The Norfolk weekly news-journal., 1909-05-14

Sne Is Ill view or the pubic on
the stage Is naturally the one
most intimately connected In the minds
of the majority of people with the
singers personality, and yet there are
many happenings. amusing or tragic,
from the artists point of view which,
though often seen. are az often not
realized In their true Significance by
the audience In front of the orchestra.
One might naturally think that n sing
err who has been appearing for years
on the operate stage In many lands
would have overcome or outgrown
that bane Of all public performers.
stage fright. Yet such is far from the
case, for 1t seems as though the great
er the artistic temperament the more
truly the artist feels and the more of
himself he puts into the music he
sings the greater his nervousness be-
forehand. The latter is of course aug
mented IL the performance is a first
night and the opera has as yet been
untried before larger public.
This advance state of miserable phys
ical tension is the portion of all great
singers alike, though in somewhat va
rying degrees, and il is interesting to
note the forms 1t assumes with differ
ent people. In many it is shown by
excessive irritability and the disposal
to pick quarrels with any one who
comes in contact with them. This is an
unhappy time for the luckless "dress-
ers," wig man and stage hands or
even fellow artists who encounter such
singers before their first appearance In
the evening. Trouble is the portion Of
all such.
indicated by stern set countenance
and CHASTITY pallor. while still others
become slightly hysterical, laugh up
roarlously at nothing or burst into
weeping. | have seen a big six foot
bass singer, very popular at the opera
two or three seasons ago, walking to
and fro with the tears running down
his cheeks for a long time before his
entrance, and one of our greatest col
oratura prima donnas has come to me
before the opera, sung quavering
note In voice full of emotion and
said, with touching accents: See; that
is the best can do. How can | go on
so?"
l myself have been affected often by
such fright, though not always in
the extreme degree above described
This nervousness, however. frequently
shows itself in ones performances in
the guise of Indifferent acting, singing
off the key. etc. Artists are generally
blamed for such shortcomings. appar-
ent In the early part of the production,
when. as matter Of fact, they them
selves are hardly conscious of them
and overcome them in the course of
the evening. Yet the public. even crit
les, usually forget this fact and con-
denim an entire performance for faults
which are due at the beginning to
sheer nervousness.
The oft uttered complaint that OPP
cratic singers are the most difficult to
get on with Of any folk while justified
perhaps can certainly be explained by
the foregoing observations.
We Of the opera are often inclined to
be superstitious In way that might
annul matter of fact Americans. One
woman, distinguished and most in
telligent artist, crosses herself repeat
eddy before taking her "cue." and
prima donna who Is a favorite on two
continents and who is always escorted
to the theater by her mother invaria-
bly, goes through the very solemn cere-
mony of kissing her mother goodby
and receiving her blessing before 60
ing on to sing. The young woman
feels that she could not possibly sing
q note If the mothers eye were not ON
her every moment from the wings.
Another famous singer wears a
small bracelet that was given to her
when an infant by Gounod. She has
grown somewhat stout of late years.
and the hoop of gold has been re-
enforced so often that there is hardly
any of the great composers original
gift left. Still, she feels that 1t is a
charm which has made her success.
and whether shef sings the part of
lowly peasant or of princess the
bracelet is always visible.
And these little customs are not con-
fined to the women singers either. for
the men are equally fond of observing
some little tradition to cheer them In
their performance. These little traits,
trivial perhaps In themselves. are of
vital Importance in that they create
sense of security In the soul of the
artist. who goes on his way, if not re-
joicing, at least convinced that the
fates are not against him.
One of the penalties paid by the sing
ers who are much in the public eye is
the constant demand made on them to
listen to voices of vocal aspirants-not
always very young ones. strange to
say. 1t is sad to contemplate the num-
Der Of people who think they can sing
and are destined by talent and tenn
permanent for operate careers who
have been led by misguided or foolish
friends and too often by overambi-
tious and mercenary singing masters
into spending time and money on their
voices In the fond hope Of some day
astonishing the world. Alas. they do
not realize that the great singers who
are heard In the New York opera
houses have heen piked from the