The San Francisco Call. Newspaper, March 19, 1899, Page 17

©; 3 Er2) UNDAY, MARCH 19, 1899 \T THEY THINKOF AMERICA ) 7 i I was prepared for the long musical i ), LS a across the footlights in 1 wos prepared for the long musical qydiences. There is dood America just as terderly snort a space of time. raw material in the Amer- and. earnestly as in AnY o e G Ameics commerciaty, i0an audience that some other spot on the globe. Each time that I have sung here I find dqy—when good opera is that the faults of the previous year have = either become less noticeable or are en- tirely mende Four vear go, on my first visit, T was charmed. Each succeeding season showed such a marked improvement that now I am doubly charmed with America. This may not be good arithmetic, but it has the saving quality of truth. America progresses so rapldly that what we say of her to-day will to-mor- row no longer hold good. It is a won- derful sofl on which to transplant the European arts. _Fifty years hence Amer- ica will have ad ally beyond recognition. Time ha n that the danger lies not in predicting too much but in predicting too little for Ameri The striking difference in Ame FEuropean audiences is that the ladies here take more interest and are so much more appreciative than the men. I think in every branch of art in America it is the same—the ladies lead. But this is perfectly natural growth First comes the business of a natfon, then the art. American men have been too busy with affairs of state to cultivate art. While the men have been devoting them- selves to business, the ladies have had an opportunity to study the artisti As T sald before, America moves so rapidly up the scale that it is hard to place her muslcally with other nations. But I think T mdy say that the two most musical American cities in which I have adelphia. They and it s only ing love. Fidelity was foreign to her nte ture. rmen long a en g ven also for T_. Jf OW do American audiences { ompare + of other | The Ji- asked four and their r yourself and These t of the wo sed of preferring to “Aida.” 'Tis A politan to serve as a model of Ar audiences. People from every of every nationality go to make up its audiences. I never received a more delightful trib- ute than in ““Adia” last Thursday night. No ome could ask more of an audience, that small In numbers, was so great in appreciation. But of course I can mnot French place San Francisco musically 2l or two performances. Its o telligence s certalr f Melba, could MELBA ; The sowl of the one's keep= e Chalia, ing in the=plnk- of-condition. and. the soul of the wdience clasp hands 'DIENCES are very muc ‘b a part of the city same the wide.world round. street sweepindg— 3 nland’s icy mountain o S lia’s coral strands the lop into the high- ‘al intelligence. the whole world is kin. audiences are over- i | you and like your wo ay give different expry reciation. What ing of feet, ¢ of delight, ading that An artist is always in seing spoiled by their An open expression fs sometimes as necessary artist as 1s a spank- i child. In this coun- does not feel well or is » the usual note and v complain. Abroad ling would meet with mark- bis E : the American audlences just lsnght . and I am glad to say that all SR aae . amored indulgences in the world mAglo Of miNdlce ke me less painstaking and 3 and Spain are the only two coun- slity may not affect the audience of a e i ohich T oBave sue il other clime. Yet this e only in 4 pburst of av en on the age but four ars, glight degree. On the surface the child not vet had an opportunity to of the sunny skies is very different nations. But I am from the child of the porthern star. And that to be weighed musically in the same what touches one on t with Ttaly and s a suffi- not move the othef severe test broth 1 the for Americ but they are not o dem make n ¢ 1 say. For when R R B L e IR IR Y you !*'” the artist feels the silent bond of sympa- . o o - ciger her .1x~ari\-anz;\gn= and youth u find th thy. 3 sider her < you A i : but marvel at the al 5 2 Since America is first cousin to England S iy e = B audience is moved and one might pect very much the SEat. thev flack v technital FHFIE VG064 +650060+0+0400843 knows technically ~the wherefore or from American audiences. But who are A LS her it simply feels without asking cousins scarcely 1 removed? Ttaly, Knowl Am“n’}ul\,l‘rt\})(‘i"‘;:\(‘dlh:;(w\.‘x:r‘x‘::nfil;\)l' the why matters not. France, Spain, Germany and a dozen I0%the Amorioan aydlente o o vt of American audiences feel. Who shall say other countries bave a right to claim dis- ) o 3 m".hfw ,.L Py r i il G otherwise? Not one who has looked out tant relationship. For from each and Lor SI¥ UI€ 8 SUFREC SWICRATR e upon that sea of mobile listening fazes . every one ,of these places America h ¥ s Not one who has seen. them sway With sdded to heér population and to her c o common impulse toward -the singer. mopolitap, aspect. Not one who has felt thefr magnetism, s plending of races has made of the regpective places. For an audience, like thelr responsiveness, their sympath¥. Aperiean audience a thing like, yet un- g gincer that is bubbling over with mag- Not one who through the glare has ju, “every other audience in the world. yotjem ean be forgiven much. And be- atohed, eyes -soft with unahed teaTS:OF ‘mpe uite tha' sure-footed applause of the o es have N AL brimming over with laughter. . forelgn element which knows whereof it % Qay) have Mo techuls When an audlence gives an artist this ;.45 4nd the applause equally gen- (4] as well as the intuitive appreciation. ghe can ask nothing more. The American ;e pu¢'more timid from those who are rppat the American audiences are like audience does give it. The soul of the = 2_ sashork: mat - 5 5 o the o of the analéncesclgsp, | 0L 10 operaiouse those in Milan or Madrid 1 cannot say gence. The vital spark is there—without which neither singer nor audience can fill their = B singer For in Europe where every city has its Why, even the beggars go nightly to the 34 Jad e footlights Amerfea Zurop y city h: y, eve e begg: nig A e h“r.nhe:ll‘{nn: o ny Own opera-house the peopie £ miEhtly operds there, as have their fathers for Just as tenderly and earnestly as to the opera. The market woman hums generations before them. Music is bred other spot on the glot If you asked me wh as a whole are nalitles, t yuld be quite matter. But who frequ , those an air from the opera over in the bone and breathed in the air. It the urchins sing at their play is as much a part of their lives as eat- is literally : in the alr. The music ing and drinking of the streets is from some opera that has In San Francisco, more than in any caught the popular . other American city in whll"h‘l haf\': up the American 14 that the ears of the masses of such gung, T am reminded of the Latin au ol I iver !‘\“,' ‘,",'h': rf.};,,;.(;,"d countries should be attuned to good mu- epc Why, even on the streets I see s Tt I8 O e Same enthusiasm Sc is natural. Likewise a country where type consts And of course they house but ther 5 music is reserved for especial occasions vyery sympat! to me. to tnspire the artist. ‘sible for me has not the musical capacity of a more On the first night that 1 sang I saw on It would be almost tmpossible fof M6 4, iinate 1and. In Europe for a cent the faces of my audience the same ex- to place any one American ity abOVE B0 ope may hear a band beyond compare, ssion that has inspired me in Milan other as far as musically intelligent 2 and for little more money drink in the gand Madrid. That means more to me ences are concerned. . sweet sounds at the opera. than handclapping and shouts. For, as 1 said before, audiences ar® “mp. . 4 this great difference in the 7t is really hard for me to say what the her the American musical as other another ent the rESRR RS R e R A e B e T e e T e s e s S B BTl = . & very much the same the wide World .. .o the American urchin whistles American audience is—for I Keep think- round. the latest coon song—the French raga- ing of what they will be. .h : ; s d'f muffin sings an air from the opera. B striking dij- But the American people who do have GADSKI & The . % d musical advantages, who do hear opera, DE LUSSAN'S IDEA ference in American @NQ ihey make a charming audience befors / ' awdiences 18 which any artist is glad to stand. Of the European & There is no more interesting audience f Carmen that the ladies here take i the worid than the Amercan ana Character © - B t and are So rone more inspiring. For almost every S more interest an 7€ 80 @ ationality is represented and the typl- : TRl ymuch more ap 7eCiative ' cal American, with his keen understand- To begin you must know T contoet o hi ki ing, rare responsiveness and willingness Carmen a very fascinating pers L prxn-' than the men. think 11 Feam gives to the assemblage a natve she was utterly devold of any moral Brits branch of art im touch not found elsewhere. ciple, for her passlons were those of 40 every oranch San Francisco is no exception, and animal; but for all that, she was a WoC dmerica it is the SAMEe— whatever nationalities go to make up its man. which extenuanon TP LT, A ies lead. audlences, the whole s certainly delight- admit covers a‘mufl‘“\ aults, the ladies leac. ful for the artist to whose lot falls the In Carmen's caserelne, o\ ooy g OUR years l}l’o 1 first car:; :g sweet pleasure 0: n;:pgn:ing before them. sk B su’m’\g(‘st, Tt was If you (‘hn;:u Amerfca. _ When I returned 'to B A the dominant force in her existence. e Germany I had u neat little stook GHALIA : Brava for Aner- was a woman at once thorousnly fascl- . noerning : a vicked, and was e o o e brougnt wihme e ! I say. For when yow WiMS550 Ve i tormer, There was on my second trip. _ But In that oot YL gopgider her disadvan- svsoutels nothing sweet ihon (SR rica has c! relieve S as ca y S e ‘l“’r‘n’t“"l‘(“}‘“ ot e aid tages and youth You can- man sumciently wei to il :miorgr a - GG T it ! y O te Vs BT ave e sons, . On my (5 VA Mrown 1o suit 7008 but marvel at the mau- 3y ol I Sione, But Gadskl. S abElng circumstances, 8o this last tme gion ] jpntelligence Of her she was not capable of fdelity or a last- De Lussan.