The Topeka state journal. [volume] (Topeka, Kansas) 1892-1980, 1904-03-24

Nine. Soalchi. who was a great favor
ite in the United States, was never the
equal of Nine. Heink, not in her palm
lest days Mime. Heink possesses a
voice of wonderful brilliancy and
range.
After securing temporary release
from the Royal Opera company at Ber-
lin. Nine. Heink sang in grand opera
at the METROPOLITAN opera house. New
York.
Nine. Heink has chosen a particularly
pleasing programme for her concert at
the Auditorium tonight. The pro-
gramme contains selections from eleven
composers. and such selections should
serve to bring forth all the powers OF
the singer.
The programme for tonights concert
is as follows:
1. (a) Air from the opera "Mitrane"
(b) Du bist die Ruh...schubert osrt
(c) Wohin ............... Schubert
(d) Der Wanderer ....... Schubert
2. Piano soli-(a) Noeturne Chopin
I (b) 'Liebestod" from Tristan
and Isolde" ..........-. Wagner
g. (a) Heimweh --.-....-.. Hugo Wolf
(b) Three songs from the Trumpet
er of Sakkingen'' Riedl
(c)Widmung ............. Schumann
4. (a) Die Drei Zigeuner Che three
Cb) Thyee y ps'es1 Songs from the cycle aS~'
Poets Love" ....... Schumann
1. I'm wunderschonen monat Mai
z Au4meinen Thranen SpriesseH
8. Die Rose, die Lille.
). Recitative and aria Prison scene,
Act V) from Der Prophet.
...... ............ Meyerbeer
''Fides'' Mime. -Heink
g. Bolero dedicated to Nine. schu-
mann-Heinl) ........- Arditi
Nordica. In giving her views of the
Wagner operas and the artists who
sing them. Nine. Heink said:
Wagner opera is wholly dependent
upon the italian opera for it's future
triumph. This is a strong assertion,
but I am willing to add that the Wag-
merriam lyric dramas owe their very ex-
istence to the fact that Italian opera
first existed and still continues to
flourish; for one is the training school
of the other, the foundation of which
rises the massive structure, glorious in
the architecture of a new epoch The
old Italian method of yOcaliZatiOn is,
after all, the only one. Until the would
be artist has mastered its system of
sostenuta, coloratura and beI-canto, is
past graduate in all the SubtilftieS OF
it's wonderful art. he is not fit candi-
date to enter the ranks of the Wagner
roles. / have been singing these roles
for over twenty years, and today
still practice, as a preparatory exercise
before a performance, a simple aria
from Norma" given to me when a stu
dent by my Italian professor. All the
great Wagnerian singers of the lyric
stage today are products of a long
laborious schooling under Italian meth
DDS. What name need I mention more
potent than that of your own Nordica.
A glorious voice, superb method and
infinite application.
LAS a matter of fact, italian opera
makes less demands upon the singer
than the heavy Wagnerian roles. 1 re-
peat, that unless one has an impecable
method Of using vocal chords. the voice
is doomed to an early DEATH Italian
opera, outside of the more recent, is a
series of arias and coloratoura effects
with orchestral accompaniment. In the
Wagner roles there are forrnable de-
clamatory feats and there is always
the strain of gigantic Interpretation.
This necessitates intellectual as well as
physical strength. Wagner is lyrical
Shakespeare. The artist must convey
in song the tragica1 heights and depths
Of Lady Macbeth or an Othello."