The sun. [volume] (New York [N.Y.]) 1833-1916, 1900-11-11

70 his own country he sana In Italian a. well
As English. and BerIoz. who was conductor
when he appeared as Edodrdo at Drury Lana,
praised him with only the reservation that
came because he was compelled to sing In this
ftghtful English language" His oratorio
work began In ls4s. and It was commonly pre-
dicted at the time that a tenor who had been
20 successful In opera would never have met
with success In the Geld Reeves was about to
enter. Tho value OF these prophecies was
proved by his subsequent career, which was
devoted almost exclusively to this school OF
singing. Mario. Gardoni and Tamberlik went
10 hear him sing the tenor role In Ell" which
Michael Costa had composed especially FOR
him, and declared that no Italian tenor could
ever have sung the music as Sims Reeves do,
so II must have been his nationality qualified
him innately for the work
II wa not until the etrly 5 'v'nties that the ten
or's voice began 10 show SIGNS Of decline, Then
he BEGAN TO advocate the lower pitch, and
that was not used. His farewell tours began
nearly twenty wears ago. and were repeated
at intervals, aftcrward. as the singer was any
peal @ the public. He was finally, COMPELLED
70 do this, however. and. although Jean de
RAszkc HEADED the subscription list with the
SIM OF 500. tho plan was 4 failure, aud the
tenor. after having attemI ted 70 be a teacher
without great sIcc -, found himself III had
health and compelled 10 accept q grant from
the Civil List. lis earnings were ALWAYS
much exaggerated and his poverty was not
40 much attributable 70 eNtrayaFance as some
persons have said. He used to receive at
the height Of his reputation only so for his
usual a11earaHo'l in o-1to-io in London and In
the provinces. and although his fees we're larger.
he never earned tn" sums commonly, men
toned. He was often Obliged 10 Withdraw
after he had boon announced on account ~
ho,rseress, and once s1id that his throat weak
meas had cost him about 100000 during his
career, His owl u'terarce9 on this subject
and another 40 Interesting
Some artists NAV sing whether they, be
hoarse or not, hut. depend upon II, II does them
no good +" he said. "and nothing strains the voice
more. Yes. | have given m more than any
one. In what Won may call rv eNirore fasfi Ii
business, or artistic. %couoelt asked him
tina, t. very siuulc.' he answered. You, get
n pcpnorv feeling. a tickling. a drvness Of the
throat an Irritation of the mucous membrane
The saliva refuses 20 Cow properly. the voca'
imagine n ri"ce ~ highly polished steel-the
most minute succk Of dust, the least breath
OF air, affects Il. II is so with the throat Of a
tenor. Whv. II Won bend down for anv time
n feeling ~ hu-Riness. have always studied
nv words. he said. when questioned on inter-
pretatiOn Il have read the words OF nv songs
and phra ed them in "verv pos>ibi" wav.. asked
myself what th"V meant, and int,"rpreted th"m
according to NV own feeling walk mp and
down. irving This line and ,rvinC that. until |
feel I have struck the ri hit idea. Singers
do not study clocution sufficiently, II AT all
In a reritativc. for instance, Ia" words arc
sacrificed to the music, In my method. thcv
arc Of epual imuortance. DO ! love RpulauSc'
An Yes, an artist lives for II. " inspires him.
Give mo an enthusiastic. n receptive audience,
and NV heart and my voice 20 "lt 10 them.
Often the great sea 81 faces has affected me
words canno, describe emotions ! have put
forth nv Crnotast rTrrfS Without applause
an artist l. 'imil. rFigil, ncrveleSs'