The San Francisco call., 1904-02-08
For the Sfagc-Strnck.
BY JESSIE BARTLETT DAVIS
tPrima DOnsl


girl gets in the chorus or is given
small part. II becomes then case Of
the survival Of the fittest. 1 have seen
splendid voices stay in the chorus for
ten years. Many girls find after once
they have been given a chance that II
means hard work 10 forge ahead.
A soprano who had a small part with
the Bostonians once said TO me: Mrs
Davis, YOU make me tired going out
there night after night, when I know
you're sick and working 50 hard You
bet ] don't Go that When ! don't feel
well I dont work hard.
"Ah. my dear" / said, you must
love your public. You must work and
work hard. il you would succeed. Your
audience doesn't know when you are
III Il expects you 10 do your best al
ways. You VIII not get very far if you
keep on as you have started
Ny prophecy was only too true One
year after we had this conversation
the soprano had retired from the stage.
I believe she married.
When I was playing in "Faunitza
some years ago there " as a girl in the
chorus who had magnificent contralto
voice. She was a good girl, and liked
her. 1 wanted TO see her get ahead
one day / said 10 her, Why don't you
study my part? You learn The songs
the words and the business. and some
day III give. you a chance TO go on at
z nlatires. That VIII give YOU an oP-
portunity TO advance, and me a much
needed rest"
But she said il would mean too much
work. She was still in the chorus the
last time ] saw her
In order TO succeed a singer must
enjoy her work and the enjoyment
must lot be affected: il must be
real She must feel a certain in
describahle sympathy with Ter Gudi-
ence. She must love her public, love
10 work for il. When 1 go out on the
stage I always feel as if were singing
FOR some one out in front who is very
dear 10 me.
Once Digby Bell said 10 me: 1t is
absolutely necessary for me to pick out
a pleasant face in the audience and
work 10 and for that face" There is
d great deal in that
A singer can tell instantly if her audi
ence is interested. 1t is almost impos-
sible 10 make a success Of a song if the
audience is not in sympathy. 1 have
worked like a Trojan TO wake up a
slow. sleepy assemblage. It is not al
ways possible 10 do that. but often per-
severance and determination viii warm
up even the most icy crowd. singer
must learn what TO do with cold audi
ences. When she goes before the foot
lights and sees in front Of her a sea Of
faces that appear 10 say TO her. I dare
you 10 entertain US" il means work,
work, work.
The value Of a smile cannot be over
estimated. II the singer shows by her
attitude. by her pleasant face. that she
is going 10 enjoy her work her audi
ence is at once predispOsed in her IA
vor. Even the homeliest face may be
come divinely fair if Illuminated with
a smile. II your audience thinks you
are pleased il is pleased, too. Sometimes
I think that the magnetism Of a singer
or an actress is merely her love for her
public Instead Of being in the singer
the magnetism is in the audience.
individuality counts for much in a
singer Many a woman has made a sue
cess Of an otherwise dreary opera by
sheer force Of her own personality. This
is what managers are seeking Let your
ingenuity and your brains work out
things. If YOU have good taste and
good sense the manager will be pleased
and he viii let you alone. An opera
singer cannot eXDend too much time on
her costumes. When I took the part OF
Vladimir in "Fatinitza" il had been
played for years. But had different
conception CT the role and a different
idea Of how to dress the part. I had TO
fight with the manager before he would
let me have my own way in designing
costumes. but in the end he gave me a
free rein. The result was when I made
my appearance on the stage there was a
prolonged "Ah" from the audience.
That is what a singer must have. that
'.ah." When you get that on your first
appearance you know that you have in
terested your audience And the first
interest means worlds for you.
In the last act Of Robin Hood, -
Alan-a-Dale, the character played so
many. many times. comes on masque-
rading in a monks gown. looking for
ms sweetheart. When the part Of Alan
was given TO me / wanted a costume
for the last act which should consist
Of white silk tights, a white doublet
studded with Jewels and cloak of
white broadcloth. Mr.. Barnaby. GER
tainly a veteran OF the stage and a
man well versed in the art Of pleasing
the public advised against the broad
cloth. But the cloak Of broadcloth was
made and I wore it under the monk S
garment. The first night. when Alan
threw of his masquerade costume and
disclosed himself all IN white there was
A long chorus Of surprised Abs" At
ter the performance Mr.. Barnaby came
10 me and said: We'll. you got the 'Ah'
you were looking for.
a eontralto wLo goes on the stage
must make up her mind TO wear tights.
There is a sort Of tradition that con-
traltos must be cast for mems or boys
roles. The librettist naturally chooses