The Wheeling daily intelligencer. [volume] (Wheeling, W. Va.) 1865-1903, 1883-02-05
Three raps at the outer doorl

was OIL one nlRnt IN fltbDufBu-ouly
one night, and the biggest business we ever
had thertl Cold? No-Pittsburgh gfip-I
suppose it never took hold Of you"
hWill you kindly outlive the monster?"
THE PITTSBURGH GRIP.
,'9Its just like this!" and the prima donna
clutched her throat with the savage feroci-
ty Of fiye.dollar.a-week barn stormer, and
glared and got red and then white in the
face. a.Hal
"That's the Pittsburgh grip. It takes
right hold oi the vocal cords and twists
them up until you'd think they'd snap.
But they don't-reliet doesn't come so
soon. And while the agony is on you can't
sing. Might Just as well send vour throat
to be halfsoled while you take nap and
dream you're happy. Oh, yes; other artists
have have had it, but never have before,
and you see 1t doesn't stick closer than q
NEUTRALITY-SUSPICIOUS., you see
presto, it's gone already!
"Much OF that sort OF thing tomorrow
night%, n...,
good enough to say that my trill and
Sostenuto-but I mustn't talk behind her
back"
"Tell me how it is that you are always
fresh after hard work."
"Hard work is my bread and meat. !
must woodwork all the time, or should
be miserable. But work doesn't wear me
out because work with method and waste
nothing by not tryining too much. Some
artists IVORY themselves sick trying to do
too much-to memorize great big lump
~ uamathtp pu n NJ opca- s,nbrnre tr0f,
manqte le train"
"ln our West Virginia English-'don't
bite off more'n you can chaw."
Precisely. Patti, Nilsson-such artists
they reserve their powers, throw nothing
away, lose nothing-you behold the result!
And Abbott"
HOW TO LEARN.
"Abbott be praised but it is too soon
for that! Let's see-where were we-ah,
yes-talkingabo methods OF study. Very
well. / take O little at sometimes
1 20 over page hundred times. must
be- exact. But Pm not singing all that time
listening, following, memorizing, but vocal.
izing!-ah, dear no! save that for. better
use. You see how 1 preserve my voice.
But mind you, pay the closest attention
to details. / learn whole opera-eyery-
body's role, 80 that nothing disconcerts
me-" r
"Not a red.headed woman with cross
eye?"
"Nothing-nobody take my cue from
the orchestra, and nobody's slip can throw
me out. You see all this requires much
attention to detail. Some artists who
worry themselves sick memorizing in the
lump won't take the time for detail. For
example. Here we are! Count forty-six
bars and exclaim, Thou heartless one or,
count hundred and FIVE bars-and swoon
with musical gurglel But / watch all
these things, and keep my eye, rather my
ear, on the orchestra. Then 1t matters not
what happens-the aged patriarch back
there may work his hands like grain fans
in the wild ecstacy Of delight, but my
throat opens and the music flows, and II
the people show their pleasure that is my
happiest moment Really l don't know
what effort Is in singing-my effort is all
in the study"
"Not through with that YETI"
SUIT THE ACTION TO TIE SONG.
"An artist is never through-growth and
decay, and, alas, in time-decay comes
anyhow. And there is not only the voice,
but the stage bearing-the acting. My old
master in Paris impressed that upon me.
.Ah, ma chere' he would say, these are not
the days OF Rubini when one may stand
before the audience as though screwed to
the floor, the arms nailed to the sides, let
come out beautiful notes and charm the
people. In this day one must act in opera
as well as in drama'-and for stage bear
ing-you should see Gilbert, our basso He
takes the house-magnifcent looking fel-
low-such voice, such presence!"
"But you don't sing him here!"
"Weli, now we wanted To give him
little rest. and 90 we put on Martha and
Sonnan.bttld, in which he can sing but he
has not made special study Of these. lam
sorry too, for your people would be charm:
THE ABBOTT KISs.
"Miss Abbott, beg pardon for neglect.
ing all this timeto ask the stock question
about the abbott Kiss'-is it patented,
and do you carry 1t loaded"
The room rang with CHEEKY melody that
brings ST. % a seat, and Mr.. Wetherell sug.
gested that II Madame found 1t absolutely
leCtthhf} W lAukh ~ GOuCoIt pltCa " Wuulu
give him pleasure to secure her passage on
coal barge where she wouldn't disturb
the boarders. Wetherell was fined two re.
served seats and a private box, and re.
quested not to interrupt the proceedings. :.
"Iear me for my cause!" resumed Miss
Abbott. "When | was in Italy saw q
beautiful painting OF Anthony and Cleo.
patra-warm, glowing, tender in itsgtale Of
love. There said, IL | ever do 60 on
the stage I'm going to reproduce that pic.
ture,' and did in Romeo and Julia. Now
YOU see my Romeo climbs up to the balcony
my Romeo must be an acrobatic lover.
We work that scene up TO the highest
pitch. Necks are tretched-everything
adds 10 the Italian warmth Of the picture,
and Romeo Is supposed to bite Julist's lips
right off as cherry from Its stem, Well,
there Romeo doesn't kiss juliet at all. Hereis
where the newspapers went wrong, and
that is the secret and the history OF the
Abbott kiss" ..-
"Noble woman-the tenor never kisses
your"
"soitly sir, my husband overheas'-and
the laugh woke Wetherell up to another
suggestion which cast the promiSe-only
the promise-of diamondstud, something
not TOO gaudy-for the interviewer.
"I'lltell you asecret-not for the public"
or my awlully jealous husband there
with mischievous wink.
n wouldn't have q tenor who couldn't
make 'real.righty, house storming love
What's 8 leading tenor good f@ ifhe can't