The sun., 1914-09-27
Announcement That She Will Open
Season at Metropolitan i'm Bizets
Work Creates Special Interest
Among Operagoers

had a CharaCtcrlStICally GalllC intorpre- ,
tation Of the opera, which was In
marked contrast To- the Teutonic repre- .
sentat.uus of the work given by
Heinrich Cunricd's singers. with the .
exec pt.on Of Emma Calve. Nine. Bress-
,cr-Gianul.s popularity scarcely sur
vivrd a second season, although Nine
Calves supremacy was mistaken for
nearly a decade.
In the meantime the search for
CdrUta continued actively. The loss of
such an opera from the repertoire when
there was such a demand for French
works could not easily be borne one
need only look through the list of
aspirants for Mime Calves satin slip
pors and her spanish crepe shawl To
realize hat the imprcsar.os have been
busy.
Mr.. Conried began his Efforts with
Anna Arnaud, a French singer retired
and teaching Ia New York. She had
performed the part abroad and her first
appearance was unfortunately on one
Of the so-callod "hoodoo" Saturday
nights. During the first act the bridge
fell down and the traces Of that disaster
We're dsccrnible for years aftcrward
over the Conrlod dynasty. Then there
came the following:
OLIVIA FHEMsTAD-First OF the pop
ular members of the Metropolitan Opera
House to attempt to win the laurels OF
Emma CalVr. Had sung the part with
great success IN Munich and other Ger
man cities. Made her first appearance
with Enr.co 'IrusO as DON JOSE. AS
touishrd the audience by being as black
ls TOpSu in the first act grew lighter as
fic evening advanced. and her friends
urged her 10 tighten the color of her
complexion. In spite Of the African tones
| I'm her cpidcrmis the intcrprcta ION Wa,
cold and suggested the Scandinaviln
! Peninsula instead Of the Campanilc
scorching in the midday sun Of Seville.
MARIA GAY-Span!sh mezzo. native
| uf Barcelona ana pra Sod in London,
| Paris and 81. Petersburg for her wonder
| fully realistic and vivid performance OF
| the Span IN gypsy. Imported esr"c!ally
| for the Metropolitan by Gatu-CasaZza
and Dppel. Wonderful revival of "'ar-
| men," with Caruso and Farrar in TIVE
| other roles; Toscanni conducting MIL.
| cay made a complete failure as carmen
! and the oI"ra was sung but few
| times
Then oscar Hammcrst'ln took a hand
I In the search for new carmen. lie
! did not renew the contract Of Mime.
! BresSler-Glanoli, who had sung the rol,
so much during the first two seasons
that there was no further demand to
hear her. He tried:
JEANNE GERyuLE-REAcHE-De voiced
| cOutralto who, unlike any other French
! q niger in her school, revealed not even
he rcmutrst acquaintance with Carmen
when she set out to sing the role,
MAHIA LAHlN-ltalian soprano, who
made her career in Germany and failed
to make any definite impression. as she
frll between the artistic standards of the
two countries. Suggested an unasslmilatcd
blend Of chianti and crrvalatcnwurst
/ LISA CAVALIER Suspected of the
power to reveal the warmth of the gypsy
temperament and bring some element Of
her own personality into the dein"aton
Of the power of the enchantress. Turned
in any decisive character as it is possible
to imagine,
MARGUERITE SyLvA-SucCcssful in sing
ing and more graceful and appealing than
any Of her predecessors so long as she
sang at the Manhattan Opera House.
Altogether Coloress in the greater spaces
Of the Metropolitan Opera House when
she went there to sing with the Phla-
delphia company.
This was the list of singers who had
been heard in the TWO opera houses ny
To the time when Mary Garden an
nounced that she would appear In the
part. Her one performance In the NJ l.
ropoltan Opera House was not Of a
kind to bring forth any demand for a