Wichita eagle., 1888-03-03
The TEMPER OF SINGERS,
A Manager Says Musicians Are Hard 70
Get Along with-Cases in Point.


''I never knew a bass singer who wasn't
good natured, obligins and willing TO be
corrected and reproved. Next to the bass
singer comes the alto. She is little
more independent than the bass, a little
more touchy and indifferent, but still
little fault can be found with her. But
the tenor and soprano are often terrors,
the soprano seeming TO be the worse Of
the two. | guess it is natural, though,
for female scold to be a little sharper
than male
Professional tenors are almost invari-
ably conceited, willful and stubborn
They want 10 have their own way. and
sulk or fly into q passion If they can't
have IT, This difference in the deport-
ment OF singers is due, / suppose, 10 the
nature of their parts The base and alto
are naturally subordinate TO the tenor
and soprano. 1t is the tenor and soprano
who get the encores. They are petted
and courted and in some cases almost
deitied. Naturally set conceited in respect
TO their ability. Amy correction or warn
ing on the part of the director is almost
regarded in the light Of an impertinence.
IL is good thing to show ones apprecia-
ton of what i, well done, but the flattery
Of repeated encores plays the mischief
with tenors and sopranos, AMI becomes q
source of bane 10, directors.
"A case in point 10 illustrate the will
fitness of singers is that of Parcpa Rosa
in old Farwell hall, just before the great
fire. | was the director, and the piece pro-
duced was The Creation As you know,
the last chorus is quite moderate time,
interchanged with embellishing passages.
One particular part Parepa insisted on
singing in forid style about twice rs
fast as IL was meant to be sung. In vain
l pleaded and argued with her, assuring
her that her way was not customary and
that the chorus could not possibly follow
her. No, she was master of that particiIs
lar part, and she would sing it as she
chose or not at all. Finding her obdurate
| told her that / should not ask the chorus
to take faster time, and that If she per-
sisted III carrying out her whim / should
break the time 10 suit her and change
back after her part was finished. She
didn't care what l did The solo parts
were all she was specially interested in,
and l could manage the rest 10 suit my
self. SO break the time we did, making
an awkward hitch and oil but spelling tho
piece. On the same evening, little fur
Their on, she essayed To strike high @
where it wasn't written at all, and came
to q dead standstill-utterly broke down.
] always thought il was a Just retribution
for her willfulness
Another case when the prima donna
came out second best occurred when was
conducting Hoffman's Lay Of the Mclu-
sine in Louisville in 1877. Mime. Pappcn-
helm was the prima donna. The compo-
sition was entirely new, both TO her and
to the chorus. At the last rehearsal was
very anxious TO have the whole thing car
ried through with full voice, Just rs al the
final production. A large paid audience
was assembled. But Nine. Pappenheim
refused to carry her part "a ! wanted her
TO, urging as an excuse the WEAKNESS pro-
duced by such rehearsals | knew that
she had been singing Wagnerian opera
seven times week and glorying in IL. and
/ told her so. But no; she screened her
real motive, which was mere capricious-
ness, and insisted on having her way. ~!
the others sang with full voice till IL came
10 her, bat she would lot move. / pur-
posely uttered a few words of remon-
STRANGE so that the audience could hear
me and passed on. The next solo part
was by Mr. Remmertz. who came out
strong and full and did his best. The au.
dience was very demonstrative and warm
ly cncored him. This was too much for
the prima donna. Jealousy overcame
her contrariness, and, coming meekly for
ward, she asked IL would no. repeat h
part so that she could sing it as Mr. Rem
mertz had his. OF course I complied With
her request and she sang everything else
as she was expected. ! had tanned the
prima donna. "-Cbicago Times.
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