The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1895-04-07

| can. When a child my parents located in Kan
| sas City, where I received my education. I
| early imbibed love for music, and endowed
with soprano voice inclined toward the OPP
cratic stage. l think must have been stage
struck in my cradle. When but little girl L
sang in the Chicago Church Choir Concert
Company. Later on, when reVerses were star
ing my dear family in the face 1 thought
would put my shoulder to the wheel and see
what could do with the gifts that nature had
given me and avail myself of the opportunity
to do my duty to my family. I came to the Pa
ciic Coast in the latter part of 1892. have
been in the profession about two years and
half. made my debut at the Auditorium, in
Oakland, as Yum Yum in the "Mikado."
Ny engagement at the Tivoli began in Feb
ruary, 1894, opening in f'Nanon," ana since
then have sung in most of the recent popular
comic operas. All the members of my family
are in the profession, except my mother. who
lives with me at the Langham Hotel. have
two sisters, who are now with Pixies Opera
Company, playing the northern circuit and
my only brother, Erasmus Nielsen, is a profess
sional musician at Morosco's theater.
prefer light comedy or juvenile parts, such
as Yum Yum, Patience, Josephine in "Pina-
FORE" Cora in "Gasparone," and such like
parts. really devote but little time to study
but of late have given more attention to it
than ever. Singing cannot be taught, but, of
course, the voice can be improved, and you can
be taught to give the proper expression to your
voice. My view is that one owes much to the
conductor; and here l wish to pay debt of
gratitude to Mr. Hirshbach. One who has not
taken part in a comic opera or musical play
cannot realize how all-important a role is
played by the leader of the orchestra whose
duty it is to sustain the voice of the singer. He
can either make or mar the song.
Like all singers suffer from stage fright,
especially on first nights. No one will ever
know what agonies / go through except the
leader, not mentioning the possible agonies
the audience goes through. 1 like to watch the
audience as play, and cast my eye row after
row to see the effect of the piece. The audi
ence little knows how we are affected by any
little inattention and how thankful we are for
any consideration paid US by its entire engross-
ment and attention. Encores are the sweets of
professional life; we must have the apprecia-
ton OF the audience to sing well. No matter
how good the song may be, unless 1t is ap-
plauded we never sing it as well the second
time. A cold and cherries audience can make
the brightest gem fall fat We must have the
applause; it strengthens our ambition and
generally sends US home happy with our days
or rather nights work. The road TO success is
rugged one and has many pitfalls; 1t is up
hill work, and we are often sidetracked.
If a girl is willing to work hard and conscien-
tiously there is no reason why this profession
is not as desirable calling for LADY as any
other she may choose. Her success or failure
is due entirely to her own exertions IT'S true
there are many temptations she has to resist,
but in whatever walk of life are we as sex
not assailed by them? If a girl who has fine
voice and has been especially endowed with
graceful figure thinks she can advance into
popularity before the footlights she is much
mistaken. 1t must take years OF hard work,
ups and downs, heart-burnings, disappoint-
ments and sacrifices. And even then she may
never pass beyond an understudy. 1t depends
much on the manager if girl is to succeed.
If he discovers that she can draw she will be
put forward. There plenty of girls right
here in San Francisco with fine flexible voices
who have future before them, but they must
await their turn.
kissing on the stage is mere matter of form
to me- much the same as the shake of the hand
and as to kissing off the stage-well we won't
speak about it. To use the 'Chimmie Fadden"
language, it's ten to one off than on. See?