The sun., 1903-03-01
SINGING And IMPERSONATION.
VOCAL TECHNIC NOT ALL IN
OPERATE ART.


the Greatest singer VINO Ever Lived.
Not Always Geod--Art In the Voice.
One OF those amiable persons who write
complimentary letters 10 critics and then
kindly says, But you arc wrong about
this matter has communicated with the
miscreant who constructs this part OF
The Sun. The topic for discussion In this
kind letter Ii Nine Gadski. The writer
Ia surprised at the "extravagant praise OF
this prima donna found in these columns-
The corr spondent says:
-She has a very powerful voice OF fine
quality and extensive range, and her method
IL good; but she certainly does not modu-
late her voice properly. she is frequently
OF the key, aud her singing and phrasing
always seem TO lack something which they
should h ave TO make them wholly satisfying
To my mind her voice and art cannot be
compared to that Of Nine. Eames or Nine.
Nordica. l do not mention Nine. Sem
brich whose art is 40 perfect that IL places
her in a class by herself Do you really
consider Mime. Gadski a singer Of the first
rank?'
Barring the evident misunderstanding OF
the technical meaning Of certain terms In
tho language OF singing, this letter con-
tains some pretty sound criticisms. Sing
ing and phrasing' might puzzle a pro-
fessor Of the art, since the one includes the
other. but let that pass. II Ia quite true
that Nine Gadski's phrasing is not always
perfect, and there have been occasions
this season. as In her performance OF Amehd
in I'm Ballo in Maschera.- when 1t was
decidedly bad. But the soprano was then
singing a new part. which she had been
obliged to prepare in short time and she
had been unable to work out her phrssing
as carefully as she would have done with
larger period for study.
The lack Of ability to modulate the voice
OF which this correspondent complains has
frequently been mentioned by THB SUNS
chronicler. Nine. Gadski does not sing
we'll in mezza voce, but she has made vast
improvement in this department OF her
art. Five years ago she could not even
bsgin to do il. As to her being frequently
of the key. there is some truth In the charge.
She goes wrong for a tone or two. some
times for a whole phrase; but a few years
ago she used to 30 on the key at the be-
ginning Of scene and never return to it.
The intelligent correspondent has not
quite fairly Represented THE SUNS attitude
toward Nine Gadski. The lady has not
been eItravagantly praised here. But
full consideration has been given to the fact
that she has made immense improvement
in her art; that she has youth, strength and
ambition; and that she is likely in the fu-
ture to go still further toward the goal Of
her hopes. Whatever encouragement pass
ing newspaper comment can hold out TO
a true art list bravely fighting for perfection
has been freely given here. and since Nine
Gadski has offered to this public such good
operate cmbodiments as her I'd and
Valentine. there has been no hesitation in
speaking of her with warmth.
II IL quite u necessary to compare her with
other artists Of the company, but II the
writer Of the letter is hungry for such COM
parsons the scrivener Of this article will
not refrain from going 40 far as to say
that Nine Gadski's Add comes much closer
to the real article than Mime. Eames's On
the other hand, Nine Gadski would fare
very badly should she enter into compe-
tition with Nine. Eames in the roles Of
Juliette and Marguerite. II is hardly likely
that Nine. Gadski would care TO compete
with Nine Sembrch az Eirird or Vioiettd.
Do such suggestions sound little absu-d
OF course they do. The amiable writer Il
the letter forgot that operate impersona'
ton does not consist wholly Of voice and
method. Personality, acting ability, APP
pearance. character OF voice all have to
be taken into consideration. Nine. Gadski
has not been praised in THs Sun exclusively
as a singer. and consequently IL has never
been necessary to allot her a place in the
first or the second rank. TIL suns un-
musical reporter has bis own opinion about
her rank, but it is Of no consequence. The
point q be made at this time is that the
art of the opera singer does not inhere
solely in the delivery OF the voice.
That is. indeed. or rather it ought q be.
the chief vehicle Of dramatic expression;
but since it is possible to surround il with
- many other agencies for the conveyance
of the thought Of the poet. which lies be-
hind the music Of lyric play, it is nevita-
BILE that many operate performers can
accomplish influential and even splendid
results without being really very great
singers. The history Of the operate stage
Is Allied with proof Of this. Many Of the
greatest stars Of the lyric armament have
lacked silvery spotlessnees. There have
bssen Spots on nearly All tne Taulant suns
Yet they were worshipped by the musical
elite OF their day. furthermore, the records
left to Va by their contemporaries are
crowded with rspturous accounts Of the
wonders Of their performances.
The truth seems to be that the present
period has contained the greatest Of ali
singers The school in which perfection
Of vocal technic was reached existed In the
eightssnth century, and its achievements
have never been outdone since that time
But Will. itssverage was far above that
of th. present u may reasonably bs doubted
whs thsr II pr, du,ed a single singer who
va, greater as a technical than Adelina
Patti was In her day.
When Albert Niemann, the famous
Gsrman tenor, tbs original skgmund in
die wilkur, Wa the leading NAL. mem.
her Of the Metropolitan Opera HOUSE com
I,any something over q dosnn years ago
ho wac SoIl Ia say that Psl,i Nas not oLiy
the beet sing.I of l,eI own time, bat lhr
rr-ste.i sins.I that ever lived Nov thai
ss,i "a ed deal, YET ia. r-urdf
> IN Co. D az ou' tLr Hssrriiuu
Th.I. have i.eu maI. r"hiafkail. 'oioos
than psiti's and Sonls d.oid"lly rch.I