The Bridgeport evening farmer., 1916-10-19

company is the contact Wltn tne aI l- ists themselves, according to Miss Vera Curtis. one of Brtdgeport's most tall ented young women and daughter of Mr. and Mrs. John M. Curtis of 154 Coleman street. Miss Curtis through earnest training of her, really remark ably beautiful voice, attained the cov- eted honor of being chosen a principal of the Metropolitan Opera Co.,. few years ago, an honor all the more un- usual. because her entire training had been received in America. ''The artists are all such charming people," said Miss Curtis, they are so used to exaggerating everything to get it across the footlights that they seem to feel things more quickly and so are a little more human than other people. Many of them are exquisite ly refined and beautifully educated and SO broad in their conception of life that it seems a great privilege to work with them. 1 think that Toscanni, the director, has the most marvellous intellect of anyone with whom I have ever come into contact. His memory is remarkable. He never uses a score and yet he conducts these great rehearsals hour after hour without ever making mistake of so much as the accent upon a word. His face has the most peculiar way of lighting up when he is conducting un- til it seems to fairly radiate intel hgence. I don't think he will be with us this year though, as he is in- tensely patriotic and while he cannot h., <,f eyesight he is working all the time for Italy,"
 Miss Curtis, herself. is an extreme ly interesting person to meet. One is impressed by hef superior intelli- gence, great breadth of mind, a large quantity of humor and that hap py interest in the affairs of everyday life, designated as humanity. Those who have seen her upon the opera or concert stages know with what a magnetic personality she holds her audiences while charming them with her exquisite voice.
 Besides Geraldine Farrar. Edith Mason, Clarence Whitehill, Paul Alt house and herself are the only Ameri- cans in the company, and she Is the only one who has been exclusively trained here.
 Miss Curtis believes that in addition to having a voice, an aspirant for the opera stage must absolutely perfect him or herself in the languages. not only to understand them. but in enun- citation also. He must of necessity be a good musician. and must have a thorough training in esthetic dancing and stage department. The dancing is principally to aid in graceful car riage, balancing and pivoting.
 One of the most interesting details connected with the production of a great opera at the Metropolitan opera house in New York city, and Sngulark ly, too, one of the least talked about is the designing and preparation of the costumes of the artists and mem bers of the chorus.
 According to Miss Vera Curtis, nothing is spared to make the cos- tunes as rich and beautiful as can be conceived.
 ''The costumes" she said, "are really gorgeous and I have known material costing $15 yard to be used even in those of the chorus. Nearly everything that is used is genuine. ex-
 
 and in furs which are sometimes imi- tations
 "There is one very consoling fact to the artists at least. and that is that they do not have to trouble about their costumes at all. The wardrobe mistress and a corps of seamstresses have charge of the preparation and if 1t is a new opera, a designer is re- sponsible for their conception.
 When one becomes a member Of the company one of the first experi- ences is the introduction to the ward robe department where complete catalogue sof careful measurements is taken. These are afterwards kept on file and used wheneversa new costume is necessary. Very often. when a singer is called upon suddenly to fill a role, she will find new gown, one which she has never before seen, hanging in her dressing room and ready for her to wear. The ward robe mistress will be there to see that 1t fits perfectly.
 "All that one has to do when one is called upon to fill new role is to send word to the wardrobe mistress that one has been cast to sing a cer- tain part and she will take care of the costume end.
 "In a Historical play every costume and every, bit of scenery is as nearly historically correct as possible. When I sang the role of the queen in Sans Gene" wore a wonderful crown and a handsome, costume of ermine and silver lace. with a very long train. which was incidently very heavy. The crown, the jewels, the color of my hair and my costume were all abso- lutely true to history.
 "Once last year I had a very anus ing experience in the part of the shepherd boy in 'Tannenhauser." was called upon to sing the part very suddenly. The singer who had had the part before me was a very tiny person much smaller than myself and as the costume consisted principally of tights, a tunic and a sheepskin. I was a bit worried. The tights were, of course, easily managed. the tunic proved full enough to cover me well. hut the sheepskin was a bitA skimpy. We solved the problem by pinhing the skin half way across the back as the principal duty of the boy is to sit upon high rock and blow his flute.