Evening star. [volume] (Washington, D.C.) 1854-1972, 1929-06-02

Tor II?
If you put these questions to the artists them
selves they may answer with a Shrug of the
shoulders; why should they be bothered if they
do fantastic things as long as no special trouble
comes from doing them? The answer of people
in general would be, "Oh! it's only the artistic
temperament" But being in the game myself
think it can be traced to one big cause-a
cause that would make all placed in the same
position act exactly as opera singers do.
The wild things artists enjoy hugely often
have a spice of danger in them; often are
hilarious, especially to onlookers, and not in
frequently involve reckless expenditure. But
one and all bring thrills That is what the
opera singer is after.
Take singers party for instance It is none
of your conventional, I'm charmed to meet
you," teapot functions, but no less refined than
parties given by others, though on the surface
it has very fury of mirth
Some man singers delight in prizefights and
prima donnas not averse to them. And
they make more noise than any others there,
get more thrill out of it. Gard games at a
friends house, preferably poker, bring another
thrill. Though playing for high stakes, opera
people play so often that when the season ends
each man has about much as when he
started.
A S for opera singers parties, they are apt to
be among the noisiest that ever happen
Everybody talks at once; later, action follows
words When things get really going, two man
celebrities may burlesque a scene from opera
down to the duel in it, which they fight out
with shovel and tongs all over the place and
finally get down to being in earnest. Those
present, including prima donnas, trail the duel
lists breathlessly to see how it will end exactly
like the gallery at golf tournament, only more
excited.
1 know one famous opera singer who can
never go to sleep after performance unless
she attends that kind of party. For that mat
ter, on returning to my hotel room after re-
cital in strange city, I feel desolated with
loneliness, thirsty for excitement. But also
know when am in the midst of strenuous
tour I can't give way to impulse.
We work hard and we play hard. Yet with
the seasoned opera singer the tho.aSsst of keep
ing in good voice is ever preSMs and keeping
in good voice means sacrifices. Being still all
day when one is to sing that night is not a
cheerful undertaking. Try it,
Calling one day on a tenor friend, billed for
that night as Tannhauser found him seated
at table on which stood teapot, whose steam
he industriously inhaling from the spout.
Have you cold?" asked
"Oh! no." he answered genially, "but you see
it's raining, and dare not go out. So had
to do something, and my wife thought of the
teapot"
Behind it all, parties, prizefghts, cards. high
speed driving, or any other thrill-giver, there Is
this impelling cause: We live under dangerous
conditions, with our nerves on tension. Always
we are striving to sustain our pace in art and
increase the stature of our regulations. We are
keyed up like soldiers under fire.
There can be no let-up; things must go on
and on. To sit down in serene calm in the
midst of it would be torture comparable to
soldiers who had just gone over the top and
were called on to Immediately attend tea.
THE greatest thrill can recall was one replete
with danger. Due in New York for a con-
cert coming close between two others, the only
way could reach that city in time was to fly
there by airplane. and next day, fly back West
to sing the other engagement. The New York
concert was patriotic benefit for funds to help