The Birmingham age-herald., 1916-02-13
RlccARDo MARTIN
 TENOR

1 full his full appreciation of the neces-
 sity of establishing this sort of precedent
 should come into his own as Empress
 sario" of the Boston Grand Opera.
 Associated as he has been for the pa st
 five years with the incomparabie Paw
 Iowa. in whose eyes a pound of flesh is
 as outrageously scandalous as the worst bit of gossip that could attack an inno- | lcent victim, MT. Rabinoff appreciates fully the necessity of types" and in I-conjunction with Ryszard Ordynski, the noted Russian stage director who pro- -duced, the marvellous play "Sumurunn in this country, and who long since realized that grand opera is dramatic as well as
 musical, MT. Rabinoff has produced opera in as nearly perfect form as it could possibly attain
 1 The two art forms require that the
 dramatic presentation of the, opera be
 as perfect as the musical, and that the
 eye, as well as the ear must be absolutely statistical i s E When Ordyski was engaged. as regis
 seur- general. or. in other words the dra-
 matte director of the Boston Grand Opera | in conjunction with the Pavlowa Ballet Russe, he made stipulations according to
 these advanced ideals with MT. Rabinoff, and striking as it did the chord in MT. sounding in his dreams, for years the full ! Ifillment' of just such combination, in 1 one accord these two great directors
 merged their ideas
 AS a result, their various operas are
 least with a view to physical beauty and
 mental fitness of the singers, the fact l that they are. vocally equipped as well
 as 1t is possible for singer to be- be- I ing conceded long before that, else they l wouldn't be considered at all.
 ] For instance, in the title role of Car
 men,, the Boston Grand Opera trusts the I role to a contralto who not only can 1 sing, but also Hook the part, for Maria Yay is a native Spaniard and knows hel 1 Madrid and Seville like a book Felice Lyme, the dainty, fascinating and i girlish coloratura soprano assumes sucf roles as the sweet Micahela in. Carmen, ! the, youthful Gilda in "Rigoletto," and other similar parts which require youth ] sweetness and simplicity.
 Maggie .Teyte, the Irish songbird. who counts her weight as not a pound more or less than that of Pavlowa and who
 has been praised in eastern cities as the l ideal of pathetic Mimi in La Boheme; :; 1 Tamaki Miura, the diminutive Japanese whose Madame Butterfly made Adelins | Patti kiss her and bemoan her own losi youth; Luisa Villain, the impetuous Ital- ian creator of the leading role of '.L Amore dei tre Re- Fely Clement .Bellt Gottschalk, Elvira Leveroni, Blanca Sar- | oya of whom Jean de Reszke said, "Shf | is too young yet to sing so we'll" Eliza
 beth Campbell-all these have youth
 love of life and beauty. ~ | As for Tamaka Miura, the little Jap anese prima donna. something more needs to be said She is perhaps the | tiniest woman in grand opera, but more l than this, she is the first to give the
 western world a Madame Butterfly
 that is true to life.
 Of the exquisite Pavlowa it may be
 said vivid as flame and the personi-
 fication of grace, she has been sur rounded by an equal youth and beauty | that even her striking personality does
 rot dim by contrast
 l Pavlowa with her marvellous moods land munitions, her Aubrey Beardes-
 ley face and her pallor and her shin ! ing, brilliant eyes. is the incarnation ] of joy the ecstacy of the flesh the
 consuming fire which is the body in-
 mparable-supreme!