Identifier: grandoperasinger02lahe (find matches)
Title: The grand opera singers of to-day : an account of the leading operatic stars who have sung during recent years, together with a sketch of the chief operatic enterprises
Year: 1912 (1910s)
Authors: Lahee, Henry Charles, 1856-1953
Subjects: Singers Opera
Publisher: Boston : L. C. Page
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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odis hopelessly faulty. M. Eenaud is an artist,though his voice during his short engagementhere seemed to have lost much of its originalbeauty. Sammarco, a young baritone new toAmerica this season, has a fine voice. SignorArimondi (bass) is also a worthy artist. Inspite of the pleasing qualities of some of therecruits to the ranks of the opera singers thisseason, we have heard no one who can in anyway impair the lustre of such names as Melba,Sembrich, Gadski, Eames, and Schumann-Heink, or dim our memories of Jean de Reszke,Lilli Lehmann and Ternina, in their prime. Luisa Tetrazzini, announced by Hammerstein,is undoubtedly the greatest coloratura sopranoof to-day. An excellent account of her and herart was written by Mr. Pitt Sanborn and pub-lished in several papers, in 1912: The true history of a diva/ could it everbe written, would make curious and engrossingreading. By diva we do not mean any womanthat has distinguished herself as a singer,but those goddesses of song who have been a
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LUISA TETRAZZINI The Manhattan Opera-House 129 caste apart since the days when Faustina andCuzzoni made life miserable for the great Han-del in London. The l divas are fewer than theyused to be, the art of song has fallen on evildays, but one we have now, and we doubtwhether any of the glorious line is more mys-terious than Luisa Tetrazzini. ei A mystery Madame Tetrazzini is, and shewill probably remain such. Nevertheless, a gooddeal has been written about her in this country,a good deal which has ignored even the factsthat are obtainable, and much of it not withoutthe suspicion of more or less prejudice. Ma-dame Tetrazzini is not chic, she is not a fash-ionable prima donna. Whether she is an intelli-gent and reflective artist, or whether she is justan imbecile singing by the grace of God alone, orwhat she is, those that write most about her arenot in a position to know positively, for she isan Italian, and operatic Italians, with rare ex-ceptions, are about as available for purposeso

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