New-York tribune., 1907-09-22

place which that wonderful artist has hiied III -.
operatic life of New York since justlIles .ra
backward look at Mr. Abbeys first venture 10
senlbrich was engaged by Mr.. Abbey on th .tte
strength of the success achieved by her IN the
London season of 1888. She was at the very ou.
set of her career, being only little known outs
of Athens, where she effected her debut ana ~ Dle9
den where she had sung in German. she hau "aA
zed London with her vocalization, esPeclall' -
Lucia di Lammermoor, and this was the oPei"
in which she elected to be first heard in the Ne"
World afterward she sang in Il Puritani' Don
Giovanni "Travata,' "Sonnambula,' and, III lle
spring season. Hamlet All the good Qual'le9
which have been extolled in this journal scores or
times since were noticeable in that first perform
ance of October "a. 1888. 1 turn back what
I wrote while under its spell, and find the follow
ing:
Nine. sembrich is lovely singer-loveiy of
6Iirenlents in the limited field in which Donizetts
opera called them into activity, at least of the
highest rank Her style is exquisite, and is plainly
ue @ ~ t % t biesf7 ai1nfs Of rt such
reposefulnesS of manner, such smoothness ana
facility in execution such perfect balance Of tone
Teffnement-of expression can be only 1oufld III
one richly endowed with deep musical feeling and
ripe artistic intelligence. She carries her voice
from ReT oW West noe 80 her highest there is the
same quay of tone II is voice OF bra2 e ni
though not magnetic in the same degree as the
voices Of other singers stu before the puPnf od m
has fine sympathetic vein IL AWAKE aWahenS f cfoe bIoo5
IN IN It. 3.'''e, F''''' '''7''''' '''- '''9 ~ "
OF the musicianly qualities of the singer recos-
nized at this first acquaintance, we were 10 have
a demonstration before her departure. which was
in the highest degree surprising. She sang an aria
at Mr.. \ Abbey's benefit: came upon the stage with
Nine Nilsson and played violin obbligato to that
singers performance of the Bach-CounOd Ave
Maria: again she out and played a CHOPIN
rnazurka on the pianoforte. In every instance she
was the complete artist and the public who had
been charmed by her witcheres as MozaTts
Zerlna and the pathos of her singing IN the last
act of Verdi's 'Travata' were almost AT a loss 20
saw if she had shown herself greater artist in
song or in panoforte playing, as a pianist or Vio-
lnist 1t was not until long while after she had
returned 10 Europe to continue her triumphs in ST.
Petersburg Madrid, Vienna. Paris and Berlin that
learned the story of her life and the secret OF har
musical versatility; how she had started life as a
plaver on the violin with her father at dances IN
the houses of the wealthy folk IN her native town
in Poland. gone the conservatory at Lernpers 10
study the pianoforte, been taken to the conserVa-
tory at Vienna by Professor StengeI Nhen her
teacher now her husband) because there was
nothing left in his system Of instruction from
which she could profit. and there been advised to
study siysing instead of the panoforte with Liszt
as her proud teacher had hoped. It is story that
is without parallel. far as know. and accounts