New-York tribune., 1920-02-22
By H. E. Krehbiel

4
By private letters and through a cir
eular which was distributed at the
Metropolitan Opera House few nights
ago Geraldine Farrar has solicited aid
for Minnie Hauk, who, as the public
has been informed by the newspapers,
has been reduced to want, largely, no
doubt, by the World War. In an
equally pitiable condition is another
artist who lives in the grateful recol-
lections of New York's opera lovers
Fraulein Marianne Brandt, who helped
Lilli Lehman, Albert Niemann, Emil
Fischer and Anton Seidl to make the
seasons of German opera at the Metro
politan Opera House memorable some
thing more than generation ago.
Friends of Fraulein Brandt, through
private subscriptions and a generous
donation secured from the Fund for
Needy Musicians administered by a
commission Of which Mr.. Franz Kneisel
is the head, have provided for that
artists immediate needs. Miss Farrar
is seeking to accomplish similar end
and has organized q Minnie Hauk fund
and has associated with herself Mrs.
Edmund j. Healy, Mrs. Paul D. Cravath,
Mrs. Charles II. Ditson, Mrs. Adrian
Iselin, Mrs Reginald De Koven, Mrs.
Fritz Kreisler, Mrs. Frederick Court
land Penfeld, Pasquale Amato. Artur
Bodanzky, Enrico Caruso, Giulio Gatti-
Vol no 1oh
Cormack, Giuseppe de Luca, the Hon.
Frederick Courtland Penheld, General
Horace Porter, Frederick Steinway, An
tonic Scotti,s Waldron P. Belknap
(treasurer) and Albert Morris Bagby
(vice-president). The official appeal
has been sent out in these words:
1t is my privilege to bring to your
kind attention the pitiful condition of
an American songstress whose triumphs
still must stir beautiful memories in
the hearts of many of my present-day
listeners.
Minnie Hauk partially blind, old and
destitute, though not friendless If I
can help it, is in urgent need Of i'm
tribute something toward alleviating
the misery Of a once glorious name ?
Myself fortunate and happy American
singer, I plead on behalf Of our coun-
trywomar, whose needs must excite the
greatest compassion.
With warmest thanks to you all 3or
your interest.
GERALDINE FARRAR.
To the younger generation of opera
goers Minnie Hauk Is only a name; to
the patrons Of Italian opera when it
was housed at the Academy Of Music
she was a delightful experience. To
the. musical history of America she Is
an ornament. She was of German
parentage (at least on her fathers
side), and we are not credibly informed
as to her birthplace, but We believe It
was in this state. She was brought to
New York from New Orleans to be in
structed by Achiile Errani when she
was about fifteen years old. and ef
fected her debut In opera In Brooklyn
as Amina in LA Sonnambula" on Oc-
tobcr 18, 1885, when she was known as
Amalia M. .Haudk. For year or more
she was under the care and instruction
Of Maurice Strakosch, and in 1868 be-
gan her European career at Covent
Garden, Landon. Some years were
spent in the capitals Of Germany end
Austria, and In 1878 she came under
the management Of Colonel Mapleson
at Her Majesty's and the Academy Of
Music In New York. For some time
thereafter New York knew her.
Minnie Hauk's Carmen
In the memories Of operagoers Of
forty years ago Minnie Hauk is in
delibly associated with the character
OF Carmen in Bizst's opera Of that
name. The writer has heard a score
Of Carmens since, and Of them all onlv
two made SO deep an impression upon
his mind and Imagination as Miss
Hauk. Those two were the creations Of
Emma CalvA Gin her first seasons) and
Nine. Bressler Gianoli, both Of whom
appeared on the scene whom Miss
Hauk's tmperscnstion had already be-
come tradition. Carmen" was first
performed In Americas at the Academy
Of Music In this city on October %.
1878.
The opera was not yet four
years old, but Miss Hauk had already
sung iss titular part in London, and 80
tasataAsd hsrsslf with It that for q
JouD ve53o akteSva1A4AhA En~lisA ~vh~