Evening star., 1935-12-08

and simple, whole-souled concentr
in the idea of publicizing her achieve
ments She comes with the type of
advertising won purely and simply on
merit, given honestly by public that
has been enchanted by her work, and
which is the final award Of her musi-
cal labors throughout the years of her
comparatively secluded life in her
native Norway.
The operate public in this country
has grown accustomed to prima
donnas who cultivate a striking ap-
pearance, whose clothes are ultra
fashionable and whose everyday
activities must contain some sensa-
tional element for publicity. Europe
has felt the contagion of this angle
of fame seeking, but 1t is not gen.
orally considered such a necessity as
in this country. For some mysterious
reason Americans like to have their
famous singers provide them with
something to talk about besides their
work, and this is tinged with an
exoticism beyond the pale Of ordinary
mortals.
THE virus of this idea has often
taken hold of budding artists and
occupied them to the exclusion Of the
cultivation of the fundamentals that
guarantee success. Many have flashed
across the horizon and disappeared,
never to be heard of again. A few
have held their own, but the strain
has cost them much in lost vitality
and vocal beauty. The healthy nat
uralneSs that should accompany all
singing. and which is an absolute
necessity in the operate field, is little
known today.
So 1t Is good to welcome a truly
great singer, who at the same time is
simple, great-minded woman, who
sees nothing spectacular in her
marvellous voice or acting ability. The
theme of most of the writing about
this newcomer, who holds the
sophisticated New York operagoers in
the palm of her hand, is the con-
tradiction found in her, a great artist
on the stage and a simple, unaffected
woman in real life.
There has been a noticeable
| decadence in vocal art during the last
quarter Of century, and much of il
is due to the exterior embellishments
that seem a necessary accompaniment
/ nf for HiT1n Tho ho q
voice and musical knowledge were
sufficient to gain success has almost
taken a secondary place in favor OF
the cultivation of an interesting per-
sonality. Yet a really great artist is
made only when lifetime is devoted
to a complete concentration on his
work, and in order to do that there
must be sacrifice on every hand.
K IRSTEN FLAGSTAD has spent al
the time since her sixteenth yea
on quietly perfecting her art. Sht
was more than ordinarily blessed il
having a mother who was an operate
coach and teacher In her native towr
of Oslo, Norway, and a father WHIT
was a conductor. The family was no
impressed by her vocal gifts and nevel
encouraged her to try for a career
1t was her own desire to sing thai
finally won over the plan to make he
a pianist Warned that an injudiciou
use of her voice in these young year!
| might lead to ruin, she began to study
but still there was no talk of careel
for her
Her public appearances all camt
about naturally, as was to be expected
in a family closely allied to the the
ater. A singer was needed fo
d'Albert's 'Tiefland," then being pro
duced at the opera, and Kirsteni
mother consented to her trying ou
for the part. She was accepted, ant
so she joined the ranks of the hard
working artists at the theater.
1t probably never entered her heat
to demand temperamentally that sucl
! and such a role be given her, for sh.
sang everything that was assigned t.
her, from light opera to the Wag
merriam parts. But she studied ant
worked constantly, under the urgt
| that filled her to sing and act tn,
entire operatic repertoire. Her hom'
life was unoStentatious, and in {
mixture of home duties and outdool
exercises, she kept her health anc
nerves in splendid condition.