The Washington herald. [volume] (Washington, D.C.) 1906-1939, 1910-01-11


before her in her singing Of the role Of
Lucia, and raised q hurricane OF applause
and shouts Of "Bravov' after her render
ing Of the mad scene from an audience
that would not be appeased until Oscar
Hammerstein himself was dragged from
the wings and launched into a speech
making attitude
Even the sextet. time-honored insutu-
ton, had to be repeated. so insistent and
50 loud was the applause. II was one OF
those occasions when people otherwise
calm and accustomed to good things feel
an emotional thrill that VIII not down.
bur bursts into a great wave OF gratin-
cation. happiness, and even awe.
No singer within recollection ever made
such an impression on a Washington au-
dience as Nine. Tetrazzini. and no singer
Of recent times has ever sung the role
OF the Donizetti heroine as she sang It
last night. It was not however, until
the mad scene. nearing the end OF the
performance. that she came to exhibit the
apparently unlimited possibilities Of her
voice
almost hushed tones, and many per-
sons showed visible signs Of disappolnt-
ment. They were unaware, evidently
of the set rule Of great singers. which
is never to strain the voice at the be-
ginning but to unfold it gradually,
as II were. IN a conservation OF its
powers and beauties for the grander
Z fTz Fg.sg 81
aria, with its difficult phrases. although
sung in a subdued manner. as stated,
was delightful. nevertheless. II showed
at once what the Tetrazzini voice Is
The notes come so easily. so smoothly
with such seemingly simple yet mar
velously artistic articulation Yet, only
those who could appreciate the technical
skill Of this aria were won over. The
curtain fell on the first act with Tetraz-
Zini still having 20 convince the majority
Of her hearers.
In the sextet. the enthusiasm first be-
gan to show. and it eliminated in the
encore Of the number, and on the second
hearing. 1t was as though a different
singer had appeared, for the voice Of the
soprano began 10 assume volume and
power. the delicate. almost thin quality
Of the first act entirely disappearing. and
IN its place, richness and beauty. Then
the storm OF appreciation broke. and Tet-
razzini was welcomed with open arms.
The curtain was raised perhaps a dozen
times, with Nine. Tetrazzini and the con-
ductor, Sturani. bowling 10 the Presidents
box and the delighted audience.
Then came an amusing scene, not on
the programme with the prima donna
lodging about the wings hunting for Os-
car Hammerstein, who presently appeared
with the famous Picadilly pot-hat not In
evidence, but otherwise in propria per-
sonae. This time the impresariO. con-
tented himself with bowling his acknow-
Judgments merely.
The memory OF all this faded away,
however, in a short while and with it
the memory Of all other singers who had
appeared as the mad Lucia. for the new
star which has arisen eclipses them all.
People who had heard singers OF great
fame found there was something in the
mad scene, with its cadenzas and trills,
that was absolutely new-that here was
a woman who sang the most difficult
music with a consummate ease, who
voiced as easily as though whispering a
prayer; and, indeed, she was praying, for
one felt with Du Maurier that ito sing
Ike that IS to pray
And those who were not ashamed 10
shed tears Of emotional Joy shed them
freely. and those who were ashamed shed
hasr oil
It. for nothing else mattered. so long as
that voice could go on singing and thrill
ing the vast audience TO the very fiber
Of every individual present Nine. Tet-
razzinrs triH is a thing TO marvel at.
thing for the wise ones TO wag their
heads over. and 10 go again and again
to hear, IN order TO see if it IS really 80.
More than one habitue Of the opera had
to pinch himself to find II it was not a
dream.
It was a never TO be forgotten scene.
and when 1t was all over, and the excited
audience had quieted somewhat, Mr..
Hammerstein came forth again, and ex-
pressed his gladness; but, as glad as he
was, he was not nearly so glad as those
who had the good fortune TO be OF The
audience. He smiIingly offered his serv-
ices as impresario when Washington is
ready to build that opera house. but he
didn't hint at building it himself, as,
indeed, why should he?
If we could hear TetraZzini every night,
perhaps we would support opera, and per
haps we would spend all our money that
way. and deprive ourselves OF neces-
stiles Of life 10 do Il. but the general
opinion would he that it would be money
well spent at that; and. further, that Mr..
Hammerstein has made promises which
he has kept TO the letter. and has so far
exceeded our expectations In giving as
high-grade opera, with no string attached,
70 II, that we cannot begrudge him one
iOta of success, for he has delivered the
goods. and thrown In some weight for
good measure.
Lucia" being a favorite opera, can
call forth no comment at this time, but
it is safe 10 say that those who claim
that Italian opera Is dead find It a pref
" lively corpse, and If the wagnertans
had happened in while the Philisunes
were enjoying themselves last night, per-
haps-but, oh, well, let the heather rage.
AS Hamlet said TO his lady mother, our
withers are unwrung" For our part we
are hrevocably committed to italian
opera In It's most virulent form, through
the whole list Of them, for there is moth
ing in music so happily calculated to
awaken the emotions in the most hard
ened person as this same Italian school,
Mr.. Mccormack, the Irish-American
tenor. made a good impression. but it