The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-12-27

Klsfsky was a singer OF the tempestu-
Gus, temperamen;al type. Singers Of
this kind strew the stage with shattered
fragments of vocal art. They frequently
amas> us Sometimes they stun Us
They never reach our souls with The
ravishment of beauty.
Singing of the true type cannot he
achieved without first of all a correct
technical foundation. and this is why
commentators whose attitude toward arr
is similar TO that Of the THE SUNS re.
viewer always insist first of all upon the
proper working Of the mechanism. AS
no violinist can. play properly Bee
,hoven's concerto II he is without beauty
Of tone, so no singer can sing
Beethoven's Adelaide" IL he suffers
from a similar deficiency. Altogether
too much befogging and mystifyine
stun is written about Interpretation
temperament. dramatic power ami other
remarkable qualities in singing-when
the singing Itself Is absent.
The fret business Of a singer is TO
sing.
After that we may all begin To talk
about the other matters.
And 1t is undeniable that these are
artists" las they all call themselves)
who do exceedingly little singing. but
who rampage about the stage and rant
through the music Of operas 10 the great
delectation Of people given over to the
belief that acton is acting. As a mat
ter of truth some OF the finest acting il
done without motion, and at all lines
the actor must read the lines" This
is especially imperative in the poetic
drama. and since opera il the h ghes,
form OF poetic drama the demand that
, the lines be readJor, as it becomes in
this instance. sung-is here ineNora BILE
All those operagoers who st!ll hold
that good singing. is to be expected on
the lyric stage and not relegated Ia
the concert platform may rest assured
Of one thing. to wit that they will re-
! ceve support in this place. There are
reasons why the battle To preserve the
position of pure vocal art in the opera
. must he waged more vigorously to-day
: than for many wears past. II there
were no other reason the readiness oi
very considerable part of the public
| 20 accept unframed stentors as voca
I artists would he enough.
Students OF orchestration. as well as
Students of the technic Of opera compo'
I at .on-f there he any of, the latter IN
| his country-should be under a heavy
iebt Of gratitude to the house Of Ri
, ,ordi for publishing the reduced orches
trail scores of the Verdi operas. These
scores are reduced only in size an,
! price. but not in content. They are no
1 quite as small. in page as the famlia'
rl;niature scores of symphonies an,
chamber music works. but they arr
small enough to go easily into HI
shelves of a library and to be con
veniently carried to "A performance
They are eXcellently printed and wei
bound The scores of TN Ballo il
Maschera" "Rgoletto." LA Traviata
Aida" Tote 10" and "Falstair'' are -
re had in this form. The last three cAn
tain matter enough to set up con
servatory of orchestrstion.
An indignant admirer Of Miss LuCce
zia Bori, a soprano listed among n
members of the Metropolitan Oper
House company. writes to the edito
of this department of the SUN to asl
why she has appeared only three time
In the course OF the present season
This correspondent is misinfcrmeC
lnere nave been ohIN-s s.N WSchS q"
opera, containing ,thhdy-three perform
ances. and in these Miss Boli has ap
peared six times. She has sung MIN
once Neddd twice and Hicdelo twice
Next week she will he heard in "Mano
Lescaut," making seven appearances !
all in seven weeks Of the SEASON. TIL
correspondent should not forget tina
: Miss Farrar, Nine Aida and others ais
have To he heard,