Evening star., 1933-02-19
w yoMANHooD, its weak

had a blographer OF
whom to be proud
Richard Wagner. The virtues OF
women, the sorrow of women, re-
venge and heroiSm he has de-
picted but with a chivalresque
spirit that has kept in relief the
essentially compassionate nature
and ability for self-Sacrifice of
woman. With the romanticism
of a knight of old he has intenSi-
fed the aura of charm and ideal
ism and his heroines retain a
perfect form.
Not only has he created char
acters of gigantic strength, but
he has written music for them on
a gigantic scale What he wrote
was a daring departure from the
ideals of feminine vocalism up to
that time. To be Wagnerian
singer today requires voice of
power and range, majestic per-
sonality and an advanced mu-
steamship. Nothing Wagnerian
can be done in a small way SO
that the singers who have gained
renown in the roles he has writ
ten for them have done so by
reason of superlative gifts with
which they have the good for
tune to be endowed.
At this anniversary time, de-
voted to commemoration Of
everything Wagnerian, it is in
tereSting to know that not only
America but Washington itself
can lay claim to one of the finest
Wagnerian singers of the present
day. Emma Redell, who spent
her first vocal training in Wash
ington and her first public ap-
pearance m this city, is fast
climbing to the top through her
interpretations of the great Wag-
merriam heroines.
Her story Is a simple one, but
fraught with encouragement for
other singers who have the same
stamina and desire for study. In
Washington she was the pupil of
Mrs. Dagleish and sang for some
time in one of the local churches.
Her beautiful voice attracted at
tention and she was sent to New
York for further study and this,
as a matter Of course, led to
Vienna. For three years she
worked on her voice and Ian
guages and, bit by bit, began to
be heard in concert in various
cities. When the critics had come
and listened they exclaimed
unanimously: "This Is a Wag-
merriam singer"
Having the voice, temperament
and understanding of Wagner is
one thing and being an American
In a foreign land Is another and
seldom the twain meet. In fact,
only twice has this happened
within the remembrance of this
generation and that in the per-
sons of Nordica and Geraldine
Farrar. However, Miss Redell had
courage and patience. Germany
was the place for embryonic Wag-
nerians and so to Germany she
went. She sang for the directors
of the former Royal Opera House
of Altenburg and was promptly
offered contract and assigned a
role, that of Tosca-far from her
Wagnerian goal.
Well, she sang it and achieved
such a triumph that the German
directors quite approved of italian
opera and decided more of it
should be brought out and lis
tened to. Verdi's 'Forza del
destino" had not been heard in
Germany in 80 years, so that
would be of interest to an audi
ence and give the American an
other opportunity to display her
beautiful voice. The echoes of
that performance penetrated the
far corners of Germany and not
only were musicians talking of
the young American singer, but
they began talking of Verdi, whom
they had rediscovered through the
talents of this new artist. Her
splendid singing actually started
a revival Of Verdi throughout the
country and Miss Redell did her
share by all the famous Verdi
characters.
Still this was not Wagner.
However, what Is to be will be,
and so, one day, when a special
performance of "TannhauSer"
was scheduled, the soprano who
was to sing Elizabeth was taken
Ill. Telephone messages to Ber-
lin, Leipzig and Dresden could
find no German Elizabeth free
and who would ever think of an
American one? However, there
was nothing to be done and,
finally, three and a half hours be-
fore the important evening per-
Torrance Emma Redell was asked
to do it. Without moments
hesitation she accepted the re-
sponsibility. The gorgeousness of
her opening aria, "Dich teure
Halle" galvanized the audience
to wild applause and she knew
the evening was hers.
The newspapers had an unani-
nous word, The ideal Wagner
singer of Germany" The man
agement wisely changed front and
put on the Flying Dutchman,"
with Miss Redell as Senta. This
proved even a greater success and
She was invited to many other
opera houses for guest perform
anees. After that, there was no
question that an American singer
had become a great Wagnerian
interpreter.
On December 2, 1880, she came
back to her native land as lead
ing Wagnerian singer of the Chi
cago Civic Opera Co. The public
did not hesitate-she was an ideal
Elizabeth, Elsa and Sieglinda.
The company went to Boston and
in a two-column review the BoS-
ton Transcript called her THE
great find of the Chicago Opera"
and "The greatest Elsa ever heard
in Boston"
Today Miss Redell is achieving
a unique and unusual distinc-