The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1896-05-24

cOl0fSfS--Frdu
dramatic soprano; Miss Gertrude May Stein,
contralto; Mr.. Barron Berthald, tenor; MT
Evan Williams, tenor: Mr.. Max Heinrlcn,
barytone: Mr.. d. NJ. Babcock, basso.
Part L.
Fine Faust Overture.
''' Conducted by Mr.. Arens.
'sRienzf'-
Tar Aria Adriano
Miss Stein.
A Messenger. Miss stein; Female Chorus.
Rienzi, Mr.. Berthald; Male Cnorus.
senta. Frau Klafsky rio Putchman' Mr. Helm
.srannhauser'-Pilgrim' Chorus
Male Chorus.
die Meistersinger''-
(a) "Walther's Prize Song"
Mr.. Bertnald-
Frau S2 Kiafsk S Miss Stein. Mr.. Berthald. Mr..
Williams and Mr.. Babcock-
Chorus and Orchestra.
-Intermission. Part H.
Tristan and Isolde
Orchestra.
Cb) 'Idebestod."
Frau. Klafsky.
"Gotterdammerung' = "SIegfried's Funeral
sTohengrin"-Finale First Act.
Fran Klafsky. Miss Stein, Mr.. Berthald. Mr..
Heinrich, Mr.. Babcock and Chorus
AN INTERVIEW WITH KLAFSKY.
The Musical Courier. of New York. re-
Gently published the following interesting
account of Frau Lohse-Klafsky and an in
terview with her:
''Katbarina Lohse-Klafsky, prima donna
of the Damrosch German opera, has estab-
lished herself as unreservedly in the esteem
of the American public as it has been her
lot to do with the public of Europe. In
the principal cities Of the United States,
now headed by New York, the superb voice
and temperament, with the vivid elo-
quence of this impassioned woman of
genius have set the public afiame with true
artistic enthusiasm. The success of Klaf-
sky in New York has been brilliant and
spontaneous. Immediately the metropoli-
tan public accepted the artist for what she
is, noble-voiced and truly inspired inter-
prefer of the immortal music drama, and
KlafsSys place in its heart is firmly and
lastingly secured.
''Klafsky in private life lays down the
suggestion OF her stage force, dramatic and
magnetic, and becomes gentle, genial, ap-
parently simple-rninded woman of middle
life, whose natural preferences might be
supposed to lie with the homeiest details
OF domesticity. Her height when not pulled
out by dramatic stress is barely medium.
She resorts to nothing in costume or adorn-
ment which might serve to prolong youth
full appearance. She is in very truth one
of the most modest women under the sun,
and she takes no personal glory in her
success. This is not affectation with her.
Klafsky is incapable of affectation, but she
is uniquely oblivious to what the term prima
donna ordinarily spells in the way of alti-
tude, and Is chiefly distinguished by naive
simplicity and Inconsistencies and a sin
certify that border on-the primitive.
"Klafsky is staying at the Hotel Cam
bridge, Fifth avenue and Thirty-third
street, with her husband, He.r Otto Lohse,
the conductor. The kindly-faced singer
smiled cheerily in the center OF perfect
flower garden the other afternoon when
called on by representative of the Musical
Courier. The small CARLOAD of flowers had
been reaped at the opera the night before
Klafsky understands French and English
very well. but win speak only her native
German.
"She can speak other languages very
we'll if she wants to- remarked Herr Lohse
but she is the same about piano playing
She plays very well, but will never do so
in the presence of anybody. She won't
play note even before me-
Like Lilli Lehman. Klafsky began her
career in Italian opera. Yes she said. 4
have the Italian repertory by heart and
have an attachment still for many roles
I always liked Norma
About voice productionT repeated Klaf-
sky. L believe in the Italian method. 1
began with it and have striven not to devil
ate Why, first took lessons from Mar
chest. That sounds strange. does it not,
for Wagnerian singer? 1t was in Vienna
and was only girl of about sixteen. 1
had just few months lessons. and apropos
of that there is funny little story
when Ii comes to a case of any self
praise with Klafsky she either drops the
subject, saying she cannot go on, or she
asks Herr Lohse to take up the thread of
the tale for her and finish it. Klafsky is
unable to sound her own trumpet, and her
avoidance of painting triumphs or repeating
compliments is truly sincere and ingenious.
Herr Lohse in this case went on to say
that Klafsky sang at the Munich festival of
1894, when her Isolde proved the most tri-
umphant success on record. The Munich
Royal Opera had not accommodated such
an audience in its history or on any one
occasion ever taken in such a sum of
money.
&niuts 11dktitCSi WdS LIcIt WIFI the
daughter of Lamoureux, of Paris contin-
ued Klafsky. She had forgotten after all
those years even my name or that had
ever had any lessons from her. She heard
me sing as If for the first time. stranger.
She described herself as enchanted, and,
turning to Mile. Lamoureux, said that, as
one of the greatest living singers, 1 should
certainly be heard In Paris. Later, when l
saw her and reminded her of the lessons SO
many years gone by she was greatly
touched and gratified.
"' The result was that did go to Paris
and sing at one Iamoureux concert on Dec.
9. 1894. and my success was so great that 1
was engaged for a second concert on the
18th, when made one of my most memoir
able triumphs. / sang excerpts from Wag-
ner. Beethoven. Weber and Mozart Con-
trary to a prevalent idea. Marchesi is deep
ly and sincerely In sympathy with Wagner
and has the justest views as to the man.
ner in which he should be sung. studied
my Wagner repertory with Professor Hey.
in Berlin
"All this Klafsky got out with the inter-
mittent aid of Herr Lohse when 1t came to
the episodes of praise. This remarkable
ruoroo, xuo hor,, In fha 1ff.1o ha v,,lof Of CT