Daily Kennebec journal. [microfilm reel] (Augusta, Me.) 1870-1975, 1922-01-07

More Popular, Perhaps, But Never
So Exaetins, Says dc Gosorza-5ut
Little Difference Between Roles for
a 6aritone.-Why He Prefers Con.
cert Stage -...,+
It is rather curious that a man of
the artistic stature Of Emilio de Go
gorza whose song recital in Augusta
is announced for Jan. II. has never
ventured into grand opera His voice
is one peculiarly fitted for such work,
he has the presence necessary for q
successful appearance on the stage
and his art is much finer and greater
than that Of the vast majority of
singers who have won great fame in
the glittering trappings and the
struttings Of grand opera.
But Mr.. de Gogorza says that.
somehow, the idea never appealed to
him as interesting. He has had many
opportunities in this country and in
sidered proposition.
"A grand opera career. says Mr.,
de Gogorza sis all we'll enough for
them that like it but it has never ap-
pealed to me. Unless an artist is of
very unusual strength Of character 1t
must certainly result in a narrowing
of his art, for after all the difference
between two grand opera roles, es-
pecially for baritones is largely the
difference between tweedledum and
tweedledee and while there is an un.
doubted fascination in the life. for
once in the nostrils. the smell of the
grease paint never ever quite disap-
pears, a singer no matter how great
he may be does not begin to have the
| opportunity to develop the versatility
that may be in him. as an opera sim
ger. that he does if his work is on the
concert stage. One recital program
demands the expression Of more
| moods. Of more graduations Of emo :
ton of more colors on the vocal pal
ate than dozen different roles in
grand opera will.
II grant you that there is a halo
surrounding the head of the operate
singer which can't usually be found
attached to the head of the concert
singer. grant you that the operate
singer is generally better copy for
the paragrapher than we who go up
and down the country singing in con-
ccfts and recitals. The mysterious
"la NOR of the stage is never present
"'h0n the singer has to appear in
lain ordinary everyday clothes in
:.CGd of a costume of the pictur-
"iGuo past. But these are just the
c!ternals. the non essentials of the
artist. I quarrel with none that pre-
fCrS opera to concert-nobodY gets
more pleasure out of a good perform
ance of opera than ] do but I don't
want to be in it or of it. prefer my
own Independence. to be away from
the intrigues. the cabals. the back
billings which are always in a great
opera house. l don't want to feel that
l must stab my colleague in the back
before he stabs me. AS q concert
singer l go and come as / wish.
tell my managers what | want to do
in !; season and they see that do it.
] am free and independent and that
is what every concert singer that has
made for himself or herself position
singers can ever be.
"As for the material side of the
question. with the exception of now
and then very great tenor or very
great soprano. a concert singer can
make better living in his field than
Is possible in opera. Operate sal
aries. except in few cases are very
much exaggerated. I grant you that
there is certain advantage for a
young singer at the beginning Of his
career to wear the stamp of a great
operate institution like the Metropol-
itan Opera house, but for us who
through years Of honest work and
with the talent God has given, have
built up clientele through the coun-
try, the public doesn't care in the least
whether we do sing, have ever sung
or will ever sing in grand opera, in
New York or any other city of the
world. In music as in everything
else. the question of enduring popu-
larity SINNERS down to the PROPOSE
ton of whether the artist delivers
the goods. If he does the public will
gladly pay to hear him sing. If he
does not. all the grand operas in the
world cannot help him."-Adv.
Y M O. "A Rotironoont