New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1904-12-25
MUSIC. DRAMA
AND FASHION.

Der Of the more important tenor roles OF grand
opera, the part Of 'Pnrsifal.' for example
Tt is however. difficult. in a big and well
balanced company Ike that assembled by Mr.
Conrfed-a company containing so many stars
OF the first ma gnitude-for beginner to get a
chance to show whether he is capable of max
Ing good in part Of difficulty and Importance.
II one tenor for example. falls III there Is an
other. sometimes two. OF equal or almost equal
ability ready 10 step into his place. II would
be expecting too much OF any manager to give
a comparatively untried singer a chance TO fl
such part when he has experienced artists
ready and willing 20 step in
Then. again, I really think that the mere
fact OF being an American Is handicap 70 get
ting 4 start IN this country. I don't know why
IL is. but most persons seem 70 find il especially
difficult 20 credit American with any great
degree OF operate ability. unless it has been
demonstrated before foreign audiences first
Foreigners, too. share this view I think. For
example, one day when I was rehearsing in La
BOheme' I took high c and one OF the mem
bers OF Mr. Conrie1's company seemed t-ifa
impressed. and. coming UP 70 ne. said in a tone
OF incredibly: You're not really an American.
are you?'
why IL should be more difficult for an Amert-
can 70 take a high c than for somebody with
an UaProuoUnceable name cannot ina CINE. yet
that seemed to be the impression"
Mr.. Rand seems TO bc Undecided about ths
form which his future climbing on the operario
ladder viii take. IL VIII interest Americans
particularly 70 see whether he is patient enough
20 await his opportunity he~e. or whether re
will go abroad TO find some less crowded and
less slippery ladder from whose top he may get
better grip and a closer view of our own eiu-
sive operate ascent.
When We come To the b.e and aunbttionless
group at the foot OF the ladder ind al
tirely unique class There would not ~ much
grand opera without the chorus. and there .
no doubt that the work Of the stars is more OF
less dependent for it's effect upon the back
ground furnished by these modest and unas-
Stunning singers.
Yet it IS so rare as 10 be almost unheard OF
that any chorus singer ever rises from the ranks
10 the celestial circle OF the stars This -
doubtless partly due to the fact that for the
part grand operate singers are all bur ilIE-
crate. The majority OF them read music to some
extent. but good many OF them cannot even
do this. and learn the chorus music entirely by
ear The majority OF them are Italians and
they go to Russia. America Spain and also 10
Covent Garden. In London, the great demand for
italian choruses being due 20 the fact that N
no other country be found so many singers
who well versed in the chorus music OF so
Signor Nepou master Of the chorus az the
Metropolitan Opera House. Is authority for the
statement that most OF his chorus singers have
a repertory of the chorus music IN no less than
seventy operas
There are, OF course, a number Of Germans IN
the Metropolitan opera House chorus. and they
are especially useful in the German operas, for
the reason that many OF the Italians know
little German. and. despite their calling.
seem TO have desire ability 70 learn that
language. In those scenes where German at
mOsphere is OF prime Importance. the German
chorus singers come out strong, and have ali
the places in the front row, the Italians being
simply depended 70 produce the necessary
volume OF sound
1t is not particularly renuDerative pro-
fession, this singing in the chorus. Chorus
singers get as much $40 a week but very
rarely more than that sum However most OF
them come from the peasant classes. Their
wants very simple. They live here very
cheapIy and not infrequently they save enough
from their artistic labOrs in this and other
countries TO realize the dream OF their lives and
go home and spend the rest OF their days In In
expensive peace and leisure.