The Scranton tribune. [volume] (Scranton, Pa.) 1891-1910, 1897-11-04
MUSIC PAST AND PRESENT,
American Composers and American
singers--vocaiists should Know
the Art of Breathing--A story of
Patti aud Jean dc Reszko.

Patti aud Jean dc Reszko.
From the New York sun.
Miss Emma Thursby, like some other
less distinguished women, can be two
things at once. She can be busy and
calm at the same time. The other
morning she reached New York after
an all-night trip from Boston. She
went straight to her new apartment,
facing Gramercy Park. She assisted
in that mysterious feminine expedient
known as settling" She gave two or
three lessons, was expecting another
pupil at any moment, and yet was as
fresh and unruffled and smiling when
a Sun reporter appeared as If the whole
had been mere play.
Probably there are few people more
fitted than Miss Thursby to give an in
telligent and unbiased opinion about
the future of music in America. She
has withdrawn from that active part
which seems inevitably to cause ieal-
ousies and prejudices. Nevertheless,
she is still young enough to be pro-
gressive. to admit the value of certain
innovations, and to adopt them, too. AS
a singer her greatest successes were
gained abroad, and she has therefore
prompts some Americans to belittle
Europe and eXalt this country This
being the case, it is particularly graft
flying that Miss Thursby is a stanch
believer in American musicians, wheth-
er composers, performers or singers.
american voices" she exclaimed.
"Why, the American voices are the fin
est in the world. The European teach
s- iyo oil
that is skeptical Therefore the sing
ers stay in Europe, where they are
honored as they deserve. 1t is strange
that whenever a musical composition
appears bearing the name of an Ameri-
can it receives comparatively little no.
ticc. But that will change. 1t must.
We have Chadwick and Norris and
Nevin and MacDowell and" Miss
Thursby named half a dozen others.
"You will see. We will have Ameri-
can composers as well as singers"
'l3ut our voices; foreigners never tire
of criticising them"
VOICES USED BADLY.
"Our speaking voice, you mean. That
is not because we have a bad speaking
voice, but because we use it so badly.
But there has been a great improve
mcnt in that direction already. Some
women have come to me to have the
voice trained simply for speaking. It's
the same thing, anyway, as to train 1t
for singing. That is where there has
been one great change in singing meth
DDS. You know. when L first studied
the teachers told us we must not talk.
They thought that speaking wore out
.
emily from in singing. But now that
notion is exploded. If the voice is used
properly il is used the same way in
singing and in speaking"
What do you consider the most i'm
portant thing for singer to iearn?"
"The art of breathing. And it is
worth noticing that Jean de Resle has
shown US a great deal in that direction
Indeed, think his work and his influ-
ence have been largely instrumental in
causing the great improvement which
is evident the American musical taste
OF today. He is a wonderful artist and
a generous one. 1t is great privilege
and a valuable training to sing with
him. But, speaking of breathing, you
remember how Jean de Reske stands? ?
ALWAYS with the high chest and with
his weight forward on the front part
of the foot When 1 am teaching a
girl I have to know where her feet are.
When was studying teachers were not
so careful. Pupils would stand this
way" settling back into an awkward
pose, "or in any careless attitude"
INNOVATIONS.
What other changes are there be-
ba 4
oncs?"
well, in opera, of course, there have
been great innovations. I like that
story about the revival of Gounod' 5
Romeo and Juliet in Paris several
years ago. 1t had failed at first, you
know, and had been shelYed for some
time. Jean de Reszke was finally asked
if he would sing at its revival He
consented on condition that they would
get the finest possible Juliet to sing
with him. They secured Patti, and the
rehearsals began. 1t was an interest
ing conjunction of two stars, one of the
| old school, the other Of the new. Well
at the first rehearsal Patti sang her
balcony song; sang it in her inimitable
way, with all those little, graceful
| birdlike gestures which used to be the
| universal accompaniment of any and
every operate role. When she had fin.
| ished De Reske was delighted with the
| beauty OF her singing and praised II
| generously. Then his turn came, and
he sang with that perfect art of his
| fitting every gesture perfectly to the
| feeling which the words of the sons
| indicated. When he had finished Pat.
ii stopped the orchestra.
|
Wait" she exclaimed. so that Is
your new school. Well. l think I'd like
to try that myself and she made tn,
orchestra go back to the beginning O,
her own song, And they said" con
| tinued Miss Thursby, that the way
she sang it was a revelation
After all, she went on, Patti wa!
the greatest artist we have had Whom
do like best now? Oh, that is hard Il
say. l like Calve. She has a beauti
full voice, an excellent method, and dra
matte fire. Her Marguerite was won
d@rful. 1t is my ideal conception Of tn,
characer Calve is growing, too. Peo
pie Kept her singing Carmen and San
tuzza until they thought she could sin!
nothing else. Her Marguerite mus
have disabused them of that idea. AM
! like Melba, of course, and Nordica
Nortica has worked and studied hard
and she has accomplished great results
Her song recitals last year viii linge
in my memory as long as live"
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