New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1910-12-04
BY RICARDO MARTIN

AiltlG, Il - lrJiiC lilG ANt btAtlN ~ Aet
the great majority OF these singers are prod
ucts of European training. Many explana-
tons for this fact have been given; but to
nv mind the reason is most simple: 1t IS sim
ply that as yet the American pubic tears to
trust in its own Judgment, that 1t IS under
the thTaldOm OF great names. Under these
conditions Young singers rightly realize that
it would be a mistake for them to grow up
with the public; that 1t IS almost a necessity
for them to return to their native country
as a full fledged celebrity, with all the ad
vantages of a European success.
Though myself made nv debut in France,
consider Italy the country par excellence
for operate training. In fact, | sang there
as soon as | was able, and since then 1t has
been TO me nv 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 10 love and quick to |
hate. II it likes you, it takes you straight to |
its heart. Name means little to it. 1t de |
Cides for itself whether or not a singer has |
merit, and it decides quickly. To sing be |
fore such an audience IS a great stimulus, |
stimulus that means much for Young |
artist. It gives him confidence, a confidence /
that could be obtained IN no other way. An /
Italian audience applaudS with enthusiasm
possessed by no other country. 1t often APP |
plaudS in the middle of an aria. Most in |
artistic, 1t 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 singer art.
| recall an incident that happened to me
in Milan several years ago. which shows |
to what extent the Italian public is per
neated with opera. | had sung Andre /
Ch6nier the night before, and. if l do say it |
had sung it rather well. In the morning as |
was walking along the street a baker, boy |
passed me, carrying a basket of rolls. As he |
saw me he stopped, touched his cap, and |
said with 4 bright smile:
You sang well last night, SlgnOr.
Such incidents are constantly happening |
and their beneficial effect upon young |
singer IS incalculabe.
Yet there Is q disagreeable side to operate |
life IN Italv. 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 a singer salary during his whole |
engagement. Then Cabals are often formed |
against singers. One case OF this came pc
cuIiarlv home TO me, though luckily | came /
out on top.
While I was in Milan a tenor who had |
been announced for Andre ChenIeT was |
protested by SonZognO, editor OF the great /
AlIlGTtSC music E)UDISIIlS LlOIStr elIil- - q
consequence OF this protest | was asked to 1
sing the part. However, as | did not wish |
the poor fellow to lose his entire engagement,
said that I would sing only upon condition
that he should be allowed later 10 sing III
" Cavalleria RuStlcana.
Yet this very tenor was so furious that !
had been put in his place, that he hired q
band OF men 10 howl me down. The conse-
quence was that when / stepped upon the
stage was greeted with storm OF hoWls
and Kisses. This outburst brought forth an /
answering storm of applause, and for nearly .
half the opera l sang through this tempest.
But my supporters finally won out, and after
that | had no trouble. It was because of .
this that my first Italian manager announced
me as q French tenor.
had made my debut al Nantes in 1904 as
Faust. under the name Of Richard Martin
Nv real name IS Hugh, Of which the French
IS HugueS. But. As II happened. q parGcu
larly bad tenor by the name OF Hughes had
recently been singing; so | took the name Of
Richard When Went 70 I-aly i was Ital-