Evening star. [volume] (Washington, D.C.) 1854-1972, 1910-05-01
lie loves. and he was success from his first ap-
From Barytone to Tenor

HSe"AoAANS'
From Barytone to Tenor
An operate accident of another sort trans
pired few months ago in Berlin, when
Rudolf Berger one of the former barytones of
the Royal Opera. made his reentry as tenor in
the exacting role of Lohengrin. Berger had
been a member of the Berlin Royal Opera for
several seasons. a good actor, but barytone
of mediocre caliber. During the summer of
1908 he sang small role in the ParSifal pro-
duction at Bayreuth.
After one of the performances he CHANGED to
meet we'll known New York singing teacher.
who told him that he had the making of a
legitimate high grade tenor in his throat. Ber-
ger secured years leave of absence from Ber-
lin and came to New York to undergo the trans
formation from barytone to tenor He worked
and studied for ten months. went back, and
surprised all his colleagues and the Berlin pub
lie as we'll and has since been singing the prin-
cipal tenor roles at the Kaiser's opera house.
The chance meeting with the New York
singing teacher has increased his earning ca
pacity fvefold. and brought him an artistic
standing he could never have achieved as a
BARITONE.
Aeostinelli's Opportunity
C.ARUSO made his American debut on the
opening night of Heinrich Conrieds in
tendancy at the Metropolitan. He was an
nounced for the succeeding Wednesday night
and Saturday afternoon performances. But
vi w CuIiCSOdy dlCCIAOou TIC OcCdUlc ILL., Will
not another Italian tenor of the first rank.
facing hostile press and a critical public.
Conried was in desperate situation. New
York IS usually full of Italian singers. but at
this particular time not tenor could be found.
News of the trouble finally drifted out to the
office of the press representative and he gave
the glad tidings that the tenor Agostinelli. who
was on his way home from Mexico. had dropped
in to ask for tickets the day before General
Manager Goerlitz hurled Meltzer into cab.
80. 80 III IT. A.
quarter. For three hours they secured the
town before locating the much wanted tenor.
Arrived at the opera house. Agostinelli
needed only one look at Conried's troubled
features to realize his opportunity. He refused
to sing for less than one thousand dollars.
Conried promptly ordered him out of his Of
fee. Out in the corridor Goerlitz effected a
compromise, and Agostinelli sang his two per-
formances. He was better tenor than a good
many who have been heard here since. Had
he been less rapacious he might be singing in
New York to-day.
Threw Away His Chance
TN the second year of the Conried regime. the
great French tenor Saleza became hoarse in
the first scene of Romeo and Juliet" Conried
had young American tenor in the company
and offered him the chance to 60 on and save
the performance.
The young man had sung the role abroad
but he hesitated
IL the cnance OF your life. SAID COnr1ed.
You'll never face an audience more kindly
disposed. If you can't make a hit tonight. you
never viii"
But the young man hunled and refused to
face New York audience without rehearsal
His one chance was missed. and he never got
another. He has never been heard of since
that night. The old Latin proverb SAYS that
Opportunity has hair in front and is bald at the
back. The successful ones in grand opera are
those who grabbed their chance when it came