San Antonio light. [volume] (San Antonio, Tex.) 1911-1993, 1924-03-16
BY PIERRE V. X. KEY.

b having accepted an engagement TO sing
in New York's Metropolitan Opera.
IL the mind of this soprano is WORK
ing well she is no doubt wiser through
her recent experiences here, which
terminated a few days ago in clash
with Manager Gatti-Casazza that de-
prived her simultaneously of her JOB
and her prestige. Part Of the respon-
sibility must be borne by her husband.
Max Schillings. He appears to have
messed things-for himself as well
as for his wife. His diplomacy IS
about on a par with his ability as n
composer witness the tediousness OF
the music he wrote for Mona Lisa.
One fly in Nine. Kemp's ointment
seems to be Maria Jeritza. For the
Berlin prima donna cannot bring her
self to accept gracefully the public
preference for the Viennese singer,
whose sensational methods thrust her
into the limelight two years ago and
have since kept her there.
All the truth is not yet out concern
ing Nine. Kemp's resignation from the
Metropolitan, few days ago. Follow
ing the official statement that illness
had compelled the soprano to with
Draw, her husband summoned news
paper reporters to his hotel and
charged the opera management with
unfair treatment.
Mr.. Gatti's reply set Mr.. Schillings
sharply on his heels. He might have
been put off balance still more had
Mr.. Gatti mentioned that Nine. Kemp
was not prepared with the roles OF
Brunnhilde in Siegfried and Sieglindc
in Die Walkure. and Selika IN
L'Africaine; and that when invited to
-. Ma, Xnrt- cha daalinpI
She sang the role once in Philadel-
phia and it didn't prove adapted to
her.
We were reliably informed. months
in advance of Nine. Kemp's debut
here last season, that her voice had
gene off. Her first appearance in
Mona Lisa disclosed worn instru-
ment, but fine routine. Some ex..
perts thought the newcomer would
improve vocally when she became set
tied to her work. Nothing of the sort
happened. So her first Metropolitan
season passed, leaving her in doubt
full artistic position.
Playing the Game.
European music artists who think
over-much of themselves generally
bump into a stone-wall when they
visit this country. 1t is the musician
who is willing to play the game who
gets on. Nine. Kemp has apparently
seen her best singing days. She came
TO the United States with the backing
of q great reputation. Thus toruried
she might have made a place for her
self. Preparedness in roles of various
kinds, and willingness to unbend
would have accomplished much. But
from the outset Nine. Kemp fell back
upon her German reputation which,
in New York, meant little without the
disclosure of specific assets with
which to reinforce it.
were told that Elizabeth Rethberg
would outsing Barbara Kemp; and
this proved an accurate forecast. Aft
or her Mona Lisa, Nine. Kemp APP
peared in no character that presented
her to advantage. And almost before
anyone was aware Of it, the much
advertised German dramatic soprano
was thrust into the background of
the public mind. ~.
No discriminating music listener
will question the operate routine OF
this Berlin favorite. She is mistress
of her art. But she appears TO be
past her vocal prime, and she didn't
get over"
Her roles will be sung by Florence
Easton, an English woman by birth.
who married an American and is her
self Americanized. Nine. Kemp will
return to her home-angered. no
doubt, over the outcome of her en-
deavorsA In the meantime, opera at
the Metropolitan will continue. =. :,
without in the least missing a prlma
donna who missed fire.
Keeping on Edge.
Most music patrons will remember
Julia Culp. She is Dutch woman:
Her forte has been the singing OF
songs, mostly of the German masters.
When she first visited this country,
about ten years ago, she commanded
instantaneous and outstanding atteE-
ton. Her mezzo-soprano voice was
excellent; but her interpretative re-
sources were the elements that
brought people to hear her and moved
the music reviewers to dip their pens
into adjectival ink-pots.
Several seasons have elapsed since
Miss Culp was heard here last. Her
temperance was effected few after
moons ago in a recital of songs by
Brahms and Schubert. They repre-
scented some of the best known COM
positions by these lyric giants; and
Town Hall was well filled by people
who know good singing when they
hear il.
The Julia Culp of today is not she
Of other days. Her voice sounded
tired: her breathing was audible in
the farthermost parts of the audi
torium; she dragged her tempt. 1t
was a vocally heavy afternoon for
Miss Culp and for the more musically
fastidious of the assemblage.
No musical artist ever stands still.
Miss Culp has not kept herself on vo-
cal edge. 1t is pity, for she had,
at her best. so much to give.
Music Helter-Skelter.
Apart from twenty-odd recitals,
eight representations of grand opera,
and a half dozen symphony orchestra
concerts, New York has been musical
~ quiet these past seven days. OF
course, there has been something doing
in the radio music line Though little
of it of any special quality, and pri-
vate musicales and concerts have
tumbled over one another. But in the
halls devoted TO pretentious musical
efforts-ewell, here is the record:
Song recitals: Julia Culp, mezzo-
sopranos; Roa Eaton, lyric soprano;
Flora Negri. lyric soprano; Renee
Thornton, lyric soprano; Anna Ora
ham Harris lyric soprano; Jorgan
Bendiz, heroic baritone; George Nor
gan, lyric baritone; John Valentine.
lyric tenor; George Madden, lyric
baritone.
Violin recitals. Carl Flesch. Albert