The Washington times., 1919-10-30
ny j. Mach.


"How do you remember them all2"
members, / think one always knows
an opera role-rather by instinct -
after it has become a part of ones
repertory."
'And your repertory?"
about thirty-fiveS operas"
And then il was that Estelle Went
worth, dramatic opera soprano. who
is this week singin at Keith's. re-
counted very simply how that off
told fairy tale of>."the great day OF
opportunity" came Knocking at the
door of this Washington girl.
For Washington claims Estelle
Wentworth, and so does Alexandris
tnot Egypt.
She's the singer who brought down
Goals of controversy upon her then
very young head because she abrupt
ly left the choir of st. Aloysius' Cath
Ollie Church hNthis city and accepted
seasons contract with THE Bo5-
tonians," singing in robin Hood"
and 1.-THE Serenade." -
"But you look as though you should
sing Tosca-because of your poise and
your lovely vibrant voice"
81 sing 'Tosca'," she answered un-
assumingly. 81 am very fond, too, OF
Mimi and Butterfly 1 look smaller
in sandals and when ! droop down
to the little Japanese. unless one
wants the role realized by the gen.
uine Japanese. / like to do Aida
too.
How did I reach grand opera"
Miss wentworth's story is akin to
that definition of genius: Genius is
a capacity for hard work." The sin
a Gtnr fg ha
student who has seriously spent a
long apprenticeship. One is not sum
moned unexpectedly. to fill chance
vacancy in opera or concert, unless
one is ready.
cit was after a few years in the
standard light operas that l made up
my mind / would like to study for
grand opera, and so / went to Eu-
rope.
Fourteen hours D day, at first,
until / promised to break down. Then
1 shortened the study hours. You
know ! expected first to be a pianist.
but / couldn't do both.
Europe meant not only singing,
but singing in the various languages,
and / had to master them, French,
German, Italian.
1T is an interesting thing how one
learns the small dramatic points in
an opera. Take Media, for instance.
IL is a difficult role because of the
appeal of the two principal male
roles, the Canio, with his 'Vesti la
giubba,' and Tonic, with the great
'Prologo.'
Living on tour with the Italians
gave me one hint You know the
that any one is making fun of them
makes them furious. In the final
scene with Canio, just before he
stabs Media, 1 sneeringly laugh at
him. The more he RACES, the more !
quietly scornfully laugh. 1t used to
so anger my Italian Canio that he
really did not have to simulate his
rage, and so 1t brought a genuine
dramatic climax. Throughout the
country, you know, we often have
typically Italian audiences, too"
America. today, Is many lands
merged into one single nation. IL
means much to the future opportunity
in America 'Opera here should now
bring opportunity to the artists of the
future.
This much the student can learn
from Estelle Wentworth. Opera sue
cess means knowledge, experience,
the gift of the languages, the long
road OF dramatic achievement, be-
sides the always exacting need of
good singing and correct interpreta-
ton.
How you accomplish it all still re-
mains mystery to me-" reiterated
the interviewer.
THE experience in light opera was
of inestimable benefit in giving mean
ing to the dramatic lines of the
larger scores" was the answer
Do you see how the artist thinks
The ''art work" is "the thing" All
has gone into the making of il. Not
one experience is wasted But fore
most comes the realization. that cul-
ture. diligence. unceasing application