The San Francisco call., 1904-12-25

ience subservient to his or her own
When I quoted popular opinion. that
IN both drama and opera the more in
adequate the support" the more bril-
liantly does the star shine by contrast
the smile developed into a laugh.
That may be So" she said. but
such stars are not conscientious ar
lists"
Then we fell to discussing the pres
ent individual doings of that great
Grau galaxy Of three years ago. When
l told Of how Schumann- -Heink's first
appearance in concert here was to a
two-thirds house, and of how hundreds
OF folk were turned away from her
final one because of Manager Green
baum's inability to provide them even
with standing room, for which they Of
fered fancy prices, the honest face
glowed with satisfaction
And with Sembrich," 1 continued,
lit was just the opposite. Her concert
debut in San Francisco was made to
the big and cultured congregation and
her final performance barely justified
the managerial outlay"
popular heart" she said, by arrang-
ing her programmes to appeal to all
sang homely songs. as we'll as preten-
tious arias, and the people were quick
to find ii out and respond. Sembrich
may have been too unvaryingly class
ical in her selections, and the people
may have been quick to find that out,
too"
Gadski had not seen Fritzi-Scheh in
light opera, and the omission did rot
seem to occasion regret
She has decided TO revive some of
the comic opera successes of a score of
years ago, and she is wise TO do that"
was the big womans verdict on the
petite woman's latest venture. Since
the time Fatinitza' was composed
nothing of its class has been con-
structed TO equal it musically. and it
would not surprise me to see a renais-
sance of its style. Modern comic opera
is more farce than music"
Melbas recent physical breakdown
in Pittsburg. necessitating cancella-
ton Of her concert engagement there,
was briefly discussed, and then we
drifted back to Gadski's self
Opera work is more nerve-wearing
than concert singing" she said. In
opera there is the changing of cos
tumc-sometime half a dozen changes
during one performance-the waiting
for cues, the uncertainty as TO how
your stage associates will suit you,
and various other things to keep your
nerves at tension. Then there is the
spirit of your role. which you must
cherish even while you are not singing
ii. With one of the heavy Wagnerian
parts to sustain. such as Elizabeth or
Brunhilde. you cannot afford to cast
off your stimulation when you exit and
don it when you enter, as you do your
wardrobe, but must feel it every in
slant the opera is in progress. In con-
cert, however, you can safely change
your moods with your numbers-alter-
nately laugh and cry. as it were-and
the mutations of feeling are good for
you. That's one of my reasons for
preferring concert-its comparative
lack of demand on the nerves"
And your programmes-are they
mixed, la Schumann- -Heink, or
straight. a Ia Sembrich?"
AS varied as my talent will permit
This from the woman who was capa-
bic Of stepping in and singing any
leading role in the vast Grau roper
toire gave promise Of variety illimita-
BILE
With Wagner first choice, I pre-
sume?"
Not too much Bayreuth," she
laughed. IF my choice alone were
consulted, perhaps Wagner would be
more in evidence, but in music appre-
citation there are differing ideas, and
each of them must be taken into con-
sideration with the arrangement of a
concert / which the general public is
invited"
Miss Tauscher, II years of age, home
in Berlin, was then yielded maternal
attention, and the ensuing active prep
arations for a shopping excursion indi-
Gated that the tale of the trunks was
not such thriller, after ALL
JAMES c. CRAWFORD.