The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1903-12-27
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washington Evening starr
Of all the great singers of today.
scarcely one has failed 70 experience
the dark hour in which there seems no
I light ahead But with each singer It
. has been case of darkest before
dawn" the dark hour has Invariably
proved a blessing in disguise.
Nine. Sembrich met with her obstacle
at the end of her first season on the
stage. She had overcome other trou-
/ bles before that time, but the necessity
of leaving the Dresden opera house, IN
which she had been engaged, looked 20
her ike a crushing blow she was not
Likely 10 survive.
I had sung there for a part of the
season" she tells. when il became
perfectly clear that there was to be no
place for me in the company. I had
made my first appearance as Lucia,
and was to have sung all the colOratura
soprano roles. But I found that these
were taken from me. given to another
singer or allowed to me only when she
was occupied in some other way.
Il knew then that for the sake OF my
career I must leave the Dresden opera
house. ] had not sung before thac
year and had saved no money. so the
prospect of having TO seek another en-
gagement under those circumstances
was not agreeable. L asked the in
]
pany. IT was Immediately granted. 1
had expected TO remain in Dresden for
years. But I made my farewell ap-
pearance. aroused a strong feeling
against the director Of the opera for
permitting me to leave, and then Won
dered what 1 was going 20 do. / was
an unknown singer with just four
months experience behind me.
It decided to go 90 London TO seek an
Nr
den. That was audacious but possible
was engaged as the soloist Of the mu-
steal festival at Cologne to sing The
Seasons I received CROUCH money
there to make the journey to London.
sang for Mr.. eye. was engaged for
five years at Covent Garden, and in
reality began my career.
The necessity of leaving Dresden
was the most fortunate thing that
could have happened to me, although
it seemed a catastrophe at the time.
If I had sung there year in and year
out. I might never have been anything
more than a German singer in a pros
vincial town. The minute I was en-
gagged at COvent Garden I had to sing
in Italian. So the best thing that could
have happened to me came in disguise
It drove me out Of the first opera house
IN which I ever sang. but it gave me
the opportunity for a career that would
never have been possible there
Calves Battle With Poverty.
Nine. Calves dark hours came when
she was studying in Paris with Rosina
Laborde The French soprano went
there late in the '70s to begin her musi-
cal education, and she carried from the
peasant home at Auvergne no large al
lOwance for her expenses. She was in
deed very pOOr and. like many another
singer, 1T was through the generosity
Of her teachers that she was able to
complete her musical education They
were willing To wait for their recon-
pensc. as they usually are ir the case
Of such a talented pupil as Emma Calve
was. But the struggle with poverty
grew very fierce at times. and the sing
er. VINO has been described by those
who knew her then as an uncommonly
beautiful girl. felt that she ought 20 be
able to enjoy something in her youth
besides work and poverty.
It seemed TO me that I was waiting
too long, she said. II still had a year
Of study before / could expect to earn
sou, and the struggles Of my family
10 keep me in Paris were too great. I
thought TO be allowed. So I deter
mined to earn some money at once.
whether it ended my study for grand
opera or not.
Unknown to anybody. I found out
the address of a cafe chantant in Which
I thought I would be able TO get an
engagement IL was a small place OF
the second or third class. where I had
reard ] could appear I'm evening dress
and not be compelled 90 sing comic
songs or wear fantastic costume. / saw
The director. told him that I wanted To
sing and begged for an opportunity 90