The San Francisco call. [volume] (San Francisco [Calif.]) 1895-1913, 1909-07-04

myself and thus show the notifications
I desire to be made in the interpreta-
ton. For you know that no two stars
have the same conception of the arias
which must, sometimes. be accompanied
by the chorus. And that is perfectly
right. Each singer has his own in
dividuality and his own notions about
a song What is right for Bertossi
would not. let US say. be right for
Therry. A heavy quality Of voice per-
nits a singer to sing in slower tempo
than would be wise for vocalist with
light, airy tone. Similarly, differences
of temperament indicate different
means of vocal expression and
ERECT So / have to act as sort of
go-between and carry from the princi-
pals to the chorus the formers notions
of such music as requires the assist
ance of the latter. That means that L
have to be at hand when the principals
rehearse and watch their phrasing and
their individual touches in the music.
All this have to remember and then
tell the chorus about it and see that
the spirit of ensemble when the forces
come together is not destroyed. One
has TO have a good sense of rhythm
to do this, and much experience be-
sides"
L should say so. too. One would think
that carrying around the variety and
shades Of expression as gathered from
stars until the chorus is assembled for
its daily instruction would untangle
the wires of the brain that keep that
organ at a proper equilibrium.
The last time that Kaplan was here
was when Salassa sang before the
fire. Then he went to Mexico and
returned under PoIacca. Il never heard
what became of Salassa after the fire.
never heard from him again. Some
one said he had returned to his home
in Italy. and that he was well and
happy. Salassa was an aristocrat by
nature. He never had much to say
around the old Tivoli to the rest of US.
He kept aloof, though 1 would not say
he put on airs. He seemed to prefer to
be alone. and he had few friends in the
profession. All, but he was a great
artist. He should have been famous,
and 1 think he would have been had
he been backed by pull in Italy. For
in Italy, as everywhere, influence
counts for very great deal, and those
who enjoy the favor of the public get
efforts of those in authority. Salassa's
progress in art was great; his progress
in fame was limited. The great world
of music did not know him, but those
who understood voice and an artist
they knew him and will always remem-
Der Salassa. the great barytone. His
was golden voice. 1t was as aristo-
cratic and patrician as he was
1T ETRAZZINPS deserved fame"
was quicker realized because of
Italian influences at work in her
behalf Her sister married the maestro
of the Milan opera house. and that is
very powerful position in Italy.
''Tetrazzini was much different from
Salassa in temperament. She was every
body's friend She smiled at all of us,
and she gave me, in Mexico, a fine SOU
venir to remember her by. She was
always gay, and she was never wor-
ried. Mr.. Leahy, who had charge of
the Tivoli opera house, always had
trouble about getting her to cash her
checks. She would carry them about
in her purse, and would forget them,
though each one was worth $500 She
had no more sense of responsibility
than child. She was just child, too
in her ways, and she made all asso-
ciated with her very FOND and proud of
her. 1 am very pleased that she made
her first big success IN this city, and
that she is now a famous lyrical So
prano."
Kaplan was here with the Ellis
grand opera company when MeIba was
the star. Such a business as Hugo
nots' drew" said he. THE opera house
was not large enough to contain the
crowds that came to hear Melba and
the associated stars of that company
of splendid singers" Thus KapIan
talked of Gadski, Campanari, Dam
rosch. Alvarez, and host of others
At the time of the Iroquois fire-in
1904, 1 think it was-Kaplan was as
sistant musical director of Savage's
Castle Square opera company. The
Chicago authorities closed all the thea
tiers pending an investigation, and so
Kaplan was out of work. He came on
TO Los Angeles, where he has relatives,
ans then Impresario Leahy of the Tiv-
of in this city heard of him. and told
him to come up here and go to work
with the Italian forces at our historic
Tivoh opera house. So Kaplan did and
helped in drilling the choristers, of
whom he was in charge.
IN OUR favorite opera?'' 1 asked.
He threw up his hands in de-
spair. How shall one have ia
vorite operas. How shall one compare
Trovatore' with 'Tannhauser,' or ia
vorita with Fedora They are so diff
ferent. love them all, and have
studied and sung them all. love
'Lohengrin,' but that doesn't prevent