The sun., 1919-04-13
BY LUCIEN CLEVES.

TIME years that have interviewed
since the war began were sup
posed to be big with promise
for the American singer. Forced
home from various cities of Europe, il
was supposed that the stages Of their
own country-no longer able to draw
on the European theatres-would be
open to them. AS a matter of fact
there are few operate stages in this
country. In the eyes Of the American
singer there Is only one. That is the
Metropolitan Opera House. But in de-
fault OF opportunity here, the singer
will accept an engagement in the Chi
cago company. for instance. or in some
OF the travelling companies which fly
by night over the country.
In spite OF the opportunity which
was thus supposed to have developed
for the native songbird, there have
been no new stars seen or heard on the
horizon. Geraldine Farrar stands a.
the head of the distaff wing of the Met
ropolitan Opera House. with no rivals
among the budding sopranos who
storm the coffee colored battlements
OF the building. Mary Garden still
mines in solitary eminence with the
forces Of the opera company from the
wind swept shores of Lake Michigan.
In the meantime. budding sopranos
are plentiful. Twice Mabel Garrison,
acclaimed as the most promising color
ature soprano of the country. achieved
a representation OF an important role
-Lucid was one and Gildd the other
at the Metropolitan Opera House.
But there have been no new prima
donnas Of the first rank to intrigue
the critics and the public. Indeed.
nothing of that kind has happened
since Geraldine Farrar and Mary Gar
den landed on Manhattan Island.
No New American Stars.
First singing ladies Of other coun-
tries have arrived from the war ridden
shores of Europe, but no American
stars. There have been an italian who
has caused a sensational Juror and a
Pole. But there have been no de-
scendants, artistic or national, of the
race OF Lillian Nordica, Emma Eames
or any of the choir of native stars that
used to sing together to the glory OF
art and the Star Spangled Banner
Yet there is no limit to the supply from
which Giulio GATH Casazza might pick
II It were only the fact that they are
American which was guiding him.
There are young women who sing all
the parts in the soprano and contralto
repertoire among those he has selected,
but none of them has attained to great
eminence. One sees them dashing i'm
portantly about the corridors Of the
opera house. usually with music under
their arms. presumably to indicate that
they are just from a rehearsal with a
chorrepititeur and are working, what
ever the others may be doing. They
lean over the rails of the orchestra
stalls at rehearsals and look with ex-
pressions OF disparagement on the bet
ter known singers to whom the impor-
tant roles are entrusted. They have
been doing all those things ever since
Heinrich Conried founded his fruitful
opera school. Graduates of that school
have been heard OF in various quarters
Some OF them have succeeded as &C
tresses. But II IL a singular fact that
none has ever been heard Of as an
opera singer.
The Situation Here.
Such has been for years the situa-
ton at the Metropolitan Opera House
There are always American singers for
the small roles. They used to revel In
the opportunities Of die Walkure"
when as the warrior maidens they had
30 much Of the last act to themselves
Later they have found opportunities in
Francesca da Rimini," where there
are some small roles, or in "Thais.'
Some OF the best known sing In con-
cert and return to the opera house
here for only occasional appearances
Those who find their services In de-
mand as concert singers are willing
to take but few appearances at the
opera house. So one hears OF them at
rare intervals singing a real part. Oh
course to achieve Micdeid or Musettd
h . triumph for the young singer