The Red Cloud chief., 1900-02-23
(IIy William JudsonD

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One OF the greatest creations OF the
lyric stage Is Emma Calves Ophelia.
or course. her triumph was reached In
the famous mad scene. which has been
used as a piece OF vocal fireworks in
the concert room so frequently that It's
dramatic possibilities were not known
until Calvc showed the world that
this mad scene was one OF the oppor-
tunities Of a dramatic singers career.
The many technical difficulties she
oyercame in a manner which proved
that as a vocalist pure and simple she
had few equals and no peers.
But her conquest lay in her ability
10 Undue every measure, every note,
with emotional eloquence. while she
accompanied her flight OF song with
look and action suited 10 the word.
Calves Marguerite Is one of her
striking characterizatious though the
majority OF Opera-loyers know her as
Carmen. Her Marguerite approaches
the heroine OF Goethe more than that
OF Gounod. Her Sappho. after Dau-
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she has sung successfully in Paris.
Others would prefer 10 have her con
fine herself to the narrower list and
wider range Of highly emotional roles
upon whose completely OF feeling she
might better eXpend the splendid re-
sources Of her temperament. 1t re-
mains. however. a fact that no artist
who has appeared before New York
audiences has 50 got the start Of the
majestic world without the uze OF a
large repertoire. The name of Calve
IL in the public mind lndissolubly unit
ed with Carmen and Santuzza. and the
impressario Of the Metropolitan opera
house. VI. Maurice Grau, naturally
gives the public what Il demands. But
II VIII not be possible 10 circumscribe
the genius OF Emma Calve. She has
expressed herself as weary of Carmen
and eager To conquer new worlds. She
will explore and she wiIl discover.
Whatever she does. she will not fail.
Many pretty stories are told OF her
methods. Perhaps most Of them are
apocryphal. II Is said that she went
10 Spain and spent much time in
studying tn" Spanish gypsies at short
range. She herself has sanctioned this
story by permitting il to stand uncon-
tradicted. The story, indeed. is to her
credit. II shows that she went out
10 see whether there was anything I'm
a Spanish gypsy that might help her to
maEa On illFlEinn Fnp hon pt,1If. L.
all human probability she found moth
ing. Certainly there Is nothing OF the
coarse and cheap nomad Of the PENN.
sula In her Carmen. She did better
when she spent some OF her DAYS and
nights In the study of Prosper Meri.
mee's story. There she found a com
plete, concrete personality. But Calye'.
Carmen Is a creaturc Of her own i'm.
agination. Frequently she Is the ex
halation Of a passing mood.
This Carmen is in the main the re
suit Of study and artistic composition,
but sometimes she is only a poutin.
Carmen and at other times she is a,
stormy and as %fdthomless rs are Tn,
seven seas. But, after all. If one goe.
often 10 study the imp%ersOnatiOn, h,
realizes that ii is always in the mas.
the same Carmen. There is a differ
nee only in detail. 1t is a better Car
men always when there Is a Don Jos,
OF equal note. for Nine. Calve require
the restraint of an art equal TO he
own 10 prevent her from giving fire.
rein to the impulse OF the momen,
That she is the greatest Carmen tina
ever trod the stage Is indisputable. lie
dramatic temperament is o~verwhelm
Ing and her means of expression ar
beautiful and eloquent.
But remember that Nine. Calve
not simply a lyric actress. She Is
singer, and within her field a grca
one. IIer voice Is not one OF the NJ
table organs of operate history, br
It is a very good one, and has IN
loneliness OF a distinct musical ind