The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1892-05-22


IT. / studied music because ! was fond Of it.
with no sort OF an idea OF earning my living by
II, a. my father was quite capable OF taxing
care OF me. | studied, too, at Mrs. syivanus
Reeds school aud took lessons of Mr.. Douglas
Folk. When mamma thought best to put what
talent had to some use she was really quito
undecided as to whether should be an artist
musician. In fact after went to Dresden
i did study painting as well as music The
maestro q. R. Lamperti, was my teacher there,
son. you know. of the famous Lampertf. OF
Man. and was under his valuable instruction
for four years. / did not intend to go into
opera then, but studied for concert and oratorio.
The most important occasion on which sang
there was at one of the Gowandhaus concerts at
leipsic. You know you can sing anywhere In
Germany If you can be selected as one OF the
soloists there, and they allowed me to sing in
Italian too, which is contrary to all precedent.
lsang in concerts in Germany. Paris. London
aud in the largest cities in America DIR. DAM
rosch offered me place in the German opera
here, but did not feel that i had sufhcient
dramatic skill for the work. i did not know
what to do with my arms then and couldn't
manage my elbows. My hands weighed twenty.
five pounds each ii tried to do ANYTHING with
them on the stage. DIR. Damrosch assured me that
the Germans were kind and patient, aud would
overlook all that W hen they had heard me sing
But hadn't sufficient ontdence to begin SO
nigh up on the ladder, and joined the Boston
Ideals instead, ana remained with them one
season You know, through dissatisfaction
with the management, the better part of the
company organized themselves into the Bos-
psi cities in America until / went to London
under Mr.. Rosa. The first part l ever sang in
opera was that OF the very stately and holy
duchess | liked IL exceedingly then, for l
didn't have TO move very much and had very
little TO do / took lessons in dramatic art from
Mr. Carl Forth, noted actor in Dresden, for
little time. and of course now experience has
given me confidence TO enjoy more active work.
Miss Huntington does not like playing boys
part better than womsn's part She would
rather play the latter and it Is not easy to find
womans part adapted TO a contralto voice.
When she reached London and sang for Mr..
koss he found her voice so much better than he
had expected that he said he really hadn't
Pole good enough for her. as he had already as
signed the best contralto roles Then after
little he asked her il she would
take the part of Paul Jones If
he would have special songs written
for her. saying that the piece would probably
have only very short run, aud then he would
give her something better. All the American
artists who have been brought out in London
have been so advertised and puffed M that peo-
pie were somewhat disappointed Miss Hunt
inston did not allow one OF her American no
eces TO be reprinted. and she avoided mention
IN the newspapers. The story of the success of
"Paul Jones' and Captain Therese" and of
Miss Huntington's triumph in them is familiar
10 those who have carefully read the foreign
aews.