National Republican. (Washington City (D.C.)) 1872-1888, 1881-12-31
VOICES In THE AIR.
ARTISTIC SINGERS OF THE WORLD.
The Great and Stirring songs-''Thc MarseilaIse''-
Grsssini, Maiibrau, Jenny Lind, AibOni,
Clara Louise.Kellogg, Nilsson, and
Lucca-Pat,i and Others.

Speech and song those allied powers OF express
sion, appeal very directly to emotional natures
and the master Of either possesses an element Of
power beyond the ordinary range ofhcquircmcnt
The persuasive power Of the human voice when
rendering the harmonies Of peace is not more won
deriul than It's inspiring power when voicing the
military airs in battle. ia Marseillaise," sung
by ten thousand dusty veterans returning through
the streets of Paris aler the Commune, was i'm
pressive enough but La Marseillalse" before
Moscow lifted the arid sand heaps into semblance
to Paradise. The valor.inspiring influence OF
music is no small consideration in the conduct Of
campaign, martial or political. Not only is the
assistance of the bandmaster sought on the ad-
vance OF the armed enemy, but tho reluctant free
man Is inspired to repeat several times his COM
mon privilege Of bestowing ballot upon tho pro-
wider of the melody There Is wickedness and
suggested deviltry In even the distant echo OF
most ofthe instruments employed by campaign
committees, and we can conceive what would be
the result OF nearer acquaintance. But the best
objects may be perverted, and we have misled
this article from the narrow limits of It's proper
course,
THERE ARE VOICES THAT IMPRESS US
heartily with their owners attractive individuality
and that sing " Grofe" with the same candor that
they do Robin Adair." These are the honest but
inartisic. In contrast there are the artistic but
shallow tones OF the ordinary public singer who
executes both with the same unsympathetlc de.
livery. Aside from the individuality Of the artist
there are the distinctions OF the art and the tradi
tons Of the stage TO be observed by the student OF
the subject. Strange rs II may appear, the con-
tnto voice has, until quite recently remained al
aud where at all recognized has been chiefly in
the choral pieces, The Italian composers OF this
century have been the readiest 10 utilize the WON
derfi range and expression OF this class OF female
voices. The past 100 years comprises the history
of conralto voices as feature OF operate render
deruess in most organs Of this class that appeals
torcibly to the uncultvatcd ear. After his return
from Marengo Napoleon heard Grnssini, one OF the
more eminent ofthe early couralti who sang be fore
him at Milan, and he was so charmed by her per-
formance that he carried her to Paris. where she
sang at his court at intervals until his downfall
Brambilln, another possessor of an exquisite con-
tratO voice. shook the Papal power in the person
of a cardinal, who thought her charms Of person
Tor the safety Of the church. Mnlibran, who alter
her first triumph In England, came TO New York in
1925 with her family
TO INTRODUCE ITALIAN OPERA
TO our people, was also the possessor of contrallo
voice, which she rendered singularly effective by
her audncious liberties with The score. Alboni,
probably the most finished contrnlto of the CEN
tury, Is not unknown to the theatre-goers who
can recall the stage Of twenty eight years ago, and
| TO them she needs no further mention but to the
| less fortunate, who may be curious, 1t might be
said that Albonl was the superior OF Pasta in
smooth and even delivery and tho sweet tones OF
her voice, and that when the Jenny Lind fever was
| pretty even terms the honors of the senson She
| lacked the dramatic fire which seems to be the
usualsecom Impairment feontrato oiees, and relied
entirely on the beauty OF her voice for her power.
| Not content with the natural compass OF her or
| gan, she tried TO extend its range into the so-
pranos realm, but as might be expected, without
success, The more recent instances Of brilliant
contralto voices are familiar to u.s. Sopranos are
so iully recognized that not much need be said OF
their fame rs class or as individuals. The best
voices on the lyrical stage to-day are sopranos.
Lucca, who made tour of the United States in
the years ls72-7S is full soprano of very sympa-
| thetic quality, and her dramatic power Is ex-
ceptional, enabling her to distinctly and admira-
bly, portray characters as different as Cherino and
Settkd. Her repertoire is probably the most extern
siye of any living singer comprising fty-six roles
| Clara Louise Kellogg who is better known to our
theatre; ;goers than any other singer of like emf.
nence is familiar with the roles in thirty eight
operas. AS this is announced
AS MISS KgILoGGs FINAL SEASON
upon the stage, few words In regard to her career
may not be amiss. Miss Kellogg is a genuine
received dozen lessons IN her art out OF this
country. She first appeared In New York, at the
Academy OF Music, twenty years ago, at the age of
professionally three times. Her last trip, from
which she returned last autumn, was her most
successful. and was extended to the continent for,
believe, the first time. She sang in the princi-
pal cities in the northern part of the continent
and was well received Her business ability is
illustration could be given than the ready manner
| III which she turned TO advantage the we'll nigh
| fatal eclipse she suffered during tho tours of
Nilsson and Lucca. Prior to 1877 she bad sung
only In Italian opera, but seeing the unfaiSrablc
| comparisons made between herself and the
strangers she determined to appeal to the pntri-
| oic feeling of her countrymen, and organized the
iirst regular English opera troupe In the country.
Not only did she attend to tho details of the COM
| pany's organization, but, In addition, superin-
fenced the translation OF the librettos and the
training of singers, both stars and chorus. Her
enterprise, as we know, was successful from the
start. In the past few years she has sung in both
Italian and English opera, and,
II SHE RETIREs NOW,
she will go from the stage better singer than she
compared with the ages at which other singers
have reached their meridian. Miss Kellogg does
not possess an atom Of dramatic power but her re-
markable voice ovcrrldes all defects of style. The
manner of life INDUCED by most lyrical art lists
would seem TO insure early death, or at lenst de-
crepit age, but far Is this from the truth that
and exceptional early deaths are generally the re-
suit OF accident. Kellogg and Patti at forty are
comparatively young women, but the latter un-
deniably has the advantage in decline ofhe more
serene neighbor. Twenty five years of hard stage
life seems TO be about all singers can hope for apd
those who linger beyond that period invite the
harsh Judgments to which they are more than
likely TO be subjected Fresh voices attract the
lected or derlded Fame fingers awhile about the
| phantom Of vanished greatness, then substitutes
| the wreath of immoreles for the bay aud laurel.
REVIEWING THE CAREERS OF THOSE
whose names have occurred In the course of this
article one might be tempted TO doubt the neces-
| sily OF dramatic ability In prlma donna. Great
| voices seem to command admiration in operate
representation, regardless of the absence of power
to act as in the case of Aboni while, the other
| hand. defective voices, well managed and sup.
| ported by dramatic power, command equal ad
miration, as in Malibrans case. But am inclined
TO the opinion that voice is the preferable possess
| sion; IL the voice IL supplemented by the other
| gift, so much the better This article has ignored
the singers OF the sterner sex purposely, the i'm
| porinnce Of the subject seems 10 demand an ex.
elusive article, which time and opportunity may
permit me TO prepare at an early day.-For The Re.
publican, by IT. M Wright.