Evening star. [volume] (Washington, D.C.) 1854-1972, 1910-12-04
BY RICARDO MARTIN

where, 1t is none the less a tact that by Tar
the great majority of these singers are prod
ucts of European training. Many explana-
tons for this fact have been given; but to
my mind the reason is most simple: it is SIM
ply that as yet the American public fears to
trust in its own judgment, that it is under
the thraldom of great names. Under these
conditions young singers rightly realize that
it would be mistake for them to grow up
with the public; that it is almost necessity
for them to return to their native country
as a full fedged celebrity, with all the adj
vantages of a European success.
Though myself made my debut in France,
consider Italy the country par excellence
for operate training. In fact, l sang there
as soon as l was able, and since then it has
been to me my second country.
Life in the smaller Italian opera houses is
perhaps little rough, and salaries are small;
but the artistic satisfaction is immense: The
Italian public is quick to love and quick to
its heart. Name means little to it. 1t de-
cides for itself whether or not singer has
merit, and it decides quickly. To sing be-
fore such an audience is great stimulus,
stimulus that means much for young
artist. 1t gives him confidence. confidence
that could be obtained in no other way. An
Italian audience applauds with enthusiasm
possessed by no other country. It often ap-
plauds in the middle of an aria. Most in
artistic, it may be urged; but-oh, so crafty
ing to the singer! 1t is this atmosphere of in
innate personal relation with the public that
does more than all else to broaden, to
strengthen, a singers art.
l recall an incident that happened to me
n Milan several years ago, which shows
to what extent the Italian public is per-
meated with opera. had sung ANDRE
Chenier" the night before, and, if do say it
had sung it rather well. In the morning as
was walking along the street a bakers boy
passed me, carrying a basket of rolls. AS he
saw me he stopped, touched his cap, and
said with bright smile:
"You sang we'll last night. Signor."
Such incidents are constantly happening,
and their beneficial effect upon young
singer is incalculable.
Yet there is a disagreeable side to operate
life in Italy. In order to secure an engage
ment it is necessary to do so through an
agent, and this agent takes from eight to ten
per cent. of singers salary during his whole
engagement. Then cabals are often formed
against singers. One case of this came Pc
culiarly home to me, though luckily came
out on top.
While | was in Milan a tenor who had
been announced for ANDRE Chenier" was
protested by Sonzogno, editor of the great
Milanese music publishing house, and as
consequence of this protest l was asked to
sing the part. However, as did not wish
the poor fellow to lose his entire engagement,
l said that would sing only upon condition
that he should be allowed later to sing in
"Cavalleria Rusticana."
Yet this very tenor was so furious that
had been put in his place, that he hired a
band OF. men to howl me down. The conse-
quence was that when I stepped upon the
stage was greeted with storm of bowls
and Kisses. This outburst brought forth an
answering storm of applause, and for nearly
half the opera I sang through this tempest.
But my supporters finally won out, and after
that I-had no trouble. 1t was because of
this that my first Italian manager announced
me as French tenor.
had made my debut at Nantes in 1904 as
Faust, under the name of Richard Martin. |
My real name is Hugh, of which the French |
is Hughes. But, as it happened, particu-
larly bad tenor by the name of Hughes had |
recently been singing; SO took the name of |
Richard. When went to Italy it was Ital-