went to
Italy and applied for admission to the conserv-
atory of San Pietro Ameijello. The authori-

282 The Grand Opera Singers of To-day

ties heard him sing and denied him admission
on the gronnd that he had no voice and no
musical talent

Being thus repulsed, Mr. Martin remained in
Naples and took lessons with Ben. Corelli, who
taught him enough to definitely fix his purpose.
He next proceeded to Paris and became a pupil
of Sbriglia, after which he returned to New
York with the intention of teaching, since he
could not afford enough lessons to become a
singer.

At this point a wealthy citizen of New York
became interested in him and offered to see him
through the preparation necessary for an oper-
atic career. Martin returned to Sbriglia, but
he heard Caruso sing at the Sara Bernhardt
Theatre, and learned much from observation of
that great artist.

When prepared for his d6but he was engaged
at Nantes, and began his operatic career in Oc-
tober, 1904, singing in * * Faust, * ' which was his
only r61e during the first season. An offer was
made to him from Toulouse, but he declined it
because he found that he was expected to sing
dramatic roles.

An engagement in Italy now came to him and
he went to Verona and sang Ponchielli *s * * An-

Copyrifbt by Muhkin Studio, New York

RICCARDO MARTIN

The Metropolitan Opera-Home 283

drea Chenier," repeating the performance
nineteen times in one month. This gave him
a reputation in Italy and he was invited to sing
the same opera at the Del Verme Theatre in
Milan.

During a stay in New York he met Henry
Bussell) manager of the San Carlo Opera Com-
pany, but declined the offer then made him,
though when it was repeated in the following
year on more satisfactory terms he accepted,
and made his American d^but in New Orleans
during the season of 1906-1907.

Martin was asked to sing at the Metropoli-
tan Opera-House by Conried, in the presence of
Richard Strauss, who offered him an engage-
ment at Berlin. But it was not until 1908 that
Mr. Martin became a member of the Metropoli-
tan Company.

The German importation for this season, in
the way of tenors, was Eric Schmedes, of whom
one accoxmt said: ^' Eric Schmedes brought to
hearing a voice which possesses no charm what-
ever. Some one has written that the singing
of some German tenors reminds one of shooting
an Edam cheese from the mouth of a cannon.
Schmedes hurls his tones energetically, — he is
a giant with a big voice, — but of beauty of tone

284 The Grand Opera Singers of To-day

and of faultless tone-production there seems to
be but little to record. He comes from Vienna,
and has been active at Bayreuth. ' '

It was never supposed that Eric Schmedes
was a lyric tenor. He was engaged to sing
heavy dramatic parts. It appears to be the
function of the German tenor to sing dramatic
roles, and to sing them in a manner acceptable
to Germans. Hence, if we import such singers
the truer representatives they are of the style
which they represent, the better they fulfil their
mission.

Eric Schmedes began his career as a baritone
before discovering the range and true quality
of his voice. Bom in Gjautolfla, near Copen-
hagen, he was sent to Berlin when quite young
to study the piano. In 1888 he sang some
Danish Folksongs at an entertainment where
Madame Viardot-Garcia was a guest. She ad-
vised him to study singing, so he went to Ber-
lin and became a pupil of Nicholas Bothmuhl,
and later of Artot Padilla in Paris. He made
his debut at the Court Theatre at Wiesbaden
as Valentine in *^ Faust " and was engaged for
three years. In 1894 he sang Rigoletto at the
Stadt Theatre at Nuremberg, and then retired
for a year to study with Bess at Vienna. He

*th» Metropolitan Opera-Home 285

appeared once more as Rigoletto, but being ad-
vised to try tenor roles he again retired and
studied with Issert. Six months later he be-
came first tenor at the Stadt Theatre at Ham-
burg.

Jean Note, who came to the Metropolitan in
1908, was a colonel in the Belgian army before
he became an opera singer. Moreover, he had
distinguished himself for bravery and had re-
ceived OAe gold and two silver medals for saving
life. His greatest honor was his being made a
Chevalier of the Legion of Honor for risking
his life to prevent a railroad collision near
Paris in 1898. M. Note was for fifteen years
first baritone at the Paris Opera-House, where
the best of his roles were Salammbo, Measidor,
Sigurd, etc.

Carl Jom came to the Metropolitan Opera-
House in February, 1909, with a repertoire of
a hundred roles and a contract for three years.
One critic declared that he was the greatest
German tenor since Alvary, and another said,
^^ He has a voice of little power, but fresh and
lyrical, his technique is better than that of the
average German singer. He gave no evidence
of histrionic talent, yet his presentation was
intelligent and established him in public favor."

286 The Orand Opera Singers of To-day

At any rate it is acknowledged that he estab-
lished himself in public favor.

Jom was the son of parents not particularly
well-to-do. He was educated in the household
of the governor of Biga, where he was bom.
Upon the death of the governor he became a
protege of Baron Vietinjhoff-Scheel. Jom did
not discover that he had a voice until he was
eighteen, and the principal conductor at Riga,
Lohse, found promising tr^ts and introduced
him to Schulz-Harinsen, the baritone at the
Stadt Theatre. For a year he studied with the
baritone and with a Mrs. Jacobs, but Berlin
appealed to him as a place offering a future for
a singer, so he went there and studied with one
Bess, — son of Bess of Vienna. Jom made his
debut in 1895 at Freiburg. Two years later he
was engaged at Zurich, where he remained until
1899, when he went to Hamburg. In 1902 he
received an appointment at the Berliner Hof
Oper. He sang three seasons at Covent Gar-
den and in all the important cities of Europe
before coming to America.

Pasquale Amato first appeared in America
at the Metropolitan Opera-House in November,
1908, and has had a consistently successful
career in this country ever since. He is a native

CARL JOHN A8 LOHENGRIN

The HetropoUtan Opera-House 287

of Naples, bom in 1879, and educated with the
idea of becoming a naval officer. After his voice
was discovered he devoted his entire time to the
stndy of music under the most prominent mas-
ters, and he made his debut at the Teatro Bel-
lini in his native city.

After that the usual round of engagements
began, and he toured Italy, Germany, England,
Egypt and South America, and finally was lead-
ing baritone at La Scala for two seasons, dur-
ing which he created, in that theatre, the role
of Oolaud, in ^^ Pelleas et Melisande/'

Signor Amato is one of those singers who
have established a firm grip upon the American
public. Besides being gifted with a wonderful
voice, he is possessed of unusual histrionic abil-
ity, and has revealed himself a singing actor
either in tragedy, comedy, melodrama or ro-
mance. He has sung the usual baritone roles,
but the chief interest has been centred in his
creation in America of the parts of King Had-
raot in ** Armide,*' Carlo Worms in ** Ger-
mania,'' and Jack Ranee in ^' The Girl of the
Golden West.'* The latter being the opera
which appeals to the greater number of Ameri-
cans, the following account is transcribed from
the Boston Herald and is supplementary to the

288 The Grand Opera Singers of To-day

account of Miss Destinn who was Minnie in the
same performance.

^' Mr. Amato fell no whit below her (Miss
Destinn) with his Sheriff. For the first time
in our Opera-House a singing-actor character-
ized the part and also sang the music On the
purely histrionic side, Mr. Amato surpassed
himself and all expectation. Here was the
Sheriff as a pale, smooth, sinister man, pacing
nervously and abstractedly up and down the
floor of the Polka Saloon, wandering in and out
of it, full of pent emotions and gnawing
thoughts. He seemed to watch for his oppor-
tunity with Minnie, to plead his affection to her
without sinister under motive, but with the in-
tensity of genuine feeling, to recoil under his
rebuff and to fall back into sinister musing
again. The action of the pursuit was relief.
He came with cool cunning and suspicion into
the cabin on the mountain ; he watched, waited,
surmised, until circumstance seemed to make
him master there. Then he seized her fiercely,
only to be thrust away again, only to be bidden
to the ordeal of the cards. It pleased his gam-
bler's faith in chance, his gambler's bitter
, humor. He was beaten and disappeared into
the darkness. He might have been sitting there

The Metropolitan Opera-Home 289

in all the interval, ruminating, hoping, contri-
ving, when the curtain rose upon the scene in
the forest. His triunaph over the captured out-
law was no show of outward contempt. It was
the satisfaction, gleaming through, of an inner
and bitter hatred. And so at last was the
Sheriff characterized in outward and visible
action, in suggestion and revelation of inner
nature and spirit, in songful speech, in histri-
onic definition. Sometimes Mr. Amato's tones
were as pale and tense as the Sheriff's face;
sometimes they were as sinister as his eyes;
once and again they released passion; and at
the end they were the voice of hate that waited
long and quietly for its satisfactions. Together
the singer and the composer made the songful
music Ranee 's own speech. ' '

In 1912 Mr. Amato was ** interviewed " in
regard to an article in which M. Dalmores had
made observations regarding German and
Italian singers. ** The Frenchmen have many
qualications for the task of interpreting Wag-
nerian roles, '* said M. Dalmores, ** that Ger-
man artists have not. . . . The Italian artist
is not successful as a Wagnerian interpreter.
He generally lacks musicianship and broad
education.** To which Signer Amato replied

290 The grand Opera Singers of To-day

that the statements were too genera!, and that
it was not wise to characterize the singers of a
nation by the f atdts or virtues of any one artist.
** The art of singing/' he said, ** is universal,
and you cannot pick out the singers of one coun-
try and say that they are all good or bad. It
is absurd to say that there are national schools
of singing. Just as the world recognizes the
genius of a Velasquez and a Baphael, a Wagner
and a Debussy, so will the Wagnerian singer
be judged by his individual talent and not by
his nationality. * ' All of which seems to be good
common sense. Are there not too many classi-
fications in matters of artf Or rather, do not
the classifications apply to mediocrity, and do
not the great works, great singers, and things
that are great generally rise above the ordinary
classifications f

Leo Bains, who is a New Yorker by birth,
and has been called the pioneer of American
singers on the German stage, began his career
as a boy soprano in ** Francesca de Rimini,*'
in 1883, with Lawrence Barrett, the tragedian.
In 1896, after studying for six years with Oscar
Saenger, he went to Paris and studied with
Jacques Bouhy for a year, and then secured an
engagement with the Damrosch-EUis Company

The Metropolitan Optra-Honae 291

in his native land. In 1899 he was invited to
sing as a ^^ guest '' at the Dresden Boyal Opera,
as a result of which he remained at that house
for ten years. With the exception of a short
engagement at the Metropolitan Opera-House
in 1908 he has remained in Germany. He holds
the title of Boyal Chamber singer at Dresden
and has established a great reputation as a
singer of German Lieder.

Allen HincMey, who joined the Metropolitan
Company in 1908, was bom in Dorchester,
Mass. He attended the public schools in Bos*
ton and in Providence, to which city his family
moved during his boyhood. He entered Am-
herst College, but changed to the University of
Pennsylvania. He was prominent in musical
matters in both colleges, being a member of
their glee clubs. He also sang in choirs and
directed a choir and choral society.

He now secured an engagement with the Bos-
tonians, a well known ** English opera '* com-
pany of those days, and sang with them for two
seasons. Going abroad he was very soon en-
gaged at the Hamburg opera as prindpal basso,
making his d4but as the King in ^^ Lohengrin."

After five years at the Hamburg opera, dur-
ing which he sang at Covent Garden, and two

292 The Grand Opera flingefs of Td day

seasons at Bayreuth, Mr. Hinckley was secured
for the Metropolitan Company.

In 1909 Mr. Hinckley was to have sung
Oumemanz at Bayreuth, but he was eliminated
from that cast on account of having sung the
part in New York. It is said that the reason
given at Bayreuth was that there would be in-
sufficient time for rehearsals, but in New York
Mr. Hinckley is said to have sung the part with-
out rehearsal, and to have been very successful.

Walter Soomer came to the Metropolitan
Opera-House in 1909 to take the place of Fein-
hals who made his last appearance in Brooklyn
on February the 17th and sailed on the follow-
ing day. Soomer came from Leipzig, and had
appeared at Bayreuth in 1908.

Herbert Witherspoon, one of the best known
oratorio singers in America, surprised his
friends by accepting an engagement at the Met-
ropolitan Opera-House in 1908, and has since
distinguished himself in Wagnerian roles.

Mr. Witherspoon was bom in Buffalo, N. Y.,
and is the son of the Rev. Orlando ^therspoon.
He was educated at Hopkin's Grammar School
in New Haven, Conn., and at Yale University,
where he took the degree of B. A. with special
honors in 1895. He studied two years in the

The Metropolitan Opera-House 293

BBBBMBaOBI^^^B^i^BBaBBaBBBnBBaBaiaBBBBi^BBSaBasaa

music department and two years in the art
school at Yale. During his college career he
began the serious study of the voice and later
with leading teachers in Paris, London, and
Berlin. He made his professional debut as a
concert singer in New York with Mr. Walter
Damrosch and his orchestra in 1897, when he
sang excerpts from ^' Parsifal." From that
time he led a busy life as a concert and ora-
torio singer, having toured several times with
the Pittsburg and Theodore Thomas orches-
tras, and appeared with leading organizations
in America and in England, where he met with
very good success.

Mr. Witherspoon 's engagement with the Met-
ropolitan Company did not mark the beginning
of his operatic career, for after his study in
Paris in 1898 he made his operatic debut with
Henry M. Savage's Castle Square Company in
New York, and sang about one hundred and
twenty-five performances in leading bass roles.
At the end of his fourth season at the Metro-
politan Opera-House Mr. Witherspoon was en-
gaged for two seasons more. His best successes
have been as Oumemanz in ** Parsifal,'* King
Heinrich in " Lohengrin," Landgraf Hermann
in ** Tannhauser,'' Pogner in ** Die Meister-

294 The G-iand Opera Singers of To-day

singer," and Konig Marke in '^ Tristan nnd
Isolde." Besides Ms admirable voice Mr.
Witherspoon has much histrionic ability and is
noted for his excellent diction.

The season of 1908-1909 opened with a superb
performance of '^ Aida," and on the second
night '^ Die Walkiire " was given in a manner
which had not been surpassed in New York.
D'Albert^s ** Tiefland " was produced on No-
vember 23, but was a complete failure, owing
to the fact that there was too much dialogue,
which wearied the audience. New York audi-
ences want matters to keep moving. On De-
cember 17 Puccini *s ** Le Villi " was given, but
also failed to please. On January 6, 1909,
Catalani's *' La Wally," given for the first time
in America, did not make a great success, but
Smetana's '^ Bartered Bride," produced on
February 19, was more satisfactory. The other
novelties of the season were a revival of ^ ' Fal-
staflf," and the production of Laparra's ^* Ha-
banera " and Tschaikowsky's *' Pique Dame."

Thirty-two operas were given, — one hundred
and thirty-four performances.

The end of the season of 1908-1909 found
matters at the Metropolitan Opera-House in
a very disturbed condition. The dual control

The Metropolitan Opera>Houfle 205

had evidently not worked in a very satisfactory
manner.

When Mr. Gatti-Casazza and Mr. Toscanini,
the conductor, arrived in New York they found
the opera-honse teeming with intrigue and
jealousies and quarrels among the singers, be-
sides being more or less hampered with old
obligations, and pressed with a multiplicity of
undertakings. They came with the reputation
of men who were accustomed to enforcing their
authority and discipline, and they proceeded
to do so. Consequently the inner history of
that season is full of ^^ incidents " between the
conductor and the singers. One popular favor-
ite of many years refused to alter her inter-
pretation of her part to suit Mr. Toscanini, —
and her health suddenly gave way. Some re-
fused to attend rehearsals, but discovered that
they must do so or resign. The orchestra com-
plained of too much rehearsal. When the
singers went to Mr. Gatti-Casazza to complain
of Mr. Toscanini they were told that he must
be obeyed. Then they appealed for sympathy
to Mr. Dippel.

Towards the end of the season Mr. Gatti-
Casazza and Mr. Toscanini were re-engaged
for three years, while Mr. Dippel was offered

296 The Grand Opera Bingers of To-day

a somewhat subordinate position. This aroused
the sympathy of certain of the singers and they
sent a letter to the directors asking that Mr.
Dippel should also receive a renewal of his
contract, for three years. The reply was quite
prompt and very brief. It simply stated that
'^ Mr. Gatti*Casazza is director of the Metro-
politan Opera-House.' *

One of the curious features of the situation
was that the Italian singers were prominent in
the support of Mr. Dippel, a German, wMle Mr.
Oatti-Casazza and Mr. Toscanini, Italians, were
praised for giving the finest performances of
Wagner that had been witnessed in New York.

The excitement was warm while it lasted, and
a variety of opinions were expressed by those
who favored one side or the other. One critic
declared that while some of the productions had
been excellent, Mr. Gatti-Casazza, who got the
credit, had been merely an uninterested spec-
tator.

One feature of the director's difficulties was
expressed thus : * * The artistic situation at the
Metropolitan is at the mercy of people whose
theory of life seems to be that it is a continued
vaudeville show. The demand of society is that
from 9 to 10.30 the stage should be occupied

The Metropolitan Opera-House 297

by some great singer or spectacle of unusual
interest ' '

The solution of the problem gave satisfaction
to most people. Mr. Gatti-Casazza reigned
supreme at the Metropolitan Opera-House, and
there is no more dual control. The establish-
ment of the Chicago-Philadelphia Opera Com-
pany gave an opportunity for the unhampered
use of Mr. Dippel 's excellent managerial ability.

The season of 1909-1910 at the Metropolitan
Opera-House opened with a long list of an-
nouncementSy and a long list of singers, many
of whom faded into obscurity after a hear-
ing. But before proceeding with the Metro-
politan Opera-House season it would be well to
mention the New Theatre, in which an operatic
enterprise was started, but did not prove pros-
perous or last long. Twenty-five operas were
given, — fifty-four performances, the season
opening on November 16, 1909, with a perform-
ance of Massenet's ** Werther '* in which Ger-
aldine Farrar and Edmond Clement were the
principals. This was M. Clement's first ap-
pearance in America and the impression which
he created was most favorable, and has been
amply verified by his subsequent career.
** Werther '' had its initial performance in

288 The Orand Opera Singers of To-day

■BB

America at the Metropolitan in 1894, when the
chief parts were taken by Emma Eames and
Jean de Beszke, bo that this at the New Theatre
was a revival. In addition to M. Clement two
other good singers made their first appearance
on the same occasion. Alma Gluck, and Dinh
Gilly, — soprano and baritone, and both met
with good snccess.

Madame Alma Glnck is one of the most re-
cent and most successful of the yoimger
singers. She miade her dSbut in New York at
the New Theatre in 1909, as Sophie in
* * Werther. ' ^ The story of her rise to celeb-
rity is most interesting.

Madame Gluck was bom at Bucharest, Bou-
mania, and came with her parents to New York
when a small child. Her maiden name was
Beba Fierson, and she is said to have been
employed as a stenographer in the office of a
young lawyer in New York, previous to her
marriage to Mr. Gluck, which took place when
she was still quite young.

It is said that one summer when she was in
the Adirondacks her singing (as an amateur)
attracted the attention of a gentleman, who ad-
vised her to go to Signer Buzzi-Pecda, and
take lessons. This she did, but with no idea of

ALMA GLUCK

The Metropolitan Opera-House 209

smamtsssaBBi

an operatic career. She merely wanted to
learn to sing well, and with that idea she
worked hard, and in three years had a reper-
toire of ten operas. In 1909 her teacher sug-
gested that she should sing for Mr. Oattii-
Casazza, and to her surprise he offered her a
contract for five years, which she accepted.

During the following summer she went with
her teacher to Europe and heard operas. One
of these was " Werther,** which she heard in
Paris, and liked so much that she learned it.
On her return to New York ** Werther *' was
being rehearsed and she was told to sing it at
rehearsals, as the soprano who had been en-
gaged for that part had not arrived. When the
artist did arrive Mr. Dippel did not like her
interpretation of the part, so Madame Gluck
sang it at the performance, and stepped at onoe
into fame.

During the season she sang eleven different
roles in '' Boheme,'' '' Pique Dame," '' Stra-
della," ^^Orfeo," *^ Maestro di Capella,''
'' The Bartered Bride," '' Faust," '' Bhein-
gold," and of these only two. Marguerite and
Mimi, were among the ten which she had
studied previous to her contract.

Her opportunity to sing Marguerite came

300 The Orand Opera Singen of To-day

aboat through the illness of Madame Alda.
The opera was to be given in Baltimore, and
Madame Olnck was sent on at short notice.
The people at Baltimore were much annoyed at
the change of cast, but forgot their grievance
as the opera proceeded. One of the critics
wrote: '^ Instead of Madame Alda a beginner
was sent to us. It was evidentl/ a case of fry-
ing her on the dog, but in this instance we beg
to state that the dog was well satisfied. ' '

During the two seasons that she has been
before the public Madame Gluck has been one
of the most successful singers, and is a remark-
able instance of those who, with practically no
European training or experience, have found
their opportunity and made good use of it.

We may be permitted to quote one criticism
of Madame Gluck, made when she appeared as
Venus in " Tannhauser." It describes the
charm of her voice, and of her art :

** Madame Gluck 's artistic advancement has
been rapid, very rapid, but it is doubtful if
many of her sincere well wishers would urge
her to add Venus to her repertory at this period
in her career. The voice of this young singer
is a lovely, liquid, lyric soprano. All New York
admires her voice and her beautiful method.

The Metropolitan Opera-Hovuse 301

So long as its possessor remains within the
realm of lyric roles the exquisite texture of the
voice will not be marred. This is not to say
that Madame Gluck should never attempt a role
like Venus. Five or ten years hence, when her
physique is stronger and her voice gains more
power and dramatic color, she may follow other
lyric sopranos and sing dramatic roles. Last
Saturday night the slim youthfulness of the
Venus and the natural chaste purity of her
voice did not present the kind of enchantress
which the author portrayed. The voice of the
singer was spiritual and virginal, and her girl-
ishness was in strong contrast to the bulky
form of Carl Burrian, the Tannhduser. Of
course, Madame Gluck sang finely, but her song
was angelic, not sensuous. Gifted with uncom-
mon intelligence, she was able to do much
toward creating an impression on the dramatic
side, but altogether, her appearance and vocal-
ism suggested things celestial, not terrestrial. ' '
Edmond Clement was a boy soprano when
studying at the Polytechnic at Chartres pre-
paratory to entering the university, for he was
intended to be a civil engineer. He sang at the
Cathedral, as did also his brother Georges, who
became a throat specialist in Paris. His voice

302 The Ofand Opera Singers of To-day

developed into a light, sweet tenor, and he went
to study at the Conservatoire. At the end of a
year he took a prize for singing, under Pro-
fessor Warot. He was asked to join the Opera
Comiqne, although he had taken no lessons in
acting, and knew nothing but the singing. His
d^but was made in Gounod's ^^ Mireille," and
he worked hard to make the most of his oppor-
tunity.

Edmond Clement is regarded by many as the
greatest French tenor of the present day, and
since his first appearance in America the critics
have been practically unanimous in declaring
that in the artistry of song he has no superior.
He has succeeded in establishing himself as
firmly in the favor of opera and concert audi-
ences in America as he previously did in Eu-
rope.

M. Clement has been engaged at the Opera
Comique for some twenty years. He has also
sung in every principal theatre of Europe. In
America he has been, since 1909, a member of
the Metropolitan Company and has sung in the
chief cities of America with- the Metropolitan
Company and as a guest.

While he has appeared in many rdles, per-
haps the most popular one is that of Don Jose

EDMOND CLEMENT

The Metropolitan Opera-Hoiue 303

in ^* Carmen/' of which a review is here
quoted:

'^ M. Clement made an ineffaceable impres-
sion when he appeared here as Jose last season,
with Margnerita Sylva in the title role, but if
recollection is not deceitful, he was even more
striking this afternoon, probably on aooonnt of
the splendid foil provided by the joyous animal
vitality and the real dramatic force of Mme.
Gay 's Carmen. Elach impersonation, most hap-
pily contrasted, gained by the other. M. Cle-
ment is past-master of the traditions of his role.
Fortunately he is also a great interpretative
/artist. He moulded his own conception to col-
laborate with Mme. Gay, or it might be better to
say, that in Mme. Gay he found the best pos-
sible collaborator to further his own ideas. At
any rate, his business on the stage differed in
certain groupings and in certain climaxes from
his performances remembered from last season,
but he built up his character and its dramatic
development with even surer, more masterly
strokes than at that time. His singing, his
remarkable artistic employment of a small voice
is now too well known in the principal cities of
this country to call for any extended remarks
upon that score, but it is impossible to forbear

304 The Grand Opera Singers of To-day

from speaking of the histrionic side of his
achievements. Whatever the effect he desired
to achieve, it was procured with the most re-
markable economy of effort, with such unos-
tentatious mastery that even when the final
climax was reached in the last scene, and the
audience simply tense watching him, there
seemed to be left a certain amount of reserve.
And the final scene, from the moment that the
man staggered in, worn, haggard, a growth of
weeks on his face, with the eyes of a fiend, was
given with an intensity that forbade applause
when the curtain fell. ' '

When M. Clement resigned from the Metro-
politan Company in 1910 his withdrawal was
considered to be further evidence of the inten-
tion to Italianize the Metropolitan Company to
the disadvantage of the French and Oerman
members. Clement was informed by Signor
Gatti-Casazza, so we are told, that if he was
engaged for the next season he would be re-
quired to sing chiefly in Italian roles, taking
the place of Bond, who went into concert sing-
ing. This, following on the disappointing treat-
ment of Madame Delna, seemed to indicate ^' a
line of policy. ^ '

Dinh Gilly is the name of an Algerian bari-

The Metropolitan Open-House 306

tone, educated in French schools and with the
experience of French opera-houses, who made
his American dehnt at the New Theatre in 1909.
Since that time he has been a member of the
Metropolitan Company, and has generally been
considered a satisfactory singer. On one oc-
casion he was called upon to sing Rigoletto as
a substitute for Maurice Benaud, who was
taken ill. He acquitted himself well, presenting
an interpretation of the part that was dramatic-
ally powerful, consistently composed and defi-
nitely outlined.

A somewhat similar opportunity came to him
in Boston in December, 1910, when he took the
part of the Toreador in ** Carmen,*' and both
sang and acted impressively. *^ He has a fine
and resonant voice," wrote one of the critics,
** his diction is well nigh perfect, and his dra*
matic conception of the r61e of the Toreador
is admirable. Only BaManoff has equalled the
Frenchman from Algeria, in recent years, and
beyond that there is a far cry back to Del Puente
in his graceful decline.''

One of the amusing features of the season of
1909-1910 was that both the Metropolitan and
the Manhattan Companies opened their Phila-
delphia season with a performance of ^^ Aida/'

806 The Grand Opera Singers of To-day

each making the greatest possible effort to
outdo the other. The Metropolitan cast in-
cluded Gadskiy Homer, Caruso and Amato,
while the Manhattan put forward Madame
d 'Alvarez, Madame Mazarin, Nicola Zerola,
and Polese.

The season of 1909-1910 opened at the Metro-
politan Opera-House with ** La Gioconda,'* on
November 15, with a cast including Caruso,
Emmy Destinn, Louise Homer, Amato and
Anna Meitschek, who made her debut.

" Parsifal '* was given on November 25 with
Olive Fremstadt as Kundry, Clarence White-
hill as Amfortcts, Blass as Ournenumz, Burrian
as Parsifal and Ooritz as Klingsor.

On December 23 there was a revival of
Gluck's ** Orfeo e Eurydice,*' in which Louise
Homer and Madame Gadski took the leading
parts with notable success.

Verdi's ** Otello *' was given on November
17 for the purpose of introducing the new tenor,
Slezak, who manifested a voice of rare quality,
and created a marked impression. Madame
Alda played Desdemona. Slezak succeeded
also, during the season, as Rhadames in
** Aida *' and as Manrico in ** H Trovatore,'*
but his impersonation of Tannhduser stands

The Metropolitan Opera-HovM 307

out as one of the most patent characterizations
of the role given hy any artist.

The first American performance of Fran-
chetti's opera, ^* Germania," was given on
January 22, 1910, with Emmy Destinn, Caruso
and Amato in the leading parts. This opera
was produced at La Scala, Milan, in 1902.

On March 18 an American opera, ^ ' The Pipe
of Desire," by Converse, was produced, all the
principals being American except one, Leonora
Sparkes, who is English The other principals
were Louise Homer, Biccardo Martin, Clarence
Whitehill, and Herbert Witherspoon. This
work is reported as lacking realism and pic-
torial qualities, but skilfully put together, and
having some expression and beautiful passages.
It had been previously performed (semi-^pri-
vately) at Jordan Hall in Boston.

During the season thirty-seven operas were
given at the Metropolitan Opera-House, seven-
teen being Italian, twelve Oerman, five French,
and one each American, Bohemian and Bussian.

Blanche Arral, who joined the Metropolitan
Company in the season of 1909-1910, is of
French and Belgian descent. She is the seven*
teenth child in a well known musical family
named L'Ardenois of Liege, Belgium. When

806 The Oraod Opera ffingen of To-day

fihe was ten years old 'she won first prize for
singing and piano-playing at the Brussels Con-
servatoire, and Prince Chimay, president of the
board of judges that awarded the prizes, per-
suaded her parents to send her to Paris for
further study. She was at the Paris Conserva-
toire for three years, part of which time she
was a pupil of Marchesi. At the conclusion of
her course she gained a first prize for singing
and was awarded a place in the Opera Comique,
where she made her debut in the r81e of Mignon,
which was followed by Manon, Juliet, Carmen,
and LahmS.

For three years she remained at the Opera
Comique and she was then two years at the
Imperial Theatre Michel. She sang much in
Bussia and was decorated by the Ozar. After
a tour of Europe and Egypt (where she was
decorated by the Khedive) she returned to
Paris and Maurice Orau sought her and made
a contract for three years, but a severe illness
prevented her from singing at the Metropoli-
tan Opera-House then, and she returned to Eu-
rope without making an appearance.

Miss Arral toured Australia at the head of
her own company. In October, 1908, she sang
at the Van Ness Theatre in San Frandsco,

The Metropolitan Opera-Hoiise 309

when she made such a success that some
thought she overshadowed Tetrazziniy and the
reports were so encouraging that the Metro-
politan Opera-House people secured her.

In October, 1909, she made her debut in New
York. She was described as a small woman
with a mass of dark hair, attractive presence,
beautiful voice. Upper notes clear and bell-like
and extraordinarily good low notes for one with
such a high range.

Anna Case, a young member of the Metro-
politan Opera Company, is the daughter of a
mechanic who made a specialty of blacksmith's
work. Her home is in South Branch, New
Jersey, and when she was about fifteen years
of age she began to learn how to shoe horses.
While at this work she amused herself by sing-
ing, and in the course of time her friends, be-
coming convinced of her vocal possibilities,
urged her to take lessons and advanced the
money for that purpose. In due course An-
dreas Dippel heard her sing, and was pleased
with her voice, which is a high soprano. At the
age of twenty she became a member of the
Metropolitan Company, taking small parts, and
doing them so well that her prospects are con-
sidered excellent At the dose of her first con-

Ifcr T^iiiiid^ U ^ ;7r> tec waw rf r-s^i

Jf <u^ mail traia^ is. X^-p- Ywfc rsj

4af«^ )i<<Txa maa j^poixti cf as
7<^aA|pi(:^t ar^ fu^x Uain^-^
m$Kffr% f4 t^Mt Azj. 8be if an AmerieaB.
ff» Ht Lmnn^ and ibe made ber debut under
l9atn\y fiaaxm^ Jo^iephine Lndwig: She
UmfHng jmtU in an Englbb opera ecMmjany
Ameriea before /poing to Europe* Sbe
al)x Meored an engagement witb the Paris
Orarid ()\ferz and uncceeded well as Mar^m^^
rile, Juliet, Elsa, EUzdbeth, etc. She joined the
MiHtrofMilttan CV^mpany in 1909,

Ilemloe de Pa^qnali in tbe daughter of Gap-
tain Wflliam Jamen of Hull, Mass., the town
which in Icnown an the political barometer of its
State* At the age of eight she began her studies
at tbo National Conservatory in New York, and
at sixtoen she was already employed as a
tett(!hf!r in that institution. At the same time,
ono Salvadore Mangione de Pasquali was also
employed there as a teacher, and he became
attentive to her. They were married in 1896.
Rinoe 1902 Madame de Pasquali has gone

!#»<

a -1!

310 The Grand Opera Singers of To-day

tract she was re-engaged for a number of years.
Her voice is a lyric soprano of good volume and
a wide range, reaching with ease to F in alt.
She was trained in New York by Madame Ohr-
strom-Benard.

Jane Noria was spoken of as one of the
youngest and most beautiful grand opera
singers of the day. She is an American, bom
in St. Louis, and she made her debut under her
family name, Josephine Ludwig. She sang
leading parts in an English opera company in
America before going to Europe. She eventu-
ally secured an engagement with the Paris
Grand Opera and succeeded well as Margue-
rite, Juliet, Elsa, Elizabeth, etc. She joined the
Metropolitan Company in 1909.

Bemice de Pasquali is the daughter of Cap-
tain William James of Hull, Mass., the town
which is known as the political barometer of its
State. At the age of eight she began her studies
at the National Conservatory in New York, and
at sixteen she was already employed as a
teacher in that institution. At the same time,
one Salvadore Mangione de Pasquali was also
employed there as a teacher, and he became
attentive to her. They were married in 1896.
Since 1902 Madame de Pasquali has gone

The Metropolitan Opera-House 311

abroad three timesy appearing in London, Ber-
lin, and St. Petersburg, and finally in Paris.
She also sang for two years in Milan and
Borne, her most successful roles being the
soprano parts in ** Bigoletto,** ** La Boheme,*'
'' n Barbiere,'* ** Lucia,^^ ** I Puritani,'' and
'' Faust/'

She made her American debut in January,
1909, in ^' La Traviata," but though her stage
presence was attractive and she made excellent
use of the few dramatic possibilities offered by
the work, she was nervous and did not do her-
self justice. The audience was sympathetic.

In March, 1912, she again appeared at the
Metropolitan Opera-House, and this time met
with greater success. The following account of
her performance appeared in one of the jour-
nals:

< < Mme. de Pasquali 's work commended itself
highly to connoisseurs when she first appeared
at this house a few years ago, and she has grown
to be a far greater and more finished artist in
the meanwhile.

** Both vocally and dramatically Mme. de
Pasquali has improved greatly since she was
last heard here. Her tones were very beautiful
— particularly in the upper register, where

812 The Grand Opera Sbigen of To*day

they were of limpid purity — and she demon-
strated oondnsively that emotional coloring of
the voice is not necessarily incompatible with
coloratura singing. ' '

An interesting story is told of how Madame
Pasquali got her first engagement in Milan. On
her arrival her husband visited an agent but
found little encouragement. ^^ All the com-
panies were full, — there was nothing at pres-
ent.'' While they were talking the telephone
bell rang and a manager wanted a soprano im-
mediately as his own was ill. By great per-
suasion the agent agreed that Madame de Pas-
quali might be one of twenty-five to sing for the
manager, and she got the engagement.

Florence Wickham is a native of Pennsyl-
vania and was educated at Beaver College in
her home town, where she received a gold medal
for vocal excellence. She studied in Berlin
under lilli Lehmann and Frau Mallinger and
Franz Emmerich, and made her first profes-
sional appearance at the Royal Court Theatre
at Wiesbaden when twenty years of age. She
then sang at the Royal Theatre in Munich and
was then engaged by Henry M. Savage for his
** Parsifal '' company with which, as Ktmdry,
she toured the principal cities of the United

The Metropolitan Opera-Hoiue 313

States. She then returned to Europe and ap-
peared in many of the leading opera-houses,
until she was engaged for the Metropolitan
Company. In the smnmer of 1910, at a court
concert in Berlin, Miss Wickham was pre-
sented with a medallion for Arts and Sciences
and the title of Court Singer.

In private life Miss Wickham is Mrs. Eber-
hardt Lueder.

One Mademoiselle L'Huillier was engaged to
sing the part of the child in ^ ^ Tiefland ' ' and
it was intended that she should also appear as
Musetta, but she did not prove acceptable to
the critical New Yorkers except in the matter
of ^' looking pretty." In her place Miss Leo-
nora Sparkes was put, after a hurried coaching
in the part. Miss Sparkes is an English singer.
Her blonde type of beauty was criticized as not
suggesting the Parisian working girl of the
'30 's, but she was acceptable in the part and is
still a member of the Metropolitan Company.
In fact, she was the only singer not of Ameri-
can birth, who took part in the production of
Prof. Horatio Parker's opera, *^ Mona," in
1912.

Elvira de Hidalgo was one of the prima
donnas of the Metropolitan Company at seven-

314 The Orand Opettt Singers of To-day

teen years of age. Bom in Barcelona, she re-
ceived her early training in Milan, in fact, all
her training was early, for she ran away from
home at twelve years of age because her
parents objected to the stage. When they dis-
covered her she was singing a small role in one
of the leading theatres of Milan. She was at-
tractive, and made her debut in '' H Barbiere ''
on March 8, 1910.

Eva Orippon, who came as a dramatic
soprano to the Metropolitan Opera-House in
1910, made her debut in 1906 at Nice in the
" Orands Concerts Symphoniques. ' * Her
first teacher was Bosina Laborde, who also
taught Emma Calve and Marie Delna, and
later she was a pupil of Jean Lasalle, and of
Bosita Maud of the Opera, in the subtle art of
gesture and mimic expression. She made great
progress during the first three years of her
career. She was at the Manhattan Opera-
House in 1909.

Probably the first accounts of Marie Delna
to reach this country were those announced by
Col. Mapleson in the '90 's. She was then
hardly known in her own country, and the in-
vincible colonel made a great effort to secure
her for his American company, — but without

The Metropolitan Opera-Hoiue 315

success. Madame Delna, whose family name is
Ledaiiy made her debut at the Opera Comique as
Dido in Berlioz's *' Les Troyens,*' June 9, 1892.
She was a servant at a little inn or restau-
rant at MeudoUy which is said to have been kept
by her grandparents, who brought her up, for
she was left an orphan at a very early age.
Certain musicians, among whom were Alex-
ander Guilmant, the organist, and his wife, and
Bosina Laborde, the singing teacher, used to
frequent this restaurant and took an interest in
the child. Madame Laborde, after hearing her
sing, undertook to prepare her for the stage,
and she was considered ready by the time she
was sixteen, though the preparation which she
received would, in these days, be regarded as
insufficient. At the Opera Comique she sang
parts that were suited to her native and simply
direct talent. She was excellent as Dame
Quickly, and in peasant parts. She appeared
in '' Werther,'' '' L'Attaque du Moulin,'^ ** La
Vivandiere,*' ** Paul et Virginie '' (as Meala)j
and Jeanne in ^' La Jacquerie," and she sang
the parts of Orpheus and Zerlina. Ixl 1898 she
went to the Grand Opera-House where she
sang in ** Le Prophete," ** Samson et Dalila,"
" La Favorita," etc., but the critics found

316 The Grand Opera Singers of To-day

fault with her as one unacquainted with the
traditions of the house, without the grand
style, without finesse. They also criticized her
vocal art.

She then returned to the Opjera Comique
where she appeared as Orpheus and Carmen,
and as the Wicked Fairy in ^' Haensel et Gre*
tel,*' and Marianne in Bruneau's ** L'Ou-
ragan."

She was three years at the Grand Opera
after having sung for seven years at the Opera
Comique.

She fell in love with, and married, a Belgian
named Adolph Heinrich E. Frier de Saone,
and retired from the stage. Five years later
she went back into opera. She was engaged
for the Metropolitan Company in 1910, though
all previous attempts to induce her to leave
Paris had failed. The persuasions of Caruso
added to those of Dippel prevailed.

At the Metropolitan Opera-House she ap-
peared but twice in ** Orfeo *' and six times in
*^ L'Attaque du Moulin," and on leaving this
country she complained that she had been held
in the background and had not been allowed
the number of appearances for which her con-
tract called* One of her appearances was at a

The Metropolitan Opera-House 317

Sunday evening concert, but of her perform-
ance of Orpheus there are accounts which show
her to be an artist of distinction. Indeed she
was at one time considered the best contralto
on the French operatic stage.

Mr. Aldrich, the critic of the New York
Times, wrote : * * It was the disclosure of a
noble and beautiful voice of rich color and
dramatic expressiveness, perhaps not perfectly
equalized in all its extent, but used with tech-
nical skill and artistic sense. Madame Delna
showed a fine understanding of the dramatic
essence of the part of Orpheus. She enacted
it with plastic beauty and grace of pose and
action, with abundance of innate and reserve
power. It was the performance of an artist of
no ordinary power, and one that raises high
expectations of what she will contribute to the
rest of the season at the Metropolitan."

Mr. Krehbiel wrote, of this presentation of
Orpheus: " Delna 's beautifully poised head,
her mobUe face, her noble voice, her eloquent
poses and movements, her nobly conceived and
superbly preserved ideal of the character made
up a representation which stirred the audience
to its inmost depths."

Leo Slezak came to America with a reputa-

318 The Orand Opera Singers of To-day

tion which was said to rival that of Caruso.
He was bom in Austria in 1874, at Schonberg.
He showed musical ability early and by the
time he was twenty-two years of age was al-
ready well known as an opera singer through-
out Austria and Germany.

Slezak made his first conspicuous success
when he sang at Berlin as a guest, in Lohen-
grin, the result of the performance being a
contract for several years at the Royal Opera.
In 1900 he appeared at Covent Garden, and the
following year at Vienna.

In 1908 he suddenly left Vienna and went to
Paris. He refused all engagements and worked
hard with Jean de Beszke, almost entirely
changing his method of voice production,
making a ^ remarkable improvement in his
voice.

Slezak has a very powerful voice of beautiful
quality. He is an excellent actor and an adept
in the art of costuming and make-up. He is
six feet, three inches in height, and broad
shouldered, also he is affable and courteous.
His greatest rdle is that of Otello, in which he
is considered superior to any singer since
Tamagno. He made his New York debut on
November 18, 1909, and was successful, — he

The Metropolitan Opera-House 319

impressed the audience. Later he appeared in
song recitals, and revealed an art which few
believed him to possess, for the part of the
heroic tenor in opera does not lead one to ex-
pect the very true and fine sense of vocal style,
in a long and varied programme, such as Mr.
Slezak displayed.

The following paragraph is an extract from
an account of Slezak 's impersonation of Otello
in which Baklanoff sang lago:

^ ^ The great Slezak crowded into insignifi-
cance every other figure in the opera. Cassio
became but a name, a pin prick, a reason for
the Moor's emotions. It is jointly by the dis-
tinction of Verdi's and Shakespeare's design,
of the necessity of his being, of Slezak 's ac-
ceptance of that necessity, and finally by dint
of his own personal vigor and artistry, that
Baklanoff forced his lago into the frame and
gave the figure its due proportions."

Alexander Eubitzky, who appeared during
the season of 1909-1910, is described as a tall,
firmly built and swarthy Russian singer, accus-
tomed to the stage. He revealed a voice that
had less sensuous beauty than penetration of
tone, poignant to the emotions rather than ca-
ressing to the ear, with the unmistakably nasal

820 The Grand Opera Singers of To-day

quality common in French and Russian theatres
and agreeable to the audiences there, — ^a voice
that plainly sets expression above sweetness.
The use of the falsetto in the upper tones, and
of vibrato at moments of emotion and intensity,
American audiences do not like.

Herman Jadlowker, who first appeared at the
Metropolitan Opera-House on January 22,
1910, as Fcmst, was bom in Riga in 1879, and
was intended by his father for a business
career. This was not quite in accordance with
the views of the youth, who accordingly fled
from Russia. He was then but fifteen years of
age. He succeeded in reaching Vienna, where
he became a pupil of Gensbacher. He con-
tinued his studies in Italy, and eventually got
an engagement at Cologne, when he was twenty
years of age, taking a small part in an opera
of German origin entitled ** The Nightwatch
of Granada.^*

He sang for a short time at Stettin, but first
attracted attention by his work at Karlsruhe,
where the Emperor William heard him and in-
vited him to sing at the Royal Opera-House in
Berlin. A contract for five years ensued.
This was followed by a similar contract at
Vienna, in which city he had studied under

HERMAN JADLOWKER

The Metropolitan Opera-House 321

Oaensbacher at the Conservatoire, through the
courtesy of the Grand Duke of Baden.

Jadlowker made his American debut at the
Metropolitan Opera-House as Faust on Janu-
ary 22, 1910. ** He is thoroughly schooled in
the finer ways of music drama," one of the
critics wrote, ^^ his well knit and supple figure,
and comeliness of face serve him well in roman-
tic parts, — his movements are free, his ges-
tures intelligent and he avoids the trite and
empty conventionalities of operatic pose. If he
has not exactly personal distinction, he has in-
teresting individuaUty that plays through an
evident sense of operatic character and evident
resource in operatic impersonation. Mr. Jad-
lowker made his tones his chief histrionic and
characterizing means. He truly sang, — with
justice of intonation, with heed of melodic de-
sign, with musical shapeliness of phrase, with
unforced and intelligently ordered quality of
tone. His enunciation is clear, — he is a sing-
ing actor."

In the spring of 1912 Jadlowker left the Met-
ropolitan Company, having been engaged by
the Royal Opera in Berlin. His contract was
said to be for five years, and his salary the
largest ever paid in Germany to a tenor, —

322 The Grand Opera Singers of To-day

and yet it was intimated that by the terms of
his contract he might be able to return to the
Metropolitan Opera-House in 1914. Possibly
there may be fewer tenors then than in the
season of 1911-1912.

Dimitri Smirnoff was a yonng Russian tenor
who came to the Metropolitan Opera-House in
1910 and remained for two seasons. Mr. Smir-
noff had a very good voice and an agreeable
presence, but did not seem to rouse any enthu-
siasm in New York. In reviewing a perform*
ance of * * La Boheme * ' the critic wrote : * * Mr.
Smirnoff's Rodolfo was a poet of uneven vocal
merit who had but few moments of real lyric
beauty. During the opening act it seemed as
though the mythical cold of the cheerless garret
had really affected the singer's sensitive larynx,
since his attack was lamentably uncertain.
Later on, however, this adjusted itself and Mr.
Smirnoff sang to better advantage."

When he left America in February, 1912, he
declared that he had cancelled his contract be-
cause the Metropolitan Opera-House was in the
hands of the Italians. Inasmuch as Italian
singers had declared against the French, and
the Germans were aggrieved at both, — if they
were not successful, — Smirnoff's accusation

The Metropolitan Opera-HouM 323

■■■B^aSSBaBBBBI

points rather to an impartial administration.
Buty in any case, the power behind the throne
has no nationality but American, and the
singers must be satisfactory to the board of
directors and to the andiences in order to main-
tain their positions. Smirnoff, though pos-
sessed of some excellent qualities, did not touch
the right spot and aroused little interest.

Glenn Hall is one of those singers who,
having made a national reputation as a concert
and oratorio singer, went into opera. He was
educated at Chicago University and soon after
being graduated he made his appearance as an
oratorio singer, taking part in ** Elijah '* in
Chicago. His success was unusual and he
toured with the Thomas Orchestra and with the
Boston Festival Orchestra, after which he went
abroad and appeared with the Gewandhaus
Orchestra in Leipzig under Arthur Nickisch,
He joined the Metropolitan Opera Company in
1909.

Clarence Whitehill is a native of Marengo,
Iowa. He went to Paris to study with Sbriglia
and Giraudet, and was engaged first of all to
sing Friere Laurent at the Theatre de la Mon-
naie in Brussels. Thence he went to the Opera
Comique in Paris, where, as M. Clarence, he

824 The Grand Opera Singers of To-day

sang Nitakantha in ' ' Lakme, ' ' the first Ameri-
can of his sex to sing at the Opera Comiqne.

Henry Savage heard him and engaged him
for the English Company which he was then
managing at the Metropolitan Opera-House,
and even paid a forfeit to the management of
the opera at Marseilles, at which place White-
hill had recently signed a contract. At the
Metropolitan Opera-House he carried off high
honors. His voice, however, was too high for
the heavy bass roles, and he returned to Europe
for further study, and being determined to
sing in Germany he went to Frankfort and
studied under Julius Stockhausen. An engage-
ment at Cologne soon followed, and the next
season he joined the forces of the Metropolitan
Opera-House under Casazza.

Andreas de Segurola was bom in Barcelona.
His father died when he was but three years
of age and his mother when he was six, so he
was brought up by his two uncles, one a canon
in the church, the other a diplomat, and by
them he was intended for the diplomatic
service.

He was, however, very anxious for a musical
career, and offended his uncles by his desires,
for there had been no musical artists in the

"DIB WALKURE"

The Metropolitan Opera-House 326

family, and such a career was considered be-
neath the family dignity.

De Segnrola accordingly studied law in Bar-
celona, but in the hotel at which he was staying
there was a famous singer, Hariclee Darcl6e,
then at the height of her career, and a member
of the Liceo Theatre. He sang for her, and she
gave him much encouragement, even asking
him to slug at her benefit concert with her.
After this performance the manager of the
theatre asked him to join the company, which
he did at a salary of fifteen hundred francs a
month. His debut was successful and the fol-
lowing summer he went to South America un-
der Cleofonte Campanini. He sang three sea-
sons at Madrid and Lisbon, and filled engage-
ments in Rome, Palermo, Naples, Parma, and
in Argentine, and was for two years a member
of the San Carlo Company under Henry Bus-
sell.

Mr. De Segurola joined the Metropolitan
Company in 1909, and proved to be a valuable
member of the organization. At the end of the
season of 1911-1912 he was engaged by the M.
Sigaldi Company for a season in Mexico, but
during the summer he was the leading bass of
the Paris season of the Metropolitan Company,

326 The Grand Opera Singers of To-day

— for a Paris season has been carried on, since
Oscar Hanunerstein showed the way.

The season of 1910-1911 presented new fea-
tures in certain respects. For the first time in
the history of the Metropolitan Opera-House
twenty-two weeks of opera were given. There
were one hundred and fifty-two perf onnances,
in which thirty operas were heard, and twelve
composers represented. There were eighty-six
performances of twelve Italian operas, fiftyr
five performances of twelve German operas,
and eleven performances of three French
operas.

In addition to this the Philadelphia-Chicago
Opera Company appeared on thirteen consecu-
tive Tuesday evenings. The Metropolitan Com-
pany did less travelling than usual, only two
weeks, -^ during which they visited Montreal,
Cleveland, Cincinnati and Atlanta.

The season was more remarkable for new
operas than for new singers, and, probably in
view of the fact that audiences had by this time
been stirred up to an interest in new things, we
began to have *^ first performance on any
stage " announced. This was the case with
Englebert Humperdinck's ** Konigskinder,"
which took place on December 28, and achieved

The lletropolitan Op«ra-Hou86 327

■■■HB^aB^BBBBB^BBB^BBBBSaSB^aBBBaBaOBBaBMH^HHIBBGia

real success. It was performed eleven times
during that season, exceeding by two perform-
ances ** The Girl of the Golden West *' which
was the next in order of popularity. The in-
terest in this opera was enhanced by the pres-
ence of the composer. The leading roles were
taken by Geraldine Farrar, as The Goose Oirl,
Herman Jadlowker, Otto Goritz^AbramoDidur,
Albert Beiss, and Marie Mattfield.

Another novelty was an opera by Paul
Dukas, a Frenchman, — ^^ Ariana et Barbe-
Bleue/^ on February 3, in which Miss Farrar
also carried off chief honors.

Of the new singers there were few who made
more than a moderate success, with the excep-
tion of Leon Bothier, a French basso, Basil
Buysdael, an American basso, and William
Hinshaw, an American baritone.

Dimitri Smirnoff, the Russian tenor, was re-
ceived favorably, but his voice was not suited
to the large auditorium of the Metropolitan
Opera-House, and he returned to his native
land, uttering somewhat ungracious remarks
about America.

The chief feature of the year, however, was
the establishment of what has been called an
operatic trust. There were three large com-

828 The ftrand Opera 8ingM8 of To-day

panies f ormed, the Metropolitan, the Chicago-
Philadelphia, and the Boston Opera Company.
Each of the companies made contracts with
some of the great singers, and these great
singers were exchanged more or less. For in-
stance. Miss Garden was a member of the
Philadelphia-Chicago Company^ which took
over many of Hammerstein 's singers, and ^e
appeared in Boston and in New York. Miss
Fremstadt (who won new laurels during that
season by her impersonation of Isolde) was a
member of the Metropolitan Company, but ap-
peared in all four houses. Baklanoff and Con-
stantineau of the Boston Company were ex-
changed in a similar manner, and there was
frequent new interest in the repetitions of
operas by the presentation of new principals.
This plan works very well at the present stage
of the operatic enterprise of this country.

Madame Charles Cahier was formerly Sarah
Layton Walker, of Indianapolis. She began
her career in America as a church and oratorio
singer, and then went to Paris to complete her
studies with Jean de Beszke. She made a most
successful debut at Nice as Orphetts, in 1904,
in consequence of which she had several flat-
tering offers from various European opera-

MADAME CHARLES CAHlElt

The Metropolitan Opera-Honae 3aft

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houses. On the advice of de Beszke she refused
all of them and went to Germany to perfect
herself in the Wagner repertory. When she
made her German debut it was as Amneris in
'' Aida " at Brunswick, and after filling vari-
ous short engagements in Berlin and other
cities she finally accepted an offer from Gustav
Mahler to go to the Vienna opera.

Madame Cahier was also selected by Mahler
to be soloist in several of the musical festivals
which he conducted, and in this capacity sang
at Munich, Vienna, Gratz, Mannheim, and other
continental cities. She has appeared too at
festivals in London and Paris.

In New York she made only two appearances
in opera, at the end of the season (1911-1912),
as Azucena in '^ II Trovatore," and as Amneris
in ** Aida," and she sang at one of the Metro-
politan Sunday evening concerts. She showed
herself to be a singer of admirable qualities,
whose vocal resources are of the best, and
whose style is finished and broad. Her acting
was vivid and emotional.

Lucie Weidt is a native of Vienna. Her
voice was discovered when, at the age of six-
teen, she sang an aria from ^ ' Aida " at a musi-
cale given at her father's house. She made

aao The Orand Opera flingers of To-day

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such an impression on her audience that she
was advised to make a serious study of singing.
She went to Jean de Beszke and made her d^but
when only nineteen at the Imperial Opera in
Vienna, as Elizabeth in '* Tannhauser. ' * After
three years she was appointed court singer.
In private life Miss Weidt is the Baroness
von XJrmenyi.

Inga Oemer is a Norwegian soprano who
joined the Metropolitan forces in 1911. Her
musical career extends over some six or seven
years. Her father was a friend of Edouard
Orieg, and she studied music under the noted
Norwegian composer. She mastered some
forty operatic roles, and was a favorite singer
at the concerts held in the Royal Castle, Chris-
tiania. In the summer of 1911 Miss Oemer sang
at Covent Garden. She had also had an oper-
atic career in her native land.

The most important acquisition to the Met-
ropolitan Opera Company in the season of 1911-
1912 was Margarete Matzenaur, who made her
debut as Amneris in ** Aida '' in November.

Madiame Matzenaur is of Hungarian birth,
her father was an orchestral conductor and her
mother an opera singer, so she received an ex-
cellent musical education while still a child.

The Metropolitan Opera-House 331

She plays the piano well and has never had a
repetitenr in studying her parts. When she
was young she thought that she would be an
actress, but her voice developed and made sing-
ing more essential. Her debut was made at
Strassburgy as PtacJc in ** Oberon/' after which
she remained in that theatre for three years
and sang many other contralto roles. After
that engagement she went to the Hofoper in
Munich and remained a member of that house
until coming to America, though she had made
various *' guest ** tours. At Munich she suc-
ceeded Olive Fremstadt, and she cherishes the
ambition to become, like Miss Fremstadt, a
dramatic soprano, in fact Miss Fremstadt is
said to have left Munich in order to get away
from contralto r81es.

Madame Matzenaur has sung Herodias in
*' Salome,'* Klytemnestra in '* Elektra,'' and
has learned the part of the MarschdlUn, in
'* Der Bosenkavalier. "

At Bayreuth Madame Matzenaur appeared
as Waltraute, one of the Bhine Daughters, and
as one of the Noms in '^ Gotterdanunerung,''
and she expected to be engaged to sing Kundry
in 1912. But another was selected, and Ma-
dame Matzenaur, by singing the part at the Met-

332 The Onnd Opera Siiigen of To-day

ropolitan Opera-House in an emergency, prac-
tically severed her connection with Bayrenih.
The reason given at Bayrenth for not engag-
ing her was '^ lack of time for rehearsal,"
but this excuse was proved absurd by the
fact that Madame Matzenanr, taking Miss
Fremstadt's place, sang the part without an
orchestral rehearsal, and did it with an
intelligence that proclaimed her a very great
artist, and what is also quite remarkable, she
pronounced every word so that it was
distinctly understood Madame Matzenaur
is, in fact, distinguished for mastery of
languages. She speaks English without a trace
of continental accent, just as a cultivated Eng-
lish woman speaks, although she has never
spent much time in studying it, and has spent
only a few weeks in England. She also speaks
Italian fluently and French, besides Hungarian.

At the end of the Metropolitan season in 1912
she went to the Stadt Theatre at Hamburg, but
was engaged for a portion of each of the two
following seasons for America.

During her American engagement Madame
Matzenaur distinguished herself not only by
her singing of Kundry, but also by her inter-
pretation of the parts of BriinnhUde in *^ Wal-

Copyiiglil by Mishkin Mtudio, New Ymli

MARGARETE MATZENAfR

The Metropolitan Opera-House 333

kiire,'* as Orfeo in Gluck's opera, and as Bran-
gaene, on which occasion one of the papers de-
clared : ' ' Madame Matzenaur made her hearers
realize that for the first time since the days of
Marianne Brandt, the Metropolitan had a
Brangaene worthy of that role. A tragic ac-
tress of intense force and passion, Madame
Matzenanr possesses in addition, a voice so
rich and sonorous, and capable of snch infinite
gradations of color and emotional depiction
that the combination forms an irresistible whole
and casts a magic spell over her hearers. She
is the greatest contralto heard in New York
opera since Madame Schumann - Heink left
Broadway for wider fields in concert. * '

In Munich Madame Matzenaur married Ernst
Preuse in 1902. Preuse had been one of her
teachers, and her divorce from him was one of
the reasons why she left Munich and came to
America. In July, 1912, an announcement was
made of her engagement to Signor Fontana-
Ferrari, an Italian tenor, of La Scala.

Heinrich Hensel, who was a newcomer at the
Metropolitan Opera-House in 1911, began his
operatic career in 1907 as a lyric tenor, but his
voice developed into a dramatic tenor, after
which he went to the Court Theatre at Wies-

Opera Singe]

baden and became an object of especial interest
to the Emperor of Germany.

Hensel is the son of a wealthy manufacturer,
and was destined to enter the army as an officer
after he had finished his term of service in the
cavalry at Carlsruhe. He was educated at his
father's home in Pfalz. After singing in vari-
ous amateur affairs he became seriously inter-
ested and placed himself under the tuition of
Oustav Walter, a former tenor of the Vienna
opera. He then took further lessons under Her-
man Bosenberg, and finally he studied with
Emmerich in Milan. He made his debut at
Freiburg, Baden, as Stradella in 1897, and ob-
tained a three years' contract at that theatre.
For six years he sang operas of the old school,
and then entered by degrees into the modern
works, taking such parts as Turiddu ifi ' ^ Caval-
leria Bustica^a " and Canto in ^^ II Pagli-
acci. ' '

After an engagement at Frankfort he went
to Wiesbaden where he entered upon the heroic
repertory, singing Siegmund and Siegfried,
Lohengrin, and Walter von Stolzing.

Hensel was chosen by Siegfried Wagner,
while singing at Carlsruhe, to create the tenor
part in his opera '' Bandietrich," and as a re-

The Metropolitan Opers-House 335

suit of that engagement he sang Parsifal at
Bayreuth.

Mr. Hensel made his American debut at the
Metropolitan Opera-Honse early in 1912, when
he appeared as Lohengrin. ^^ In appearance
Mr. Hensel is one of the most impressive
Lohengrins seen at the Metropolitan in some
time," says one account. ^^ He is tall, hand-
some and well built, and it did not require the
words of the other personages in the drama to
convince one that the knight was a really heroic
individual. . . . His acting pleased, though the
full extent of his histrionic ability remains to
be determined. . . . Mr. Hensel 's voice, a pure
tenor, is distinguished especially by its youth-
ful freshness and purity of quality. Strangely
enough, it impresses one as of a lyric rather
than a truly dramatic cast. ... He has no
need to force his tones for they are resonant
and well produced and will consequently carry
to perfection when normally emitted. . . . One
of the most delightful features of Mr. HensePs
work is the beautiful clarity of his enunciation,
which makes every word thoroughly compre-
hensible even to the most distant listener.'*

Shortly afterwards Mr. Hensel made an ap-
pearance as Siegfried, as substitute for Carl

336 The Grand Opera Singers of To-day

Li who was indisposed. On this occa-
sion also his efforts were crowned with success.
The following account appeared in one of the
papers :

'' From his first appearance to the final note
of the love scene between Siegfried and the
awakened BrwrnhUde at the close of the opera,
it might truthfully be said, and this, too, with
all due respect to the whole cast, that Heinrich
Hensel dominated the stage and quickly brought
the audience to realize that in voice and ap-
pearance one of the greatest Siegfrieds known
to New York opera habitues was on the boards.

** This was Mr. Hensel's initial Siegfried
appearance here, and let it be recorded that
another triumph has been added to his list at
the Metropolitan Opera-House. At the close of
each act the audience insisted upon bringing the
magnificent artist before the curtain many times
to bow acknowledgment to the plaudits.

** Every scene was invested with its full de-
gree of significance, and not a light or shade
was missed by Hensel, who seemed to be the
very embodiment of the forest hero. The song
at the forge was delivered with stirring elo-
quence; the encounter with Fafner, as the
dragon, was a masterpiece of dramatic delivery

The Metropolitan Opera^Home 337

and acting; the scene with Wotan in the last
act, and the final love episode with BriinnhUde
were impressive in the extreme. The present
writer overheard a veteran opera attendant re-
mark enthusiastically after Hensel had been
called before the curtain about a dozen times
following the first act : * The greatest and hand-
somest Siegfried since Alvary.' '*

Lambert Murphy, a tenor who began his
operatic experience at the Metropolitan Opera-
House in the season of 1911-1912, is a native of
Springfield, Mass. As a boy he was a church
singer, and he continued in that work until he
secured his engagement at the Metropolitan
Opera-House. In 1904 he entered Harvard
University, and was at that time a member of
the quartet of the Park St. Congregational
church in Boston. Each year he was sought
by other churches and eventually he sang in
the New Old South church, from which place he
went to St. Bartholomew's in New York.
During his college career he was a member of
all the musical organizations, and was in de-
mand for concert engagements. He coached
for oratorio under Emil Mollenhaur.

Mr. Murphy had no idea of entering the musi-
cal profession until the end of his college career.

338 The Grand Opera Singers of To-day

He had simply studied singing under Thomas
L. Cushman, a teacher of Springfield and Bos-
ton.

Mr. Murphy has a pure tenor voice of beauti-
ful quality. He has never had to seek profes-
sional engagements, — they have been urged
upon him. He was asked by Biccardo Martin,
who met him at a mutual friend 's house, to sing
for Mr. Gatti-Casazza, and he became a mem-
ber of the company without any prelindnary
operatic experience, and without leaving the
United States for study or training of any kind.
He takes small parts in the opera and has, so
far, been warmly commended for his work.

Herman Weil, who also came to the Metro-
politan Opera-House in 1911, is a young man in
his early prime. He is said to have been dis-
covered by Siegfried Wagner, who first heard
him as Hans Sachs at the Boyal Opera-House
in Stuttgart in 1910. Weil's whole life has been
passed in Stuttgart, where he had been a stu-
dent at the Conservatory. His striking quali-
ties as an artist are the power of his delivery
and the rich amplitude of his voice. During his
student days Weil fell in love with a fellow
student and married her shortly after making
his debut

The Metropolitan Opers-House 330

mKsmsaaBsaHsaBmmmi^^am

Putnam Griswold was bom in Minneapolis,
spent the early part of his life in California,
and, aided by some Calif omian friends, went
abroad to study singing. His first engagement
was at the Municipal Opera ^t Frankfurt-on-
the-Main. Six months later he began a lour in
America singing the part of Gurnemanz in
Henry M. Savage's production of ** Parsifal. '*
During this tour he sang that r61e one hundred
and sixteen times, and his success was so great
that he secured a contract at the Berlin Boyal
Opera as principal basso, for six years.

At the Metropolitan Opera-House Mr. Gris-
wold has distinguished himself in Wagnerian
roles. His King Mark was called a magnificent
presentation, physically and vocally. He made
every moment of the usually tedious second act
finale resolve itself into real music drama.

As Wotan the following account was given
of him:

** Putnam Griswold was a stately Wotan,
and his glorious bass voice rolled out over the
big audience with organ-like resonance. Not
only is Mr. Griswold a superb vocalist, but he
also is an actor of unusual capacity as well.
His mocking laughter at Mime was grueson^
and thrilling in the extreme. The scene of the

346 The Grand Opera Singers of l^o-day

questions in the first act was made most dra-
matically impressive by Mr. Griswold, as was
also the scene at the cave of the dragon. He
was superb, too, in the episodes between Erda
and Siegfried. Griswold is a fine artist and a
rich prize for any great opera-house to pos-

sess.**

For many years the nation has been looking
for an American Grand Opera. Since the days
of W. H. Try there have been several attempts
to produce grand opera written by Americans,
both in this country and abroad. Damrosch's
** Scarlet Letter '* was an opera on an Ameri-
can subject Nevin's ** Poia,*' produced in
Germany some few years ago, was an Indian
story and therefore more like what the ideal
American opera should be. Louis A. Coeme's
^^ Zenobia,'' produced in Berlin, was American
in that the composer was educated in and a
resident of America. The most successful
American opera is *' The Girl of the Golden
West/* an American story set to music by an
Italian, and most successfully sung by a polyglot
company, which included Emmy Destinn,
Amato, etc. Victor Herbert's ** Natoma,'*
mentioned elsewhere, is founded on an Indian
story. Horatio Parker has sought out a story

The Metropolitan Opera-House 341

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of andent Britain. In all the disonssions that
have taken place regarding the expected Ameri-
can opera it has not yet been clearly defined
what constitutes an American opera. Whether
the story must be American in subject, written
by an American, as well as the music, or whether
it is necessary only that the composer should
be an American. In reviewing operas of
other nations we conclude that the only es-
sential is that the composer should be a native
American. We have, for instance, among
Italian operas, ^^ Lucia di Lammermoor," a
story by Sir Walter Scott, set to music by an
Italian; we have ** Eigoletto,'* a story by a
Frenchman, set to music by an Italian; we
have ** Madame Butterfly,'* a story by an
American about the Japanese, set to music by
an Italian, and one could continue indefinitely.
In regard to an American opera it remains
a fact that no American composer has yet
reached the point of writing an opera contain-
ing the essential qualities. Mr. Converse in
'' The Pipe of Desire *' and ** The Sacrifice *'
showed some excellent qualities, but fell short
of success. Professor Paine 's ** Azara '* was
considered to be an excellent work, but it was
never produced.

342 The Grand Opera Singers of To-day

IBaaBBBSBBBXaBBB:9BB8BBaBBBB9BBB3SBSBBSBBBSBaBSSSBBSB

It is generally conceded that Prof. Parker *s
opera contains much that is of great merit.
Perhaps too much advance advertising did
more to spoil its chances than anything else.
Too much advance advertising is accountable
for many failures in America. Public expecta-
tion is raised too high, or expects something
entirely different from that which is presented,
and failure ensues.

In regard to operas, we can find, if we search,
through operatic history, that many of the most
successful operas were unpopular at first.
Some were re-written, or improved, others were
persistently pushed, until the people began to
feel that they could not do without them.

Under the circumstances it may be well to
reproduce here a keen analysis of the opera
which was published in the Bostan Herald im-
mediately after the production of ** Mona: '*

** The characters and the posture of circum-
stances, the interplay of emotions are evolved
with strong imagination. Their development
is the result of a keen psychological analysis.
The book is written with a fine, often a beauti-
ful, literary skill. It is the work of a poet of
real gift and imagination, and it is couched in
the diction of true poetry. It is safe to say that

The Metropolitan Opera-Houae 843

very* few operatic librettos in English have had
the distinction from a literary point of view
that this has.

^^ But as an operatic libretto Mr. Hooker's
book has faults. It is undramatic and it has
little fitness for development and elucidation
by music. To begin with, too little happens
upon the stage for long stretches of time to-
gether. There is too much discussion of a
political and a religious nature, too much' nar-
rative of what has happened and is expected
to happen and too little that actually does
happen.

* ' Prof. Parker 's musical embodiment of this
operatic book is unquestionably a work of re-
markable musicianship. But it is greatly to be
feared that on the whole it will be found so
bleak and austere in its quality as to meet with
little favor from even the musical public. It
has many elements of beauty, strength and orig-
inality. But it suffers from the trouble that
lies at the bottom of Mr. Hooker 's book, that it
is not, in the true sense of the word, dramatic
— it is not able to keep and hold the listener's
attention as the interpretation of long and sus-
tained action upon the stage.

''It is profoundly serious music; it makes

844 The aiand Opera Singers of To-day

not the slightest oonoession to popularity*
With very few exceptions it keeps a stem and
unyielding mood from the beginning to the end.
There are no lascivious pleasings of the ear in
^ Mona/ and this unbending severity is some-
thing that burdens even the most sympathetic
listener.

'^ The impression of * Mona ' that will first
prevail is that of a lack of melodic flow. Its
vindication from this charge, if vindication
there be, must be left to time.

^^ There are snatches of melodic form here
and there, but they are fugitive — they are not
allowed to reach development. One of the most
pleasing episodes of the opera is the opening
scene in the second act, in which Nidi is seen at
the altar in the forest dancing with his shadow,
speculating on the shadowy nature of souls and
communing with the birds. Here are melodic
grace, insinuating rhythms, seductive har-
monies and a suggestion of naivete."

An excellent review of the Metropolitan
Opera season of 1911-1912 appeared in Musical
America. From it the essential points are
taken and reproduced, by permission :

^^ At the opening of the New York opera
season which has just ended the impression was

The Mttropolitan Opera-House_345

widespread and deep rooted that it mnst prove
more or less of an anti-climax by contrast with
the brilliancy of the preceding one. This senti-
ment was grounded mainly on the character of
the new productions announced. There was
nothing which promised to approximate in im-
portance— that is, for the average nm of
operagoers — the pompous launching of the
* Girl of the Golden West,' with Puccini at
hand in the flesh as an additional ornament to
the occasion. There was no world premUre of
any other foreign work — with or without the
helping hand of its composer — that would com-
pensate for the glories of the ^ Konigskinder. '
Nothing that was promised with any degree of
definiteness appeared of a nature to provoke
undue excitement, except, perhaps, the home-
made ^ Mona.'

^^ Thuille's ^ Lobetanz ' was brought out less
than a week after the first night of the season,
thereby establishing something of a record for
enterprise and celerity of action.

^^ ^ Lobetanz,' which Alfred Hertz on his ar-
rival from Europe last Fall declared to be a
second ^ Konigskinder,' proved to be nothing
of the kind. It had two acts of mildly pretty
music and a third that had originality and

346 The Grand Opera Singers of To-day

■MaOBSacaa^BaBaPHBEBBBBSaBaaBIBBBBBSBBaBBBaaB^BBBaaMBI

strength through its grotesque macabre quality.
But the plot was inane and though the manage-
ment staged it lavishly and provided it with an
unsurpassable cast it never really succeeded in
arousing public interest. The second novelty
was Wolf -Ferrari's * Le Donne Curiose,' the
composer himself being present for several per-
formances. The opera aroused much more en-
thusiasm among certain of the critics than
among the public at large. It was a cleverly
fashioned score in many ways. The leading de-
fect of the work was the puerile character of its
humor, which was further aggravated by the
fact that the piece was drawn out to an uncon-
scionable length and that whatever sparkle may
have been in the lines was necessarily lost to
those unfamiliar with Italian.

* * Leo Blech *s one act * Versiegelt ' came next
on the list. Its brevity made it useful for double-
bill purposes and it had genuine, if not very
original, musical charm and straightforward,
hearty comedy which, unlike ' Le Donne
Curiose,' did not pall by being spread out too
thin.

^' By far the most anxiously awaited feature
of the season was the $10,000 prize opera, Ho-
ratio Parker's * Mona.' It must be regarded,

The Metropolitan Opera-Homie 347

among other things, as the Metropolitan's reply
to the question of opera in English during the
year. One cannot accord ^ Mona ' the distinc-
tion of genuine success, though it had certain
positive and negative merits. Brian Hooker's
libretto was a work of exceptional poetic beauty
and nobility of theme and style of treatment,
though frequently too slow of action and too
subtly psychologic for operatic purposes.
Nevertheless the lavish praise bestowed on it
should serve to point out to American libret-
tists of the future the path they must travel.
Professor Parker's music had the virtues of
profound scholarship if not real musical in-
spiration. Besides there were many things in it
that betrayed the hand of the novice at operatic
craftsmanship. It called for commendation for
its manifest sincerity and well-defined character
but for reproach on account of the consistent
avoidance of the lyrical, emotional and the
sensuously beautiful. In many ways * Mona '
was a profound object lesson to American com-
posers, for its defects showed them very plainly
some of the salient elements that stand in the
way of operatic success. But even though the
chances for ' Mona's ' existence on its own
merits are small, its influence as an encourage-

348 The Grand Opera Singers of To-day

■■SaaHBBSBBBBBBiBaBBasaaaH^i^KBBBBiBBBaBBBSasaSBBBaBf

ment to American opera will still be looked
upon as considerable.

** The Wagnerian performances were almost
always well patronized and, as has been the
case for years, Wagner led all other composers
in the number of representations he received.
Unfortunately only a single cycle of the * Nibe-
lung's Bing ' was given, though the enormous
size of the audiences and the high pitch of en-
thusiasm at these were assuredly such as to
have justified repetitions of the tetralogy. The
departure of Mr. Burrian shortiy after left the
Metropolitan without a Siegfried and fore-
stalled the possibility of another cycle or of any
further separate performances of * Siegfried,'
' GK>tterdammerung ' or even * Tristan und
Isolde. ' ' Parsifal, ' of course, had its three or
four usual holiday matinees.

** * Konigskinder,' the triumph of the prece-
ding year, held its own throughout this winter
and the Oerman repertoire was further en-
larged (temporarily, at least) by * Lobetanz *
and * Versiegelt,' which have just been men-
tioned. The Italian * Girl of the Golden West '
was still found worthy of a good number of
hearings. For the rest the Italian list of operas
remained very much what it has been. Putrini

The Metropolitan Opera-House 340

BBBB

led even Verdiy and one was amazed if two weeks
passed without a regular performance or a
special matinee of ^ Boh^me, ' which was worked
ceaselessly throughout the season. Thanks to
the enterprise of Messrs. Gatti-Casazza and
Toscanini Verdi's ' Otello ' has at last become
a fixture in the repertoire. The ' double bill '
of ' Cavalleria ' and * Pagliacci,' which seems
as eternal as the heavens themselves, was pleas-
antly varied at times when ' Hansel und Gretel '
or * Versiegelt ' was substituted for one or the
other of its component parts. But it drew best
when given in its time-honored integrity, pro-
vided Caruso were in the cast.

** Three French operas were given — Gou-
nod's ^ Faust,' Dukas's ^ Ariane et Barbe-
Bleue ' and Massenet's ^ Manon ' — the last
only as a makeshift, and that at the tail end of
the year. Gluck's ^ Armide,' though written to
a French text, is yet the work of a German.
The ^ Faust ' performances were often so slip-
shod as to call for reproof. They were fairly
pitchforked on the stage and the score en-
trusted to a not over-efficient conductor. Alto-
gether French opera fared about as badly at
the Metropolitan as it had a year earlier.
There was no French tenor at the Metropolitan

350 The errand Opera Singers of To-day

and no first class Frenc^ soprano, though the
latter deficiency was remedied by the work of
Geraldine Farrar.

** For the few * Bigolettos ' and * Traviatas *
the management availed itself of the brief visits
of Mme. Tetrazzini and Mme. de Pasquali. The
Glnck operas, * Armide * and * Orfeo,^ so ad-
mirably mounted and superbly sung, continued
deservedly to enjoy popular support and sym-
pathy. Mr. Toscanini's noble zeal seems really
to have turned ' Armide ' from failure to suc-
cess.

^^ The opening performance of the season
brought to the notice of the New York public
one of the most consummate artists it has ever
been privileged to applaud. This was Mar-
garete Matzenaur, the German contralto, who,
by her superb voice and her rare intelligence,
musicianship, temperamental qualities and dra-
matic force, scored one of the most emphatic
successes ever attained by a contralto at the
Metropolitan. Her Kundry in * Parsifal,* her
Orfeo and her Ortrvd were impersonations of
superlative excellence. Though a true contralto,
Mme. Matzenaur aspired occasionally to
soprano parts and even won deep admiration
by her portrayal of Briinnhilde in * Walkiire.'

The Metropolitan Opera-House 351

Had Mr. Gatti-Caeazza done nothing more than
to import this singer he wonld still have de-
served no end of thanks.

^^ At the same time as Mme. Matzenanr
came an English mezzo-soprano, Theodora Or-
ridge. She failed, however, to create an im-
pression and returned to Europe after a few
performances. Early in April came the Ameri-
can contralto, Mme. Charles Cahier from Vi-
enna for the sake of two performances. She
proved an interesting artist, one whom it would
doubtless be pleasant to hear in a wider variety
of rdles. There was the usual dearth of French
and Italian contraltos.

^ ^ The leading sopranos were, as usual, Mmes.
Destinn, Farrar, Gadski, Fremstadt, Bappold,
Gluck and Alton. For the mezzo parts there
were the trusty standbys Mattfeld, Fomia,
Wickham. As was the case with the contraltos
there was no leading Italian soprano. For
the latter, however, there was little need,
in view of the diversity of the talents
of Mmes. Destmn, Farrar, Gadski and Frem-
stadt.

^' Aside from Caruso there were no leading
Italian tenors, the remainder of the tenor con-
tingent including Messrs. Martin, Jadlowker,

352 The Grand Op«ra Singers of To-day

S^SSSaa^lEBaH^BBBSSaSBSSSSBBPESSBBSaBaBaBaBSaBBBBaBB

Jom, Slezaky Bnrrian and Hensel. The last
was a newcomer. He sang infrequently, the
sum total of his work consisting of one or two
' Lohengrin ' perf ormances, appearances as
Siegmund and Siegfried and a few Sunday
night concerts. The impression he produced
was not of the indelible kind. Mr. Jadlowker
was found to have improved immensely since
his earlier appearances here, but by a previous
contract was obliged to return to the Berlin
Opera, just as his popularity here was in
marked ascendency. European contracts also
took Carl Burrian away from the Metropolitan
in February, thus leaving that institution with-
out that very necessary adjunct, a German
heroic tenor. The attempt to remedy the de-
ficiency by impressing the eminently lyric-
voiced Carl Jom into the ranks of Siegmunds
and Parsifals did not bring about the most sat-
isfying results.

* * The baritone wing of the company was ma-
terially strengthened by the American, Putnam
Griswold, brought home from the Berlin Boyal
Opera. From every ' standpoint this artist
showed himself to be of the highest rank. Mr.
Weil was a pleasing singer and fairly good
actor, but he lacked the breadth, authority and

The Metropolitan Opera-Houae 353

artistic stature for some of the great rdles he
was called upon to assume. Neither his Wotan
nor his Sachs was particularly convindng. His
best work was done as Tdrcimund and as the
Burgomaster in ' Versiegelt.' Mr. Amato
maintained the hold he has always exercised on
his audiences. His is a magnificent voice and
he is a true artist. Mr. Gilly enjoyed greater
opportimities than in the past and incidentally
showed himself more than worthy of them^
while Mr. Goritz and naturally also Mr. Beiss,
the little tenor, continued to be the greatest
funmakers in the company.

^ ' The choral forces were again of preeminent
excellence and the difficult ensembles in ^ Lohen-
grin/ < Meistersinger/ ' Gotterdammerung '
and ' Parsifal ' were almost invariably sung
with thrilling effect. Scenic settings and
stage management in the newest productions
never failed to awaken unbounded admira-
tion.

' ' Taken on the whole, though, the season has
been one which may be observed with a sense
of gratification. Mr. Ga\;ti-Casazza has shown
the same zeal, sincerity and earnestness as in
former years, the same disposition to attain
artistic effidency as in the past

354 The Grand Opera Singers of To-day

* * A review of the operatic year in New York
would not be complete without' a mention, at
least, of the five weekly visits of the Chicago
company, beginning on February 13. It is to
this organization that New Yorkers owe their
thanks for a good part of their French opera
this year. The company brought with it * Car-
men,' the * Juggler,' * Thai's,' the new and
highly pleasing ^ Cendrillon ' of Massenet, and
Wolf -Ferrari 's new * Jewels of the Madonna.'
The attendance was very large and the artistic
level of these performances was almost invari-
ably high.

^^ The season provided a grand total of
thirty-four different operas and 146 perform-
ances, of which eleven performances were
double-bills. There were three special per-
formances by the Russian Ballet and one of the
Sunday night concerts was devoted to a worthy
production of Wolf -Ferrari 's beautiful ora-
torio, * La Vita Nuova,' and another to that
ancient opera, Monteverdi's * Orfeo,' given in
concert form.

** In Brooklyn the Metropolitan gave seven-
teen operas (sixteen performances). Phila-
delphia had nine visits from the Metropolitan,
in which ten operas were heard."

The Metropolitan Opera-HouM 356

At the close of the season of 1911-1912 the
reviews generally praised Mr. Gatti-Casazzat
especially in regard to his policy as to
German opera. When he took charge of the
opera-house it was assumed that being an
Italian, he would favor Italian opera, and that
German opera would be slighted. It did not
take long to convince even the most skeptical
that Mr. Gatti-Casazza was a more staunch
supporter of German opera than either Con-
ried or Grau, both of whom were native Ger-
mans.

In New York for many years German opera
meant Wagner, but under the recent manage-
ment the classification has been extended. Not
only have there been most excellent perform-
ances of Wagner, but works of other German
composers, as may be seen in the foregoing
reviews, have been given a place in the Metro-
politan repertoire, — and Gluck has been re-
vived in sumptuous style.

On the other hand, the French composers
were more or less neglected, but the reasons
for this were not difficult to discover. Ham-
merstein had done much with French opera,
and Hammerstein's company went chiefly to
Chicago. On the whole, the past two years ap-

366 The Orand Opera fltngers of To-day

pear to have given more satiBfaction to the
Metropolitan Opera-Honae andiences than pre-
vious seasons, and, as competition increases the
opera urill improve ererywhere.

CHAPTER V

THE BOSTON OFBSA - HOUSE UKDEB HBKBY BTJ8SELL

The idea of establishing grand opera on a
permanent basis in Boston started when the
San Carlo Company, of which Henry Bussell
was the director, gave a season at the Majestic
Theatre in the spring of 1906. It grew when,
during the next season, no time for rehearsals
could be secured at the theatre, and Mr. Bussell
borrowed Jordan Hall at the New England Con-
servatory for rehearsal purposes. The matter
of opera in Boston was discussed by Mr. Bus-
sell and Mr. Flanders, manager of the New
England Conservatory. Mr. Eben Jordan be-
came interested, has been the mainstay of
the enterprise, building the opera-house, and
has backed the operatic enterprise until it could
become self-supporting.

The first season opened on November the
eighth, 1908, with ** La Qioconda.** Madame
Lillian Nordica, at one time a student at the
Conservatory, sang the title rdle. Madame

358 The Grand Opera Singers of To-day

SBSSSBiSaSBBaEBSSaSSB^BBBaBB^BBSS^BB^SSSBSSBBBSBBaraaS

Louise Homer, also in her early days a student
at the Conservatory, Madame Meitschek, Flo-
rencio Gonstantineau, George Baklanoff, Jose
Mardones, A. Pulcini and C. Stroesco comple-
ting the cast. ^

On the second night ** Aida *' was given with
Mesdames Boninsegna, Claessens, Bettina Free-
man, Lehon, and Francis Archambault.

The next production was ** Lakme," with
Lydia lipkowska, Bettina Freeman, Evelyn
Parnell, Virginia Pierce, Mabel Stanaway, Paul
Bourrillon, Nivette, and Stroesco.

The fourth production was ** La Boheme "
with Alice Neilsen, Levicka, Gonstantineau,
Tavecchia and Huddy.

During the first season of the Boston opera
twenty-one operas were mounted, — fifteen
Italian, four French, and one German, and the
season lasted fifteen weeks^ The company also
made various excursions to other cities. At
the end of the regular season both the Metro-
politan and the Manhattan Gompanies appeared
at the same time in Boston, the Metropolitan at
the Op^ra-House, and the Manhattan at the
Boston Theatre. The chief attraction of the
Manhattan Gompany was a performance of the
gruesome opera ^^ Elektra.''

The Boston Opera-Hoiue 350

■■■■

Alice Nielsen, whose name in private life is
Mrs. Nentwig, has had, perhaps, the most varied
career that any singer on the grand opera stage
to-day has experienced. A native of Nashville,
Tennessee, while stiU a mere child her parents
moved to San Francisco, where her musical edu-
cation began. Beginning a career in her teens,
singing at the famous old Tivoli (of many
memories), she joined the famous Bostonians
as prima donna, and in a very short time she
was at the head of her own opera company, tour-
ing this country. Going to Europe, she decided
to devote herself to grand opera, relinquishing
the fame and fortune that had come to her in
the light opera field, and beginning all over
again as a student.

After study to gain repertoire, her operatic
debut was made in Italy with immediate suc-
cess. Engagements at all of the important
opera-houses of Europe followed, and in 1904
she appeared at Covent Garden, London, to-
gether with Melba, Destinn, Caruso and others,
appearing in ** Don Giovanni,*' the great pres-
entation in which Destinn made her London
debut. Especially has she won fame as Mimi
in '^ La Bohdme," having sung that role to the
Rodolfo of Caruso many times. She has been

360 The Omnd Opera Singers of To-day

favored many times by ^' Command '' perform-
ances at Buckingliam Palace, Windsor and
other Boyal residences during her several sea-
sons in opera in London.

When Miss Neilsen first appeared in grand
opera in her native land she was prima donna
of the San Carlo Opera Company, which had
been organized by Henry Bussell, and gave a
series of performances in New Orleans, visit-
ing other cities also, later in the season. This
was in 1906. She remained with the San Carlo
Company during its seasons until the establish-
' ment of the Boston Opera, with which she sang
two seasons. After 1911 Miss Neilsen was only
a visitiag artist of the Boston Company but
sang with the Metropolitan Company also. She
created the leading rdle in ^* The Sacrifice "
when it was produced.

Miss Neilsen has particularly distinguished
herself as a singer of Mozart.

The following article appeared in the Boston
Transcript, under date of February 10, 1912,
describing Miss Neilsen 's truly Mozartian sing-
ing:

^' There is no opportunity of ^ faking ' m
Mozart; every carelessness and shoddiness
yells its sin to the world and requires equal pro-

The Bogton Opera-House 861

portions of voice, natural talent, dramatic imag-
ination, every day common sense and tireless
industry. These, but above all these, con-
science, the every day variety of working con-
science.

'' Probably it is this conscience that makes
Miss Alice Neilsen's singing of Mozart so thor-
ough and so authoritative. No amount of orig-
inal talent or artistic education could have done
it alone. An aria like the ^ Voi che sapete,'
from * Figaro,* demands too much of every-
thing a singer has to be achieved by any esoteric
or mystic quality. In the clear light of day,
alike to the intellect and to the emotions, her
singing stood the test. She had what every
Mozart aria demands; first of all, pure voice;
not so much natural voice or vocal bigness, but
rather a high percentage of efficiency in the use
of the voice one has. Then there was a dear
realization of form, of mere decorative beauty.
Next a conception of this form as organic, with
each part, down to the smallest grace-note, nec-
essary and individual. Along with this an in-
stinctive feeling for the drama and emotion of
it. And finally, after, and not before these
other qualities, all that makes any one of
Mozart's arias distinct from every other one,

362 The Orand Opera Singers of To-day

and all the subtlety and finesse and personal
charm which a singer can give to them — if she
is rich enough. Perhaps it is the recognition
of all these things that makes up the necessary
conscience which etymologically means merely
^ complete knowing. ' Miss Nielsen certainly
has all of them. She can make each aria Mozar-
tian, individual and finally her own personal
property. She has the disciplined taste that
can retard a phrase just enough to emphasize
it but not so much as to disturb its organic rela-
tion. She has the fine sense that can prepare. an
ending so as to make the closing cadence en-
chanting in its sweetness and finality. The vocal
Mozart is not often heard in these parts, but
if he ever takes hold it will mean trouble, or
more probably sincere joy for the opera-house.*'
Lydia lipkowska was bom on the estate of
her father, in the province of Poltava, Southern
Bussia. After graduatiag from the girls ' high
school at the age of seventeen, she decided to
devote herself to an artistic career, and entered
the Conservatory at St. Petersburg, notwith-
standing the opposition of her parents. She be-
came the pupil of Bussia 's most famous singing
teacher, Madame Iretzka, and in two years she
made her debut in the part of CHlda in '^ Bigo-

The BoBton Opera-Hoiue 363

BBSESBSBSBBBB^BBBBSBBBS^BSBSSSSBBBSSBSBaB

letto/' at the Imperial Theatre in St. Peters-
burg*

Her snocesB was instantaneous, and she was
a reigning favorite of the opera-goers of the
Russian capital for three years, and was called
affectionately by them, ** La Petite.'' Then
she decided to seek new honors in foreign lands,
and when she made her debut in the spring of
1909 at the Paris Chatelet and Opera Comique,
the Parisians, as the Russians had previously,
decided that Madame Lipkowska possessed the
rare combination of an admirable coloratura
voice and unusual histrionic talent. It was in
Paris that Mr. Bussell heard and engaged her.

Madame Ldpkowska made her first American
appearance at the Boston Opera-House in No-
vember, 1909, and became a great favorite. It
is even recorded that a hotel proprietor
wounded her susceptibilities by naming a dish
after her, intending to do her great honor. At
the end of the season of 1910-1911 Madame
Lipkowska left the Boston Opera Company and
went to New York. She has in fact, * * gone the
round '* of the American Opera-Houses.

The following story which was published has
the merit of being romantic, even though it may
not be strictly accurate:

364 The Orand Opera Singers of To-day

^ ' Lydia Lipkowska, who was one of the lead-
ing members of the Boston Opera Company
during its first two seasons, was a Russian of
humble origin. She was a street singer when,
chanting a Russian folk song under the window
of a wealthy and titled Russian, her voice
pleased him so much that he sent a servant to
bring her into the house. He learned her story
and decided that her talents should be culti-
vated. This ended her career in the line of
street singing, and after proper study she was
brought out at the Imperial Opera-House in
St. Petersburg where she made a distinct suc-

cess.*'

Lydia Lipkowska was small and slight, and
in happy contrast to the bulk and maturity of
many coloratura singers. Her face and body
were delicately molded and a little frail in ap-
pearance. She had lightness, swiftness and
grace of youth and in all that she did disclosed
quick sensibility, individual accent and dear
charm. She interested, she pleased in herself
as well as by what her singing and acting ac-
complished. Delicate in all she is and does
without a hint of mincing elegance. Thus was
she described by Mr. H. T. Parker, who con-
tinued: '^ Essentially a light, pliant, delicate

LVDIA LIPKOWSKA

The Boston Opera-House 365

voice readily susceptible to the agility that the
ornaments of song in the older Italian operas
demand. Miss Lipkowska is certainly capable
of sustained and expressive song. The quality,
however, that particularly distinguishes her
tones is the delicate and subtle variety of color
that she gives them. Artistry of delicate sha-
dings, of subtle distinctions, of fine sensibilities
that are in her. Her voice seemed less a bril-
liant voice than a tender, melancholy, wistful
voice attuned to sentiment and not to display.
Yet it has soft warmth. Her acting disclosed
similar characteristics, — light, clear, softly
touched with mood and trait, subtle even in
some of its illusions, — a new and exotic per-
sonality. * *

Miss Lipkowska excelled in her interpreta-
tion of Lakme, was considered very good in
** La Traviata,^' and dainty in ** II Barbiere,'*
but her interpretation of Manon was considered
mistaken. She remained with the Boston Opera
Company for two seasons.

Fely Dereyne was born in Marseilles, Prance,
and prepared for her career in her native city,
making her debut there also in Gounod's ^^ Mi-
reille.'' She was then engaged for the winter
season at Nice, and sang during the following

366 The Grand Opera Singers of To-day

Bummer at Vichy. At the conclusion of this
season she appeared in most of the principal
opera-honses in France. During this time
Henry BusseU heard her and engaged her for
the San Carlo Company, which he was then
forming. She made her first American appear-
ances with that company in New Orleans, and
sang in Boston in April, 1907, as Musetta in
Puccini's ** La Boh^me.'*

In the spring of 1908 Miss Dereyne went to
Covent Garden, where she sang during two sea-
sons. She also made a tour of Brazil and sang
in Buenos Ayres. Then she joined the Metro-
politan Company. She has also been a valuable
member of the Boston Opera Company, and of
the Montreal Opera Company. In Montreal she
was selected to sing the title rdle in Charpen-
tier's ** Louise '* at its first performance in that
city. She has had good success in ** Tosca,**
'' Faust,'* '' Mignon,'' ** Manon '' and '' Bo-
heme.*'

Bettina Freeman was bom in Boston in 1889.
Her mother is French and her father an Ameri-
can of German descent. She was educated in
the public schools and began to take lessons on
the piano at the age of thirteen, her teacher
being Madame de Berg Lofgren, who began to

lELY DEREYNE

The BoBton Opera-House 367

teach her singing also when she was sixteen.
When the Boston Opera enterprise was
launched Madame Lofgren took her yoong
papil to the opera school, and after some coach-
ing with Minetti and Conti, Miss Freeman made
her debut as Siehel in ^^ Faust/' and sang with
the Boston Opera Company for one season.
Seeking an opportunity for larger parts she
went to New York where she was engaged for
the Quinlan Opera Company, and made a tour
through England and Scotland, singing leading
parts, — Madame Butterfly, Micaela, Gretel,
and she even sang Elizabeth in ^^ Tannhauser,"
a rdle considered much too taxing for a young
singer. Her voice is of mezzo-soprano quality
with an unusual range.

Miss Freeman had a rather unusual experi-
ence, for in 1907 being consumed with the de-
sire to study abroad, she went to Paris, took
three or four lessons, was taken ill, and re-
turned to Boston in time to resume her lessons,
in the fall, with Madame Lofgren. She thus
made her operatic debut with practically no Eu-
ropean study or experience.

Enuna Hoffmann is a native of Chicago, who,
after preparatory work in Chicago, went abroad
to study for opera. She made her debut at the

368 The Grand Opera Sinsers of To-day

San Carlo Opera-Honse in Naples in ^' Aida/'
and is said to have aroused such interest that
she was hailed as the greatest dramatic soprano
of the day. Notwithstanding this handicap she
appeared with success in Turin and other cities,
and enjoyed the distinction of creating the
soprano role in Ooldmark's new opera, " Win-
termarchen,'' at the Begis Theatre, Turin, on
which occasion Mr. Goldmark complimented
her highly and requested her to learn the part
in German in order to sing it at Vienna.

Although she is said to have received offers
from numerous European houses, she signed a
contract with Henry Bussell and was one of the
Boston Opera Company during its first season.
She afterwards joined the Chicago Company.

Margaret Banks, of Los Angeles, CaL, went
to Italy in 1907, and returned two years later
an accepted prima donna, having a three years'
contract with the Boston Opera Company,
which would permit her also to sing at the
Metropolitan Opera-House. Miss Banks's only
teacher, until she went ahroad, was her mother.
In Italy she sang under the name of Margherita
Namara. She made her dehut in " Faust."
She was afterwards engaged by the Schuberts
to appear in comic opera.

JESKA SWARTZ

The Boston Opera-House 369

^^aasaBBaBBBaBSSBSBBBaaBeaBBBBBBBaBBaaBBPB

Another young soprano singer brought for-
ward during the first season of the Boston
Opera was Evelyn Pamell, a pupil of Madame
Meysenheim of New York. She was known in
Boston, her home city, as a church singer.
After the Boston season she went abroad and
has been singing successfully in opera in Milan,
Pavia, Venice, etc.

Jeska Swartz was bom in Albany, New York,
and her voice attracted attention when she was
a mere child. Early in her 'teens she went to
Boston and studied at the New England Con-
servatory under Charles A. White. During her
under-graduate course at the Conservatory she
was engaged as soloist with the Boston Festival
Orchestra in a tour of the Eastern States. She
also was contralto soloist at several churches,
the latest being the Piedmont church in
Worcester.

Miss Swartz was one of the young singers
taken in to the Boston Opera Company at its
beginning, and has remained with the company
ever since.' In 1911 she went to London and
made her debut at Covent Garden where she
was very favorably received. During the sea-
son of 1911-1912 Miss Swartz and Miss Fisher
made a distinct success of Hansel and OreteL

370 The Grand Opera Singers of To-day

Maria Claessens^ who has been a member of
the Boston Company from its beginning, is a
native of Brussels, and was educated at the
Conservatory in her native city. She then went
to the Conservatory at Barcelona in Spain and
made her first appearance on the operatic stage
at the liceo Teatro in that city> in Donizetti's
* * La Favorita. * ' She then toured the principal
cities of Portugal and Italy, and visited Argen-
tina, Chili and Mexico.

Madame Claessens was a member of the San
Carlo Company and with it made her first ap-
pearance in Boston in 1907. She is a contralto,
and a useful member of the company. Though
not an inspiring singer she is always adequate.

Anna Meitschek, who also was one of the first
members of the Boston Company, is a Russian
contralto with a voice so deep that she has even
sung baritone airs. It is related of her that
once, at the fair at Nighni Novgorod, where a
performance of Rubinstein's opera the
^* Demon " was to be given, the baritone to
whom the title role had been assigned was
taken ill and Madame Meitschek sang the part
and saved the performance. She is a native
of St. Petersburg and prepared for her oper-
atic career at the Imperial Conservatory. Be-

The Boston Opera-House 371

fore singing in opera she appeared in concert
in France. Madame Meitschek became a mem-
ber of the Metropolitan Company. Her inter-
pretation of the Countess in ^' Pique Dame," is
one of the foundation stones of her reputation
in Europe. She is a thorough artist, and
brought individuality into her representation
that makes her Countess quite unforgettable.
Her voice, as her acting, is full of rich and in-
dividual character.

Jean Maubourg, a mezzo soprano, had a
career of ten years at the Theatre de la Mon-
naie in Brussels before joining the Boston
Company. Miss Maubourg also became a mem-
ber of the Metropolitan Company.

Elvira Leveroni is a native of Boston, who
studied singing with Miss Emma Howe, and
went abroad with her in 1903. She studied for
some months in Italy and made her d^but at
one of the small theatres in ^^ Mignon.'' She
returned to her native land for a few months
and then entered upon a further course of study
in Italy under Sebastiani. She got an engage-
ment at Naples, at the Mercadante Theatre,
where she appeared in * * H Tr ovatore. ' *

When the Boston Opera-House opened she
was one of several young American singers who

372 The Qrand Op«ra dingers of To-day

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were entrusted with small parts, and she has
remained a member of the company.

Ella KirmeSy a native of Melrose, was also a
pupil of Miss Howe, and went abroad with Miss
Leveroni. She also was engaged for minor
parts at the opening of the Boston Opera-
Honse.

Viola Davenport, a singer of Medford, Mass.,
was a member of the company. She made her
debut as Ldkme on one of the debutante nights,
and gave great promise of success. She showed
much dramatic ability, and disclosed a voice of
clear, unforced and bell-like quality, and indi-
viduality of timbre. She abandoned her oper-
atic career at the end of the first season and
became Mrs. Alva T. Puller.

When the San Carlo Opera Company first
visited Boston, in 1906, the leading soprano was
Alice Neilson and the leading tenor Florencio
Constantineau. There was, in fact, so much
more of them than of any one else that people
spoke less of hearing the San Carlo Company,
than of hearing Neilsen and Constantineau.
It was largely due to the excellent work of these
artists, supported by a good company, that the
idea of permanent opera in Boston assumed
definite shape, and when the project was formed

The Boston Opera-House 373

the principals filled their time in other places
and were ready as soon as the opera-house
opened. Constantineau filled the intervening
space as a member of the Manhattan Company.
He remained three years with the Boston Com-
pany. The first year he bore the bnmt of the
work, and appeared many times. The second
year he was also very conspicnons, but the third
year he was kept more in the backgronnd, and
at the end of the season of 1911-1912 he left the
company and announced that he was to have an
opera-house of his own in Bragado, which is not
far from Buenos Ayres. He reached his height
in Boito's '* Mefistofele *' as Faust. He is not
remarkable as an actor, but as a singer he con-
stantly challenged comparison with Caruso.
His voice was of a more lyric quality and his
singing smooth and graceful.

Constantineau is a Spaniard, a native of Bar-
celona. He ran away from home to escape
school, and it was not until he was twenty-five
years of age that he realized the disadvantages
of ignorance and began the serious study of
letters and general musical subjects.

When he ran away Constantineau shipped on
board of a steamer bound for Buenos Ayres,
and worked as a machinist On board the ship

874 The Onnd Opera Singers of To-day

he sang a good deal and so interested the pas-
sengers that he secured an introduction to the
director of the opera-house at Montevideo,
where he had a chance given him to study the
tenor role in ^ ^ Dolores. ' ' He also appeared in
''Emani,*' ^* La Favorita/' *' Rigoletto,"
'^ Fanst," and other Italian operas which
are very popular with South American audi-
ences.

Ahout this time Tetrazzini was singing for
fifty dollars a night, and Caruso for a small
sum. Oonstantineau considered himself well
paid with a dollar and a half. He carefully
hushanded his wealth and then returned to
Italy.

While his South American experiences were
valuable Constantlneau considers that his suc-
cess in opera dates from his appearance in
" Manon *' at Nice. He has a repertoire of
more than forty operas, and he makes the
proud boast that he has sung in every country
in the world and in every city of prominence.
In Naples he appeared, during his early days,
with Caruso, and sang five times in three days,
— at thirty-five francs a performance. In the
course of time he was heard by Nickisch who
was then director of the opera at St. Peters-

The Boston Opera-HooM 376

bnrgy and who engaged him for that house.
Here Constantinean first met and was asso-
ciated with Tetrazzini. Later he went to
Madrid and sang under the baton of Cleofonte
Gampanini. At the Boyal Opera in Berlin he
sang with Sembrich and Eames, and at Covent
Garden he alternated with Caruso and sang
with Melba. While singing at Nice he was
heard by Henry Bussell, who secured his serv-
ices for the San Carlo Company, with which he
made a tour through North America beginning
at New Orleans and extending through Chicago
to Montreal, Toronto, Boston, etc.

The story of Constantinean 's engagement
for the Manhattan Opera Company is worth
telling, if only to show how much advantage
the individual has over the corporation when a
matter of quick decision comes to the front. It
is related that Bonci, of the Metropolitan
Opera-House, was taken ill, and, Constantinean
having recently arrived in New York, the Met-
ropolitan people sent and asked him if he would
sing in Bond's place for one night for $1000.
Constantinean replied that he would not sing
for one night at that price, but he would accept
an engagement for the season at $1000 a night.
After a conference they offered him four en-

376 The Grand Opera Singers of To-day

ana:

gagementSy and later they offered six, to which
he replied by stipulating for ten. While the
management were discussing the problem a
happy thought struck the singer. He jumped
into a cab and drove to the Manhattan Opera-
House where he found Hammerstein and asked
if there was an engagement for him. After a
short discussion Hammerstein made him a
proposition for a five years' contract, which he
accepted, and a couple of hours later the mes-
sage came from the Metropolitan Opera-House
agreeing to the ten performances, but it was
too late.

On his resignation from the Boston Opera
Company a dinner was given in his honor and
much appreciation expressed regarding his ar-
tistic work.

An anecdote is told of Constantineau to the
effect that one day in Bilbao, — his native city,
— he was standing on the street watching the
efforts of a shabby individual to squeeze out a
few notes from a guitar so as to procure some
money from the people, for dinner and lodging.
The crowd was unsympathetic. Constanti-
neau's sympathies being aroused he took the
guitar, and stood by the man's side, singing.
Then he passed round the hat and gathered up

J CAVAKADOSSI IN " TOSCA •

The BoBton Opera-House 877

a substantial suiUy which he handed with the
hat to the nnf ortnnate musician.

A singer who made a genuine sensation
during the first season of the Boston Opera
was George BaUanoff, a Russian baritone, who
while studying law at the University of St.
Petersburg, had found that singing was his true
vocation. Immediately after securing his de-
gree at the university Baklanoff was offered
an operatic engagement in one of the smaller
Bussian cities. A month later he was called to
the Imperial Opera-House at Moscow, where he
ntiade his debut in ^^ The Demon " (Bubin-
stein's opera) in 1905, and since that time re-
mained inseparable from the successful pro-
ductions at Moscow.

In Boston Baklanoff made his debut as Bar-
naba in '^ La Gioconda," and quickly became
one of the chief attractions. He gave, alone,
a scene from ^^ The Miser Knight,'' a Russian
opera, which enabled him to show his dramatic
ability. Unfortunately Baklanoff gradually
became obsessed with the idea that he was the
opera, and committed a breach of discipline
which led to a heavy fine and discharge from the
company. Aft^ some discussion Mr. Bak-
lanoff apologized for the breach of discipline

378 The Grand Opera Singers of To-day

and remained until the end of the season.
Public opinion sustained Mr. Russell.

An interesting story is told of Baklanoff to
the effect that, during a revolutionary out-
break, his home in Russia was raided by a
peasant mob. Several of them were captured
and prosecuted, but Baklanoff not only refused
to appear against them but took sides with
them and appeared as their attorney, arguing
that they had been led to believe that the mil-
lennium was at hand and they had a perfect
right to anything upon which they could lay
their hands.

Paul Bourrillon is a native of Bordeaux,
France (1877), and began life as an amateur
bicyclist, when he came in second in a race of
a hundred miles. After this he went in for
training and won championships and prizes in-
numerable, remaining unbeaten for two years
and a half.

He was a friend of Renaud, and, while wait-
ing for him one night at his rooms, sat down
and sang the ** Flower Song " from ** Car-
men." Renaud came in and heard him, and
urged upon him a stage career. Without ^ving
him time to decline Renaud pushed him into the
hall, got a cab and took him to Vergnet, the

The Boston Opera-House 370

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principal vocal teacher at the Conservatoire.
After a year of study Bonrrillon made his de-
but in ** Fanst/* in 1904, and after a tonr of
the provinces for^a few months was engaged by
Albert Carre for the Op6ra Conriqne. He was
still there when he was heard by Henry Bnssell
who engaged him for the Boston Opera Com-
pany.

Bodolfo Fomari was bom and educated in
Italy, and made his debut at the Del Verme
Theatre in Milan. He was one of the earliest
members of the Boston Opera Company, and
has proved himself a valuable member, being
always ready in an emergency, and an inde-
fatigable worker. His best part is that of
Figaro in ** H Barbiere/'

Baymond Boulogne, who came to Boston in
1909, is a French singer with a large, strong,
and a little rude and hard bass-baritone voice.
A voice of resonant force and large effect
rather than of finesse or elegance. Native vital-
ity rather than polished style is conspicuous in
it He was sturdy and thickset, moves in a large
operatic stride, makes large operatic gestures,
knows and follows the big routine. Power
forms and speeds his tones.

Giovanni Polese, who came to Boston at the

380 The Grand Opera Singers of To-day

same time, has a virile voice and sings in a
straightforward and manly fashion. Not a
singer of nnanceSy but an honest baritone who
rejoices in fulness of tone.

Carlo Cartica, who appeared in December,
1909, was a conventional lyric tenor, with an
experience of many years in Italian opera-
houses. He did not remain long in Boston.

Bamon Blanchart was one of the members
of the San Carlo Company who joined the Bos-
ton Opera Company at the beginning. He is an
excellent singer, and is remarkable in the fact
that he was his own teacher.

Blanchart is a native of Barcelona and has
had ten years' experience in the opera-houses
of Spain and Portugal and Italy. He sang at
La Scala and at the Imperial Opera-House in
St. Petersburg. He has received many di-
plomas, titles and honors from various roy-
alties.

Mr. Blanchart sings the baritone roles in
most of the standard operas, and is equally at
home in French, Italian, Spanish and English.

Christian Hansen, a young Danish tenor,
joined the Boston Company in 1909, but did not
stay long. His career included engagements
at Wiesbaden, Vienna, Dresden, and finally the

The BoBton Opera-House 381

Royal Opera at Berlin. During his Berlin en-
gagement he was induced to go to Italy for
further study, and it was during this time that
he came under the notice of Henry Bussell and
was secured for the Boston Company.

Giuseppe Gaudenzi, who appeared in the fol-
lowing season, is a native of Bologna, Italy,
and a graduate of the law school of that city.
His voice was so promising that he was advised
to give up the profession of law and devote him-
self to grand opera. This advice he accepted,
and during a career of four years previous to
his Boston engagement, he had sung in Russia,
South America, and Italy. Gaudenzi made his
debut in the rdle of Mario Cavaradossi in
'' Tosca.'*

M. Nivette was a leading bass of the Boston
Opera Company in the season of 1909-1910.
His voice was a deep, full, long-ranging bass.
Its salient character was its smoothness and
richness which at times recalled the like quality
in the singing of Pol Plan^on. There was no
trace of the occasional roughness and harsh-
ness of the basso prof undo, but rather the large,
smooth, sonorous and pliant eloquence of the
hassO'Cantante. He sang Mozart's music with
the aptitude and practice in the art of song

382 The Grand Opera Singers of To-day

that it requires, with the sure and polished style
that it exacts, and the large freedom that ac*
cents the music and character, and with the dis-
cerning justice that is one of the traits of a
highly trained and keenly intelligent French
singer.

A review of the Boston Opera season, pub-
lished in the Boston Herald of March 26, 1911
(the second season of the Boston Opera-House),
shows that twenty-six operas were given and
one scene from an opera, — (** Gerzige Bitter,'*
sung by BaUanofF)^ — with a total of one hun-
dred and fourteen performances.

* * Converse 's * Sacrifice * had its first per-
formance on any stage, ^ L 'Enfant Prodigue '
and Laparra's ^ Habanera ' had their initial
performance in America on November 16, and
December 14, 1910, respectively, and * La
Fanciulla ' its first Boston presentation on
January 17, 1911.

*' Of the singers heard for the first time in
Boston during the season Carmen Melis (who,
however, had previously sung at a musicale)
gave admirable impersonations of Floria,
Tosca, and Minnie in ' The Girl/ Her brilUant
beauty was especially displayed in * Mefisto-
fele.* Her Aida, Santuzza, and Manon were

The BoBton Opera-House 388

conventional^ her Nedda was xmBatisfactory.
She is much more effective in drumatic than in
lyric parts.

^ ^ Carolina White made a marked impression
as a singer and actress in ' The Girl,' and
awakened a desire to hear her in other operas.

'^ Korolowicz proved to be an interesting
dramatic singer^ and Babinoff pleased by her
youth, her graceful appearance, the quality of
her voice, and even by her inexperience.

' ^ Madame Bappold and Madame Villani were
comparatively ineffective, but Emmy Destinn's
wonderful art and voice and her intensity awa-
kened the greatest admiration.

" Euby Savage gave distinction to minor
parts by purity and brilliance of her voice and
by her vocal skill, while Bernice Fisher was a
charming Micaela in ^ Carmen,' and her Mag-
dalena in ^ The Sacrifice ' was an agreeable
feature of the production.

** Of the contraltos, Celina Bonheur had a
rich, full voice and sang with a certain style.
She was heard in only one opera. Madame
Czaploinska was an excellent Lola. She made
her first appearance as Amneris in ^ Aida ' on
November 19, 1911. Miss Boberts gave much
promise, she was heard to best advantage as

384 The Qrand Opera Siiigeis of To-day

Meliika. Miss Leveroni was painstaking, and
Miss Rogers nsefol in small parts.

' ' Jeska Swartz showed more than ordinary
talent as a singer and actress. Her Siebd was
attractive and her Suzitki one of the best we
have seen and her singing and graceful appear-
ance as the mnsidan in ^ Manon Lescant ' will
be remembered.

^^ Madame Claessens is a singer of mnch
experience, faithful in the discharge of her
duties.

*^ Maria Oay was heard as Carmen, Azucena,
Amneris and Santuzza. A woman of indis-
putable talent, richly endowed by nature. As
Amneris she lacked stature and dignity. San-
tuzza is one of her best parts. Her perform-
ance of Carmen, striking and brilliant as it was
at first, suffered little by little through extrava-
gance in realistic effects.

** The tenors who were heard for the first
time in Boston were Arenson, Bassi, Clement,
Oaudenzi, Gerardi, Lasalle, Dalmores, Jad-
lowker, McCormack, Biccardo Martin, and Ze-
natello.

^' Arenson, as Radames, had a voice, but
was not yet prepared for singing in public.
Gaudenzi, Gerardi and Sciaretti passed as

The Boston Opera-House 385

tenors in the night and left only a vague re-
membrance.

^^ Bassi has a resonant metallic organ of
liberal compass, but his singing was labored
and unsympathetic, and his acting without
charm.

'' Clement was excellent. Lasalle, son of a
famous baritone, turned out to be a tenor of
little experience and little vocal art.

^' Slezak has little personal magnetism, but
his performance of Otello was impressive.

^^ Dalmores as Faust gave a performance of
the very first rank. Jadlowker was effective
except in ^ La Traviata. ' It was said of him
that he was the first Faust in the memory of
living children who could wear the doublet, hose
and blond beard without appearing like a
tailor's dummy.

^^ Biccardo Martin was an excellent Pinker-
ton and a poor Emo. Dinh Gilly gave distinc-
tion to the part of Hick in * The Girl. '

* * Of the baritones Galeffi sang in Boston for
the first time on November 16, 1910. At first
his tremolo and his tendency to boisterousness
made a bad impression, although the natural
power and beauty of his voice was recognized.
During the latter part of the season he sang

386 The Grand Opera Singers of To-day

with firmer control of his tone and finer mnsical
taste.

^^ Polese, formerly a member of the Manhat-
tan Company, appeared in Boston first on Jan-
uary 2f 1911y as lago. He took several parts
during the season and in most of them was
more than satisfactory. All in all he was a
most useful member of the company.

^ ^ Baklanoff elaborated parts in which he had
already won a reputation. In spite of a breach
of discipliae he remained deservedly a great
favorite.

^^ Blanchart created the part of Simeon in
' L 'Enfant Prodigue.' His enunciation of Eng-
lish and diction in Mr. Converse's operas de-
serves high praise and was an object lesson to
native singers. He is an operatic singer of
dramatic intelligence.

^* Sibiriakoff sang in ^ Mefistofele ' (Novem-
ber 7), also Mephistopheles in Gounod's
* Faust ' and Don BasUio. His voice was
Bonorous but he knew little of the art of sing-
ing and as an actor was inefficient. Fomari
was inadequate in any serious pari

*^ Rothier of the Metropolitan was heard in
Boston for the first time as Escamillo, Mephis-
topheles (Faust) and Nikalantha. His success

The Boston Opera-House 387

as a singer in ' Fanst ' was moderate, though
he acted with considerable skill. In the other
parts he made little impression.

' ' Mr. White made his first appearance as the
King in ' Aida. ' His voice is good and he ought
to be used for more than minor parts.

** Mardones created, in the Boston Opera-
Honse, the part of Jack Wallace in * The Girl. '
Mephistofeles (Boito) is his most important
impersonation, though his performance of Le
Vieux in ' La Habanera ' had true distinction.
Tavecchia showed individuality in small parts. ' '

During the season of 1911-1912 many singers
were heard in Boston for the first time, of these
some were regular members of the Boston Com-
pany, some were exchange singers from the
Metropolitan and the Chicago-Philadelphia
Companies, — and the Montreal Company, —
and some were special guests, for extra per-
formances, not included in the regular season.

Of the new singers a French soprano, Zina
Brozia, made her debut on December 6 as Thais.
She also appeared as Marguerite in '* Faust,"
and as Manon, but did not long remain with the
company.

Madame Brozia was bom in Aries, in the
south of France, and made her debut in Brus-

388 The Grand Opera Singers of To-day

sels as Marguerite, after which she spent two
years in filling engagements throughout Italy,
France, Belgium and England. Henry Bussell
heard her at the Grand Opera in Paris and se-
cured her for his company. She was not a
success, though an attractive person with a
pleasing voice.

Bemice Fisher is a native of Chicago. She
was horn in 1889 and after the usual grammar
and high school education entered the North-
western School of Music at Evanston^ taking
the full course in voice, piano and theoretical
branches, and being graduated at the age of
eighteen. The following two years were spent
in Berlin where she studied with Gteorge Fer-
guson. She returned to Chicago in 1910 and
shortly afterwards sang for Mr. Bussell, during
a vi^it of the Boston Company to Chicago. She
was at once engaged as a member of the Boston
Company, and has had more than ordinary suc-
cess as Micaela in '^ Carmen," as Oritel in
'' Hansel and Gretel," in '' Lakm6,'^ '' Travi-
ata," and the two new American operas, '^ The
Sacrifice," and '' The Pipe of Desire." She
also received great praise for her impersona-
tion of the boy Tniold in the Boston perform-
ances of ^' Pelleas et M^lisande," on which oc-

BERMICE FISHER

The BoBton Opera-Honse 389

casion Philip Hale said of her: '' Miss Fisher
took a part that might easily he made horesome
or ridiculous. She saved it and made it con-
spicuous," and H. T. Parker, of The Trans-
cript, said: '' There has heen no such human
Tniold on our stage."

Miss Fisher knew practically nothing of the
stage when she became a member of the Boston
Company, yet in her second season she had
gained sufficient stage experience to take im-
portant roles and elicit high praise from the
dreaded fraternity of critics.

Jose Mardones is a native of Fonetcha, Prov-
ince of Alba, in Spain. He began his vocal
studies at the age of sixteen, with the organist
of the Cathedral in Bribiesca, a neighboring
town, and when nineteen was engaged as first
bass of the Cathedral choir in Calancia. Four
years later he went to Madrid and entered the
Conservatory of Music. In two years he se-
cured an engagement with a Spanish opera
company and made a tour of South America,
Spain and Portugal, returning to Madrid in
1907. Here He was invited, by the famous Vati-
can composer. Abbe Perosi, to take part in the
performance of his new oratorio *' Moses " at
the Teatro Beale. He made another voyage to

390 The Oimnd Opera Singers of To-day

BnenoB Ayres where he sang for a season, and
on his return he sang at the San Carlo Theatre,
Lisbon, the Beggio Theatre, Turin, and the Cos-
tanzi Theatre, Borne, after which he was in-
vited to join the Boston Opera Company.

Mr. Mardones is an accomplished singer and
has a large repertoire which he sings both in
French and Italian. His chief success with the
Boston Company has been in Boito 's ^ * Mefisto-
f61e," in which he took the title role.

Sibiriakoff, a Bussian, has impressive, but
not ponderous or sluggish bulk, and orders his
poses and movements skilfully. His voice is a
rich, smooth, flexible bass, skilfully directed,
capable of emotional and characterizing sig-
nificance, and free from clouding infirmities and
errors of what the singing teachers call
*^ method." His tones give sensuous pleasure,
he knows how to sing. As yet he has not much
finesse, and he is no subtle penetrator of oper-
atic character and operatic music.

Elizabeth Amsden is a native of East Boston,
but during her school days her family moved to
Providence, B. I., where she finished her edu-
cation at the Elmhurst School in 1892. At this
time her voice began to attract attention and
she entered the International School for singers

JOSE MARDONES ,"

The Boston Opera-Honse 301

in Boston where she stndied under William
Whitney. She went to Paris where she re-
mained for six years, and then appeared at
Covent Garden in London nnder the manage-
ment of Beeeham, in 1910, after which she had
engagements in Nice and Brussels. She be-
came a member of the Boston Opera Company
in 1911, and has proved herself a singer of more
than ordinary ability. She is tall and slender,
with a fine figure, has dramatic ability and
magnetism, and is an unusually good linguist,
speaking Italian, French and German, besides
having a good knowledge of Bussian.

Though she had been heard in one of the Sun-
day evening concerts, her operatic debut in Bos-
ton was made on January 20, when she sang
Aida, with Constantineau, Blanchart and Mar-
dones, and on February 4 she sang Minnie in
** The Girl,^' with Zenatello as Johnson and
Polese as Jack Ranee. In these two perform-
ances she was able to display an exceptionally
fine voice, and promise of good things when her
lack of experience is overcome.

Evelyn Scotney, also a new comer, has the
distinction of being a protege of Madame Melba.
Miss Scotney is a native of Australia and was
educated in the public schools of Melbourne.

dd2 The Q^niid Opera Singers of To-day

In due course she went to Paris where she be-
came a pupil of Madame Marchesi, and made
her debut at Covent Garden in 1910, with such
success that Mr. Bussell sought her out for his
company. Miss Scotney has a brilliant lyric
soprano voice, and has succeeded well, for a
young singer, in such roles as Oilda in * ^ Bigo-
letto," which suits so well the limpid quality
and exceptional purity of her voice. She has
also sung Lucia and ' ' La Traviata. ' ' She was
regarded as a singer of exceptional promise.

After the end of the season Miss Scotney 's
marriage was announced to Howard J. White,
the son of a physician of Ppovidence, B. I. Mr.
White is a graduate of Brown University in
Providence, B. L, who, after graduation took
to music as a profession and became a member
of the Boston Opera Company, in which he took
minor parts in a very satisfactory manner. ' He
has a good bass voice, and id also a good 'cello
player.

Esther Ferrabini was a singer of much expe-
rience. A native of Italy, she has sung in al-
most every country in Europe and has had two
seasons in South America. She was a member
of the Montreal Opera Company before com-
ing to Boston.

ELIZABETH

ThB BoBJon dpera-Honse Sg3

Yvonne de Treville, who came for a few per-
formances in January, was, some ten years
previous, a leading soprano with Henry M.
Savage's American Opera Company. She was
bom in Galveston, Texas, her father being
French and her mother American. In 1900,
tired with too much singing she went to Italy
for rest. The following year she decided to try
her luck in Paris. After various changes of
date, her debut actually took place at the Opera
Comique on June 20, 1902, as LakmS, and she
received nine recalls. Since that time she has
sung in many places. Her longest stop in any
place was in Brussels where she remained three
years at the Monnaie. Her appearance in Bos-
ton was on January 15, as Oilda in ^' Bigo-
letto," when she showed herself to be an in-
teresting singer of the light, lyric order, with a
voice of sweetness and flexibility.

Florence de Courcy, who became a member of
the Boston Opera Company in 1911 to sing con-
tralto roles, is a native of New Orleans, but
spent most of her life in France and regards
Paris as her real home. She became a pupil
of Jean de Beszk6, and made her first appear-
ance on the stage as a page in the memorable
production of ** Salome *' in Paris, under the

3d4 Hie O'land Opera Singers of To-day

aos

personal direction of Strauss, at the Chatelet
Theatre. De Beszke, however, insisted on her
studying until she was fully trained for the
stage, and she made her d6hut in 1911 at Monte
Carlo.

Edward Lankow is a native of Tarrytown,
New York, and was horn in 1883. He was the
adopted son and pupil of Madame Anna Lan-
kow, a noted singing teacher of New York, who
died recently. It is related that when the young
man was considered ready to enter upon a pro-
fessional career, the question of a suitable
name was discussed. Madame Lankow sug-
gested several, but they did not seem to please
her pupil, who finally suggested that he should
use her name, as what he knew about
singing was due to her. He accordingly
started his professional career as Edward
Lankow. He went abroad and spent one
year in Dresden and two in Frankfort, and
then went to Vienna expecting to siug merely
as a guest. But he was engaged as first bass
in the Imperial Opera-House, which was con-
sidered a remarkable post for so young a man
whose operatic career had been so brief.

Mr. Lankow quickly made a most excellent
impression on Boston audiences. In '^ Samson

EVELYN SCOTNEY

The Boston Opera-House 305

et DaUla,** in '' Aida '' as Ramfis, in ** Pel-
l^as ** as Arkel, and as Kmg Mark in ** Tris-
tan, * * Mr. Lankow showed a superb bass voice,
and by his excellent diction gave charm to the
most weary monologues of the old King. Mr.
Lankow also enjoys the distinction of being a
protege of Felix Weingartner, and was one of
the cast which gave the memorable performance
of '* Tristan *' in February, 1912, with Madame
GadsM, Madame Homer, Jacques Urlus, and
Pasquale Amato. Lankow is a man of striking
personality, being over six feet in height with
muscular, well-knit figure.

Mr. Lankow sang Arkel in ^' Pelleas et Me-
lisande " at its first performance in Germany,
when it was sung in German (and the illusion
which characterizes the opera was lost), and he
was sent for by Mr. Russell to go to Paris and
sing for Mr. Debussy, who said, after hearing
him : * * It was for just such a voice as yours
that I wrote the part. * *

Another basso, who joined the Boston Com-
pany in 1911, was Bernardo Olshansky. He is
a Russian, who, driven by political persecution
to seek the protection of America, arrived in
New York about the year 1905, at the age of
twenty. He worked hard at various trades, but

396 The Grand Opera Singers of To-day

during all his straggles he kept before him his
desire and determination to become a grand
opera singer. A few months after landing in
New York he began to take lessons with Gia-
como Ginsburg, and worked with rare diligence.
Three years later his teacher pronounced him
equipped for opera and advised him to go to
Italy for his debut. Lacking worldly goods, and
not familiar with other languages Olshansky
nevertheless set out for Italy, and overcame all
professional difficulties. He made his debut in
** Bigoletto *' at Monza, and engagements from
other towns were offered to him, but he de-
cided to return to America and complete his
studies.

Presently Mr. Olshansky was invited to sing
at a musicale at the house of Mrs. B. Guinness,
where his excellent diction, perfect phrasing,
convincing rendition and his beautiful voice,
deeply impressed the audience. Among them
was Mr. R. L. Cottenet, a director of the Metro-
politan Opera-House, who at once arranged for
Olshansky to sing before Toscanini. Mrs.
Guinness, however, engaged him for the follow-
ing season and sent him to Paris to study
French roles under Andre Caplet, one of the
conductors of the Boston Opera-House. Thus,

EDWARD LANKOW

The Boston Opera-fiouse d07

after a romantic career, Olshansky is a member
of an opera company.

Massimiliano Kaplick, a baritone, joined the
opera company when only twenty-two years of
age. He is a native of Berlin, son of a wealthy
merchant, and at the age of nineteen became a
pupil of the Berlin Boyal Conservatory, from
which he went to Italy. He made his debut as
Valentine in ** Faust ** at Porto Murisio in
1910, and sang afterwards in Italy and Ger-
many.

On January 10, 1912, Vanni Marcoux, a
French basso, made his American debut as
Oolaud in '* Pelleas et Melisande," and cre-
ated a favorable impression. M. Marcoux
was bom in Turin of French parents, and his
father became a naturalized Italian citizen.
Mr. Marcoux studied at first for the bar and
passed the necessary examinations for admis-
sion. He had, however, received a very thor-
ough musical training, studying the voice under
OoUino in Turin and Boyer in Paris, and
he decided to turn to singing as a profes-
sion. Just as his father became a naturalized
Italian, he himself became a naturalized
Frenchman.

During his brief sojourn in Boston Mr. Mar-

808 The grand Opera flingers of To-day

conx presented new and remarkable interpreta-
tions of several operatic characters.

^^ His impersonation of Oolaud/^ said Philip
Hale, in The Boston Herald, ^^ was most care-
fully composed. It was vitalized to an extraor-
dinary degree. The character of the old hus-
band . . . was little by little revealed until the
very soul of the man was bared. Mr. Marcoux's
employment of his tones was as finely dramatic
as his facial expression, the sobriety and seri-
ousness of his gestures, the authoritative bear-
ing, the dominating individuality. . . . All in
all it was one of the most striking performances
that I have seen on the operatic stage during
the last thirty years.**

On January 26, Marcoux appeared as Mephis-
topheles in *^ Faust " and again surprised his
audience by his unique and marvellous char-
acterization. Again quoting the same critic:
*^ Mr. Marcoux gave a remarkable impersona-
tion of Mephistopheles last night, probably the
most subtly composed and adroitly acted since
Jamet visited this city. Edouard de Beszke's
in comparison was commonplace, and while
PlanQon was indisputably superior to Mr. Mar-
coux as a singer, his dramatic conception was
not so vivid, picturesque and varied The

The Boston Opera-House 390

OBHiBBBSSa^BaBBBBBBSBBaaa^aBSaBSBBBBBBBSBBBBBBaBSSaB

Mephistopheles of Marconx is at first friendly,
companionable. He is evidently a man of th^
world, gay, witty, as full of devices as Casa-
nova, only too conscious of the weakness of
mortals. ... In the garden scene his business,
whether it were wholly original or derived in
part from that of Faure, for years the great
French Mephistopheles, was singularly effect-
ive. . . . His invocation was not roared, nor
was he melodramatic in his handling of the
hesitating Fau^t. . . . His finesse in vocal nu-
ances was fully displayed in the serenade. . . .
Mr. Marcoux's mockery was sinister, not bois-
terous. . . . The features indicated were only
a few in a performance that should be carefully
studied. Perhaps they were the most salient
in an impersonation that was engrossing from
beginning to end. Mr. Marcoux's voice is not
robust ; it is not sensuous ; but it was used with
rare skill for dramatic e£^ect."

Mr. Marcoux appeared also in the perform-
ances of ** Tosca,'* when Weingartner con-
ducted, and Lucille Marcel took the title role.
Zenatello sang Mario.

When ** Pelleas et Melisande " was pro-
duced in Boston in 1912, additional interest was
given to the event by the importation of Ma-

400 YkB Qamd OpeoL BagjBn ^ To-daf

dame Maaleriiiick to interpret tihe part of if e-
Usamde. Before her marriage Madame Marter-
linek was a well known actress, — Georgietta
LeUajpc, — and Maeterlinck is said to hare
sworn that only his wife eonld be the real If e-
ItMnde. This was said regarding the work as
a play, for Debnssy had not then written the
opera, also Maeterlinck has no idea of mnrae
and is said to conirider it useless noise. But
Madame Maeterlindc had made some reputation
by giving song recitals after a fashion of her
own, in fact she had snng in opera and concert
long before her marriage, and she was then con-
spicnons by reason of an intensity that was fre-
quently extravagant, and at times dangerously
near absurdity. She used to give song recitals
of an ^* intimate nature/' and would siug this
song lying down, that one as she was lolling on
a chair, and so on. She was described as a
talented but not a restful person.

In 1892, when she was newly betrothed to
Maurice Maeterlinck, an account of her was
published in a musical journal now defunct:
'' Georgette Leblanc is a woman and singer of
striking personality and pronounced individ-
uality. The daughter of a ship-owner of Bouen,
she is not the pupil of any music school. She

The Boston Opera-House 401

went to Paris to make her way and studied with
Bax. Carvalho made her acquaintance and en-
gaged her to create the part of Frangoise in
Bruneau's ' L'Attaque du Moulin ' at the Op^a
Comique (November 23, 1893). She then dis-
played an unregulated intensity that frightened
the conservative manager, and the singer went
to the Monnaie, Brussels, in 1895, where she
made a sensation in ' La Navarraise,' ^ Thais,'
' Carmen.' She afterwards sang at Bordeaux,
Nice, and, in 1898, at Paris she gave song re-
citals of a singular nature, — ' audiences hf-
riques mimes/ She was so astonishing in her
methods that one of the critics warned young
sLagers against imitation of her lest the result
would be laughable disaster to the composer as
well as the singer."

There was a lengthy review of her imper-
sonation of Carmen from which we will quote
as follows: " Carnien is, according to Miss Le-
blanc, a hybrid, monstrous creature. You look
upon her with eager curiosity and with infinite
sadness. . . • Miss Leblanc makes light of her
voice. She maltreats it, triturates it, subjects
it to inhuman inflections. . . . Her singing is
not musical, her interpretation lacks the naivete
necessary to true dramatic power. Neverthe-

402 The Orand Opera Singers of To-day

BBiaa^BBlBBBiaBBSB^^BaBHBBHI

less she is one of the most emotional imper-
sonators of our period. Her limited abilities,
hidden by a thousand details in acoentnation,
remind one of the weak and ornate poetry of ar-
tistic degeneration. . . . Thanks to her, Anti-
och and Alexandra, adorable and corrupt dties,
live again for an hour."

In singing the r61e of MHisande in the opera
Madame Maeterlinck became a rival of Mary
Garden and of Maggie Teyte, two singers who
had achieved reputation in the part. She de-
pended upon her originality, and chanted,
rather than sang the music.

Madame Maeterlinck is both French and
Italian. Her father was an Italian and her
mother a woman of an old family of Normandy.
In an interview with a representative of Mu-
sical America, she expressed her views as to
music as an accessory to the drama. '^ I pre-
fer the play with the music of Faure to the
opera of Debussy, as wonderful as that opera
is, ' speciale, distingue,' a new thing in art
But the drama is truer if you ask me. I do not
say that the music does not become at times a
more poignant, emotional manner of expression
than the spoken word. I think it often does.
But the two arts are separate, and if they do

The Boston Opera-House 403

not harmonize perfectly in Debnssy's setting
of * Pell^as/ where or when will theyt De-
bussy's opera is a little paler, and it is a trifle
more artificial, more ^ arranged ' than Maeter-
linck's drama. Why should even such rare and
harmonious music as this be asked to fill out the
very pauses, the very silences that Maeterlinck
loves so well, and that say so much more than
either words or music. On the other hand,
music here and there, when it is naturally sug-
gested, when it comes itself, to heighten emo-
tion or produce a keener impression of atmos-
phere— that is a good thing.

** And yet the opera of Debussy is very won-
derful. It is new, and in its way irreproachable
art. Both Debussy and my husband are unique.
They have influenced the young men in France.
Founded a new school. The author and the
musician are both too much in themselves, too
rapt in the peculiar art which they have created
to lay the foundation of what one would call a
new school. Yet it is certain that Maeterlinck's
influence on the younger generation of French
dramatists has been great and lasting, and no
one will say that Debussy has not his followers
and imitators.

** * Of the men who have set your bus-

404 The grand Opwa flingers of To-day

band's dramas to music whom do you pre-
fer! '

**Ohl Debussy^ of course. Fevriert His
music is very poor. It has no distinction, little
originality, and little relation to the literary
style of Maeterlinck, which is of the very fir^t
importance, one of Debussy's greatest claims
to greatness in this opera. The only other man
who has been pronouncedly successful so far is
Dukaa with his ^ Ariane et Barbe-Bleue I '
There is a great score. It is more Wagnerian
than ' Pelleas.' It is more decorative, too. It
has more line and substance than Debussy's
music, and more brilliancy of coloring. He is a
remarkable man, that Dukas."

Undoubtedly the tnost important event in the
Boston season of 19^11-1912 was the visit of
Felix Weingartner, with his wife, Lucille Mar-
cel. Under his direction were given three of
the most noteworthy operatic performances
ever given in the Boston Opera-House. The
first *^ Tristan und Isolde," the second,
*>Tosca," and the third, ** Aida." In
'^ Tosca " Lucille Marcel sang the title role
and Vanni Marcoux was Scarpia, and in
^* Aida " Miss Marcel also sang the title role.

It may not be amiss to give here a short

The Boston Opera-Honse 405

biographical sketch of Felix Weingartner. The
following is taken by permission from Musical
America:

** He was bom Jime 2, 1863, at Zara, Dal-
matia. He attended school at Graz, Styria, and
began the study of music with W. A. Remy,
whose real name was Mayer. In 1880 he pub-
lished a piece for piano. He left college the
following year and entered the Conservatory
at Leipsic, where he was given a scholarship by
the Austrian government and where he won the
Mozart prize. He joined the circle of Liszt at
Weimar, where his opera, ' Sakuntala,' was
given March 23, 1884. Weingartner was then
a brilliant pianist, and more occupied with the
affairs of a virtuoso than with the science of
conducting. Later he conducted at Konigsberg,
Dantzig and Hamburg, and then at Frankfort,
where he directed performances of the * Ring.*
In 1891 he became conductor at the Royal Opera
at Berlin and of the Royal Symphony concerts.
In 1898 he withdrew from the Opera-House and
made Munich his home. He first visited Amer-
ica in 1904, when he conducted two concerts of
the New York Philharmonic Society. In the fol-
lowing year he conducted four more concerts by
that organization and appeared in Boston as a

406 The Orand Op«ra Siogon of To-day

pianist, playing the piano part of his sextet at
a Kneisel concert. He appeared in Boston in
Symphony Hall, January 17, 1906, leading the
New York Philharmonic — a memorable occa-
sion, when a Boston audience rose to its feet
and shouted after a performance of Berlioz's
Symphonic Fantastique, which was simply a
revelation. In 1908 Mr. Weingartner succeeded
Oustav Mahler at the Vienna Opera and as con-
ductor of the concerts of the Vienna Philhar-
monic. Last year Mr. Weingartner resigned
the directorship of the Vienna Opera, and a
partial reason for this step was the diarges of
favoritism that were brought against him on
account of extended concert tours in which he
conducted and played the accompaniments of
Miss Marcel."

Lucille Marcel is 4ui American from New
York, whose family name is Wasself. She
studied piano with Alexander Lambert and
singing with Madame Serrano in her native
city for four years when a young girl.

Early in her 'teens she went to Berlin to
study music and thence, in 1904, to Paris, where
she was engaged by Carre, director of the Opera
Oomlque. Jean de Beszk^, hearing her sing
before the date set for her debut, influenced her

LUCILLE MARCEL

The Boston Opera-House 407

to postpone her appearance and study under
him, which she did. He thought so much of
her voice and promise that he gave much time
and care to her training.

On March 24, 1908, Miss Marcel made her
first operatic appearance as Elektra, in the
opera of that name by Richard Strauss, and
she thus achieved great distinction. It is re-
lated that Madame von Mildenburg, the dra-
matic soprano of the Imperial Opera Company
at Vienna, did not feel equal to so trying a part,
and declined to sing it. Likewise also the second
dramatic soprano of the company. Some time
before Jean de Beszk£ had recommended Miss
Marcel to Felix Weingartner, who now thought
of her and offered her the pari She accepted,
and at the performance made a profound im-
pression. It is said also that Bichard Strauss
asked her to learn the part of Salome.

Miss Marcel afterwards sang Eva in the
** Meistersingers,'' Marguerite in *' Faust,'*
Tosca and Aida.

In April, 1910, Miss Marcel resigned her posi-
tion at the Vienna Imperial Opera-House, and
in the following year she became Mrs. Felix
Weingartner.

When she appeared in Boston in February,

408 The Grand Opera Singers of To-day

BaBBDBIBBa

1912, she made a deep impression, but appar-
ently pleased more as Marguerite than as Tasca
or Aida. Her voice is of a beautiful velvety
quality, and her dramatic ability of a very high
order. An excellent review of her perform-
ances in Boston was given in The Herald, by
Philip Hale, and are as follows:

As Tosca: ^* Madame Marcel, who first won
an European reputation by her impersonation
of Elektra at the Court Opera-House in Vienna,
has a voice of beautiful quality and its strength
is sufficient for all legitimate dramatic pur-
poses. Her tones are full, rich, and even. She
has been well taught, and her own musical in-
telligence was evident in all that she did,
whether it were in the lighter moments of the
first act, or in the melodramatic scene with
Scarpia. She did not sacrifioe the melodic line
or ignore the essential principles of song for
the sake of dramatic emphasis. On the other
hand, she was constantly expressive in song.

' ^ While she is not an actress of an intensely
passionate nature, while she did not last night
rise to any tragic height, she had a definite idea
as to the character of Tosca, and presented it
unmistakably. . . . Madame Marcel at once
struck the note of deep love for the painter.

The Boston Op«ra-HoaM 409

■BBBHHIBHHHBHI

She was wounded to the quick when she thought
him unfaithful; but she did not rant nor did
she behave like a spoiled child. Her Floria was
a woman of the higher sort, not merely an ap-
plauded singer who fancied Cavaradossi. She
was affectionate, demonstrative in her affection.
Nor when Scarpia aroused her jealousy did she
show herself a virago.'^

As Marguerite: ^^ Madame Marcel took the
part of Marguerite for the first time in this
country. Her performance was distinguished
by the beauty of her singing and adherence to
the old traditions concerning the composition
of the part rather than by any marked dramatic
intensity or originality in conception. It was a
pleasure to see again a Marguerite costumed
as a German and not as a Dutch or a French
maiden. It was also a pleasure to see a Mar-
guerite who played the part simply, and with-
out an attempt at new stage effects that might
startie and arouse discussion. Her first meet-
ing with Faust was natural, free from incon-
gruous coquetry, and also free from senti-
mentalism. • • • In the garden scene she was a
sympathetic figure by reason of the beauty of
her tones, her vocal skill, and the unaffectedness
of her acting. . . . Her action in the love scene.

410 The Qrand Open Singers of To-day

was quietly emotional^ not paBsionate, and in
the outburst to the stars there might well have
been a more passionate confession. . « • In the
scenes that followed she preserved the sobriety
of her conception of the character.''

As Aida: '^ She sang the music admirably,
and it is suited to her voice, for if the part of
Aida is ranked, and justly, among those for a
dramatic soprano, the music is for the most
part lyrical, and lyrical in the grand style. . . .
Madame Marcel's voice was powerful enough to
make an effect in the great ensemble of the sec-
ond act, although in this one instance a voice
of more metallic brilliancy is perhaps to be de-
sired. . . . Madame Marcel has the voice and
the pure vocal art to give character to the part
by song alone.

'^ Her impersonation was simple, and as a
dramatic performance, distinguished by what
she fortunately did not do rather than by what
she did. . . . Her impersonation was free from
mannerisms, free from extravagancies com-
mitted by singers, who, feeling the necessity of
acting, are merely violent in their attempt to
convince the audience that they are acting. . . .
She was emotional in her singing; she gave
character to Aida through the music."

The Boston Opera-House 411

There is no doubt that Madame Marcel pos*
sesses a wonderfully beautiful voice, and that it
may be difficult to describe it adequately, but
one critic after hearing her as Tosca unbur-
dened his soul in the following words: ^' It is
given to few sopranos to have a tone of such
breadth and depth, velvety and edgeless, that
makes one think of treading on the softest and
thickest of Oriental carpets. ' '

With Mr. Weingartner and his wife came
Jacques Urlus, a tenor from the opera-house at
Leipzig, to take the part of Tristan. Mr. Urlus
ranks high in the younger generation of tenors
in Germany. The impression made in this per-
formance was excellent, and Mr. XJrlus was en-
gaged for the Metropolitan Opera-House and
for the Boston Opera-House for the next sea-
son.

The most concise criticism of that presenta-
tion of Tristan was written by Philip Hale, in
The Herald:

^^ Mr. Urlus in the first act was not at first
sight a strikingly romantic figure, but he soon
made a deep impression by the fine quality of
his voice ; by the skill with which he used it, by
his simple and yet imposing bearing, and above
all by the absence of vocal tricks, mannerisms,

412 The Grand Opera Singers of To-day

and faults which we have for many years been
obliged to associate with German tenors in Wag-
ner's mnsic dramas.

'^ His declamation always had force and
meaning^ and he did not shont or bawl ; nor did
he mistake palsy for passion. In cantabile
passages, voice, vocal skill and emotional ex-
pression gave an additional glory to mnsic that
in itself is wondrously beautifnl — as in the
long duet with Isolde in the second act. Thrice
admirable was his farewell to Isolde before he
met Melot in the one-sided duel. And in the
last act he was impressively dramatic without
extravagance.

^* All in all, no German tenor who has taken
the part of Tristan in this city has equalled
him.*'

During the third season of the Boston Opera
Company, fourteen Italian operas were per-
formed, nine French, two German and one
in English, — " The Sacrifice,'' by Con-
verse.

The season opened with the production, for
the first time in Boston, of ' ^ Samson et Dalila. ' '
" Werther *' was also produced for the first
time in Boston, and ^' Pelleas et M^lisande ''
and *^ Thais " were new to the Boston Opera-

The Boston Opera-HouM 413

House^ as were also '^ Mignon/' '^ Hansel und
Gretel/' and '' Tristan und Isolde/'

The productions of ** Samson et Dalila,"
** Qermania," '* Werther,'* and *' La Haban-
era " exdted especial admiration.

It is not necessary to speak of the visiting
artists, as they are fully dealt with elsewhere,
but for a brief review of the members of the
company the summary published in The Bos-
ton Herald, from the pen of Mr. Philip Hale,
will be found concise and to the point : — r

'' Let us consider for a moment the quality
of the singers heard here this season for the
first time at the opera-house.

' \ Miss Amsden, bom in or near Boston, has
a voice of unquestionable beauty, a voice power-
ful enough for dramatic parts. As a rule she
sang with much intelligence. Mme. Brozia was
unfortunate in her debut as Tkais. Although
she has a pretty face, she is not finely formed
nor does she carry herself well. We all expect
a revelation of beauty and grace when Thais
comes upon the stage. She was more fortunate
in her sympathetic impersonations of Mimi and
Manon, nor was her Marguerite so ineffective as
some have said. Her voice was light and agree-
able when it was not forced. As Mimi she acted

414 The Grand Op«ra Slngdini of To-day

with taste and intelligence, and her Manon was
charming and in the St. Snlpice scene it was
passionate.

^' Mr. Barrean took minor parts as a rule,
but he is a valuable member of the company.
His voice is agreeable and well trained.

'' Mme. De Courcy did well what she was
called to do.

** Mr. Lankow, though the part was a
small one on the opening night, at once made
a most favorable impression. There are few
voices like his ; I know of no bass to be compared
with him in this country ; for the voice is a
true bass of liberal compass, rich, expressive,
sonorous. Here is a real bass, not a bass of
baritone quality.

** Mr. de Potter is not yet ripe vocally for
the stage. The organ is no doubt naturally a
good one, but the singer has not yet learned to
use it properly or effectively. As an actor he is
inexperienced.

^* The case of Mr. Biddez is an unfortunate
one. He has had experience and is dramatically
intelligent. The composition of his parts com-
mands respect.

* ' Mr. SiUi is evidently a man of large rou-
tine experience, a useful member. His Ange-

The Boston Opera-Honae 415

lotti is well conceived. In other parts he was
the respectable bass who has faced many andi-
ences.

^' Miss Scotney has a trne coloratura voice,
with high notes which she takes without effort
and a middle register that at present is pale
and in need of fatting. She is not yet ready to
take such parts as Lucia, GUda, Violetta, on^-
subscription nights, but she promises much.

^' Mr. Clement may justly be ranked as a
member of the local company and he and
Messrs. Constantino and Zenatello were, then,
the leading tenors. Mr. Zenatello developed
greatly in the course of the season and shone
in lyric and also heroic parts. He stands now
in the very first rank as a dramatic singer. Mr.
Clement's voice was not always in good condi-
tion ; it sometimes sounded tired and it was not
always under control, but the singer even then
was interesting by reason of the polish of his
diction and the finesse of his histronic art. His
Werther was one of the features of the season.
Mr. Constantino is still a tenor of the old
school. When he is in good humor, his voice
and method give much pleasure, but he is re-
strained in action or in his eagerness to show
the audience that he can act, his sweep-

416 The Grand Opera Singers of To-day

ing and perfunctory gestures are almost gro-
tesque.

* * Mr. Polese was often heard and he contrib-
nted largely to the success of the season. He
added roles to his repertoire and thereby won
distinction. Mr. Blanchart had occasion to
show the authority that comes from native
stage instinct and long experience in leading
opera-houses.

'^ Mme. Melis is an excellent Minnie. Miss
Fisher has gained steadily. She and Miss
Swartz are among the most valuable members
of the company, for what they do is done well.
The two were seen in parts new to them, to
their advantage and to the joy of the public
Miss Leveroni has gained in ease and the abil-
ity to express a sentiment or give a clue to
a character.

'^ Mme. Gay has been indefatigable as a lead-
ing member of the company. Her Pilar gave
fresh interest to Laparra's melodrama.

^ ' The season on the whole has been a brilliant
one. The coming of Mme. Leblanc-Maeterlinck,
Mme. Marcel, Messrs. Marcoux, Urlus and
Weingartner with the production of * Pelleas
et Melisande ' and ^ Tristan und Isolde ' would
alone give it distinction; but there have been

The Grand Opera Singers of To-day 417

noteworthy performancesy and the standard has
been higher than that of last season. There
has been marked progress in the ballet; the
orchestra is better balanced and more plastic;
the chorus is well trained."

So much for the operas and the singers. The
effect of the opera upon the community is ex-
pressed in a most amusing manner by a writer
in The Transcript whose dissertation should be
perpetuated :

'^ The grand opera season in Boston is over;
and it passes with a revived and intensified
interest, and an assurance of increased patron-
age and a more permanent community support
in the coming seasons. Whenever any interest
captures the heart and mind of Boston it be-
comes an institution, and, as such, a thing for
Bostonians to praise and prize ; and grand opera
has about reached that stage of growth in Bos-
ton. New York has its grand opera; there it
is a fad and a fashion ; not to be a patron of the
opera is to be a negligible quantity; it is just
now the passion of the rich, the near rich and
the little brothers of the rich. It does for the
owners of jewels and clothes the same office
that Madison Square Garden does for horses,
automobiles and circuses ; it is the show place of

418 The Grand Opera Singers of To-day

the spenders, the semi-nude and the chatterers ;
bnt by and by when some other expensive
method of exhibiting raw wealth and half -naked
women is discovered New York will flout opera,
and only the galleries which love music for
music's sake will patronize it.

' ' In Boston grand opera is now indorsed by
all the churches and churchmen, and attendance
at the opera places no one's morals under sus-
picion. Boston has adopted the opera and taken
it to its heart and its moral and social stand-
ing is unquestioned. There is a close analogy
between the Boston Opera-House and the king-
dom of heaven; it has its angels; the saints
sustain it; the Jordan refreshes and fertilizes
it ; the Society of St. Cecilia chants its praises ;
it is open to rich and poor ; and the poorer you
are when you stand outside its portals the
higher you go after you enter in. The opera-
house repeats the Story of Dives and Lazarus.
When last heard from Lazarus was resting on
Abraham's bosom while the malefactor was
broiling in the nether places; the exact loca-
tion of the patriarchal bosom is not indicated,
but as Lazarus was in a position to peek over
and enjoy the rapturous vision of Dives grill-
ing and squirming, the presumption is that

The Boston Opera-Hoiue 4id

the patriarch and pauper were occupying a
front seat in the gallery while Dives was in the
pit, or, as we term it, the orchestra chairs. ' '

Whether Boston is as different from New
York as the above article indicates is open to
question. Opera as a social function, with all
the display which this term implies, is con-
spicuous in Boston. The writer in The Tran-
script reminds the present scribe of Lord Nel-
son, who, not wishing to see certain signals,
applied the telescope to his blind eye.

CHAPTER VI

THE CHICAGO - PHILADBLPHIA COMPANY UNDER

ANDBEAS DIPPEL

When Oscar Hammerstein withdrew from the
operatic field in 1910 his interests were dis-
posed of partly to the Metropolitan Opera
Company, and partly to a company formed by
capitalists of Chicago and Philadelphia. In
Chicago the Auditorium was remodelled and
turned into an opera-housci Andreas Dippel
was appointed director, and Bernard Ulrich
business manager. Many of the singers of the
Manhattan Opera-House were engaged by Dip-
pel, who also secured others, and got together
a very good company. The plan was to give a
season of ten weeks in Chicago, and then to give
a similar season in Philadelphia.

For many years Chicago had been obliged
to take what it could get in the way of opera.
Sometimes one week, sometimes two weeks, and
there were several years when Chicago had to
get along without opera altogether. In short,

420

The Chicago-Phaadelphia Ctompany 421

Chicago was practically in the same condition as
all the other of the most favored cities outside
of JTew York, — and perhaps New Orleans,
which has always had a separate operatic exist-
ence of its own, of which little is heard or
known in the North.

In the season of 1909-1910 Chicago was fa-
vored with a whole month of opera. Then the
Hammerstein collapse occurred, and the deter-
mination arose amongst the solid men of
Chicago, to supply the long felt want of a per-
manent organization. A capital of $500,000 was
soon subscribed. For the impression which that
season left upon the public it will be well to
quote from an article published in the Dial at
the end of the season, in January, 1911 :

** Among the elements which have contrib-
uted to the success of a venture which caused
many wise heads to wag doubtfully a few
months ago we may mention those of major
importance. The enterprise was set in motion
by the right kind of driving force, the quality
of energy which is put into their work by men
of practical affairs. These men are not ac-
custumed to failure, and they have now shown
that in the untried field of artistic endeavor
the £ar-8]^ted and sagadous methods whiob

422 The Orand Opera Singers of To-day

EBBaBBHB^

bring bnsiness success are applicable to other
than strictly bnsiness interests. . . . Finally the
artistic forces assembled were such as to win
confidence from the start, a confidence which we
need hardly say has been more than justified
by the ten weeks of actual performance. Not
only were we provided with an array of soloists
capable of meeting an exacting demand and of
adapting themselves to a great variety of parts,
but also with a completely adequate chorus and
orchestra, and with stage settings that might
fairly be described as sumptuous. We have
only to add that as director general or field-
marshal of all these forces and material ad-
juncts we were given the services of Signor
Gleof onte Campanini, a great leader.

** This much may be fairly said in the way
of whole hearted praise. There remains the
task of indicating, less for reproof than in the
hope of future correction, what seem to us to
have been instances of mistaken judgment in
the planning of the work and its business man-
agement. It has been frankly an opera season
upon a French-Italian basis, with Verdi, Puc-
cini, Massenet, Charpentier, and Debussy for
its supporting pillars. This has meant the
production of several works hitherto unknown

The Ohicago^Philadelphia Ctompany 423

to our pnblic — * La FaBcinlla del West,'
* Thais,' * Louise,' and * Pelleas et Melis-
ande,' — for which we are extremely grateful.
They are not great works but they are inter-
esting ones, and it is well that they should have
been performed — ideally, because it is only by
test of performance that new works may be ap-
praised ; practically, because the appeal of nov-
elty is one that the box office may not ignore.
With these works we must also mention the
over-discussed * Salome.' This opera was an-
nounced long in advance, was given two per-
formances, and was then withdrawn in defer-
ence to a storm of protest. . . . With the excep-
tion of ^ Salome ' and possibly * Les Hugue-
nots,' no work by a German was given during
the entire season. This exclusion was deliber-
ate, and did not result from a lack of the requis-
ite forces ; it had only the effect of alienating a
large portion of the opera-going public, the sec-
tion whose tastes are the most deserving of
consideration. . . . We believe that the manage-
ment will not again make the mistake of ignor-
ing German opera in the interest of the inferior
French and Italian forms. And we urge upon
them with all the emphasis at our conunand not
to give heed to the ill-advised plea for opera

424 The Grand Open fflngers of To-day

in the English language, if that is to mean the
wrenching of the score from the forms of for-
eign speech with which it is perforce most vi-
tally linked. To deal in this brutal fashion
with such a work as * Tristan/ or * Aida,'
or * Pelleas ' would be an artistic indignity
of which we do not like to think any true musi-
cian capable. Those who have asked for it have
only the shallowest of arguments to advance in
its favor, and they ignore the most fundamental
aesthetic considerations. The only opera that
has a right to be sung in English is opera which
English composers have fitted to English words.
When such works are given to the world we shall
be among the foremost to welcome their appear-
ance. But to anyone for whom an opera is a
work of art, an attempt to sing it with trans-
lated words is simply unthinkable."

This article has been quoted at length be-
cause, in addition to the account of the estab-
lishment of permanent opera in Chicago, it deals
with several questions of much importance. On
some of the artistic points many people wUl
differ from the writer in the Dial. As to
whether the French and Italian forms of opera
are inferior to the German, for instance. The
complaint about German opera was answered

The Chicago-Philadelphia (Company 425

to a reasonable extent in the following season,
and Chicago got more novelties than any other
city. In regard to the translation of operas
into English most people will agree with the
writer in the Dial.

For the first season the leading singers were
Mary Garden (who drew an $11,000 house
during the first week), Carolina White, Lil-
lian Orenville, Mabel Biegelmann (a Chicago
singer), Jeanne Korolowicz, Alice Zepilli, Ma-
dame Bressler-Gianoli, and Eleanora de Cis-
neros, while among the men were Nicolo Zerola,
John McCormack, Bassi, Sammarco, Daddi,
Dalmores, and Dufranne, most of whom have
been referred to in the preceding pages.

In addition, there were several younger
singers, and singers engaged during the season
of 1910 and the following one, whose names
were not prominent at the outset.

Among the new and younger artists perhaps
the most noteworthy is Carolina White, who
made a brilliant success in the Chicago-Phila-
delphia Opera Company. She was bom at
Dorchester, Mass., in 1885. She attended the
public schools and was graduated from the
Brighton high school at the age of seventeen.
She then studied singing with Weldon Hunt, a

426 The Orand Opera Singers of To-day

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Boston teacher, for five years, at the end of
which time she went abroad with her teacher
and his wife to coach for opera at Naples under
Frederick Boberti, and Carlo Sebastiani. She
made her debut at Naples in the San Carlo
Opera-House in Wagner's " Dusk of the Gk)ds,"
and afterwards appeared as Aida, Santuzza,
and in '* Mefistofele/' In the winter of 1909-
1910 she was engaged by Bicordi and sang lead-
ing roles in " La Wally/' ** Manon/' ** Aida/'
" Iris,'' " Tosca,'' '' Madame Butterfly,''
^^ Herodiade " and other operas, in the chief
opera-houses of Italy.

In the fall of 1910 she joined the Chicago
Opera Company and was the first in that city to
take the part of Minnie in Puccini's *' Girl of
the Golden West." Her first appearance in
Boston was in the same role on February 24,
1911. She also created the part of Susanne in
Wolf -Ferrari's ** Secret of Susanne " at the
Metropolitan Opera-House in New York the
same season, and during 1911-1912 she created
the part of Maliella in ^^ The Jewels of the Ma-
donna," singing it with equal success in New
York, Chicago, and Philadelphia.

Miss White's voice is a soprano of beautiful
quality, she has a wonderfully qui(^ intelli-

The Ohicapgo-Philadelpliia Oompany 427

gence, and has a repertoire of forty-five operas
that she can sing in Freneh, Italian, German
and English. In 1910 she married Panl Lon-
gone, an orchestral conductor whom she met in
Naples.

Jeanne Korolowicz, the Polish dramatic so-
prano of the Chicago-Philadelphia Company,
was born in Warsaw. She received her musical
education at the conservatory in Lemberg, from
which she was graduated at the age of seven*
teen. Duriag her student days she profited
greatly by a scholarship which was established
by Marcella Sembrich, and in later years when
she was prospering she herself established two
scholarships in the same conservatory, to help
needy students. At her graduation she re-
ceived a gold medal. She made her debut at
the Lemberg opera and was soon after called
to Warsaw where she remained for over five
years. She created the leading soprano role
in Paderewski's opera ** Manru."

At the end of her five years in Warsaw Miss
Korolowicz made a tour of Euroi)e, visiting the
principal cities from Moscow to London. She
was engaged for Chicago in 1910.

Jane Osbom-Hannah, is a native of Chicago
and wife of Frank Hannah, American consul at

428 The Grand Opera Singers of To-day

Magdebnrgy Ger. As a girl she studied singing
under her mother, who was a teacher in Cincin-
nati. In 1903, after meeting with niuch success
on. the concert stage, Madame Osbom-Hannah
was advised to go abroad and take up the study
of opera. She went to Berlin and placed her-
self under the care of Rose Sucher, with whom
she prepared all the Wagner soprano roles with
the exception of the two Brunnhildes and
Isolde, though later she did prepare the ' ^ Sieg-
fried '' BriinnhUde for a special performance.
After a year of hard work she was introduced
to ArtKur Nickisch, then director of the Leip-
sic opera, and he invited her to make an appear-
ance as a guest. She sang Elizabeth, and did
so well that she was engaged for three years,
during which she mastered some twenty opera-
tic rdles. Her greatest success has been in
^' Madame Butterfly," but she is known gener-
aUy as a Wagnerian soprano.

In 1909 Andreas Dippel heard Madame Os-
bom-Hannah sing and engaged her for the Met-
ropolitan Opera Company, of which he was then
administrative director, and when he became
director of the Philadelphia-Chicago Company
he took her with him.

Alioe Zepilli, who is one 6f the foremost

The Ohicago-Pliiladelphia Company 429

members of the Chicago-Philadelphia Company,
came first to this comitry as a member of the
Manhattan Company. Miss Zepilli is a native
of Monte Carlo, a city which, although it is
small has a wide reputation, and is an impor-
tant musical centre. Miss ZepiUi's father was
musical director in this city, and he took a deep
interest in the musical education of his daugh-
ter, so that in her early years she was thor-
oughly trained in music, and when it was found
that she had a fine, sweet soprano voice, worth
cultivating, it was decided to train her for the
operatic stage. At first she studied some operas
by herself, but presently she left home to con-
tinue her studies in Milan, where she made
good progress for a time and then went on to
Paris. There she became a pupil of Bose
Caron.

Her debut as a public singer was made in
Venice, after which she returned to Monte Carlo
to sing in opera, and she appeared at different
times with many of the stars of the operatic
world, among them being Caruso. Offers from
other places now began to come, and she ac-
cepted an engagement at Buenos Ayres. On
her return from that, she went to Cairo, Egypt.
As before said, her New York debut was made

430 Th< Orand Opera Singers of To-day

at the Manhattan Opera-House, where her sweet
voice and winsome personality fitted her for
dainty and pathetic roles. She made a hit as
the Doll in ** Tales of Hoffmann, '* — a memor-
able impersonation of a quaint and fantastic
part. Between her American seasons Miss
Zepilli has sung at the Opera Comique in Paris,
** Manon,'* '' La Boheme,'' ** La Traviata,'*
** Lakm6," and " Madame Butterfly,*' in whidi
latter opera she achieved particular distinction.
When Mr. Dippel visited Europe to engage
singers for Chicago, Alice Zepilli was one of the
first to sign for the season of 1910-1911.

Madame Saltzman-Stevens, who became a
member of the Chicago Company, is a native of
Bloomington, HI. Her father was a Frenchman
naturalized in this country, and her mother a
German. She was the youngest of a family of
five, and her father dying when she was a child
she had practically no musical advantages in
early life. She was fond of music and sang as
contralto in church, but her opportunity for
musical study came after she married Mr. Ste-
vens, a pharmacist of Bloomington, who wished
to do all in his power to gratify her ambitions.
Accordingly, she went abroad to study with

in Paris, previous to which time she had

The Ghicago-Philadelphia Compasij 431

■■BBaBBI^BB^aaBBBSSSBBSBIBBBBaBaBSSaSaBaBSSaBSSBBBB^

been to the opera only thrice in her life, during
a visit to Chicago. On one of these occasions
she heard Nordica in ** Die Walkiire/*

On arriving in Paris she found that Konig
was deady but learned that Jean de Beszk^ was
teaching. She accordingly sought him, and he
told her that she was a dramatic soprano. This
was in 1905. In due course Madame Stevens
went to London and sang for Hans Bichter, who
engaged her for the following winter, when she
appeared at Covent Garden in ** The Eing.'*
Up to this time she had never sung with an
orchestra. Engagements followed at Lisbon
and at Berlin, and a German critic wrote of her
that she was the most ideal Briinnhilde that
had ever appeared on the German stage. Her
voice is a perfect organ without a register, for
every tone is equally beautiful and strong.
She is of medium height, not stout, and by no
means the figure one would expect for a
Briinnhilde.

During the season of 1911-1912 Madame Saltz-
man-Stevens became a member of the Philadel-
phia-Chicago Company, making her debut in
Chicago as Briinnhdlde in ** Die Walkiire ^' on
December 21, 1911, and in Philadelphia, a few
weeks later, as Isolde. On both occasions she

482 The Grand Opera Singers of To-day

was cordially received and was considered to
have made an emphatic success.

Miss Maggie Teyte, who has been a member
of the Chicago-Philadelphia Company during
two seasons, is described as a somewhat unusual
and distinctly charming little person. Miss
Teyte, whose name was originally Tate, is of
Scotch-Irish descent, and went to Paris to study
singing under Jean de Beszk^. It was in Paris
that her name was changed, in order that the
Parisians might give it the proper pronuncia-
tion. After five years' study with de Beszk^
Miss Teyte appeared in Paris as M&isande.
Comparisons between Miss Teyte and Miss
Garden naturally followed. One account runs
thus, — * * Whereas Maggie Teyte seems a
younger MSlisande because she is small and
slight with a voice that is unquestionably more
pleasing, being a dramatic soprano of surpri-
sing warmth and carrying power considering
her physical limitation, Miss Garden's way of
dressing is, to most people, more successful.
Miss Teyte 's interpretation is simpler, but be-
cause it is less dramatic has neither the grace
nor mystic allure of Miss Garden's. In short,
while Miss Teyte is an altogether lovely MSli-
sande with a really charming voice, she is not,

" CENDRILLON "

The Chicago-Philadelphia Company 433

and it is doubtful if she ever will become, the
intelligent and convincing artist tbat Mary
Garden is and has been from the beginning.'*

In America Miss Teyte did not appear as
Melisande, a part which Miss Garden has jeal-
ously guarded as her ownybut she made a charm-
ing Cinderella, and has been pleasing in all
her roles. She is considered an excellent inter-
preter of Debussy and other modem French
composers. She made her d^but at Monte Carlo
in 1906, when seventeen years of age.

Lillian Grenville, who was one of the sopranos
engaged by Dippel for the first season of the
Chicago-Philadelphia Opera Company, was bom
in Canada, and received her early training in
fhe Convent of the Sacred Heart in Montreal;
Her voice being considered worth cultivating
she went to New York and took lessons, at the
same time holding a choir position. Then she
w^nt abroad to study, and made her debut at
Nice in February, 1906, as JuUette. She se-
cured a contract for three years, during which
she was selected by Puccini to create the title
role in his ^^ Manon Lescaut." On the com-
pletion of her engagement at Nice she appeared
at La Monnaie in Brassels, the Lyric in Mi-
lan, the San Carlo at Naples, the Carlo Felici

434 The Grand Opera Singers of To-day

BaSaBaB9BBaBtiB!^aB:BaaHBBBBBSiBaBBaBSa^^BiBaB^HBaBBS

at Genoa, and the San Carlo in Lisbon. Her
favorite roles are Manon, Thais, Tosca, and
OpheUa. During her engagement at Nice she
appeared in the original production of '^ Quo
Vadis."

Jennie Duf an, a member of the Chicago Com-
pany, is a lyric soprano, with a voice not large
but of pleasing quality, though her high tones
are thin. She uses it with much technical skill
and excels in such parts as Lakme, for which
also her physical daintiness qualifies her. She
was considered the most brilliant coloratura
singer of the company except Tetrazzini.

Georgia Cavan is one of the younger Amer-
ican singers of the company, who takes small
parts. She has studied in Salzburg with Ma-
dame Temina. Mabel Biegelmann also takes
small i>arts, Marguerite Starrell and Minnie
Egner are also mentioned as younger members
of the company, who are making the most of
their opportunities.

Louise Berat is also frequently mentioned
in the accounts of Chicago operatic perform-
ances. She has a contralto voice of excellent
quality.

When Mr. Dippel produced * * Die Walkure ' '
in Chicago in December, 1911, a portion of

nie Chicago-lPliiladelphia OomfAij 435

one of the reviews read as follows, — ** Marta
Wittkowska's splendid sonorous tones as Wal-
traute echoed from the mountain heights soar-
ing superior to the sea of sound in the or-
chestra. ' *

Marta Wittkowska, the possessor of this re-
markably described voice, was bom in Poland,
and brought by her parents to America when
she was a young child. The family settled in
Syracuse, N. Y., and at the age of fourteen it
was discovered that the young girl had a very
promising voice. Her parents were poor and
unable to give her a musical education, but a
scholarship was awarded her by Syracuse Uni-
versity and she entered as a special student in
the vocal department.

Miss Wittkowska remained at Syracuse Uni-
versity for two years, taking full advantage of
her opportunities and then, Madame Schumann-
Heink visiting Syracuse to sing at a concert,
Marta Wittkowska called upon her and asked
permission to sing for her. Madame Schumann-
Heink declared that her voice was one of the
most promising she had ever heard, and
strongly urged her to go to Germany and take
up the study of Wagnerian operas.

This course was not possible at that time but

4M Hit iliaiid Opera Singers of To-day

Miss Wittkowska went to New York and stud-
ied under Miss Emma Thursby. After a year
of study she was sent abroad by a lady who was
interested in her, and she studied under the
venerable Cotogni. At the end of six months
she made her d^but at Perugia as the Mother
in ^'La Gioconda." Other engagements fol-
lowed, and she sang such rdles as Azticena, Am-
neris, Dcdila, etc. She also went to Paris to
study French rdles. While singing at Covent
Garden Andreas Dippel heard her, and Miss
Wittkowska was secured for the Chicago-Phila-
delphia Opera Company, of which she has been
one of the most popular members.

George Hamlin, who already had an inter-
national reputation as a concert and oratorio
singer, became a member of the Chicago-Phil-
adelphia Company in the season of 1911-1912,
having been asked by Mr. Dippel to sing the
leading role in ^^ Natoma," an America opera,
on an American subject, to be sung by Amer-
ican singers.

Mr. Hamlin is a native of Chicago, and as a
yoxmg man developed a good voice and attracted
attention as an amateur. He was expecting a
business career, but being invited to sing as solo-
ist in a production of the ' ^ Hynm of Praise ' ' at

MARTA WITTK0W3KA A3 AMNBRIS IN " AIDA "

The Chicago-Philadelphia Company 437

St. Louis, and making a distinct success, he de-
cided upon music for his profession. He insti-
tuted Sunday afternoon concerts in Chicago, a
plan which has become popular.

Mr. Hamlin has appeared repeatedly as a con-
cert singer with nearly all the leading musical
organizations in America, and has had many
similar engagements in Germany, besides giving
many song recitals.

Grand opera is an entirely different field, and
leads to criticism from a different point of view,
but Mr. Hamlin stood the ordeal. ' ^ Mr. Ham-
lin's voice,'* wrote a critic after the Philadel-
phia debut, *^ has much to conmiend it in the
way of smoothness and sympathy, and he sings
with taste and skill, while he also carried him-
self well, put real feeling into his acting, and
altogether made a highly favorable impression.
His enunciation was noticeably dear and dis-
tinct.**

Gustav Huberdeau, the French basso-can-
tante, joined the Manhattan forces in 1908, and
was transferred to the Chicago-Philadelphia
Company when Oscar Hammerstein went out of
business. As a boy Huberdeau made a study of
the violin and theory of music, and at the age
of seventeen entered tiie Paris Conservatoire,

438 The OriEUid Opera Singers of To-day

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where he carried off the chief prizes. At the
Conservatoire he studied singing and at the
completion of his course was engaged hy Carre
for the Opera Comiqne. Here he remained for
ten years, from 1898 to 1908, creating the prin-
cipal bass roles in every new production. Hu-
berdeau is an excellent singer and an intelli-
gent actor, and has proved himself a valuable
member of these opera companies.

Amadeo Bassi, the tenor, one of the most
popular members of the Chicago-Philadelphia
Company, has an enormous repertoire, and an
impressive style of acting. He began his musi-
cal career early, for as a boy he had a remark-
able voice, which as he matured developed into
a lyric tenor. He was trained by the best
teachers and made his debut as the Duke in
** Bigoletto '* before he was twenty years of
age, at the Arena Nazdonale in Florence. He
has sung in many opera-houses and was well
known in Italy, Spain, Russia, on the Riviera
and in South America before he came to the
United States.

Edmund Wamery is a French tenor and a
personal friend of M. Debussy, by whom he has
been coached in most of his different roles. He
created the role of Pelleas at the production

The Chicago-Philadelphia Oompaay 48Q

in Covent Garden, London, of ^^ PellSas et
lisande " and was the first to appear in that part
in Chicago. Mr. Dippel engaged him while he
was forming the Chicago-Philadelphia Com-
pany, and he has remained witii the company
through its two seasons.

In order to note the progress made by the
Chicago-Philadelphia Company it will be well
to quote from the review of the second season
published in the Dial in February, 1912 :

'^ The public spirited citizens whose faith
and enterprise made possible the existence of
the Chicago Grand Opera Company have excel-
lent reasons for congratulating themselves and
all others concerned in the undertaking. The
second season of the organization ended on the
first of this month, and the receipts for the ten
weeks have come dose to meeting expenses.
Last year's balance sheet showed a deficit of ap-
proximately twenty per cent, which came out of
the pockets of the guarantors; this year they
have had to pay practically nothing for their
disinterested endeavor to do the public an im-
portant artistic service.

'* The reasons for this satisfactory measure
of financial success in what seemed at the out-
s^t a precarious venture are numerous and

440 The Onad Opera Singers of To-day

varied. The competent direction of Mr. An-
dreas Dippel accounts for much of it ; much also
must be credited to the artists whom he enlisted
in the enterprise. The superb musicianship of
Signer Cleofonte Gampanini is responsible for
a great deal, for in such matters as balance of
tone and unity of effect the artistic results
which he achieved were maintained at a high
level of excellence, and, at their best, were al-
most beyond praise. A word should also be said
for Mr. Alfred Szendrei, who conducted a few
German works, and whose readings were of
exceptional beauty. Among the principals Miss
iMary Garden was the popular favorite. In the
chorus we had a collection of fresh young voices
of a quality to which our operatic stage has not
been accustomed, admirably trained to sing in
three languages which the standard repertory
demands. . . • Mr. Dippel has been highly suc-
cessful in guessing what the public wants. He
has given us twenty-four works in seventy-
eight performances, * Carmen,' * Cendrillon,'
and ^ I Giojelli della Madonna ' heading the
list with six performances each. Eight other
works have been given four or five times each.
Thirty-six of the performances have been in
French, twenty in Italian, and the others in

l!ii6 Chicago-Piiiladelpliia Company 441

wmamtBBa^^BaBxmssBmoBB^^KiwamBaBm^mBmasBSBsaBSiBi^mam

German or English. . • . One novelty — the

* Qno VadisT ' of M. Nongues — produced at
great cost, failed to at:tract audiences large
enough to make it worth while, and was with-
drawn after four attempts to make it go. Among
the Italian productions, the most noteworthy
were those that gave Chicago its first hearing
of Signor Wolf -Ferrari's * H Segreto di Su-
sanna ' and ^ I Oiojelli della Madonna.' The
former, a delightful short work of almost Mo-
zartian inspiration, won the hearts of all its
hearers; the latter, which was given its first
American production, was distinguished by the
presence of the composer, who had come to
America for the occasion of this premiere per-
formance.

^' The ill-judged propaganda which has been
conducted of late by the zealous but mistaken
persons who think that all opera should be sung
in the English language for English-speaking
audiences drove an entering wedge into the
work of the Chicago season. Mr. Herbert's

* Natoma ' was, as of course it should be, sung
in English, that being the language for which
the music was written. But ^ Hansel und
Gretel ' is a different matter, and the best that
can be said of the artistic perversion to which

4^ The Orand Opera gingers of To-day

it was subjected is that the audiences hardly
realized that they were listening to English
words, and could understand only a small frac-
tion of them.

^^ Last year not a single German work was
given during the ten weeks ; this year we have
had eleven performances of * Lohengrin,'
^ Die Walkure/ and ^ Tristan und Isolde,'
five of ' Hansel und Gretel,' and two of ^ Le
Nozze di Figaro.' This is something, but not
nearly enough. ' '

It is not necessary to record the Philadelphia
season, as it was given by the same company
at the close of the Chicago season.

An interesting summary of the Chicago sea-
son, and a comparison with the doings of New
York and Boston was made by the Chicago rep-
resentative of Musical America, and is as fol-
lows:

^* A painstaking statistician, in view of the
departure of the Chicago Grand Opera Com-
pany for other fields, presents a tabulation of
facts, indicating the popular taste of to-day. In
considering the repertoire of the three large
opera companies, those of New York, Boston
and Chicago, it is observed that GFerman opera
has been the most largely represented in New

The Chicago-Philadelphia Ck)mpany 443

York, while French opera has been the predomi-
nant school of Chicago. Chicago has produced
four times as many new works as New York and
five more than Boston. Forty different operas
have been produced this season by the three
companies named; seventeen were Italian; ten
* German ; eleven French and two English. The
local opera company during its stay was repre-
sented by seventeen different composers against
twelve who contributed to the Metropolitan rep-
ertoire or eight heard in Boston."

Mr. Dippers activities did not end with Chi-
cago and Philadelphia, for his- company gave
performances in New York and Baltimore, and
visited many of the cities between Chicago and
the Pacific coast, the nearer cities during the
season, and the distant ones during the early
spring. There appears to be ample opportu-
nity for the Chicago Opera Company.

CHAPTER Vn

CONCLtrSIOK

0ns of the most promising features of the
past three years has been the tendency to bring
forward young American singers, and give them
an opportunity in their native land. With the
growth of opera and the establishment of more
opera-houses the opportunities will be greater.
It is, and will be, still more impossible that all
the singers employed shall be high priced
** stars *' with the, formerly considered indis-
pensable, ** foreign reputation/' We have be-
fore us several noteworthy instances of singers
who have ^^ made good '' in grand opera without
any European training or experience, some of
them now taking leading roles. Marie Bappold,
and Alma Gluck in New York, Bemice Fisher,
and Jeska Swartz in Boston, and there are some
in Chicago. Those who have had some experi-
ence abroad and have found places in America
are very numerous, we can cite a few only, —

444

Oondusioii 445

Carolina White, Marta Wittkowska, Jane Os-
bom-Hannahy etc., hi Chicago; Edward Lan-
kow, Putnam Griswold, Clarence Whitehill,
Eleanora de Cisneros, Bemice de Pasquali and
very many more, — the names are quoted from
memory only.

We have, for many years, had American
singers in our grand opera companies, but in
the past few years they appear to be the rule
rather than the exception, although they fre-
quently appear under foreign names.

The way of the singer is not easy. European
cities are swarmed with American operatic as-
pirants of whom comparatively few ever reach
a hearing.

It is to be hoped that in America our singers
may at least have as good opportunities for
failure, as well as success, in their native land,
and with less risk ; that the public should more
and more be willing to hear those who are

judged to have good promise, even if they have
not the ** European reputation.'* In short,
that the singers should be allowed to make their
reputation, in their native land. This can be
done if audiences are sufficiently cultured to
judge singers by their merits.
It is to be r^igisetted that in this book we

446 The Orand Opera Singers of To-day

cannot give some account of the many
can fiingera who are succeeding in Europe but
have not| as yet, been engaged in the Grand
Opera enterprises of the greater American
cities. Gertrude Bennyson, for instance, a na-
tive of Morristown, Pa., has had an excellent
operatic career in Europe and has had the honor
of singing at Bayreuth. Marcella Craft, from
Indianapolis, who was well known some years
ago as a church singer in Boston, is enjoying
a successful career in Europe. Alys Lorraine,
after a successful career in Holland, has made
her d^but in Paris. Vernon Stiles secured a five
years' engagement at Vieima, and William Pi-
caver, from Albany, N. Y., sang for five years at
Prague and then went to the Boyal Vienna
Opera. • . . But an account of all these rising
artists would increase the book indefinitely.

It has been the desire of the writer to show
the development of Grand Opera in America
during the past decade. Not only has New York
been stirred up to its best efforts by the com-
petition between the Metroi>olitan and the Man-
hattan Opera-Houses, but the excitement has
spread to other cities, and opera on a more or
less permanent basis is likely to be established
in many centres during the next few years.

Condnsion 447

The artistic standard is not likely to lapse
through lack of competition, because, in the first
place, it has been pushed up to a certain point,
and a retrograde movement would kill ope-
ratic enterprise in any city attempting it ; also
the competition between cities is sufficient to
keep up the artistic standard.

The greater companies have carried grand
opera to many of the large cities, and their
work has been supplemented by smaller organ-
izations which visit cities and towns not yet
able to attract the great companies.

The Metropolitan Company has made trips
as far south as Atlanta, after its own season.
The Chicago Company has gone as far as the
Pacific coast. Then, if we watch the musical
journals, we find accounts of such companies as
the Lombardi Company and the Le Brun Com-
pany, which have travelled much in the west
and southwest. Then there are such companies
as those of Henry M. Savage, giving opera in
English. Mr. Savage's companies are generally
devoted to a less ambitious class of opera, but
some years ago he had an excellent company
giving grand opera in English. He gave a
capital production of '^ Parsifal," which has
already been mentioned in these pages« In his

448 The Grand Opera Singers of To-day

Grand Opera Company Mr. Savage employed
many singers who have since become famous,
and if his performances could not be classed
with those of the Metropolitan, they did a great
deal towards educating the public in Grand
Opera. The writer quite agrees with those who
consider that opera sung in any language than
that for which it was written is an artistic
abomination. But the main point is this, —
there are many thousands of people who are
repelled by the idea of listening to what they
cannot understand. Give them opera in Eng-
lish and they will enjoy it. When they find
that it is just as imintelligible in English as in
any other language, they will learn to appre-
ciate the more artistic presentation of opera
in its own language. Opera in English appeals
to a very large public of moderate means and
education, and should be encouraged as a means
to an end.

Since the days of Mapleson, Grau, etc, a
marked change has come over the operatic
chorus. The chorus singer is no longer an Ital-
ian brigand hibernating in America and re-
turning in the spring to his regular business, —
as he was described in Mapleson 's time. The
ohoruB of to-day consists of fresh young voices

Oonduflion 449

of operatic aspirants trained in this country,
though in most houses there is a background
of European routine chorus singers.

The result is gratifying both as to the qual-
ity of tone produced and the personal attrac-
tiveness of the chorus. Hardly an account of
the production of ** Parsifal/' for instance,
failed to expatiate upon the beauty of the flower
maidenSi both vocal and physical.

In the orchestra a corresponding improve-
ment has been accomplished. More first-rate
musicians have been employed, and the size of
the orchestra has been increased. But the most
important innovation was the artist conductor.
If we hark back to Maretsheck 's account of the
opera orchestra as he found it, when the con-
ductor used to play first violin during the most
strenuous moments, to the conductor of to-day,
who is an artist in his line, the difference is
astonishing. This change began definitely when
Anton Seidl was brought over to conduct Oer*
man opera, and it has continued ever since. To-
day with Hertz, and Toscanini in New York,
Cleofonte Campanini in Chicago, Caplet in Bos-
ton, we have a most efficient corps of conductors.

The ** guest '* conductor seems likely to flour-
ish in the near future. The performances in

450 The Grand Opera Singers of To-day

^BaoB

Boston given under the baton of Felix Wein-
gartner were of such excellence that others are
sure to follow. But they will be impossible ex-
cept with a thoroughly well-trained orchestra
capable of receiving at once the artistic impres-
sions of the visiting conductor, so that a triumph
for a visiting conductor is really no less a tri-
umph for the regular conductor who has trained
the orchestra.

Another important step in advance has been
the growing importance of the composer and the
work. In former days the prima donna and the
tenor were the ** whole show.'* To-day the at-
tention of the public is f ocussed more particu-
larly upon the work and its composer, while
the singer is regarded more as a medium
through which the artistic impression is to be
received. There is good reason for this. The
opera of to-day is not a string of show pieces
for the principals, with the chorus brought in
occasionally without rhyme or reason. We have
now the ^^ music-drama," and the works of
modem composers cannot be judged by the
old standards. In many of them, especially
those of Richard Strauss and Debussy, the
brunt of the work falls upon the orchestra, and
the voices are considered of small account.

Condusion 451

though the acting is immensely important. All
this does not diminish the actual value of the
prima donna, though it may have some effect
upon her relative importance. But in order to
succeed in the modem music drama she must
have qualities not formerly necessary. The
artistic value of the work as a whole far exceeds
the importance of any one person taking part
in it. Opera is becoming a psychological prob-
lem.

In concluding, let us quote from Shaler's
** Individual *': '* Thirty centuries have given
little or nothing of gain in the way of speech,
written or spoken, for in such work no man has
done better than he who wrote the story of
Job. In gesture and the related sculpture we
tell less than the masters of old; in painting
hardly more. In music alone has the last thou-
sand years helped men to express themselves.
There indeed, is a most substantial gain, one
in which the possibilities are as yet by no means
exhausted. Something of further advance may
be won in this endeavor to convey a knowledge
of our feelings in the remoter experiences of the
mind through the statement of scientific con-
cepts.'*

THE END.

INDEX

Abbey, Henrv E., 3, 4, 5, 14.
Abbey and Grau. 170.
Abbey, SchoefiFel and Qrau,

121, 250.
Abott, Beeaie, 54-67.
Ackt6, Aino, 23, 25, 26.
Adini, Ada, 273.
Aim^e. Marie, 13, 14.
Albani, 253.
Alboni, 191.
Alda, Frances, 275-277, 300,

306.
Aldrich, 69, 317.
Aldrich, Mariska, 211,213-215.
Allen, Viola, 26.
Alten, Bella, 277, 351.
AltBchevsky, Ivan, 125, 128,

154, 174.
Alvares, 218.
Alvarez, Albert, 6.
Alvary, Max, 5, 262, 285, 337.
Amato, Pasquale, 139, 286-

290, 306, 307, 340, 353, 395.
Amsden, Elizabeth, 390, 391,

413.
Anoona, 125, 174.
Anthes, Georg, 12, 13.
Arenson, 384.
Arimondi, Madame, 170.
Arimondi, Vittorio, 128, 169-

171, 174, 204.
Arral, Blanche, 307-309.
Art6t, Desir^e. 142.
Ashforth, Freda, 55, 56.

BaklanofiF. George, 305. 819,

328, 358, 377, 378, 382, 386.
Banks, Mai^ret, 368.
Bamum, P. T., 15.
Barrett, Lawrence, 290.
Barreau, 414.
Bars, Jacques, 23.
Baasi. 125, 153, 173, 384, 385,

425, 438.
Battistini, 130.
Bax, 216.
Baselli, Madame (Tetraszini),

141.
Bede, C. M. (Benedict), 281.
Belasco, 83.
Benedict, Claude, 281.
Berat, Louise, 434.
Bertram, Theodore, 6.
Bispham, David, 52, 54.
Blanchart, Ramon, 380, 386,

416.
Blass, Robert, 23, 26, 27, 70,

306.
Bond, Alessandro, 54, 125,

126, 139, 143, 147-153. 172,

173, 174, 197, 304, 375.
Bond, Madame, 152.
Bonheur, Celina, 383.
Boninsegna, Madame, 358.
Bouhy, Jacques, 290.
Boulogne, Raymond, 379.
Bournllon, Paul, 358, 378, 379.
Boyer, 397.
Brandt, Marianne, 5, 333.

453

454

Index

■OHB

Bras, 125.

Bieasler-GianoU, 126, 127, 144r-

146, 173, 425.
Bridewell, Canie, 10.
Brignoli, 42.
Broadfoot (Cisneros), 127, 146,

147.
Brozia, Zenia. 387, 388, 413.
Burgstaller, Aloys, 7, 23, 67,

70, 94.
Burkhardt, Madame Leffler,

60. 278.
Buman, Carl, 59, 92, 94-98,

301, 306j 348, 352.
Buzsi-PecGia, Signor, 297.

Cahier, Madame Chaiies, 328,

329, 351.
Calabresi, 11.
Calv^, Emma, 5, 16, 23, 24,

44, 83, 191, 192, 213, 267,

314.
Campanari, 52.
Campanini, Cleofonte, 89, 133,

158, 172, 251, 325, 375, 422,

440, 449.
Campanini, L.. 4, 10, 42, 152.
Campanini, Mrs. C, 130.
Cantelli, 200.
Caplet. 449.

Capoul, Victor. 4, 55, 56, 75.
Cappiani, Maaame, 214.
Caraaa, 240.
Caron, Rose, 429.
Carr«, Albert, 216, 879, 406,

438.
Cartiea, Cario, 380.
Caruso, Enrico, 23, 28^42, 50,

74, 112, 126, 130, 147, 151,

172, 173, 197, 240, 243,

245, 254, 282, 306, 307, 316,

318, 349, 351, 359, 373, 374,

375, 429.
Carvalho, 401.
Case, Anna, 309.

Cavalieri, Lina, 73, 74, 84-

89.
Cavan, Geoi^gia, 434.
Celli^ Madame Murio, 146.
Chabapine, Feodor, 112-115.
Chanler, Robert W., 87.
Cbevalier, 179.
Chevalier, Albert, 123.
Chimay, Prince, 308.
Chixzola, 13.
Ciacchetti, Ada, 39.
Cima, 169.

Cisneros, Count de, 146.
Qsneros, Eleanora de, 126,

127, 146, 147, 173, 214, 425,

445.
Claessens, Maria, 358, 370,

384.
Clement. Edmond, 139, 297,

301-304, 384, 385, 415
Clement, Georges, 301.
Co6n, Felice^ 148, 152.
Coeme, Louis A., 340.
CoUino, 397.
Colonne, E., 163.
Conned, Heinrioh, 8, 19, 22,

24, 27, 28, 35, 36, 4»-65, 67,

71,72,89,92,112,114,117-

121, 131, 132, 153, 157, 245,

247, 250, 260, 263, 264, 278,

279, 283, 355.
Constantineau, Florendo, 254,

328, 358, 372-377, 415.
Conti, 367.
Converse, Frederick, 307,

341.
CoiellL Ben., 282.
Comubert, Pierre, 6.
CotQgni,436.
Cottenet, R. L., 396.
Courey, Florence de, 393,T414.
Crabbe. 204.
Craft, Maroella. 446.
Criticos, 190. 191.
Cushman, Tnomas L., 338.
Cuzzoni, 129.
Czaploinska, Madame, 383.

Index

456

Dabney, Tom, 27.

Daddi, 425.

Dalmorea, Charles, 93, 125,

128, 145, 153, 162-169, 174,

208, 245, 254, 289, 385, 425.
D' Alvarez, Madame, 306.
Daly, Augustin, 26, 27.
Damr06ch-ElliB, 6, 290.
Damrofich, Dr. Leopold, 5, 27.
Damrosch, Walter, 5, 293,

340.
Darcl^ Harid^, 325.
Darewsld, 214.
D'Arta, Kate, 125, 127.
D'Aubigne, 257.
D'Aubigny, 26.
Dauphin, 166.
Davenport, Viola, 372.
Debussy, Claude, 116, 176,

181, 201, 202, 205, 395, 400,

402-404, 433, 438, 450.
Delattre, Madame, 232.
Delna, Marie, 304, 314r-3l7.
Dereyne, Fely, 365, 366.
Deri, MiB. H. (Alt^), 278.
Destinn, Emmy, 266*272, 288,

306, 307, 340, 351, 359,

383.
Didur, Abramo, 171, 327.
Dippel, Andreas, 10, 23, 145,

243, 214, 260, 261-263, 278,

295-297, 299, 309, 316, 420,

428, 430, 433, 434, 436, 439,

440. 443.
Donalda, Pauline, 127, 143,

144.
Donisetti, 50.
Doria, Augusta, 93, 211, 215-

217, 218. 223.
Dresser, Marcia van, 23, 26.
Dufau. Jennie, 434.
Duff, Mre^ 179.
Duffault, Paul, 218.
Dufranne, Hector, 93, 204,

206, 211, 218, 425.

Dufriche, 143.
Dusason. Madame, 280.
Dukas, Paul, 404.
Dupont, 155.
Duvemoy, 143.

Eames, Emma, 5, 10, 16, 39,

61, 60, 128, 146, 298, 375.
Egner, Minnie, 434.
Emmerich, 312, 337.
Engel, 277.
Evans and Hoey, 216.

Fametti, Madame, 125.
Farrar, Geraldine, 73-83, 115,

271, 297, 327, 350, 351.
Farwell, Arthur, 189, 225.
Faure, 399.
Feinhals, 292.
Ferguson, George, 388.
Ferrabini, Esther, 392.
Fevrier 404

Fierson, Reba (Gluck), 298
Finck, 83, 171, 226, 230.
Fischer, Emil, 5, 59.
Fisher, Bemice, 369, 383, 388,

389, 416, 444.
Flahaut, Marianne, 279, 280.
FlandeiB, Ralph L., 357.
Fleischer-Edel, 93.
FontanarFerrari, 333.
Fomari, Rodolfo, 379, 386.
Fomia, Rita, 58-60, 351.
Fortier, 111.
Freeman, Bettina, 358, 366,

367.
Fremstadt, Olive, 42-48, 92,

269, 306, 328, 331, 332,

351.
Friedrichs, 6.
Fry. W. H., 340.
Fuchs, Anton, 67.
Fuente, De la, 227.

466

tndez

Fuller, Mra. Alvaa T. (Daven-
port), 372.
Fuller, Lde, 123.
FuTBcn-Macu, 4.

Gadaki, Madame, 23, 24, 25,
62, 128, 306, 351, 395.

Gailhard, 56.

Galeffi, 385.

Garden, Mary, 88, 93, 115,
158, 178-190, 201, 202, 204,
208, 210, 218, 245, 251, 328,
402, 425, 432, 433, 440.

Gatti-Cuiazza. 41, 58, 260-
262, 295-297, 299, 304, 324,
338, 349, 351, 353, 355.

Gatti-Casassa, Mrs. (Alda),

275.
Gaudenzi, Giuseppe, 381, 384.
Gay, Maria, 125, 197, 272-275,

303, 384, 416.
Gensbacher, 320, 321.
Gerhardt, Elena, 139.
Gerhauser, Emil, 7.
Gerville-It^he, Jeanne, 178,

190-196, 204, 210, 218, 223.
Gevaert, 155.
Giandi, 125.
Gilibert, Charles, 8, 9, 10, 125,

207, 208, 245.
Gilibert-LeJeune, Madame,

125.
GUly, Dinh, 298, 304, 305, 353,

385.
Gilman, lAwrence, 71, 90, 175,

206, 249.
Ginsburg, Giacomo, 396.
Giraudet, Alfred, 214, 323.
Gluck, Alma, 298-301, 351,444.
Goertner (Grenville), 111.
Goldmark, 367.
Gorits, Otto, 306, 327, 353.
Gorky, Maxim, 112-114.
Qossaux, (Maubourg), 281.
Grau, Jacob, 13.

Grau, Maurice, 2, 3, 5, 6, 8, 12-
22, 36, 49, 51, 52, 71, 72, 76,
95, 118, 122, 1^, 157, 179,
250, 264, 275, 308, 355, 448.

Grau, Robert, 16.

Gregor. Hans. 257.

Grenville, Lillian, 111, 425,433.

Gr^tiy, 9.

Grieg, Edouard, 330.

Grippon. Eva, 218, 314.
I Griswokl, Putnam, 339, 340,
352. 445.

Guaroavaasi, 23, 28.

Guilbert, Yvette, 123.

Guilmant, A., 315.

Guinness, Mrs. B., 396.

Hale, PhiUp, 81, 192, 389, 398,
408, 411, 413.

Hall, Glenn, 323.

Hamlin, George, 436, 437.

Hammerstein, Oscar, 8, 20, 23,
64, 72, 73, 87-89, 93, 121-
124, 132, 144, 145, 153, 154,
171, 172, 174-178, 180, 192,
197, 199, 201, 204, 206-209,
214, 217, 219, 224, 230-232,
235, 236, 239, 241, 243-258,
264, 265, 277, 326, 328, 355,
376, 420, 437.

Hannah, Frank. 427.

Hansen, ChrisUan, 380, 381.

Hardman, Frank S., 257.

Haiold, Orville, 241.

Heidelbach, Lillian, 23.

Henderson, 114, 225.

Hensel, Heinnch, 333-337,
352.

Herbert, Victor, 340.

Herts, Alfied, 345, 449.

Hess, Julius, 14, 215.

Hidalgo, Elvira de, 313, 314.

HincUey, Allen, 291, 292.

Hinshaw, William, 327.

Hoffmann, Emma, 367, 368.

Index

457

HoffmannBthal, Hugo von,

219.
Homer, Louise, 1, 23, 24, 306,

307, 358, 395.
Hooker, Brian, 343, 347.
Howe, Emma. 371, 372.
Huberdeau, Gustav, 240, 241,

437.
Huddy, 358.
Huelson, von, 267.
Humperainck, Englebert, 326.

Iretzka, Madame, 362.
Issert, 285.

Jacobs, Mrs., 286.
Jacoby. Josephine, 23.
Jadlowker, Herman, 320-322,

327, 351. 352, 384, 385.
James, William, 810.
Jamet, 398.
Joachim, 277.
Jordan, Eben, 357.
Jdm, Carl, 285, 286, 352.
Joumet, Marcel, 11, 275.

Kachmann, 4.

Eaplick, 397.

Kaschowska, Felide, 278.

Kellogg, Clara Louise, 14.

Kirkby-Lunn, Madame, 12, 94.

Kirmes, Ella, 372.

Kitzer, Aurelia (Arimondi),

170.
Kloepfer, Victor, 68.
Klous, Augusta (Doria), 215-

217.
Knote, Heinrich, 61, 62, 94.
K5nig, Fidele, 56, 430, 431.
Korolowici, Jeanne, 383, 425,

427.

BHBS^

Krauss, Ernst, 23, 27.
Krehbiel, 227, 317.
Krull, Madame, 221, 229.
Kubitsky, Alexander, 319.

Labia, Maria. 211-213.

Laborde, Rooisa, 190, 314, 315.

Lackin, 218.

Lambert, Alexander, 406.

Lamoureux, 163.

Langendorn, Frida, 61.

Lankow, Anna, 394.

Lankow, Edward, 394, 395,
414, 445.

Lara, de, 6.

L'Ardenois (Arral), 307.

Lasalle, 384, 385.

Lasalle, Jean, 5, 314.

Lassan, 229.

Leblanc, Georgietta (Maeter-
linck), 400, 401.

Ledan (Delna)^ 315.

Lehmann, Lilh, 5, 26, 43, 44,
83, 128, 312.

Lehon, 358.

Lenbach, Franz von, 100.

Leno, Dan, 123.

LeonoavaUo. 85.

Leveroni, Elvira, 371, 372, 384,
416.

Levicka, 358.

Lh^e, 143.

Uuiitstone (Donalda), 143.

L'Huillier, Mademoiselle, 313.

Lipkowska, Lydia, 358, 362-
365.

Liszt, 405.

Loewe-Destinn, Madame, 266.

Lofgren, Madame de Berg,
366, 367.

Lohse, 286.

Long, Madame, 75.

Longone, Paul, 427.

Lorraine. Alys, 446.

Lousy, Pierre, 230.

458

LoeuKDe, 192
Lndvig;

111/310.
Lyne, Fdiee, 256-250.

^idez

(Nona),

MaodowdL 281.
Maeioliiiac, mmjaiw^ (L^

blanc), 400-404, 416.
Maetetfin^ Biauziee, 201,

400, 403, 404.
Ma^na, 125.
Mafiler, Gustav, 27, 96, 112,

329, 406.
Malibran, 18.
MaUineer, Fran, 312.
Mi4>le0Qii, Cdonel, 3, 264,

Manid, LueiUe, 221, 399, 404,

406-411, 416.
Marchew, Madame, 216, 257,

276, dd8. 392.
Maiooaz, Yamii, 397-399, 404,

416.
MaidoneB, Joa6, 358» 387, 389,

390
Maivtidiedc, 449.
Mariani-Man, 86.
Martin, Riccardo, 281-283,

307, 338, 351, 384, 385.
MaflBenet, 238.
BdaterQa, 5.

Mattfidd, Marie, 327, 351.
Matsenaur, Maigaiete, 330-

333, 350, 351.
Maubourg, Jeanne, 280, 371.
Maud, Rosita, 314.
Maurel, Victor, 4, 139. 192.
Maxarin, Mariette, 125, 218,

222, 223, 229-231, 306.
McC<Mrmack, John, 238, 239,

384, 425.
Melt^ 5, 52, 76, 125, 128, 133-

140, 147. 173, 199, 207, 210,

217, 276, 369, 375, 391.
Meimer, Anna Tcm, 60, 278.

tsBm

MtitaAA, Aum, 306, 368»

370, 371.
MeliB, Carmen, 218, 237, 238,

382, 383, 416.
Mendolfi, 125.
Mevaenheim, Madame, 369.

407.
Minetti, 367.
MinbeDa, 4.
Blinuida, SaDa, 235.
BAiaaano, Edouaido, 31, 41, 42.
MoDenhaur, EmiL 337.
Monaigny 9.

Morena, Berta, 99-111, 268.
MotOFdiz, 8, 67, 69, 119.
Morphy, Lambert, 337, 338.

Na^te, Major, 33.
Namara, Manberita (Baaka),

368.
Naval, F., 23, 27.
Neiben, Alioe, 232, 358-362,

372.
Nentwig, Mrs. (Neilaen), 359.
Nevin, A., 340.
Newman, Rita (Fomia), 50.
Nickiadi, Arthur, 323, 374,

428.
Niemann, A., 5.
NilflBon, Chriflitine, 4.
Nivette, 358.
Nordica, liDian, 4, 16, 61, 52,

54, 178, 271, 357.
Noria, Jane, 111, 310.
Nonrath, M. de (Aldridi), 214.
Note, Jean, 285.
Norara, 4.

Oemer, Inga, 330.
Offenbach, 14.
Ohrstrom-Renanl, 310.
Okhanaky, Bernardo, 395,

Index

459

Orgeni, 24, 277.
Orridge, Theodora, 361.
Osbom-Hannah, Jane, ^7,

445.
Otero, 85.
Ousaotof, 113.

Padilla, Art6t, 284.
PaderewakL Ignace, 6.
Paine, J. K., 341.
Parker, Horatio, 313, 340, 342-

344 347
Park^, H.' T., 96, 140, 245,

247. 364, 389.
Pamdl. Evelyn, 358, 369.
Parsifal, 65.
Pasquali, Bemioe de, 310-312,

350, 445.
Paaquali.Salvadore M.de,310.
Patti, Adelina, 18, 28, 59, 134.
Patti, Carlotta, 200.
Pedrotti, 148.
Perier, Jean, 204, 205.
Perod, Abb6. 389.
Picaver, William, 446.
Pierce, Virginia, 358.
Pinkert, R^a, 126, 141, 173.
Planoon, Pol, 5, 16, 23, 206,

242, 381. 398.
Polese, Giovanni, 243, 244,

306, 379, 386, 416.
PoBsart, Earnest von, 44, 101,

104.
Potter, de, 414.
Preuse. Madame E. (Matze-

naur), 333.
Puocini, 198, 345, 433.
Puente, Del, 4, 305.
Pugno, Raoul, 272.
Pu^ni, A., 358.

383.
RaiQs, Leo, 290, 291.

Randegger, 214.

RappoM, Marie, 57, 58, 351,

383, 444.
'Ravelli, 42.
Reger, 116.

Reiss, Albert, 94, 327, 353.
Rembrand, Mrs. G. C. (Ger-

ville-R6ache), 191.
Remy, W. A., 405.
Renaud, Maurice, 125, 128,

139, 155-162, 174, 207, 210,

245, 247, 306, 378.
Rennyson, Gertrude, 446.
Renvall, Mrs. (Ackt^), 26.
ResB, 284, 286.
Reszk^, Jean de, 1, 5, 7, 16, 42,

51, 55, 61, 128, 191, 192, 238,

241, 257, 279, 298^ 318, 328,

393, 394, 406, 407, 431, 432.
ReszkiS, Edouard de, 1, 4, 5,

10, 16, 16, 51, 125, 398.
Reuss-Belce, 7.
Richter, Hans, 431.
Riddes, Jean, 414.
Riegelmann, Mabel. 425, 434.
RitQ (Destinn). 266.
Robert!, F^ 426.
Roberts, Miss, 383.
Rogers, Miss, 384.
Rooy, Anton van, 68, 70, 92.
Rosenbers, Herman, 334.
Rosenthal, 152.
Rossi. 23, 28.
Rothier, Leon, 327, 386.
Rothmuhl, Nicholas, 284.
Rousseli^re, Claude, 94, 99.
Rubinstein, Anton, 14.
Russ, Miss, 127, 173.
Russell, Henry, 283, 325, 357,

360, 363, 366, 367, 375, 378,

379. 388. 392, 395.
Ruysdael, basil, 327.

Saenger, Oscar, 57, 290.
Saint-Saens, Camille, 192.

Bidez

■H

Salignac, 143.
SaltimMm-Btevena, 430.
Salviniy 14.
Sammarco, Mario, 125, 128,

153, 199-201, 207, 211, 217,

245, 425.
Saabom, Pitt, 128.
Sanderson, SybU. 179.
Saone, A. Heinricn E. P.de,316.
Savage, Henry W., 5, 12, 59,

62, 55, 111, 293, 313, 324,

339, 393, 447, 448.
Savage, Ruby, 383.
SaviUe, Franoee, 275.
SbrigUa, 282, 323.
Scalchi, 4.
Schaliapine, 155.
Schefif, Fritsi, 10, 52.
Sohmedee, £ric, 283-285.
SchudLvon, 221, 222, 227.
Schula*narinBon, 286.
Schumann-Heink, 52, 54, 128,

215, 221, 227, 333, 435.
Sdaretti, 384.

Sootney. Evelyn, 391. 392, 416.
Scott, Henri, 241-243.
ScotU, Antonio. 37. 156.
Sebastiani, Carlo, 426.
Seebach, Count, 97.
Segbettini, 11.
Smirola, Andreas de, 207,

324-326.
Seidl, Anton. 5, 43, 262, 449.
Sembrich, MarceUa, 4, 10, 23,

37, 50. 60, 128, 130, 131, 133,

134, 136-140, 150, 375, 427.
Serrano, Madame, 406.
Seygard, Camille, 23.
Shaler, 451.
SilMriakofr, 386, 390.
Sigaldi, M., 825.
Sigrist, Mademoieelle, 204.
Sim, 414.
Skinner, Otis, 26.
Sleiak, Leo, 277, 306, 317-

319, 852, 885.
Sminoff.Dimitri. 3212. 323, 327.

Smith, Christiaa, 231.
Sohn, Joseph, 16, 17, 174.
Soomer, Walter, 292.
Sparices, Leonora, 278, 307,

313.
Stagno, 4.

Stanaway, Mabel, 358.
Starrell, Marguente, 434.
Stiles, Vernon, 446.
Stockhausen, Julius, 324.
Strathoona, Loid, 143.
Strauss, Richard, 89-91, 94,

116, 219-221, 224-227, 267,

283, 394, 407, 450.
Stroesoo, C, 358.
Strong, Susan, 6.
Sucher, Rose, 428.
Sutphen, Mrs. (Ftemstadt), 45.
SwarU, Jeska, 369.
Ssendrei, Alfred, 440.

Tamagno, 42, 318.
TeresinapSinflrar, 238.
Temina, MOka, 1, 6, 10, 28,

24, 68, 69, 101, 128, 192, 434.
Tetraziini, Luisa, 115, 125,

128-141, 144, 210, 219, 238,

241, 245, 255, 256, 350, 374,

375, 434.
Teyte, Magm, 402, 432, 433.
ThompsonTFanchon, 23.
Thursoy, Emma, 75, 436.
Toccanmi, Arturo, 260, 295,

296, 349, 350, 440.
TrabadeUo, 179.
Trebelli, 4.
Tree, Beerbohm, 232.
Trentini, Emma, 218. 236.
Treville, Yvonne de, 393.

Ulrich, Bernard, 420.
Urius, Jacques, 895. 411. il^
416.

Indet

461

Unnenyii BaroneoB von (L.
Weidt), 330.

Van Dyck, 94.

Vannucini. 216.

Vergine, Gugjielmo, 81, 34, 41.

Verquet, 216.

Viardot-Qama, 60, 101, 278,

284.
Viaoed, 214.

Vietinjhofif-Scheel, Baron, 286.
VieuUe, 211.
Yillani, Madame, 383.
Vo8l,5.

Wagner, Coaima, 7, 61, 66, 67,

Sr267.
Wagner, Richard. 6, 50, 63,

66-67. 69, 00, 08, 108, 110,

161, 348.
Wagner, Sittrfried, 334, 338.
Wakefield, Henrietta, 112.
Walker, Edythe, 23-25, 223.
Walker, Suah L. (Cahier),

328.
Walt^, Gustay, 334.
Wamery, Edmund, 438, 430.
Warot. Prof., 302.
Wasadf (Maroel), 406.
Weed, Marion, 26, 50, 02.
Weidt, Luoie, 320, 330.

WeU, Herman, 338, 352.
Weingartner, Felix, 305, 300,

404-406, 416, 450.
Wdngartner, Mm. (Marcel),

404 407.
White, Carolina, 383,'42&-427

445.
White, Charlea A., 360.
White. Howard J., 387. 380.
Whitehill, Clarence, 306, 307,

323, 324, 445.
Wickham, Florence, 312, 313,

351.
Wilde, Oscar, 00.
Williamson and Musgrove, 275.
Winant, Emily, 112.
Wltherrooon, Herbert, 202-

203, 307.
Witherspoon, Rev. O., 202.
Wittkowika, Marto, 485, 486^

445.

Ysaye, 272.

Zaooari. Madame, 125.
Zenatelio, Giovanni, 153, 178k

107-100, 207, 217, .46, 275,

384, 300, 415.
ZepUli, AUce. 425, 428-430.
Zerola, Nicolo, 230, 240, 30ft

425.

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Full text of "The grand opera singers of to-day; an account of the leading operatic stars who have sung during recent years, together with a sketch of the chief operatic enterprises"

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