HUMAN SIDE OF GRAND OPERA STARS
REVEALED WHEN CURTAIN FALLS
Emma Eames Is Fond of Children, Tetrazzini Lov es Applause, Caruso Is a Cut-Up, While Madame
M
Melba Preserves a Frigid Hauteur and Other Characteristics.
SCIENTIFIC
DENTISTS
THE SUNDAY OREGOXIAN, PORTLAND, MARCH 13, 1910.
MODERN
DENTISTS
J II
-'"-1 '- iii'r&j i
- r-,s t
i , ' i . II f t V
3 - v; i' - - - 1 '
B ' - i ' - W 'Ills W
' s - 'i -T- n
- S - il - VM?- 4
i - i &f-f cr' V 1 L
NEW YORK, March 12. (Special.)
It Is when the curtain falls that
the real self of the King; and
V2ueen or xne operatic stage
studied.
Then for a time the grand manner
of the vocal monarch is laid aside,
and the impersonator of the great role
becomes for an Instant just a plain
human being, with all the virtues,
faults and follies of the rest of us.
A well-known stage manager who
has for years been associated with im
portant grand ventures, and who has
seen all the great singers at close
range, talks entertainingly of their
ways.
"It Is all very different from what
people think," he says. "For example,
I have laughed while the great Italian
tenor, Tamagno, now dead, vat. thrill
ing an audience with his wonderful
performance of 'Otello.' As soon as
the curtain fell and while the applause
was yet thunder'ng to bring him be
fore the audience to bow his thanks
Tamagno would streak to his dressing
room to grab a bottle of beer, and take
a long drink.
"Emma Karnes is the personification
of grace behind the scenes, and every
body admires her very highly. She
is fond of children, and when she sang
In 'Otello with Tamagno and Maurel,
she won everybody by the gracious
way she played with the children who
figure in the second act of the opera.
"Caruso, the leading tenor of the
.Metropolitan .forces for many years in
this country, and one of the greatest
of favorites, is a very democratic sort
of man and I have seen him and Sig
nor 8cotti between the acts take each
other by the shoulders and waltz
around the stage singing the popular
number 'Yama.'
"Mary Garden is a woman of most
wonderful personality, and back of the
scenes it was a never ending source
of Interest to me to watch her. She
is gifted with roost commanding in
tellect, and her strong, nervous habits
of thought show all the time.
"No matter how great the amount of
industry Involved in perfecting eomn de
tail that will add to the realism of her
performance, the ceaseless industry of the
woman wil carry her through. Some
singers would have been content to let a
substituted dancer go through the gyra
tions that delight Herod, but as a true
artist. Miss Garden thought it Impera
tive to preserve the Illusion by doing the
dance herself, therefore she studied for
months, and actually became a dancer
in order to. do Justice to this incident
"Especially is she a wonder in the art
of make-up, and so great is this skill that
she does not simply retain the Illusion
in front of the footlights, but ba-k of
" the stage, when you are right close to
her. and can fee the volume of paint
that has gone to help the effect, the illu
sion ls not lost.
During the performance, she never
loses the character. Tf she is a queen
she retains her regal noise while wait
ing for cues. Never does she relax. If
she la Jean, the poor little mountebank
in the "Juggler of Notre Dame,1 she
wanders aimlessly around the stage.
throws herself down to rest on a pile of
scenery, and never for an Instant la any
thing but the ragamuffin youngster who
becomes a saint through devotion to an
ideal.
"The personality of Mme. Tetrazzint is
a delight to all who have been privileged
to get back of the scenes, and come into
contact with tier. n is tne true Tuscan
sunny and emotional. She loves to sing,
mh h&s no vanity, and she la frank to
' - , re-jS f.pAZO
can oe JT'MJ- . 1 7 MV,
St .
'
ArS . i
f..-. ..... ..3 - J-
m
STsA&AKT- jvgsz&.
say that she hasn't the least idea how
she manages to do it all.
"More than once I have known ,
astounded auditors to ask her: j
"'How do you manage to sing tbo
extraordinary high notes?"
"The answer i always the same. She
looks hopplessly baffled, and with a laugh
says In broken English:
"I don't know."
"Like most prima donnas, in fact,,
more so than most of them, Tetrazzini
loves applause," and when she comes
dashing off the stage after some par
ticular tumultuous outburst of admira
tion on the part of her audience, she
she Is just as likely as not to throw
her arms around the neck of whoever
happens to be in the path and admin
ister a hearty kiss.
"Tetrazzini has a speaking voice as
high in. proportion as her singing voice,
and once to hear it Is to know her
ever afterwards, for there is probably
no other speaking voice like it.
"There is none of the grand man
ner about Tetrazzini. She loves to re
ceive, and her dressing-room is ever
open to those she likes.
"It was a frequent custom between
the acts during the season in New
York to have her room so crowded
that there was no room for her to
walk around, and nobody enjoyed it
more than the prima donna.
"La diva has a great liking for dogs,
and always has a number.
"Madam Melba is the exact opposite
to Tetrazzini.' She is the empress
back of the scenes. Never for one In
stant does she drop her hauteur. Melba
has been the friend and admired of
Kings and Queens. For nearly two
iryorE;.
decades her place as Mie reigning so
prano of the world was undisputed
and it is only lately that Tetraztnni
has come to contest that superiority.
"As beiits a singer of her fame, she
travels with a whole retinue of attend
ants, a secretary, etc. Perhaps she
needs some of these to take care of her
jewels, for at one performance she
wore gems worth a quarter of a mil
lion dollars, and many of them had
an interest far beyond their financial
worth.
"One night when Melba had passed
from the stage on her way to the
dressing-room, I made bold to bow and
say:
" "Madame, the opera is magnificent
tonight.
She paused an instant to say:
" 'Is it not always majtnificent when
Melba sings?
"Constantino and Dalmores, tenors.
are both men who like and are liked
by society.
"Both are men of good birth, splendid
education and accomplishments, and have
the saving grace of a modesty that la
ncver-ceastlng charm when exhibited by
one of the most lionized classes of
artists.
"Both also have the skill of athletes.
Dalmores is a boxer. Constantino Is
wonderful fencer, and I have seen him
when he was doing the opera of "Faust'
while waiting for his call, walk around
the stage, and challenge anybody who
carried a blade to a little test of skill
At such times he would risk his prowess
against anybody, from great baritone to
supernumerary, and it was Tarely that
anybody managed to make a point
against him.
"Constantino has a wonderful ward-
.We Believe
in the
Principle of
"Live and Let live
99
Fully abreast of the times and
taking advantage of every discov
ery and modern appliance that will
produce the best possible results,
we have pained the confidence of
the public, which has shown its ap
preciation by favoring us with the
largest dental practice in the Pacif
ic Northwest. No work is slighted
at this office ; you receive the best
we can give in return for a mod
crate fee. Read our prices :
22-k. Gold Crowns (molars) . .$5.00
22-k. Gold Crowns (bicuspids) $4.00
22-k. Gold or Porceln Crown. .$3.50
22-k. Bridge Teeth, guaranteed,
each : $3.50
Gold or Enamel Fillings, ea..$1.00
Silver Fillings, ea 60c
Grood Rubber Plates, each $5.00
Best Red Rubber Plates, ea. .$7.50
Painless Extracting (local an
aesthetic) 50c.
Painless Extracting (with
somnoform $1.00
Reliable Painless Dental Work
Cannot Be Done for Less Money
BRIDGE WORK
In this exacting line of work to
produce the best possible results,
the dentist must possess unusual
skill and constant practice. TTe
have left the beaten path and are
able to guarantee results that you
never dreamed of before visiting
our office. Our Lodges are built
and placed in such a manner that
all pressure is removed from the
anchor teeth, and at the same time
the bridge is as firm and chews
your food as well as the natural
teeth. With two sound teeth we
can work wonders with yonr
mouth, and give you satisfaction
that you never dreamed possible.
robe for the forty parts he has in his
repertoire, and for roles which demand
a sumptuous showing he has hats and
belts studded with diamonds and pearls,
and these he will show to friends with
as much pride as a woman displaying:
her new Spring- gown.
Zenatello. the young dramatic tenor.
la a marked contrast to these two older
artists. He is modest and retiring and
"ELECTRA" AS REPULSIVE AS "SALOME"
AND FAR LESS TRUE HISTORICALLY
Production of Two Strauss Dramas Gives Opportunity for Comparison and Shows That Composer
Has Degenerated to a Certain Extent.
BT EMILIE FRANCES BAUER.
NEW iUKK, in arch i. t&peciai.j
The .ripples have not yet subsided.
Oscar Hammersteln brought for
ward "Salome" on Saturday afternoon
following what he announced as the lst
performance this season of "Elektra."
Brought into such close relationship it
was not easy to refrain from comparing
the two works from Strauss as they came
side by side. The genius of the composer
is the one and only thing which never
admits of a question, but this genius pro
claimed itself loudly In the exquisite
songs of the early Strauss, such as "Al
lerseelcn,'" "CaeciHe," "Traum Durch die
Daemmerung." "Staendchen," "Morgen"
and many others less familiar to singers
and concert-goers. The early Strauas
was more highly spiritualized, his music
reflected the highest expresssion of
which the human being is capable. We
may not follow the inner development of
any human being, except as we may
judge him by results, and the Strauss of
these exquisitely soulful expressions must
have passed down through many phases
before he arrived at -the possibility , or
creating such works as "'Salome," "Elek
tra"; and the other work,, "feueranot."
which America has not yet heard, al
though It came chronologically before
those mentioned.
Strauss degenerated noticeably after his
devotion to Nletsche. as demonstrated In
his tone poem. '(Thus Spake Zarathustra."
Beauty had ceased to be his laeai ana ine
ugly side of life seemed as important as
tle softer. In philosophy this Is more than
true. The only sldo which Is of absorb
ing interest to one dealing with life
problems is the hard path, the seamy
road, in other words, the negative side.
But to one whose mission lies in bringing
forth the beauty in art. in developing an
art which shall represent as well as
awaken the snlrltual element in man, the
ugly philosophies of life should have no
part unless through tnem ana oeyona
them lies an incontrovertible result for
the central unliftinsr of mankind.
i'Salome" as an ethical proposition is
perhaps as repulsive as "Elektra,"" but
it is much more consistent with the laws
of art. It is a better and a truer piece
of drawing, both historically and. In
Hoc musically. "Elektra" has by no
rnfan the inspiration In It which ac
tuated Strauss in the creation of "Sa
lome" in which there ,are true flights of
.niritualltv.. and the musical line is more
lnirlral However, as in the case of all
revolutionists, we of the present genera
firm are at too close a range to be able
to -judge with calm, critical poise. Wa
TniiKt. therefore, base comparisons on
something more tangible than Strauss'
privilege of departing from accepted, or
what we noid as reasonaoie. iorms.
The first criticism to be made against
"Elektra" Is the wide departure from
any vestige of the Greek spirit. There
is absolutely no point upon which the
Dr. W. A. Wise, 23 -Years a Leader in Painless Dental Work in Portland
PERFECT PLATES OR ARTIFICIAL TEETH
. When yon need a plate, you need it badly, and you need the best possible material and fit. Loose-fitting,
carelessly-made plates are most annoying, not only distorting the features, but not chewing your food
properly. Dr. W. A. Wise gives this branch of the profession his personal attentiou, and it. goes without
saying that when a plate leaves this office it is perfect. We remove any number of decayed stumps or
teeth without causing the slightest pain, and if you secure ft Wise plate you will be more than satisfied
you will be delighted. Ask anybody that wears one of our plates.
GUARANTEE MEANS ALL IT SAYS
The Wise Dental Co. is an Orejcon corporation, rnpltallxed at 950,000. dolnic business strictly on bnslnena
prlnrlplrs and according: to law. With thla financial responsibility backtna- our smarantcc. we must do Rood
work, and our arnarantee la aa good aa a bond. The Incorporation ansnrca you that the Wise Dental Co. la
a perpetual Institution and that they will be here to do your work at any time In the future, Just aa today.
We keep a atrlct record of all our work and by whom done. These recorda can always be referred to by
any one Interested at any time, now or In the future.
Our aim is to make the company perpetual, and those bavins; a guarantee from thla concern can ha-re the
assurance that It will be made good at any time.
W1CE nEWTAI
IflOEi liCniAL
dodges any social adulation. He knows
little English, but has a funny fad for
mastering the words of slangy English
songs of the kind George Cohan writes,
and it is funny to hear him while stand
ing In the wings waiting for the cue that
will take him into tome tragic situation,
humming over to himself the foolish
words of some idiotic song.
"Renaud is a great student, and is
profoundly silent back of the stage, giv
student of Greek drama and the creator
either of the book or of the music of
"Elektra"' can come together. It is as
untrue psychologically as it is historical
ly, and it must be said again, as was
written In these columns vafter the first
production, it is pre-eminently the hy
steria of the present day, and Mme.
Mazarin Is peculiarly adapted to heighten
this feature.
The keynote of "Elektra" as conceived
by Strauss is revenge and based upon
this, both he and his interpreter run the
gamut. The keynote of the Greek trag
edy Is the creed which throws upon the
woman the duty of avenging the wrong
dono herj father. The avenger Is a much
greater character than the revenger. He
or she lives on a higher plane and the
emotions Involved are of a totally differ
ent nature, although there may be no
difference of intensity. The last mo
ments of the work, the great climax
might, under given circumstances, are
the same, because in the end the mad
ness would no doubt have come about
through an obsession for avenge just as It
would from obsession for revenge.
Whether regarded from the history
leal side or from the psychological,
"Salome" is absolutely consistent and
belongs in the era into which it is
set. True, throughout. It is a study
of passion, from that of religion ex
emplified by Jokanaan to that of the
utmost degeneracy of Herold and es
pecially of Salome, but it Is the pas
sion inherent to each type and the psy
chology of ' the character is of the pe
riod and type which In Itself raises
It far beyond the level of the later
work.
Again Mary Garden revealed the ex
traordinary qualities which have made
of her a singing actress second to
none in the world, unique In most of
the elements which make for the great
est possible art. She brings into her
characterization a tremendous intelli
gence, which never ceases to dominate.
Her drawing of Salome is perhaps the
most extraordinary thing that she
does, because she succeeds in keeping
out of It the sensual element.
Tschalkowsky was heard for ' the
first time as composer of opera Sat
urday afternoon at the Metropolitan,
when hia. "Pique Dame" of "Queen of
Spades" was given' for the first time
in America. The opera suffers in com
parison with the modern works from
the fact that although it is only now
presented here. It was written a great
many years ago, and while it is more
modern than many others of that pe
riod. It still has not the elements which
even he would have put Into it had
it been written today. Tschalkowsky.
of all modern composers, had within
himself the qualities to make great
successes in opera, and we can but re
gret that he did not live in the period
which would have made him the most
valuable to the present day. There Is
6
PA Fa'iling Bldg., Third
tU., Hie. Oregon. Office
ing his whole mind to his work, and talk
ing little. Sammarco is somewhat simi
lar, though a little more sociable than,
the French baritone.
"iAbia, though a countesa by birth.
Is Jolly and unaffected.
"Flancon has the habit of most bassos
of going about the scenes trying his
voice in sonorous notes.
"The real singer you never can know
unless you get back of the scenes."
much beauty throughout the score,
and as a picture of Russia and its life
we have never had a similar oppor
tunity to behold it. The scene is laid
in a famous Summer garden in St.
Petersbug, where crowds of children
play and where the elegant society
of the capital meets. A group of
officers of the Imperial Guards dis
cuss their experiences at the gambling
table. Herman, a dashing, but poor
young officer, tells his comrades about
his hopeless loe. Prince Feletzky,
one of the most prominent noblemen.
Informs his friend of his betrothal to
the charming Countess Liza, Errand
daughter of the old Countess, nick
named "Queen of Spades," who, In her
youth, had sold herself to a famous
magician, who. In exchange, revealed
to her three cards always sure to
win.
The young Countess happens to be
the one whom Herman loves and he
sees only his poverty, which makes
the union impossible. His friends, in
fun, urge him to make the old Countess
give up her secret. Herman, who de
cides to commit suicide, still desires
to see Lisa once again, and after her
companions have left her, he comes
through the open window. The old
Countess, who has a heard a suspi
cious noise, comes upon them, but not
before Lisa has had time to hide him
in her own room. After she leaves
there is a confession between the two.
but at tile sight of the old Countess
Herman is reminded of the secret of
the three cards. After a brilliant
masked ball scene Herman decides
that he must have the secret. He vis-
Its the bedroom of the old woman at
night with the Intention of wresting
it from her. She is so old and so weak
that upon the sight of him she dies
of fright. Lisa now believes that it
was his love of gambling which
brought Herman to the palace and
she believes him to be the murderer
of her grandmother. She turns him
away, but later writes to him, beg
glng his forgiveness and requesting
him to meet her at the quay of Neva
that night.
Herman is much moved by this letter
and falls asleep. He Is awakened by a
loud knocking. The wind blows open the
window and extinguishes the candle as
the ghost of the countess enters to reveal
him the three mysterious cards. The
ghost disappears aAd Herman, overjoyed.
prepares to go at once to try his luck
at the green table. In a dark corner Lisa
la waiting for Herman, at midnight. He
does not come and she is now convinced
of his guilt. At last he appears and all
is forgotten. 'He Is blameless and she
throws herself in him arms, craving his
pardon, lie then asks her to go to the
gambling-room with him and she clearly
sees .that he is mad as he relates of
the visit of the countess and her dis
closure of the secret. Lisa tries to win
Slim away from bis madness, and as he
and Washington Sis., Portland,
Honrs: ilEt
repulses her she throws herself into the
river. In the last act his madness de
velops and as the prince enters the fash
ionable gam ing-parlor he becomes seized
with remorse. The ghost of the old
countess appears and he kills himself.
...
The new play of the week is Mattia
Williams' latest by Gustav Kadelburg, a
German who has written many plays that
have been succasses abroad. The title for
American purposes is "The Girl Ho
Couldn't Leave Behind Him." Miss Wil
liams' role Is that of a hot-tempered
Spanish dancer who has made one of her
old lovers promise that all throughout
his life he will spend one day in each
year with her. William Collier had much
to do with the American version, also
with the staging. The plot of the play
runs:
Felix Pendleton is happily married to
sweet young wife,. Tilly, but somewhat
harassed by an autocratic mother-in-law.
He has accompanied his father-in-law.
Mr. Dorking, to the theater, and there
has seen Lola Cornero, a Spanish dancer,
with whom he had a love affair before
his marriage. Lola has a playful habit of
naming each of her favorites "Augoos-
tus. At sight of Felix she cried. "Au-
goostus! My Augoostus!" The father-in-
law s name being Augustus, he supposed
that the dancer was smitten with him,
and he unwittingly aroused hot wrath in
his wife s bosom by talking In his sleep
that night about the beautiful Cornero.
Next morning, when the play begins,
Felix receives a telephone message from
Lola reminding him of their compact that
through all his married life he is to spend
one day in each year with her. She de
mands that he give her today. Also she
writes a note, urging her dear "Augoos
tus" to come and see her.. This letter
falling Into the hands of Mr. Dorking,
he resolves to see the dancer at once. As
an excuse for absenting himself from
home for the day. he Invents a business
trip to Schenectady, and secretly ar
ranges with Felix that the latter is really
to make the trip. Felix, seeing in it
a loophole for himself, agrees, but puis
the business oft on his friend, Arthur
Greenfield. Mrs. Dorking suspects some
mischief behind this business trip and in
sists that Augustus shall stay at home
and that Felix shall go to Schenectady.
She also arranges privately that Tilly
shall follow her husband on the next
train. Felix reluctantly sets out. but on
his way to the station he drops in at
Lola's residence just to say how-de-do
and farewell forever.
Under the influence of Lola's caresses
and the champagne with which she plies
him he forgets his good resolutions and
decides to stay the day out. In comes a
count, the latest addition to Lola's col
lection of "Augoostuses." and Felix is
compelled to flee. Augustus Dorking also
comes to call, and Is roughly handled by
the count. Next morning there are nu
merous complications in the Dorking
household, resulting from the conflicting
accounts of the trip to Schenectady.
Mother-in-law is relentless In her cross
questioning: wifle is aggrieved at Felix's
deception and shocked at meetirur Green
field, whom she had kissed in the dark
at the hotel in Schenectady, supposing
him to be her husband, and everybody Is
sadly estranged when Lola arrives, hav
ing been invited by Mrs. Dorking. Her
entrance strikes terror to the hearts of
Felix and Augustus, but eventually she
straightens out all the complications, and
does it in her own characteristic manner.
Miss Williams' supporting company in
cludes Vincent Serrano, Grace Carlyle,
Ernest Lawford, Zelda Sears, Edwin
Nicander, George Trader, Eddie Gorman.
Anita Rothe, Richard Gordon. Edgar
Franklin, Grace Johnson, William Dan
forth and George Mendum.
Ths University of Buenos Ayres has now
. 4.S64 students.