Omaha daily bee., 1908-08-30

its a great lesson because 1t Is a lesson that
has been handed down for 400 years. Bonci
knows it. Listen: Perhaps you can't sing
like Bonci. You would like to. Well, get
ready. You can learn a big part Of the
lesson in Omaha. Don't try to see how
high and loud you can sing every time you
practice. Sing your scale slowly and work
for great smoothness. Work diligently to
glide gently from one tone into the next
without the slightest suspicion Of "slur"
on the one hand or jar on the other.
Dig earnestly until people wonder at your
"~dlminuendo'' or power Of diminishing a
tone. Look In a mirror and see that you
are not singing as though you had the lock-
Jaw, nor yet. as though you were chewing
gum. Be honest with yourself. There are
other lessons, but that is enough, II you
work It, to keep you fully occupied for
awhile, and you can do this in Omaha just
as you could abroad.
So much for Bonci. and his art, and
the inspiration he imparts to one who goes
to learn in a quiet sober studiou1 manner.
not with hysteria OF ecstasy, but with
seriousness of mind.
1t was a new Faust that we saw that
evening. The production was so great that
the opera (of which I was almost tired
DeIOEGl was BluElIltu ulu SAalAtd
The old 'Barbiere di siviglia" was
another rejuvenated delight. 1t was given
in London just ninety years ago (and then
1t was 2 years old and IL was las fresh as
a 2-year-oid!' 1 told you OF TetrazzinL
sammarco was the Figaro" and a jolly
good one he was indeed, I have spoken
above Of his singing, In the part Of Basilis
we heard Marcoux. (already alluded to)
and his voice is the most wonderful thing
in its way that 1 have ever heard. 1t
would be perhaps strange TO speak OF an
ideal bass, but he is most emphatically a
real one. Some BASES ave so much
baritone quality that at times you know
not in an ensemble which voice is bass and
which is baritone. If five or six baritones
were singing you would stll hear the bass
OF Marcoux. II is not like an organ pedal;
It is like a powerful ringing metallic string,
II that means anything to you I learned
something about the bass voice while
listening to Marvoux. II IS deep. deep, SO
deep. but never wide or spread. In
tellectual depth but not Unconditional. In
the part Of Bartol we had that splendid
artist, Mons. Gilbert pronounced some
thing like Jhee-lee-berr. not Gilbert. as
have heard 1t spoken in Omaha) You
nave ANaAA AAAA1 man IA NOANNAN ~ Af
Auditorium. but never have you really
heard him until you have sat listening Il
him in opera. He is a splendid singer and
a masterful actor. Think OF that cast
Tetrazzini. Msreoux. Gilbert, Bonci
sammarco. all In one work. while Zucch
and Navarrini were not by any means IN
equal.
In Puccinfs beautiful Ia Tosca." baseS
on the famous Sardou play. Mile. Cavalier
had the title role. This woman has beer
jeered at somewhat in New York, bu
IL I an not entirely mistaken In my judg
ment, she has some great success befor,
her. She is tall and thin and her facia
movements when she sings are frequently
Exaggerated. but while II may be true a
some London critics say. that there Is onl!
one who ever could sing that part. and she
Ternins, there is nevertheless no possibl
denial Of the fact that Cavallleri create
a very positive sensation the night ".
heard her. She acts on the stage as thougI
she had never lived or moved or had he
being anywhere else. I say this ate
much elaboration. Put her name down
you will refer 10 It later. unless. as befor
stated I am utterly misguided. h tryinI
role Of Baron ScaTpia was done 70 the III
! by signor scottL Him you also hav
heard In omaha. In "Peghaeei.' I belisy