Omaha daily bee., 1899-10-22

The principal event OF the week in amuse.
ment circles was the singing OF Marie
Tavary at the Creighton- -Orpheunl. This
famous operate star POSSESSES a most inter
esting history her career al prlna donna
having been varied one. Few people who
heard her were aware OF the fact that they
were listening TO a full-nedgcd Russian
countess. In private life Tavary Is the
Countess Raynu. Her father was a general!
in the Russian army and was attached to
the immediate court Of the car. 1t was the
original intention Ct Tavarys parents to
make a great pianist out OF her, ana she was
accordingly sent to italy to study. While
there she met number OF prominent vocal
teachers who discovered that she possessed
a most promising voice. and thereupon she
began to study for the operate stage under
Sisnor Lambarti. Her parents objected mos
seriously to her entering upon a stag
career, but her mind was firmly made up
and after a year under Lambarti she began
TO sing in concert. She soon realized, how
ever, that her voice did not as yet posses
the strength or quality necessary for a ca
reer Of any length in grand opera, and
therefore she went to Milan. where she
spent two years studying under the famous
Madam Marchesl.
at was Madam Marchesi," said Tavary
during the course OF an interview last week,
who developed my upper register, which,
! natter myself, is remarkably clear and
true, despite the number OF years | have
been before the public. 1t was indeed a
struggle for me to get started as my par
snts refused to help me, knowing that my
Intentions were to go upon the sage, and
! wac compelled TO teach music in Paris for
some time in order to get money enough TO
continue my studies. Ny first great success
was at Covent Garden, London, where ap-
pearei in concert under the direction OF the
late Sir Augustus Harris 1t was he who gave
to me the nom de- plume of Tavary. Upon
arriving in London was much surprised to
read in the papers that the famous prima
donna Marie Tavary was to appear at
Covent Garden upon the same dates which
Sir Augustus had promised me, and was
quite jealous. When | asked him about the
matter he told me that l was not we'll enough
known to have my name upon the program,
at which | was very much vexed. / did not
know under what name / was to appear,
but was much surprised to learn that l was
to be the famous Tavary. My debut was a
success, as you doubtless know.
Il came to America six years ago, singing
first in Chicago in the part of Marguerite In
a production of Faust" Later | toured the
country, NlSUluR all OF the pTlHClpal Cllles
with my own grand opera company. The
venture proved fairly successful However,
the company was such large and expensive
one that l was compelled to close. 1t was
not so much the expense as it was the task
of keeping my imported chorus and orches-
ira together. and let me say here that con-
slider these foreign choruses and orchestras
the greatest enemy grand opera has in this
country. They have done more to kill II
than almost anything else | know of. They
are continually trying ones patience in every
way imaginable. The chorus is usually made
up Of antiquated Italians and Germans with
no ambition and, unlike the American chorus
girls, they are satisfied to continue in the
choruses during their entire life. They in.
variably possess beautiful voices much more
so, in fact, than American women, which
they retain Until they die but they are slov.
emily and come upon the stage with theil
hair fixed in some outlandish style, theil
gowns half on, and, oh my! l can't begin tc
tell the time have spent trying to talk then
into taking pains with their dress and per.
sonal appearance so that they might get
part in the opera some day. But they
seemed to think it too much trouble, and 81
remained in the chorus American choru.
girls are much the best looking and mos
ambitious, but they always get into tn,
light opera choruses, where they have create
opportunities for advancement and often steI
from chorus into parts in a year or so, which
never happens in grand opera There a voic,
must have the advantage of the Italian
school of training. The American voices are
however, hardly powerful enough for grant
opera.
''Do ! find American audiences appreci
decidedly so. When | first anticipated m
American tour l was told by foreign friend
who had appeared in this country that
would be sorry II l visited America. as tn
audiences We're unenthusiastic and not ap
preciative, But l found it just the reverse
At my first appearance in Chicago 1 receive
nine recalls, something almost unheard O
in the old country. Some one note in
sCng or scene in an opera will receiv
tumultuous applause in Europe, for a min
ute, but 1t is rarely ever prolonged, an
recalls are infrequent
Something about my vaudeville career
Well, | opened in Boston two years age
The Boston symphony orchestra had bee
engaged for me and | noticed little differ
ence in appearing in a vaudeville theate
and what you Americans call a legitimat
or combination house. ! did not feel tina
had stepped out of anything, as my friend
told me | was doing when | entered vaude
willie. ! have toured all the principal elite
in this country since ! entered into thi
new field and have been well received, Ye
think vaudeville is here to stay. You kno
the ambition of the people OF the wanin
century lis to crowd everything Into tn
smallest space possible. The short storie
nowadays are the best stories and the mo!
read The short plays are the most SUI
cessful and that is why vaudeville thrive
Everything in 1t is condensed, the peopI
want just the meat OF things now, The
want to elaborate upon them in their ow