Daily capital journal. (Salem, Oregon) 1903-1919, 1908-02-08
THE NEW YORK CITY
SCIENTIFIC MUSICAL CRITICS

Now that the musical critics have
described the anatomy, the complex
ion and the acrobatic skill of Sig
norma Tetrazzlnis voice. won't one
of them please tell us IL she can sing?
Such an elementary question Is prob
ably beneath their notice. but. i'm
view of the popular interest in the
new prima donna, it is only fair that
the public without musical education
and culture should know II there Is
such a thing as melody or music in
her songs. We know from one dis
tinguished authority that 'in her
medium register she uttered sounds
empty of musical marrow" but
what came from her other registers
he does not say. Anyway. II Is
gratifying to learn that, despite her
age, her colorature is still swift and
supple. Indeed, one critic assures
us that her fame rests chiefly on it's
agility.
The anaemic condition of her tones
was distressing. more particularly
the lower notes, which have been do
scribed as weak and pallid." Then
it has been said that she sang hef
medium notes with a pinched glottis,
reminding the critic of the walling OF
cross infant. Moreover, there IL
conflict OF testimony elsewhere: but
the weight Of evidence is conclusive
the lower notes are afflicted with
an attack of aneamia, though some
of them are luscious" SO are some
peaches, 10 say nothing of pears.
Perhaps the best musical authority
in the city assures MS that her "lower
ranges are pale and lacking both in
power and color" II appears from
this critic that the voice, like the
human body, has many Of its dis
eases localized. thereby avoiding a
general breakdown. for he describes
some of her other notes as full Of
warmth and color, though, unfortu-
nately, he does not say just what
shade. Inasmuch as he proceeds im-
mediately to tell OF other notes dull
and lusterless." II may be that the
warm color Is analogous TO the hectic
flush OF a consumptive.
There is absolutely no agreement
on this important phase OF the
Tetrazzini case. Most OF the critics
decline to commit themselves to any
definite color scheme. though II Is
implied that some of her tones are
golden, or some other shining color,
for they are "glitterlng." Also full
OF strength and glitter" and "radl-
ant with mellowness. Tetrazzini's
method is criticised. One critic says
the "crispness of her attack Is un-
usual" Another complains that 10
staccati she does not attack her notes
separately, AS for her method OF
breathing, II r. described as some
thing new and different, but II is not
stated whether she breathes before
or after each note.
Critics will disagree so IL Is not
surprising that they quarrel over her
Il fiat. One critic says she sustained
II with strength and clearness An
other more than corroborates him by
asserting that her "E-hat was marvel
Gus for substance and size" and that
Il was given with such ease and free
dom that persons with a sense OF alb
solute pitch doubted their sense. In
contradiction another critic AYERS
that IL was nothing but a head tone
OF thin quality. and that II refused
to stay on the piteh,-~one other sub
ject Of dispute is the temperature OF
the color OF her notes. one critic
complains that she uses too much
"coli color" and others rave over
the warmth of the complexion of her
notes. Obviously. the critics should
be equipped with prisms and Their
Brooklyn Eagle.