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I
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'" —II; opera house at once.
'
A Musical
W onder
By WALTER L. BREWER
11 ■= = * ;
V
Ono morning when Manager Hinton
was sitting at his desk in his private
room at tlie opera house a young man
entered and said: “I am Arturlo Sta-
nelll. 1 have made some success In
Naples as a tenor and concluded to
spend a season In America before pre­
senting myself In Berlin."
“Ah. indeed!” replied the manager.
“Signor Stanelli! I have heard of your
initial success in Naples. Do you
conic to us under contract or are you
free?”
*‘l am free. 1 have not yet tiecome
sufficiently known to l>o sought after.”
Stanelli, ns yet scarcely twenty years
old, sang for the manager. Ilia voice
was a tenor, but none of ids notes were
high, and some of ills lower ones wore
almost down to baritone range. Hin­
ton seemed not quite sntlstled about
something. Presently he said:
"Ail my contracts for ttie season's
tenors are signed. If your voice was
a baritone I could use you very readi­
ly. As it Is l fear we cannot lie of use
to each other."
“Try me ns a baritone,” said the
other.
The manager smiled. “(Jive me your
address," lie said. ‘•Sometimes singers
become irritable, and brain Irritation
usually results in throat irritation. I
may have occasion to suddenly put In
H substitute ”
A week later Signor Stanelli received
a telephone me- age to va)l at the
When he was
announced he waa admitted readily,
and Hinton told him that his baritone
hud quarreled with his contralto and
refused to sing with her. “The part
runs lowr,” he udded, “only in one or
two places, and we can cut them o u t”
The new singer created a sensation.
His voice, instead of being high pitch­
ed for a baritone, was very low’. Those
[■arts which the manager had suggest­
ed cutting out were sung with vigor.
Hinton was astonished.
“How in the world did you ever get
such flexibility into your voice?" he
asked Stanelli after the opera.
Stanelli looked confused and said he
didn't know.
It was not long after this that Hin­
ton was again in trouble; this time for
a tenor. His principal man in a pre­
tended stabbing scene had really stuck
a knife into n rival for the favor of—
not a woman, hut the public. He sent
for Stanelli and asked him if he could
! get his voice up to a pitch that would
enable him to take the part. Stanelli
said that he had sung the part with­
out experiencing any trouble. He was
told to be on hand for it the same
i evening.
He made as pronounced a success as
a tenor ns he had as a baritone. Only
a portion of the audience had heard
I him in ills other role. These were
! somewhat surprised. They did not
know what to think about a man being
both tenor and baritone. The rest of
the audience supposed that Stanelli
was a regular tenor.
As for Hinton, he could not believe
his own ears. He knew very well
that the human voice has not so wide
a range ns appeared In this case, and
he believed that there was some Im­
position being practiced upon him. If
not. then Stanelli was simply such a
wonder as the world had never seen
!>efore.
Hinton’s company was in a constant
state of warfare. Oue night w’hen
Stanelli was singing a baritone part in
“II Trovatore” a quarrel occurred be­
tween the tenor and the soprano—they
were singing lovers’ parts—and the
lady slapped the tenor’s face.
He
vowed that he would not sing another
note with her, and the manager could
not move him. Turning to Stanelli,
Hinton said:
“Can you finish the part for him?”
“I think I can.”
“Well. If you can that will solve the
problem for this performance. I can
easily supply your place in the role you
have been singing.”
Stanelli went to his dressing room to
change his costume, sending his valet,
Luigi, for the dress now required.
Luigi took it to him. and in due time
Stanelli came forth robed for the trou
badour’s part.
This success in singing two different
parts, requiring a tenor and baritone
voice, further puzzled Hinton. After
the performance he called Stanelli into
Ills office and said to him:
"Stanelli. I wish your voice was on
rwo different bodies. I would like to
cast you for two parts in the same
opera.”
“That is not impossible." replied
Stanelli unconcernedly.
"Not impossible!
What do you
mean?"
“Name the parts and 1 will be on
hand in two bodies."
Then the singer told his secret to tlie
manager, and one evening tlie tenor
and baritone parts were taken by two
men who were the image of each other.
They were Arturlo and (»iovanni Sta
itelli. twin brother*. But Luigi did not
assist his master in his dn ssing room
that evening, for in* was (¡iovanni
Stanelli and had sung the baritone
parts for his brother.
o e U l w ere
the rage among mtisic lovers for the
balance of the season and the next
year made contracts which gave each
one of them a fortune. They had
adopted the plan of winning public fa­
vor singly because they would not be
separated and believed that two trying
for an introduction at the same time
would be more difficult than one.
A Sure Way.
There are several methods whereby
pickpockets may be avoided on crowd­
ed street ears, but the surest way is
to keep your money in the bank in
your wife's name.—Kansas City Star.
Concerning Dreams.
Scientists assure us that the longest
dream we ever have—even the dream
that seems to carry us on through sev­
eral days—actually occupies no more
than a single second!
Some authorities maintain that If
any one of our dreams were to last
longer than a single second we should
die. Other authorities are convinced
that we do not dream at all when we
are asleep, but only in the fraction of
time when we are (as Shakespeare lias
expressed it) “ 'twixt sleep and wak­
ing."
It is also argued that dreams are
nothing but distorted Ideas and images
passing through the drowsy mind and
being no more than extraordinary
variations of things that have happen­
ed or of things that we have thought
or read in our waking moments: they
can have no possible association with
our future. But, on the other hand,
dreams have been credited with pro­
phetic meanings since the days when
the world was young, and dream bonks
are still published and purchased and
consulted by the mil’ion