New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-12-05

come oyer the European operate stage within tho
East decade. that all Tie singers In the company
ss1 signify in this discussion were drawn from
,.e artistic habi;at-Paris 50 far as Germany IS
concerned this could cause ~ SURPRISE Il was
determined by difference in repcriory and man
ac.rial system Italy which might have Dc
welcomed the singers 50 far as their genre IS IN
question could not furnish them because OF the
low state into which the Italian stage mas sunni
This circumstance. however. has nothing 10 90
with the other striking fact that not one oi
the singers. except Nine. ScalchL Is OF ltail"h
birth Mesdames Eamcs. Nordica and Mclba are
~ English stock the FIRST two coming from Amer
lea the ihlrd from Australia Nine. cave Mes
sieurs I.assalle and Pancon ar french' une
hr,fbers De Kc5zke are Poles. MIN, Arnoldson -
a Swclc: Senor Nignas Is a Spaniatd IL "oull
seem as if Italy could now scarcely supply her own
theatres: for. whenever We hear of pT'Hucuoh
IN one OF hcr capitals In which the world takes an
interest because Of the composers work. We hear
also Of foreign artists In the principal roles. Won
Elbows remark that Italy was originally Inc
cradle Of music, and again become the cradle
and rocked the art TO sleep seems q nnd lIustrd-
ton in the constitution Of the company at the
metropolitan opera House. 70 the student the
exclamation is found in the corluct Of the Italian
COMPOSERS who daill-l 50 long with archaic forms
10 the forgetting of advancing tastes and artistic
convictions that they at last found themselves
writing only for their own people change
wrought by the fNtidpIllHhlS anu hitI"' N'''"'
Of Verdi. younger in mind and heart AT eighty
than his rivals at onc-score-and-ten has set In In
the old land OF song bat the work Of regeneration
moves slowly because there such mountains
Of slack to impede the flow Of new ideas.
But artistic principles have had less to do than
financial with the fact that our singers, gathered
together from three continents came 10 US from the
theatres and training schools Of Paris. 1t was not
the high artistic standard Of the National Academy
Of Music AMI thc Comic Opera that assemnai
The operate institutions % tho French capital are
maintained by generous sovernmental enIowments
llfc In a degree that have not learned TO appre-
cate. II has frequently happened within the last
twenty years that the performances In the Grand
opera and the opera Comque have sunk To Il very
low plane: AMI whenever ths has happened the
French people nave been aroused by the critics OF
the Paris newspapers 10 cCnscOGsncns oil, me
fact that this was a national disgrace. The deep
est meaning Of the present Wagner cult IN Paris
lies in its protest against The iong-continued ar
even when the artistic tide was at its lowest cbJ
In Garnicr's gildcd walls. an engagement az the
Grand was the s"rest means OF Directing me at
tention Of the musical world upon a singer II was
through such a mediation that Americans learned
of their cOuntrywoman Edmes ana AUSTRALIANS or
their Nine. Media. But Tor artists u their rank
* bui the door to London. -. Petersburg and New
York In these great world centres lie the golden
fields which must be harvested. and thence nev
tahly do they go 50 soon as the Partisan cachet
has been received
for the production of these singers. French taste
is representatire Of the average good taste Of all
D
low as the 1t is really conservative while
seeming to be radical Long before Germany had
emf the silken bonds OF Italian sing-song France
made and enforced a demand for dramatic music
I'm The lyric drama. The fact that German. Gluck.
snnplled that demand only Increases the admra-
don which We must feel for the honesty Of the
demand and the hospitality and lberality OF the
PEOPLE who made 1t and gave announcement to
him who supplied it. 1t Is far cry from the great
rcforner OF the opera in the eighteenth century
to a teacher OF the latter half OF the nineteenth,
Int the fact Is interesting enough to be noted that
! Inc Partisan teacher most proudly represented in
tbe group OF artists under discussion is also "A
Gsrnau Neslames Eames. Media and Cave all
come 10 us from the hands Of Nine. Marchesi.
,ybo before her marriage, a Fraulein Grau-
mnnn OF course. all three OF the singers studied
ne x,i.h other teachers, but they fitted out
g. ,per operate roles by Nine Marchesl, and
,Ets fact like the varied nationality OF the Met
rn,,Iitan company and the French activity OF the
ddrnnon teacher. only serve 10 point the lesson OF
~ tn me-, na,ssroonoLta nlsm OF modern music
' IN th. l,vely gifts OF Nine. Eames the Amer-
VI ,,,htic are convinced Now that all OF Messrs
az 49, and C;raus women singers have been heard
A p 81 Mime Melba. effected her entrance last
,ttlSL a. e.. ucia N LammermoorD the temptation
hs ,,n', ~ saw that IN vocal equipment pure and
j. sttruasses all her rivals II there Is
siinpc, ,efi,on il will be with Mime. Melba only.
Dc So.'i ms between the three prime dome will Of
Coinpa eo,,inue 10 be instituted they bring for
co , ,heir different roles. Then the advantage Of
waru .n, IN dramatic instincts and ability TO body
sa,n character In action and vocal expression as