THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES GIFT OF Lillie & Doctor Henry H. Lissner Gadski The Song of the EVENING STARS BY ANNA MATHEWSON WITH ILLUSTRATIONS BY ENRICO CARUSO BOSTON RICHARD G. BADGER THE GORHAM PRESS Copyright, 1911, by Richard G. Badger All Rights Reserved ACKNOWLEDGMENTS The Caricatures by ENRICO CARUSO are re- produced through the courtesy of Marziale Sisca, publisher of LA FOLLIA DI NEW YORK. Permission is granted the author to reprint the fol- lowing verse: Mysteries of the Music-Dramas, from THE CEN- TURY MAGAZINE. Grand Opera of the Future, from LIFE. Irene's Infatuation, from MUNSEY'S MAGA- ZINE. What She Missed, from LIPPINCOTTS MAG- AZINE. In and Out, from THE THEATRE MAGA- ZINE. Points of View, from PUCK. THE GORHAM PRESS, BOSTON, U. S. A. CONTENTS PAGE Points of View 1 1 Mysteries of the Music-Dramas 1 6 The Snow-man of the Sierras 17 Seclusion 1 8 Who? 21 Opinions, Ready-to-Air 22 Not in Harmony 23 Grand Opera of the Future 21 "None Like Her None!" 26 A Two-Gifted Artist 29 A Confusion of Tongues 30 How to Tell Puccini's Music 31 A False Step 32 A Juvenile Critic 33 Closely Connected 34 Pelleas et Melisande 35 Slightly Mixed 36 A Parisian Garden 37 Louise and II Trovatore 38 Why We Go 42 A Bad Beginning 43 5 830351 CONTENTS PAGE A Good Ending 45 Extreme Measures 46 The Coachman and Die Walkure 49 What She Missed 51 In and Out 52 Goosery 53 Oh Yes! 54 The Unaspirating Usher 57 Arturo Toscanini 58 Cleofonte Campanini 59 Lime-light Limericks A Word of Warning 62 Bella Alten 63 Alessandro Bonci 64 Enrico Caruso 67 Lina Cavalieri 68 Emmy Destinn 69 Dufranne, Dalmores, Didur 70 Mary Garden 73 Louise Homer 74 Riccardo Martin 75 Nellie Melba 76 Lillian Nordica 79 6 CONTENTS PAGE Maurice Renaud 80 Sammarco, Amato, Scotti 83 Luisa Tetrazzini 84 Reminiscent Rhymes Oscar Hammerstein 89 The Hat That Never Comes Off 90 To Marcella Sembrich 93 Exit Emma Eames 94 As to Salome 95 The Conduct of a Conductor 96 Gatti-Casazza and Dippel 99 Frenzied Figures 100 Irene's Infatuation 101 Painful Possibilities 102 Apropos of Two Sopranos 105 Geraldine Farrar 106 Olive Fremstad 107 A Postscript to You 108 ILLUSTRATIONS PAGE Gadski Frontispiece Tetrazzini 19 Caruso 27 Bond 39 Farrar 47 Toscanini 55 Campanini 65 Didur 71 Martin 77 Scotti 81 Sammarco 85 Oscar Hammerstein 91 Gatti-Casazza 97 Slezak 103 POINTS OF VIEW The programme was Haensel und Gretel With / Pagliacci to end ; The singers were all in fine fettle, And everything seemed to transcend ; But the comments of people attending Were varied as varied could be, Were disdainful, uncertain, commending But, stay! let us quote two or three: II Miss Klurk of Brooklyn, in the Family Circle Why, Mame, you here? Oh, ain't it great? We got in half an hour late, The subway slipped a trolley. Say, ain't Caruso just immense? My waist looks just like thirty cents; It does don't try to jolly! Do see the di'monds on her head That second box the girl in red; She isn't very pretty. Gee whizz! those dresses are a sight; Why, I could look there goes the light ! Aw, isn't that a pity? 12 Mr. Reinstone of Chicago, in the Dress Circle Well, Ikey; dere is dis to say: One wass a silly, baby play, And very liddle funny; De odder, dough, wass radder neat; And den, two operas, all complete, Is someding for de money. Mrs. John X. Miner of Montana, in the Orchestra Stalls Yes, John ; I wish these songs was sung In somethin' 'sides a forrin' tongue; We'd understand 'em better. My sakes ! that cunnin' Gretel child A-workin' nights it makes me riled ! They hadn't oughter let 'er. As soon's the second part is through, I tell you, Pa, what we can do: (I love to watch the waiters, An' rich folks gotter set the pace!) Let's try that stylish Martang place For steak an' stewed petaters. Mrs. Banquer, in her Parterre Box I drove my coach to-day 'twas fine! What's that? Afraid I must decline, The Duchess comes to dinner. There's Amy in the Golders' box; Do see her brand-new auburn locks! Why, here comes Bob you sinner! My sister's wedding? That's next week; We hardly have a chance to speak ( My husband's snore please wake him ! ) The Count is here, of course, you know; His relatives came too, and oh, I'm glad I didn't take him! Well, we must rush away; my aunts Expect us at their farewell dance. Why, thanks; just there my coat is. Our carriage number? Yes, that's right. ******** What opera did we have to-night? I didn't think to notice. MYSTERIES OF THE MUSIC-DRAMAS The Wagner Dramas are replete With things one can't explain Except as "motives" of deceit (A thought that causes pain) : Perchance the music teems with mystery To fit with their un-natural history. A swan, on nothingness afloat, Transforms into a boy; A dove propels a man and boat With perfect ease and joy; The ravens fly with bat-like quiver: And dwarfs can breathe beneath a river. A birdling with a human voice Gives very straight advice, But never flies straight on by choice When it can zigzag thrice. How queer that rainbow, steeply arching, Whereon stout vocalists go marching! But worse, when wingless horses fly; Or, puffing real hot air, A dragon winks his emerald eye, With megaphonic blare O Wagner, wondrous music-maker, Thou wert the primal nature-faker! 16 THE SNOW-MAN OF THE SIERRAS There were fire and warmth in the Bright- Yellow West, And the score had a vigor titanic; The principals sang with a passionate zest, And the miners were hotly volcanic : But the Sheriff, in temper and temperature, Was an iceberg from A unto izzard Whose air was so chilly it helped to procure The terrific and audible blizzard. When he entered the cabin that turbulent night, Why, the "cold deck" of cards grew still colder! The blanket-clad Girl was congealing with fright, So she give him a bitter cold shoulder. That was, maybe, why snow on his shoulder and hat (Which the storm had been angrily pelting), When near a hot lamp for a long time he sat, Failed to show any symptoms of melting. Though the "boys" shivered long 'neath his bleak glassy eye (Glace eye, when it turned on the hero), The frigid revenge which they took by and by Was to freeze him out, far below zero: For the lynching fell through that he wished to attend He was frostily anxious to hold one But he never thawed out from beginning to end, And the day he got left was a cold one! SECLUSION If ever a man has need to hide, There is one safe place to do it Just one sure spot in a world so wide, If the fugitive only knew it. The person who dwells in a hermit's den Is observed by the summer boarders; The story gets into the papers then And his anchorite plan disorders. The sinner who sails to a tropic clime, With a hoard of embezzled money, Soon learns he can spend neither cash nor time In ways that are one bit funny. He might have remained in gay New York Undisturbed by apprehension, To laugh and to sing and to shout and to talk, Yet never attract attention: The only secluded place to stay Exhibits itself before us, But nobody ever looks that way The masculine opera chorus! 18 Tetrazzini WHO? Who sit or stand 'way up above, Because "gran' o-pe-ra" they love (Yet show strange evidence thereof) ? Perhaps you guess. Who, from the instant they are in, Do agitate their lips and chin, Resulting in a verbal din? You've heard them yes? Who laugh while overtures play low, And cause the opening chorus woe By humming melodies they know? (Indeed, they do so!) Who, when He enters, clap their fill ; Then for a brief, brief time keep still; But shout, before he ends, a shrill Bravo, Cah-ROO-so? Who squirm with ecstasy when he Attacks and hits a big high D, And then let loose their howls of glee Forti f ortissimi ? Who break the opera-story's thread With wild applause at moments dread, And oft, indeed, recall the dead? Italianissimi ! 21 OPINIONS, READY-TO-AIR She goes to grand opera one night every week, So, certainly, she is entitled to speak (And she does!) with much force on that topic; She'll analyze voices and criticize themes, Just what and just why she dislikes or esteems, Down to points that are quite microscopic. She knows when an opera is due to appear (The cast in her eye and the music by ear, Whether classic or lightly romantic) ; She mentions all artists that ever have sung Impossible names smoothly roll from her tongue And their salaries, simply gigantic. But meeting her suddenly, early to-day, As down to her breakfast she wended her way By the light of electrical tapers, I cried, "Did you like the new opera last night And all the new singers?" She stammered in fright, "Don't know yet I've not read the papers!" 22 NOT IN HARMONY A prima donna, young and fair, Inspired a poet's lay; And little Cupid hurried there, Prepared to make a stay: He thought the singer would rejoice To read, "Thou hast a siren's voice." The prima donna was unlearned In legendary lore; She read that line, the rest she spurned And into fragments tore; She only knew that fiery star The siren of a motor-car! GRAND OPERA OF THE FUTURE In the good old days of opera, we are told, the singers could Gain applause by merely singing, while they posed like blocks of wood; Not for motion or emotion did their raptured hear- ers care, When the notes of lucent beauty floated on the lis- tening air. Songsters of our generation who desire to attract May be musical and comely, but, above all else, must act. Realism is demanded, situations all aflame Operatic melodrama soon may be its proper name. Once sopranos, faint or dying, gently sank on cushioned chairs, Now they stagger, plunge and gyrate headlong down a flight of stairs. Tosca's jump is fraught with peril (substitutes no more allowed) ; Siegfried's full-length, backward tumble never fails to charm the crowd; Melisande has a headache after Golaud pulls her hair; And Louise's maddened father nails her with that kitchen-chair ; All of those who fight in duels suffer now from stabs and shocks; And Brunnhilde's bucking broncho often lands her in a box! So, in time, our active artists from the footlights may be missed, With their names enrolled forever on the casualty list. Then the management will furnish acrobats and circus queens, While the prompter runs the singing on some mus- ical machines! "NONE LIKE HER NONE!" Old Tymes remarked to Nouveau Riche: "The singers now are few Who waken thrills by lovely trills, The way they used to do; The art of song is dying fast; The great bel canto days are past." Then Nouveau Riche replied in haste, For wise he'd fain appear: "Yes, yes, that's so; not one, you know, Like those we used to hear. She certainly deserves your praise None like Belle Canto, nowadays!" 26 Caruso A TWO-GIFTED ARTIST Many folks are surprised at the way That Caruso can sketch; but they say The directors foresaw Just how well he could draw He can draw a full house any day! 29 A CONFUSION OF TONGUES With Tannhaiiser almost as German as beer, It seemed, to the Teutonic herds As they flocked in to hear it, this cry sounded queer "Correct libretto of th' op'ra here, English 'n' Eyetalian words!" HOW TO TELL PUCCINI'S MUSIC With "Butterfly" as our example, Like this the formula would be: Take first, Italian style, in ample And flowing measures, sweet and free; Use many fragmentary phrases But never old-time, long-drawn airs; Now add a few Wagnerian blazes, To elevate all listening hairs; Spice well in Japanesy manner; And mix in, often as you can, A bit of bright Star-Spangled Banner ******** (If not Puccini, it's Cohan!) A FALSE STEP Mrs. Malaprop, chatting of opera to us, Made The Pipe of Desire her theme; But, as usual, she twisted the name of it thus: "That American one, The Pipe Dream!" Then she raved o'er the dance of that lithe Rus- sian girl, And we warmly agreed with her too, Till at last she exclaimed (did she mean a pas seulf) : "How I liked her faux pas; didn't you?" A JUVENILE CRITIC Oh, yes! I've been to op'ra twice. To-night I think is pretty nice; I came with darling Mother. But if they're all of 'em like these, I don't believe I'll ever tease To come and see another. I went to Mignon first; you know She's just a girl that's in a show, And don't you think it's funny? When she got mad and wouldn't dance, They never offered us a chance Of getting back our money! This Gretel is as bad as bad ; She made her mother feel so sad! But she went round a-skipping; She gobbled berries, too and got Some lovely angels, 'stead of what She should have had a whipping! CLOSELY CONNECTED The gentleman posed as a musical guide, So he gave his opinions with force: When asked "Who wrote Tosca?" he promptly re- plied, "It's by Toscanini, of course!" 34 PELLEAS ET MELISANDE Stranger rhythm, weirder notes Never came from singers' throats: In the orchestra there rise Harmonies in queer disguise: Curious chords in dismal daze Ramble through a magic maze: Semblance of a fleeting tune Lapses in a tonal swoon: Bland, majestic, rippling, mild, Eerie, mystic, morbid, wild * * " * * * * What to call it? Harken well, While the notes erratic wander: It is music all pell-mell Pell-eas et Mel-isande ! 35 SLIGHTLY MIXED Miss Azure-Bloode remarked, "This year The opera really is sublime; We were immensely pleased to hear Slezak, last night, a second time." Said Mrs. Knewly-Ritch, "Oh dear, How much you've missed in seasons past! Why, I've heard Slezak every year; It always has a splendid cast!" A PARISIAN GARDEN Mary, Mary, Lithe and airy! How does the Garden grow? With notes like bells, And style that tells, And youthfulness aglow. 37 LOUISE AND IL TROVATORE or, Romance Versus Realism Louise met Manrico in stageland one day, And, waiting for no presentation, She cried, "Cher Monsieur, you are very passe! What use in the world is a troubadour, pray? A quite out of date occupation! "Mes yeux! you're a sight in your doublet and hose, That plume on your chapeau looks tipsy. A musical tramp is an imbecile pose ; You might have a home and live well, if you chose. (A has your demented old gypsy!) "You scrimmage with swords your idea of ro- mance A foolish and risky proceeding! Your lady-love, meanwhile, despairingly chants Or, sighing and sobbing, falls into a trance Mon Dieu, what a life you are leading!" Manrico replied to the lively Louise: "Avaunt, thou impertinent huzzy! Arrayed in a shirt-waist, a hat like a cheese, A stiff, ugly collar and, worse than all these, A pompadour, ratted and fuzzy! Bond "I tell thee no audience ever could care For seeing old women make gruel, For polishing kettles or mending a tear, Or righting with swords? Nay; an old kitchen- chair! Such murder of Art is too cruel. "And nobody died in thy weak little play," His tone grew so tragic it thrilled her. "To poison, starvation and axe we were prey, Completing the tale. 'Tis, methinks, the best way " ##**####* And so he impressively killed her! WHY WE GO Now, why do we go to the opera? Because We are asked to their box by the dear Dedly-Baws ; Or because To go is obeying society's laws; Or because It is needful to see if they wear spangled gauze; Or because The gifted soprano a crowd always draws ; Or because 'Tis exciting to join in the joyful applause; Or because As critics, we're hoping to find a few flaws; Or because Let us pause, And explain it by saying we go "just because." (Yes; some go because they love opera.) 42 A BAD BEGINNING The early bird always gets something unpleasant (His breakfast, we're told, is quite likely to squirm ) , And early attendants on opera at present The truth of the opening statement confirm. You've studied the program and read the libretto; The overture starts like a soft summer breeze ; Then, pierced by a voice like the sharpest stiletto, You rise in response to a "Let us pass, please." Patrons to left of you, matrons to right of you (Passage in front and your seat on an aisle) Mussing your clothes and your hair, make a fright of you, Pushing their way with a scowl or a smile. The overture's finished, for up goes the curtain (As seen o'er the heads of the incoming throng) ; You snatch a brief glimpse of the stage, but it's certain That little you'll hear of the opening song. "Celeste Aida " Oh, can't they keep quiet? (The tenor who sings is the greatest of great.) But the racket goes on like a Donnybrook riot Why, why should you suffer because they come late? "Celeste Ah-ee " "You have taken my seat, madam." 43 "Haven't!" "You have!" "Put him out, usher, please!" "Third to the left, sir." "You're right on my feet, madam." "There goes my hat!" "Hush, hush, hush!" "Did you sneeze?" Early birds certainly do get the worst of it: Still, as result of their agonized words, Changes may come so they'll yet hear the first of it Then there'll be warbling from these surly birds ! 44 A GOOD ENDING The opera was concluding with a weird poetic thrill, The audience intent, entranced sat absolutely still ; No sound to break illusion, save the falling of a tear. "Is this New York?" I marvelled, "And, if so, what is the year?" For memory flashed a search-light, and with horror I could see A panoramic vision of the way it used to be: Twenty minutes before the end, Suburb-dwellers their way would wend ; Jerseyites were the first to stamp Over our toes with ruthless tramp; Fifteen minutes Long Islanders went, Falling down steps in their mad descent; Ten minutes Harlemites having mishaps, Losing their overshoes, purses and wraps; Five Brooklyn Bridgers were off with a rush, While a minority feebly said, "Hush!" Two all the boxes were empty by now, So, when the singers came forward to bow, Out of the thousands now scattered abroad Thirty-three people had stayed to applaud. "That mobbish time is past," I thought. "How blissful this does seem! We're civilized " But here I woke from that too- perfect dream. 45 EXTREME MEASURES Sec; with musical emotion brimming o'er The tenor's eyes; List; with lyrical devotion do they soar The tenor's sighs; All entranced we hear them float From a highly valued throat; And we also sometimes note The tenor's size. Towering toward the scenic heaven, seven feet four Slezak the Great; While reversed to four feet seven little more Is Bond's state. Art is measured not by feet, But if these extremes should meet On the stage why, here's a treat For which we wait! Farrar THE COACHMAN AND DIE WALKURE Say, Bill ; I been to see the play They call "Gran' Op'ra Matinee;" 'Tis dagoes, mostly run it. We drive the Madam there each week, An' I been figurin' to sneak Inside; an' so I done it. "Here, Tom ;" says I, "drive round the block Whilst I go in." He didn't knock, But took the lines all aisy. It cost a dollar, jus' to stand ; An' though there was a fine big band, The chunes they played was crazy. Die Somethin' was the name; an' sure So dead a show I'd not endure, An' hope to keep on livin': The secon' act had jus' begun Now, if the rest was like that one, Them dagoes need forgivin'! First was a man wid jus' one eye (His looks would make a filly shy!) Yes; 'tis the trut' I'm tellin'. A girl was standin' overhead ; "Ho, ho, hi, ho," was all she said Ye never heard such yellin' ! 49 I couldn't laugh at suchlike stuff; But when I'd had about enough, Another girl's arrivin': Well, man; that show was purty cheap She drove a team of faked-up sheep An' had no style in drivin'! The usher says, "Ye'd better bide ; On flyin' horses soon they'll ride." I wonder did he mean it? Belike 'tis some new foreign way; I'm sorry, now, I didn't stay, Indeed, I oughter seen it. Though 'taint believable, of course, To harness wings upon a horse, It's bothered me all mornin'. If Madam gets that in her mind An airyplane-an'-horse combined, Ye'll hear me givin' warnin ! WHAT SHE MISSED The lady was superbly gowned, Her hat was in accord; Through gold lorgnette she smiled or frowned Her a's were very broad; She wore a plutocratic name, In short, a most imposing dame. Of Parsifal I chanced to talk; She waved my words aside, "I cahn't endure it in New Yawk;, I greatly miss," she cried, "The atmosphere, that all allow It has in Ober-Ammergau !" IN AND OUT He took her to the opera-house to hear a matinee; And wishing to impress her (for a wealthy maid is she), He got the most expensive seats, he bought a big bouquet, Then (he is impecunious), but fifty cents had he. However, luckily for him, she lived up Harlem way, So, therefore, they would take the Sub. and have no cab to pay. She gave him, when they started out, a violet- scented note, And as they hurried to the train he mailed it in a box. He talked with grandeur while they rode; he told an anecdote, Quite casually, about his large investments in good stocks; He mentioned family estates, without a trace of guile, The charming girl attending with a most receptive smile. They entered when orchestral airs had just com- menced to float, But joy is brief! that festive youth received some sudden shocks; He could not gain admittance with a violet-scented note His envelope of tickets? In the Harlem letter- box! No sequel hangs upon these lines, they end as they begin: He took her to the opera-house he did not take her in! 52 This damsel fashioned like a lithesome eel, With humpy puffs upon her bandaged head, And skirts bound tightly just above her heel To mark the mincing tread Displayed between the acts when, with a smile, She waggles up and down the lengthy aisle For Konigskinder does she care a crumb? Nay, nay; for conversation she has come. Although the winsome Goose-girl tends her pets, Although the lovely notes arise and sink, This giggling, gaggling damsel's voice upsets The art of Humperdinck ; Until we wish, in helpless, seething rage, That geese were not allowed, save on the stage, Or, since her manners are so much amiss, The well-trained flock might look her way and hiss ! 53 OH YES! "Oh no! we never mention him, His name is never heard Old Song The operatic legion Has a singer from Algiers, And the listeners are delighted Every time that he appears; But, attempting to commend him, They discover with dismay That he has a name unusual, Which they dare not try to say They feel embarrassed, even silly, When tackling "D-i-n-h Gilly." We resolved to praise his singing, His enunciation fine, And his profile, a la Dante, Or his feet of shapely line; So we sought for information From a Personage-Who-Knows, On whose French-Algerian knowledge We could tranquilly repose We grasped the syllables so eely, And now serenely say "Daahn Zheely!" 54 Toscanini THE UNASPIRATING USHER The usher is a mystic combination: At times, despotic as a Czar of Russia, On ladies' hats he shows determination To (verbally) sit down and be a crusher; But never checks disturbing conversation Among the type described as "giddy gusher;" 'Tis then we wish he felt an aspiration To add an aspirate, and be a husher! 57 ARTURO TOSCANINI He leads, without a sign of score, The Gotterdammerung; And brings out beauties heretofore Unknown, unheard, unsung, From blitheful songs to lyric sermons He beats the Dutch that is, the Germans! CLEOFONTE CAMPANINI Campanini what is he? Surely not a mortal man; Busy bees could blush to see How he works : what is his plan ? Answer: Well, we have a notion That he is Perpetual Motion. 59 LIME-LIGHT LIMERICKS A WORD OF WARNING "These Limericks" (perchance you'll say, Dear reader, in your haste) "Should not have been arranged this way, In order so misplaced!" But pause, before you grow frenetic, And note, the plan is alphabetic. 62 BELLA ALTEN Of ALTEN, so childlike and gay, "Alten Bella" we never shall say; For she'll always be young, From her toes to her tongue, In a mettlesome Gretelsome way! ALESSANDRO BONCI Bonny BONCI (a vocal first-rater Who was recognized sooner than later) Comes short, in one sense, But his voice is "immense," For its beauty grows greater and greater. His style, in a way, is colossal; His tones are as true as a throstle, Which, though not a large bird, Always makes itself heard; In short, he's bel canto's apostle. 64 Campanini ENRICO CARUSO Who sails the high C's like CARUSO? That musical Robinson Crusoe, Remote and alone In a class of his own, Since no other tenor can do so. To proverbs we oft are beholden ; "Silver speech" was a favorite olden, But no longer true so Concerning CARUSO, Whose voice, not his silence, is golden. LINA CAVALIERI If LINA should ever be leaner, Our eyesight would have to grow keener ; She is beautiful yes; But if "beautifully less," We might not be sure we had seen her. 68 EMMY DESTINN Her singing wins deep admiration; Her acting, an equal ovation. DESTINN come, year by year, Till this land shall appear To be, some day, your sole Destin-nation ! HECTOR CHARLES DUFRANNE DALMORES DUFRANNE rises far from the level; And in DALMORES' art all must revel; While of DIDUR they say (In a flattering way), As Mephisto he acts like the devil! 70 Didur MARY GARDEN The GARDEN in beauty upspringing, Whose name through the world now is ringing, Shows a consummate art In creating a part; But is fonder of speaking than singing. 73 LOUISE HOMER A Homer was loved by the Greeks (Same 'Omer of whom Kipling speaks) ; With Persians a claim Has Omar to fame; And for Homer the eagle now shrieks. This HOMER, sweet HOMER of ours Mid contraltos a great "Singer" towers; For she looms up apart In her musical art And highly dramatical powers. 74 RICCARDO MARTIN MARTIN'S exquisite voice is exact; His appearance is apt to attract; And, of course, growing older, His genius won't smolder But burst into blaze, so he'll act. This son of "Kaintuck" has been plucky (Which is very much better than lucky) ; We suppose he's from Breathitt Because, sure as death, it Sounds right for a voice from Kentucky! 75 NELLIE MELBA The title that seems to belong To MELBA is Empress of Song: Her voice high or low, Or where else it may go, Has never been heard to go wrong. Martin LILLIAN NORDICA When NORDICA goes from the stage Her adorers their grief may assuage, For the plan is adroit In her Yankee Baireuth She can still tread the boards for an age. 79 MAURICE RENAUD RENAUD is an artist who'll paint Any portrait romantic or quaint; If he tried to do so He could be the whole show, With a range up from sinner to saint. 80 Scotti MARIO PASQUALE ANTONIO SAMMARCO AMATO SCOTTI SAMMARCp, AMATO and SCOTTI: Enough to drive any one dotty Three baritone graces, All fit for first places! (Let's dodge a description so knotty.) LUISA TETRAZZINI TETRAZZINI the world has astounded, Wherever her high notes have sounded: Her feet and her smile All her hearers beguile, Even while they confess she's well rounded! Sammarco REMINISCENT RHYMES Unless you love the "good old times'' (From two to ten years back they're dated), Skip past these Reminiscent Rhymes, Which, more or less, are antiquated; Not prizable antiques but yet They claim a place, "lest we forget." 88 OSCAR HAMMERSTEIN O-nly natural, perhaps, for him to like sensations, H-is initials, even, take the form of exclamations OH! HO!! THE HAT THAT NEVER COMES OFF Upon the brow of Hammerstein (Where laurels, too, are twining) By day, by night, a hat doth shine, Whose wearer can no time assign To slumbering or dining. No wonder that it brightly beams: Beneath it he is mapping A swirl of brilliant, novel schemes, And thoughts like incandescent gleams Electrical are snapping. Since man and hat achieve their aim Of never being sat on, Why not perpetuate their fame And, more appropriately, name That opera-house Man-hat-on ? 90 Oscar Hammerstein TO MARCELLA SEMBRICH Blithe sovereign: reigning alone In a kingdom completely your own, When you took off the crown And the scepter laid down What a queen of all hearts left the throne! 93 EXIT EMMA EAMES Among the most lustrous of names Shone that of our elegant Eames; Though some said, "How droll! She enacts every role With the pomp of Colonial Dames." 94 AS TO SALOME While controversial breezes blow From every point of compass, And streams of fresh opinion grow To seas of rage and rumpus Thus advertised, her worth enhancing, Salome, everywhere, is dancing. But leaving out each pro and con (Con-tempt or pro-testations) , A fact remains that bears upon The gayety of nations, The dictionary's name division Presents Salome's definition. One would suppose the name might mean A something weird (or Wilde), Adapted to an Eastern scene The opposite of mild; But, though of frenzy and decease full. Salome is defined as "peaceful"! 95 THE CONDUCT OF A CONDUCTOR The Hertz that once in opera's halls An orchestra misled Whose violins raised caterwauls And horns could raise the dead Allowed no singer of those days Above the din to soar Unless they chose to chant their lays With yell and shriek and roar. But, all at once, the scene grew bright! No more the racket swells; We hear distinctly and aright The tale the music tells. The leader now has changed his aim ; Sweet harmonies abound, Since Mahler, "like a poultice, came, To heal the blows of sound." Gatti-Casazza GATTI-CASAZZA AND DIPPEL To join the Ananias Club Old proverbs have begun: An adage of our early youth No longer seems to tell the truth- Two Heads were worse than one! 99 FRENZIED FIGURES Vaunt not the Uncle Thomas show With twin-like Topsies, gaily prancing; Or three-ringed circus, where we go To cross our eyes with sights entrancing ; For Grandest Opera came in view With 2 Directors Count Them 2! 2 Choruses oh, count them, too! Italian one ; the other, German ; Race riots will, perhaps, ensue Or war (as once defined by Sherman) ; Their color line's not white and jet, But Teuton Latin, blonde brunette. 2 Orchestras oh, yes, indeed! And 4 Conductors now assemble: But what may furthermore succeed? A premonition makes us tremble Suppose, SUPPOSE the future brings 3 Simultaneous Nibelung Rings ! ! ! 100 IRENE'S INFATUATION Irene became a Wagnerit'e At quite a recent day; And when her fads begin their flight, She follows all the way; Just now she thinks the earth was made So Parsifal could be displayed. Irene reads volumes, by the score, That bear upon this theme; She skims through magazines galore For Parsifallian cream; The papers, too, though not for news, But pro and Con-ried interviews. Irene hears lectures, every kind With choir-boys, with scenes, With moving pictures or combined With musical machines: Consuming, hastily, the cult, Will mind-dyspepsia not result? Irene is learning, not by note, That weird and wondrous score. Sub rosa-ly, her family vote The opera is a bore ; And if announced for five more times, They'll take a trip to distant climes Irene's adorers look askance, And more remote they stand ; Except one youth, who sees the chance To win his lady's hand : She'll not refuse (he is adroit!) A wedding journey to Baireuth. 101 PAINFUL POSSIBILITIES Before the golden stars that now Illume Grand Opera's sky In reverence we humbly bow, Their fame we magnify, And (if we can pronounce the same), We speak, with bated breath, each name. But should our reverence fail apace, That man will be to blame Who in the advertising space Inserts each stellar name It fills adoring minds with dread To find De Reszke billed as "Ed." Though printer's imps they may have been Who made the error grave, Within the list we've lately seen The Bispham nicknamed "Dave!" (And if you can't believe these rhymes, You'll find it in a Tuesday Times.) So, if we have "Lou" Homer next, It would not much surprise; "Lil" Nordica might well be vexed, If such should meet her eyes; "Jo" Gadski could not make a hit, Though "Tony" Scotti seems to fit! O advertiser! prithee pause: Give "Edouard" all his meed (Though hard it is to spell), because In time this thing may lead To "Tiny" Heink and shame of shames A culmination of "Em" Eames! 102 Slezak APROPOS OF TWO SOPRANOS Fair Fremstad and Farrar comparing Would be a task, useless and daring; So let it be said That each beautiful head Its own style of laurel is wearing. 105 GERALDINE FARRAR Farrar's a flower: Freshly blooms her girlish Marguerite, A wayside daisy's timid grace, With nature's sunlight in its face, So simple and so sweet. Farrar's a flower: Mimi seems a broken fleur-de-lis; Nedda, a scarlet poppy, glows; Juliet, a velvet damask rose, Unfolds at love's decree. Farrar's a flower: Wistaria, the fragrant counterpart Of iridescent Butterfly; As fragile as a passing sigh, But twining round the heart. 106 OLIVE FREMSTAD Fremstad a flame On an altar of Art: No praise nor blame Has marred the aim To soar, apart. A marvellous glow Of variant rays; From joy to woe Great passions flow In radiant blaze. O magic fire Still upward dart! O voice like a lyre From the heavenly choir- Mount higher, yet higher On the altar of Art ! 107 A POSTSCRIPT TO YOU Kind Reader (or, / hope, Dear Friend) : If, haply, you survive To travel with me to the end And at this page arrive, I now apologize in haste For all that differed from your taste. We see, of course, with varied eyes, And when we write in jest, There's very apt to be surprise At what we have expressed; But if you print a book some day, I vow to echo all you say! 1 08 University of California SOUTHERN REGIONAL LIBRARY FACILITY 405 Hilgard Avenue, Los Angeles, CA 90024-1388 Return this material to the library from which it was borrowed. AUG 281997 fcc/hr? DUE 2 WKS FROM Wftl RECEIVED Form I THE LIBRARY UNIVERSITY OF CALIFORNIA LOS ANGELES MUSIC .IBRARY The song of the evening stars A 000135500 7 Music LIBRARY