The sun. [volume] (New York [N.Y.]) 1833-1916, 1903-05-03

sing Isolde except In such places as Vienna.
where they never before heard even a
passable imitation Of good Interpretation
Of the role.
Jean de Reszke is failing rapidly. His
voice, as voice, is quite as good as IL ever
was, but his breathing is SO poor that he can
no longer phrase anything as he used to.
The quality OF the tones is unimpaired,
but there is no longer the power to sustain
them. The condition of his bro theirs
voice has been patent to all but those who
hear nothing save the names Of opera
singers.
Mr. Van Rooy stands forth living illus
tration of the folly of vicious vocal methods.
lie is to-day precisely where the present
writer said three years ago that he would
be. 1t was then that notice began to be
taken of his explosive attack in sudden
fortes and of the resultant quality Of tone.
1t was predicted that indulgence In the
habit would lead to certain deterioration
of the voice That prediction has bsen
lamentably fulfilled. Van Rooy's voics
is nothing like the noble and orotund organ
II was when be first let US hear it In 1899.
Now none of these singers can be re-
placed. There is no one in Europe to re-
place them. Their, is not on the Continent
to-day such Brdnnhilde as Iilli lehman.
The Gulbransons. and such creatures,
who cause the good Germans TO speak
with hated breath. would not do here at
all. They are we'll enough for Bayreuth or
Munich. where people go to the opera
for other attractions than great star singers.
There is no German tenor to take the place
of Jean de Reszke in the German roles.
Ernest Kraus is the best of the lot. and 1t
Ia said that he has improved greatly since
he was here.
Nevertheless IL is quite inconceivab!e
that he has changed his style of delivery,
which is that of the Bayreuth school. 1t
Is the style which exaegerates the srticula-
tion Of the consonants at the expense Of
the legato. 1t is the style which continues
to make people think that Wagner's dramas
are unmusical. 1t is the one factor now
potent in keeping alive the fight between
the lovers and the opponents o: Wagner.
There is no certain hope Of salvation for
MIR. Conred in engaging such singers
AZ Kraus On the other hand, the question
arises whether he may no: succeed in get
ting together n good company OF capable,
II not dazzling, singers and back them
with good stage management. presen.able
scenery, competent orchestra and able
conducting. 1t is well-known fact that
New Workers do not go to the opera to
hear the operas. but to hear the singers,
vet certain signs seem to indicate that the
time Is not far OF when fine ensemble
will satisfy this public as we'll as the re-.
fulgence Of few stars against a back
ground Of gloomy illadequacy.
In the season which has just ended Mr.
Grau had good company. but 1t contained
only ono or two singers OF genuine great
ness. Among the men, for instance. who
was tho greet one? Was there one great
tenor in the company? Was there even a
thoroughly good second rate tenor? The
bulk of the labors Of the soprano depart
mcnt fell 10 Mines. Nordica, Sembrich
and Gadski. Two of these are, indeed,
great artists The other is growing, but
1t is hardly likely that she will ever attain