Identifier: morechaptersofop00kreh (find matches)
Title: More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918
Year: 1919 (1910s)
Authors: Krehbiel, Henry Edward, 1854-1923
Subjects: Opera
Publisher: New York : H. Holt and company
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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ishment began withthe restoration of the Italian regime under Abbey, Schoef-fel, and Grau in the winter of 1891. She effected her debuton December 14, the opening night, in Gounods Romeoet Juliette. It was an auspicious introduction for theyoung American. She was only twenty-four years old, andthere was much to laud in her art and nothing to condoneexcept its immaturity. Her endowment of beauty of per-son as well as voice was opulent. She appeared in theopera in which she had made her entrance on the lyric stageat the Grand Opera, Paris, less than three years before andfor which her gifts and graces admirably fitted her. Sheappeared, moreover, in the company of M. Jean de Reszke,who was then, and who remained until his retirement theideal Romeo in all things except mere sensuous charm ofvoice. She came fresh from her first successes at Covent * For incidents in the life of Mme. Sembrich and an account ofher career, see Chapters of Opera. New York: Henry Holt andCompany. Pp. 94 et seq.
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Emma EamesAs Juliet THE AMERICAN SINGERS CAREER 67 Garden, London, which had been made in the spring of theyear and disclosed at once the lovely qualities which, whenthey became riper, promised the highest order of achieve-ment in dramatic song. She had not realized all the prom-ises of her early years, but she had written her name on thescroll of fame and been a delight to the patrons of theMetropolitan Opera House for a dozen years. She estab-lished herself so firmly in popular favor that when Mme.Melba came in 1893-94 she found it extremely difficult towin appreciation for her voice and art. The difference be-tween the repertories of the two singers had much to dowith their relative popularity. Mme. Eamess list of operaswas small, but it appealed more strongly to the public whichhad been under German training for seven years than didthe barrel-organ list of Mme. Melba. In her first seasonMme. Eames sang in Romeo et Juliette,,, Faust, Cavalleria Rusticana, and Lohengrin. In the seas

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