The San Francisco call., 1901-11-17

~ My Calve now remains to be
IA heard of all Mr.. Grau's great
III company at the Grand Opera
W house. This week Eames, De
march,, Louise Reuss-Belce,
Sembrich and Sanderson have been add
ed to our vocal experiences, and they are
indeed rich additions. Vocally, Sembrlch
outweighs any and all Of the whole COM
pany, even Melba, who is lifting her lyric
note elsewhere this season. Since Mr..
Grau has the flower Of the vocal talent
of the whole world, Sembrich is probably
the greatest living singer among the lyric
sopranos Since PATHS time no such
perfect Yocalism has been heard here
The singer has complete control of the
whole mechanism of the voice. She sings
absolutely without effort, her intonation
80 perfect that one never remembers that
there is such a thing as pitch while she
is singing Technically Sembrich's work
is a marvel. but one never dreams OF
technique in the connection. Hers is the
art that conceals art so gloriously that
one is fooled for the nonce into believing
that it is only to open ones mouth to do
the same thing. Alas and alack!
The diva's phrasing is a constant de-
light and her scales and trills and the
bewitching little roulades in which La
Traviata'' abounds for her opportunity
would mean an adjectival debauch for
Ihcir adequate description. She has de-
liciCus staccato-like drops of warm
spring rain glittering in an April sun
light, clean cut as jewels every note, a
pianissimo like the dream of sound, a
miraculous legato and a compass 70
which E in alt is simple fun. In fact
Sembrich does just as she pleases with
the most wonderful voice now known to
tame, a voice of which the last silkel
thread is Durest music.
But it is as much the big, warm heart
shining through her song that differcn-
tiates Sembrich from other singers as her
phenomenal vocal gifts. She is no mere
music box, descending to musical aero
battles for their own sake, but it so hap
pens that hers is the lyric genius, the
lyric opera her vocal METER and we may
comfortably thank God for both of them.
The world is surely large enough for both
Wagner and Verdi, Mozart and Rossini,
Puccini and Gounod, Sembrich and
Eames. and let US therefore rejoice in
their differing gifts and give thanks.
Eamcs sings Wagner mostly, and is one
Of the most lavishly gifted singers that
Mr.. Grau has so far bestowed upon US.
The quality Of her voice that impresses
most strongly is its lovely purity, with
the freshness Of May mornings and cool
mountain springs about it. 1t has a lyric
note. is deliciously flexible, and she sings
with much power and distinction. She is
possessed also Of the genius Of grace
both in her acting and singing, the gift Of
restraint in exquisite measure. and her
Elisabeth and Elsa now rank with the
most artistic things the season has vet
seen. or viii see.
Mr.. Grau has arranged an interesting
repertoire for the second week of the
grand opera season. Nine. Calve. who is
rapidly recovering from her attack of
bronchitis, will be heard for the first time
in Carmen" on Wednesday evening, No
vember 20. Mr.. Grau has yielded to the
request of those who were unable to Sc
cure seats for the first performance Of
Carmen" and viii repeat the opera on
Friday evening, November %. The cast
viii be the same on both occasions, ex-
cept that Mr.. Salignac will sing Don Jose
at the first performance and Mr.. De Mar
chi at the second Mozart's masterpiece,
THE Marriage of Figaro will be given
for the first time with magnificent cast
on Tuesday evening. November Is, and
Wagner's opera. die Meistersinger'
another novelty-win have its first pro-
ouction on Thursday evening, Novem-
Der 81