The sun., 1919-03-02

| Rossini had cautioned her never to
undertake such an exacting role. From
| Wagner's operas, of course, she never
sang note. Her Marguerite was
much less famous than her Rosind,
for instance, although in 1889, when
Gounod presented at the Opera in
Paris his version Of Romeo ct JUL
stte." made especially for that occa-
zion, Nine. Patti sang Juliette.
Her Method Of Acting.
In this country she learned English
as well as IL it were her native tongue,
and she sang in French and Italian.
German she came to know we'll, al
though she never sang in 1t. Nine.
Patti sacrificed everything to the
beauty Of her voice. and 1t can thus be
seen why she should not be a dramatic
singer. Although she pr1ctised scales
In mezza voce for half an hour a day,
she never went 10 a rehearsal on the
stage for long time Maurice Stra-
kosch, who knew the business" she
! put into her parts, would inform the
other singers OF his ideas OF what
dramatic action might be expected OF
them. In just this way. Jean de
Reszke would never rehearse Romeo.
for instance. at the Metropolitan Opera
House, and Signor Viviani, who is still
there, would take his place with all the
ambitious sopranos anxious to have
the honor OF appearing with the Polish
| tenor.
When Nine. Patti was at the height
OF her career, singing in London in the
! summer and on the Continent or at
the Academy OF Music under Col.
Mapleson in the winter she made her
home while here on the second floor
of the old Windsor Hotel. She saw
few visitors, since Nine. Patti never
enjoyed here the same social recogni-
ton which was shown afterward in
such full measure TO later singers.
Thus she spent much of her time
alone with Signor Nicolini. to whom
she was devotedly attached. In the
afternoon they would ride in landau,
since automobiles were unknown at
that time, in Central Park. 1t was
amusing to watch the two bundled up
In furs taking the fresh air In a car
rage that was all but Theoretically
sealed, every window and sash being
tightly drawn. They would proceed
solemnly through the park and then
return to the hotel refreshed by this
outing.
| PATHS Many Tours Here.
After she had gone to London and
made her great success there the
youthful soprano travelled about with
no thought OF the New World in which
she had passed her youth and put her
foot on the first rung OF the ladder.
But in 1881 she came back here to
sing in concert. Her success was as
sensational as ever. It was at this
time that the public began to grow so
enthusiastic over her Hone. Sweet
Home" and sway Down Upon the
Suwanee River" that they became an
inevitable part OF every Patti concert
from that day on. But the popular
singer was destined to step out OF
concert. Col. Mapleson. who had been
through "A poor year while she was
making such fortune in concert, de-
| termlned that she should come back
to sing with him at the Academy OF
! Music the next year. She agreed. and
when the name OF Nine. Patti was an
nounced at the old theatre in -Four
tenth street the walls bulged. 1t was
during this year that she and Nine.
Scalchi appeared In "Semiramide," and
the opera was the musical sensation
OF the year. Verify was the star of
Nine Patti at its zenith at this time.
The $4,000 "a Might Salary.
Fearing the competition of the Met
/ ropolitan Opera House. which was to
be opened the next year, Col. Maple
son again determined to secure Nine.
Patti. But he already felt the rivalry
of the new impresarios, Abbey, Schoef-
/ fel and Grau, and had to raise the
ante to $1,000 an appearance for the
soprano. or course the rest of the
singers had to be mediocrities, since
| opera in those days was not SO liber-
ally patronized as It is to-day. 1t was
| always Mmek Patti who used to b.
more blamed than any other singer
for the old kind of opera that meant
a star and several sticks as well as a
poor chorus and orchestra. But Nine.
Patti got her $1,000 and then came
bounding on the stage to the delight
. - "a.