The Richmond palladium and sun-telegram. [volume] (Richmond, Ind.) 1907-1939, 1910-02-15
MUNC|E ORAYMAN
IN GRAND OPERA
Indiana Tenor Is Expected to
Become the Rival of
CaruSO.
HAMMERSTEIN TRIES HIM
HE WILL APPEAR IN "PAGLIACcF'
ONLY ONCE, THEN WILL BE
SENT EUROPE FOR A VOCAL
EDUCATION.

New York, Feb. 15.-"Well! What
are you going to do with it? You have
a great gift in your throat. Your
voice is remarkable. But what have
you in your head? How about your
brains?"
That was the way in which Oscar
Hammerstein approached 'Orville Har-
rold, the Indiana singer whom the I'M
pressario believes to be the greatest
tenor alive. The story was told by
Mr. Harold, says Sylvester Rawling
in the Evening World. The whole cur
rent of the young mans life has been
changed since the memorable night
when Mr.. Hammerstein spoke to him.
He is to sail for Europe with Mr..
Hammerstein in three weeks time to
study under Jean de Reszke, to re-
turn, in Mr.. Hammerstein's belief,
successful rival of CarusO.
Meanwhile Mr. Harold is to have
chance to show his mettle at the Man
haitian opera house Friday night as
Canio in "Pagliacci." He has never
sung in opera before, and is palpably
nervous over his first appearance.
Jacques Coini, the stage manager. who
shares Mr.. Hammerstein's belief in
the future of his protege, is rehears-
ing and coaching him indefatigably.
Every spare moment that he has is
given to preparing the phenomenon for
his debut.
Asks the Critics to Be Lenient.
Mr. Hammerstein, in announcing
Mr.. Harrold's first appearance, is
somewhat apologize. He says:
Il just want to give the young man
a chance to show what he can do with
his present equipment. l know that
he has lots yet to learn, but have alb
solute faith in his future. l am giving
him this debut in order to encourage
him and give the public chance to
compare him as he is now with what
he will be when he returns from his
polishing process with M. Jean de
Reszke. On this occasion the critics
should leave their hammers at home. -
Mr. Coini is more enthusiastic. The
writer stumbled across strenuous
coaching of Mr.. Harold in acting by
the stage manager, himself an artist
in that line. After it was over Mr..
Coini said:
THAT young man has brains. It's
a pleasure to teach him. You saw
the lesson l gave him today. He will
turn that over in his mind. The next
time we go over it he will have mas.
tered the situation. AS for his voice
don't see why Mr.. Hammerstein
should bother about sending him
abroad. 1t is great and he knows
how to use it. You will be astonished
| when you hear it."
HarroId's Own Story.
81 was singing in vaudeville at the
Victoria theater some months ago.
said Mr.. Harold, land after my turn
l was told that Mr.. Hammersteir
wished to see me. He barely said
How dye do?' He simply looked me
over and made the remark | have re
peated to you. 1t did not take me
long to come to terms. Mr.. Hammer
stein is to pay for my musical educa
ton and 1 am to sing for him exclus
lively when Jean de Rezke pronounces
me fit. 1 am thoroughly in earnest il
my desire to justify Mr.. Hammer
STEMS belief in ME.
about myself? Well, there isn't
anything exciting to tell. l was bor1
on farm in Delaware county, Ind
about twenty-seven years ago. NJ,
father was an Englishman. Soon W,
moved to Kansas, and it was there
that l began to sing. AS boy l hat
a deep contralto voice. You know, tn
range is about the same as that of ;
tenors. 1 sang lot of church music
and oratorios. Then, of course, cam,
a period of a few years when 1 did no
sing at all. Then 1 found my presen
voice.
Ernestinoff Took Him Up.
alexander Ernestinoff, of Indian
apolis heard me and took me up. Il
Aida and other popular grand opera
in the west. Then I came east an
sang for Colonel Savage. He offere
me $50 week to join his compan.
but l said that was not good enough
l applied to Lee Shubert for a place
and he gave ME one in the 'Socia
Whirl.' and paid me SIS week 70
singing two minutes a night
After that l joined quartet i
Wine, Women and Song at the Circl
theater. and sang there for twenty-fiv
weeks, afterward going on the roa
with the company. Then Gus Edward
hired me for vaudeville and l was sin:
ing at the Victoria theater when NJ
Hammerstein heard me, engaged NJ
to study for grand opera and change
the whole current of my life's work
Studied With Saeneer.
1.-The first thing Mr.. Hammerstei
did was to send me to Oscar Saenge
With him l studied four months. H
found that singing the tenor part
a quartet had let my lower register ia
into disuse. That he Immediately S,
about to remedy. and he has succeeds
My voice now is as natural as it ev.
was and l shall go to Jean de Reszb
eager to take his expert judgment. a,
vice and training. He is to coach n
especially in Faust and Carmen
French and in 'Rigoletto' and La b