The morning news. [volume] (Savannah, Ga.) 1887-1900, 1893-11-12
v 0 MANS VOICE.
Bah Makes Bright Comments in Re-
gard to 1t.

ing's Silvery, Langt1 US Polite and
Terrys False-The Tones Of Mrs.
Kendall, Ada Rehan, Clara Morris,
Fanny Davenport, Georgia Cayvan,
Lillian Russell and Lolita Accu-
rately Described Woman's 'Over
the Dinner Table, Chat-What VIII
the Winter Mean for Us?
(Copyright)
New York, Nov. l1.-She would talk
I never deny q woman, this her infAliible
right, except when she happens to be sit
ting near me at the theater and has got
ten a curious idea that her conversation
is of more interest to the general public
than the play which they have paid to
see. If she ever said anything interest
ing, one wouldn't mind but she seldom
does. Her talk is limited to what "he
says. - she says" and Il wouldn't do it
for anybody" and u never did such a
thing in my life" The result, the other
night, was that eight people were driven
out of the theater; four women couldn't
hear a word Of the play, and, naturally,
when they departed they took four men
with them.
AolGtlllS uONL ~ u4LCs NlULl Il UlTu anu
bottle Of champagne iced to the queens
taste-the queen always representing an
American woman-a remembrance of
the feminine talGer brought up the ques-
ton.
"WHO HAS A BEAUTIFUL VOICE."
The man was enjoying his supper suf-
fiCiently to let the woman talk; the
woman had the feminine ability 10 talk,
and enjoy hersuDper, too, and this is what
she said; l do think that more men re-
main unmarried, because women get their
voices in too shrill a key, than for any
other reason. No man wants to be
whOoped at. Any man will submit to
SCOlding, if the voice that saws the disa-
greeable words is sweet, and the eyes
laugh. There is no use talking about the
American voice Such a thing doesn't
exist. Personally, believe a sweet voice
is largely the result of good food, and
next, of refinement. And yet, curiously
enough, my belief is continually shaken
Look at Bernhardt! She has voice like
an angels 1t is seductive, aluring de-
termined, revengeful; it expresses every
emotion possible to woman; it is never
loud, and always sweet. And vet, no.
body can claim that Sarah has the blood
of the We're de Vercs in her veins. or that
in her early life she lived off of delicate
food. There are shrill voices, sweet
voices, well-bred voices, and exquisite
voices.
Take Rose Coghlan, for instance. Her
voice is rich, full. and what q man in
speaking of good bottle of Burgundy
would call ''fruity''-but it is never femi-
nine. You love to hear it, but it strikes
on your ear like a perfect Coutralto that
is rapidly reaching a baritone 1t gives
you delight, but it never impresses you
with an idea of wOmanlineSs. Jane Had
ing has voice like silver-not gold; it is
never either loud enough or strong enough
to suggest the more glitteriug metal but
somehow it goes to the heart, and it
makes you think of moonlight and silver
streams, and sadness, and femininity
Terryl / never cared for Terry's voice.
That's curious, because most people like
it; but it always sounded to me like a
false chord. And after ! met Terry, saw
how slovenly-looking the woman was,
queerly enough never wanted to see her
act again. Mrs Langtry's voice, while
incapable of expressing many emotions,
is essentially the voice of a well-bred
woman; polite, sweet, low it pleases you,
woman who IS speaking would thinK it
bad form to wear her heart upon her
sleeve for every daw to peck at.
THE USES OF THE VOICE.
Mrs. Kendall has essentially the artistic
voice. Speaking exquisite English in the
most delightful tones she can control her
voice to suit her character. That is. the
one which the public sees. and this, Gu
riOuSly enough, is an accomplishment
which few of our critics have discovered.
Ada Rehan. Well, people tell me that
the admiration of her voice is a cultivated
taste, and add, when you first taste of
olives or snails, you don't like them, and
l always answer by saying that | have
never learned to like snais vet
Clara Morris has a voice like buzz
saw, and Helen Dauvray one that is as
hard and steel-like as a pocket knife l
tell you another woman who has a shriIl /
unpleasant voice; one that always gives
an audience the impression that she is
overwhelmingly self-cOnsCiOus and that is /
blonde haired, childish-loOking Elite Shan [
non. But when you come to a disagree !
able voice, one that strikes the drum of
your ear and makes YOU feel seasick, lis
ten to Maud Harrison. When she was /
young her voice may have been better !
and even now, if she played older parts, /
she might adapt it to suit them; but as
she selects to be an ingenue forever, l !
suppose the audience will always be /
afflicted with these high, shrill notes that I
invariably give me the tOothache
Sweet voices? Georgia Cayvan has one. /
It pleases your ear, and doesn't rise to a /
shrill note ever. Fanny Davenports /
voice is clear, expressive, and with a key 1,
note of wOmanliness that many another |
woman might pray for. Lillian Russell |
has laughing voice, and you like it lust /
as you like her beauty.
There are two sweet voices that one hears .
or the stage that you like, and you won /
der why you like. They are soft, wom-
anly, persuasive. The reason YOU like
them is because they are southern voices
and l put them to you in the order of (
their charms. One belongs to Bessie .
Tyree, the other to Kitty Cheatham '
MartinOts voice is incisive, clear. but
well, it rings a little hard. Miss Arthur's
IS little too suggestive of her speaking
from the cellar; and YOU don't like to
think Of woman being in the DEPTHS.
Blanche Walsh has absolutely dulcet
tone-what can you expect when her
mother was from New Orleans and her
father from Ireland Viola Aliens voice
has all the beauty of Rose COPELAND sand.
IS purely feminine in addition. Lotta5
don't remember a thing about Lotta's
voice. She is Just herself, and while YOU
are conscious of the fun that she manages
TO evolve from everything, her tone
leaves no impression upon you.
WOMEN AS CHATTERERs
The woman who was talking had iuss
gotten thus lar, when. raising her ewes
she saw the other one who had driven her
from the theater, sit down at the table
next to her, so she said to her escort. IN
EHFArRf TO l. 4