The sun. [volume] (New York [N.Y.]) 1833-1916, 1910-03-13
GOSSIP or rHE OPERA sOUSES.

/ OF MS latest NOrh anu ~ Nhat tNtte~@ D--'
HAmmerstein has the possession OF his
services. NJ RenAud doubts. moreover.
whether he cares 60 attempt the role At
any time. since IL would he 20 physically
unsuitod TO him. Master ~ he n OF the
art Of makeup. the French harytons has
not seen yet the say In which he could
physically adapt himself to the portrayal
Of the role. He In not profoundly con-
vinced. moreover. thAt there will ever he
sufiicient popular .uccess Tor the Opera
to make Il worth his while to learn u.
NJ Manaenet has for reasons hast known
! TO himself made the heroine contraliO
and that part has been given TO young
English singer who has been studying
in France. The soprano and tenor are
cOmpa ratively unimpOrtant, which IN not
a good omen for the popular success OF
the new work az least in this country.
where the examples % Hamlet, la
Favorita- and still other works with
barytone hero might he quoted
have also declined to 20 TO the Opera
in May NJ. Remand aaid yesterday. TO
sing there in the first performance OF
Berliox's La Damnation de Faust IN
opera form. sang MsPhisfOp Asiss twenty
four times at the Theatre Sarah Bern
hardt, with Emma CalvS as MorgUerhe,
when Berlioz's Oratorio was given for the
hrst time az Paris. Now ] am quite I'M
certain al to the outcome OF the expert
ment. The present situation at the Opera
in Paris does not inspire me- with any
great confidence an to the manner n Wnicn
the work w;!! he given. and u must oe
faultless in production. Then ] feel that
IL II better after singing practically for
six months Of the year 90 take complete
rest after I 90 back to Paris. no have
written to the directors OF the Opera
al nhHW-
from singing MepAisfOphefss there and
not TO ask me to come to them at all until
next fall when during september and
October shall feel much more like sing
ing than { expect 20 do after ! return to
Paris in May
Two prominent Italian artists who
have been famous for some time In South
America and the European countries
are TO come to the United States next
winter. They are Giuseppe Anselmi and
Titta Ruifo. SignOr Anselmi H. a Nea-
politan by birth and stands in the same
class with NM CarusO and Bonci, and
his repertoire stands also midway be-
tween the two. He does not appear IN
any Of the heroic roles that are in the
repertoire OF Signor CarUlso. although
he has confined himself 10 the lyric roles
with lees eKclusiven@ss than Signor boBct.
He will come to the Metropolitan for a.
aNAy 70 uNNfNulthc NtON INV
American public cares for him.
The Pipe OF Desire Ia az last to he
heard az the Metropolitan and the Amsri-
can composer will have his innings. The
American singers at the Metropolitan vii
have a chance to appear in body. 10 the
work will naturally noe he conducted by
Arturo Toscanini who 10 not fond of hav-
ing American artists appear under his
haton. Nothing proves that more clearly
than the experiences Of Clarence Whttehtll
and one or two others. Lo,lise Homer.
Richard Martin. Clarence Nhitehill, Leo
nora EnGlish-Ielia smelling.
Herbert witheTspoon ami Glenn Hall are
to have the music and action IN their al
most native hands. The Opcra was prt-
vAtely produced in Boston thrre times in
IHOs with Wallace Goodrich - the con-
ductor and the singers then we're Bertha
Child, George Dean. stephen Townsend,
Alice Rice. Mabel Stairway. Richard Tobin
and Ralph Osborne The pine referred
the force that ~ ever creative and which
God gave to Iilirh. Adams first wife. She
PLAYS On II each day In Eden. George
arton IL responsible for the text.
The return ~ Bessie Abbot tn this
country next season 10 likely tn prove
interesting to certain American mem
hers 20 the company at the Metropolitan.
I The financial compensation for sing
/ ing in tho United States 10 of course much
greater than in European countries.
hut 10 10 sometimes difticult To understand
how the American singers who come
home after success in Germany are sat
istied with the artistic status which 10
assigned to some 81 them. Geraldine
FarrAr and Olive Fremstad have en-
4. a.. = 4
abroad. hut with some NJ the other singers
| il In necessary 20 realize how much kcater
the nay il To- reconcile them 20 their
diminished artistic Importance. Clarence
Whitehill was IN Cologne. for instaRca.
the first harytone Of the municipal opera
house. while Jane Osborne Hannah in
I.eipsic sang the leading lyric roles IN
the COMPANY although here her paTticipa-
ton in the seasons activity IL ali ght
Marguerite sylvia enjoyed more artistic
confederation abroad than she did here
even II her compensation must have
been smaller Bessie Abbot did not sing
but once ~ the Metropolitan Opera House
during her last season there. and when
she went hack TO Europe u was with
the intention 81 staying abroad until
she could return here under circum-
stances that satisfied her ar tistic dignity.
Tho old question n To when the artist
n ripe for this country IL Of course involved
here. Miss Abbot went back to Europe.
where she thought before she had sum
ciently developed and now returns tn the
Land Of her birth with every circumstance
lust a. she could desire II. Offers from
both the Metropolitan and the Manhattan
opera houses showed last summer the
wisdom Of her course in returning to
Europe until she could make her own
conditions about coming hack to New
\ DIRK As the CASES &C Va. Nhitehill. Mrs
O-borne-lIa and Miss Sylvia have
proved. IL IN much better to remain in
Europe until an artist h ripe enough to
! make the nece@@ary demands tO his
importance in the American opera houses
There was = .tTss when native singers such
AZ Emma EAme~ could develop before their
own peOyle- That day has passed. how
ever. for there are toO many singers and
too much opera altogether fer the public
To interest itself in the growth ~ a talent
even " the iFnpreaartos were willing to
nourish a budding genius Under present
conditions the singer must make a dNcisiad