Hall of song: The 'Met,' 1883-1966; 1918

The following program was produced for national educational radio under a grant from the National Home Library Foundation by W. B U R Boston. Boston University radio presents Hall of song the story of the Metropolitan Opera from 1893 to 1966 was the YOU'RE COOL world. Your posts are miles past indie music critic in the New York World Journal Tribune. And noton cross.

On last week's program. We heard the first part of rows upon sales recollections of our outstanding metropolitan Korea which began in 1918 and lasted until 1937. During those years Madame von Sal established herself as one of opera's greatest American prima donnas. But throughout her life on stage and off rose upon Sal was noted for something more than her vocal talents. Fred gazed bug has written the following in his book. The music goes round. There is a human side to her character which calls for special mention ones. Rosa my friend and colleague the late Trayvon Osmond Williams and I escaped from a superheated cell only in the Savile hotel in London. This was in the middle of a lavish supper party to which she had invited us while we were taking the air on the embankment. My poor friend already eld collapsed for half an hour Rosa seated at the base of Cleopatra's Needle bathed his head and sooth

him until he recovered. There was an air of tender solicitude and pity in her nursing that I shall never forget. Rosie is commonly rated as a good scout. Indeed I don't suppose she has an enemy in the world so wrote. Fred gazed burgle rose upon themselves artistically. Madame ponticello was remarkable for the variety of roles in her repertory she not only excelled in the usual Italian parts for dramatic soprano but also as such diverse characters as in all brawn in life we Margaret in a rod Dees Matilda in William Tell. And Julia in law best Allah not to mention of course her classic portrayal of Norma Strangely though one part that is hardly more than a matter of routine for Sing is a much lesser ability proved to be a problem. Let's hear about this now as Madame Ponce resumes her conversation with the producer of our series Richard Calhoun.

Now only one hundred twenty four Susan you did your first you to the man with the conducting. Oh I just love that up about it. That really gave me something to worry about. It excites me to this day and thinking about it that worried me terribly. Norma didn't but that one is that I don't know I have a complex about a certain spot in there and I think many sopranos have that if the truth will that tell you but I don't want to I don't want to bring it up right now because it might give somebody complexes that doesn't have it and I want to spare them that anguish and I do that with my singers too that I don't let them know that I worried about a particular spot but they are and I said oh you will overcome that I don't know I just forget that's just a mental block with you but all the time I had it and how but I'd never let them know I had it because that would only enhance their block and it's strange enough the norm it worried me less than every Aida. But I did many on the tours. I always open with I eat on a Monday and they had metropolitan those days. I visited the various cities like Atlanta I think I

first trip was Atlanta and we spend at least a week there and then Cleveland a week and so I was opened with Aida and they put in them in between maybe and Ath. Norma Don Carlos I recall fairly well that in Atlanta I did three in one week and we had to close with Trav Trav I thought it that became a tradition and we had always repeat them is that it means with my team now. That was a must but I didn't mind it so much on the tour but at the Met for some reason I died a million deaths as a please God they don't give me don't give me ideas. So I did maybe two or three at the most at the Metropolitan in New York in New York and I think one I did with my sister. She's saying that there is to my day and she did two or three Laro as loud as to my chick around the race she did with red brick and other singers. And what point was you or sister engaged because I don't think I'm not in the beginning she had very little help in the beginning but she did follow some years later after surgery and got there she was about

24 25 I think surfing's debut was at the Metropolitan. Well when I did the trick on it that was sort of Field's debut. That was my first account and that's when I met Jeannie. And in Italy when I was studying Jack O'Reilly Yes we were neighbors and I sang for him and I sang the Tosca for him and we had a wonderful visit together. And he said how sorry I am I'd regret that I didn't meet you sooner. Now I don't know what he meant by with tears trickling down his cheek. And I don't know whether he had in mind. That he would have written an opera for me specially especially for me if he had met me sooner. And you know he knew he was a very able man at the time. In fact he died very shortly after. And I sometimes wonder what he meant by that and we came to a conclusion that he must've meant it. Had I been younger had I met you soon I would have written an opera for you. And that was the time they didn't do it on which was the last opera he wrote.

So that's when I started the book that you call and I do remember that and I brought back a wild fox that I picked up on the beaches there and I got through the customs offices and there this thing was a peck you know he loved me but no one else could go near him and he said what's that night and I said that's all that's an Italian police dog. But I didn't bring my wife he said it looked just like a fox. This is a very rare spare specimen of an Italian priest Redfox I brought So I had to give it to the zoo in New York and it broke my heart and broke his heart too because he would not eat and died of starvation he would not eat he he missed me so it was heart rendering. I'm a great glutton for picking up wild animals. I have two squirrels back there now you'll have to I'm going to take you in to see if she's right away to a play the tickle tickle game when she comes in my hair in my pockets and we have more fun and she was a little baby with hardly any fur on it when we picked it up here and

they were in the yard and anything every stray animal I'll never forget I picked up a dog for look and kitten gone down to the Metropolitan. You see I used to walk to the Metropolitan rain snow or sleet is where the fresh air comes in. You couldn't get me to ride. No no rain snow or sleet. My galoshes and bundled up an umbrella and my chauffeur made with follow in the car WAY WAY over the West as I live down Riverside at the time and I walked from 84 straight to the Metropolitan and I picked up a little stray kitten followed me and meow meow into me and it was pathetic so just skin and bones and all colors of the rainbow and my secretary said nah don't pick that up now you can't take that I said oh I can't bear that pool of the pouring rain it was pathetic. Well I couldn't I couldn't go back to the métropole without picking up that kitten. Well I picked it up. But in the car and I took it to the performance I think it was a Norma. And got to come into my room he said what's that. And it

smelled to high heaven the poor little thing you know when I said I found it he said you're crazy you're going to breed germs around here I said No no I don't. And so I kept it he had had and had me lock him up in my little and the chamber there which I did and the after the performance I brought him home took him to the veterinarian I said X next day. Veterinarian you know they couldn't save him he was too far gone but I I can't bear to see an animal a stray animal I'll pick it up and take it home. Good thing I can't get a foot in my room because I know I'd have an elephant too. I simply love animals. We have pension for a fresher cause you some difficulties with your other callers were understood to the European colleagues. I don't know their customs are different over there they're for the fate of the night and I think it's full of evil or germs I don't know what it is but I was brought up in the country and slept with my windows open since childhood and without him I felt suffocated I felt like I was going to faint because the heat of the stage lights the spotlights the costumes and the

heat that comes from the floors in those days of the floor that wood was so hot and intense it would blow up your constant you know over your head if you didn't watch out. Well that and evaded me so I wanted my room as possible and my maid would open my window while I was on the stage. And when I come back she'd have the window closed changed costumes and she'd rub me with a little alcohol and then get into a fresh costume. So I. Had a little respite that way but when I got on that stage I know he died from the heat and the others seemed to like it for some reason or other I don't know how they could stand it but they do. They don't mind the heated throughout our talk we've been on one time or another mentioning Norma. And this of course was probably one of the greatest highlights of your whole career when you did it first in 27 I believe it was and I was 26 or 27 and I was a first time it had been done of the men for 37 years and the 73 Lululemon I guess had been the last right.

That's right. The layman was the last one and the astonishing part of it is this norm of coming into being was got days inside at the time of my audition. ROMANO Domani my coach was at the piano and among the selections I sang was the first act of the first act at a from his throat I thought him when he heard the I love girl he asked me to return with the pacha Pacha me a deal and the entire idea of cuss the diva from Norma all prepared and he said How long will it take you to learn it I said. Oh I don't know. But then when I left I wondered why the Norma. Why the Norma. Now I know what insight he had he for he foresaw a future potential in Norma. Well I guess he proved himself to be right again. I. Here.

TO is. To it. The.

Would. You. Do. It. Oh. Good. Would. You. Do it. All over the. Libs. The good. Samaritan. The.

Point. Yes. You know it took me two years just to say to sustain that and they were very clever about preparing me for this number they first gave me love astounded by spontaneity which is really one of the great classics and they thought what that would have that would be of good for runa but unbeknown to her just to give her the best Valley and then when she does that which I know she will we know she will do with great success. Then we'll gradually bring on the norm I say and do so then when they proceeded to do that he'd say I said No I don't want that.

No it would just do it as a vocally to the to the audio and certain passages as a vocal as in one day if you feel you're ready to do it you come to me and say I think I'm ready to do it but I don't want to I'm not asking you to do it but it's a wonderful vocalise they were very shrewd and smart. Did Bollywood although no good your performance was almost certainly going to be compared with Lamont and Norm not a norm I never felt of sense of competition a comparison to normal which I feel was my greatest role. No in any other role I was was I ever aware of competing because each role I performed was approached with my natural identification with the music in the score and from the text that got all these emotions and interpretation from the text as expressed through the music that would emerge. My own then would emerge my own characterisation and interpretation so I never looked at it as a competition with any singer and none of my roles in fact. We all

endeavor to do our best and each one is identified I think with our own individual characteristics and ability and talents a bit monotonous if it had the same interpretation and the same feeling I've performed at every and the same opera. To be compared with the great layman was a compliment that's true and I was terribly flattered. But the word comparison might also suggest a competition as I said before and that never entered my mind. Well of course it wasn't too long after those getting announced his retirement much to the sorrow of most people. And of course you would been associated with him for so many years what particular memories do you have about him. Well there is. Impressive memories I had but the very first one and I was one that I shall always remember as when after I have after after cruise I had

heard me sing he went directly to God because that's a saying we have found up the image of either live or Jupiter live for us to build this the you know which means we have found the voice for force of destiny and got to sit through a bit of it. Where where and when could was it told him he said. So I think you're crazy are you crazy. You want me to have your law you want me to have your lawyer nor someone who has only sung and vote vote but you know he told them and vote for us. I never opera and all the interrogation marks you know because it told him to go and hear for himself. So God he sent for me at the studio where Caruso first heard me and arranged for my sister and me to come for an audition as soon as possible. Well that was an early April 19 18 and even though I passed out before reaching the end of the audio you know I didn't get to finish the Allegro. I was almost at the end when I passed out from the excitement and I didn't have the

stamina. Even the spaghetti didn't help me those days and all this with Cardozo Martinelli Mardonius the look and many other celebrities were present. I was ushered into his room he said. I mean his office he said sign here. I said after what just happened. To which he answered. You're not singing Norma to my butt but you're going to do Leonora with Cardozo in November. And if you don't make good pointing this index finger at me got people to take the first boat back to Italy. And he moved his hands like a fish going through the water you know. But if you are a success remember this all doors will be forever open to every American artist without ever having set foot on European soil. So I felt this great responsibility. I did give him a farewell party. This was forgot because that party was given aboard the ship on which he was sailing to Italy after his retirement with his with his charming wife Rosina golly she was Do you recall she was the prima dancers. That's what you know. Yes and he married her and they were both sailing

back to retire. And this was really a sad occasion for us to think that this was the end of the god because that's an era which to me and all who were privileged to know him meant that the Dean about the impresarios was leaving us. It was almost too much to bear. And when we sang Auld Lang Syne and I loved it but choked up after the first phrase and I thought the ship was going to sink in tears and all everybody was shouting such tears. Their party ended with the guests drinking champagne from a huge loving cup which we then presented to the great man though I never again worked with him. I was privileged to meet and visit with them and my subsequent visits to Italy and they were most enjoyable. Well then it wasn't very long after the girlie farewell that you left the Metropolitan Was there any farewell dollar for that occasion. Well you know I've never participated in a farewell at the Metropolitan. Indeed I could not

even attend the Met's own farewell over the past spring. My emotional my emotional temperament is such that a flood of nostalgia results in a flood of tears farewells are too sad and I'm too sensitive even had I stayed out of the Metropolitan. I can assure you that I alone would know I was offering my last performance and my colleagues and my friends and fans would learn about it later I suppose. It may seem strange but that's the way I am and I must be honest about it. No one but you did know really you know know I did know you knew the reason for your leaving. What was really the height of your career. Well I didn't have the time when I was singing that last before I didn't know it was my last performance I had every assurance and no reason not to believe that I wasn't going to return it. The following season although I know my contract expired and I know they were prevailing upon me to sign this new contract and when I read it its contents I found that I was doing that. They wanted me to do all the things I

have been doing for years because Carmen has been such box office for two solid years that I was tired of doing the same things and I asked for one new role as the first time in my life have asked to sing anything which was new to me which is the look over her. And they said Oh no Dad Brianna hasn't made money wasn't box office twenty eight years ago even with her and no not for a company that it was and I said yes but that was 28 years ago and everything at the time was Wagner and what have you and then it was the rage in this day when I asked what it was the rage in Italy because Toscanini revived it in Italy and that's all they talked about was Adriaan who brought this thing just then back to life and I started it very carefully and with great interest because I was looking for a new out a new vehicle for the following season and that was the consensus that it suited me perfectly and with a cast like mites and

pains loco with I think there are five principles in the role that perfect and I just loved it was just I thought it would be a fine inspiration a new impetus in my. Career to go back with something new and something I enjoy doing was a great vehicle for vocal display and histrionic display. Well they turned me down they said oh no we want you to do it your ground is not theirs and I said well I'll do that and that I'll to do such and such and such if you'll give me the Adriano and I'll see him for grad school it didn't go didn't work anyway so I got so picked up the idea that I wouldn't go back. And yet they kept my name on the roster so I get all these letters from my fans but well I wondered what happened to me where she had disappeared or actually lost her voice. Well this didn't tend to raise my morale any but here I am and then a few years later I made a home recording called them heroes upon soul at home open house rather the Christmas party. And that's when I see a prevailed upon me to make some professional recordings and I said I'm not coming to New

York so we're coming down therefore you have to record you underwater. So they came down here and that's how these 1954 records came into being because I had to prove to the world that I left the metropolitan with my voice intact in fact at its peak. So that's how these records came into being. I never would have sung a farewell I promise you never I never could have opened my mouth. I want a recording of luck a layman's farewell I've got to go. I can't bear it I can't bear to watch he broke down finally on the music. Well you should see me around here when I put that on. You know. Too sentimental at the end of the 1900 season during which rose upon sale made her metropolitan debut the Chicago upper Association arrived in New York to play a short season at the old Texaco theatre. This group had been organized the previous year largely through an investment by the Howard more comics of Chicago. The appearance of this company in New York in the middle of the Metropolitan season recalled the days

when Oscar Hammerstein's Manhattan Opera Company prevented the Met from monopolizing the city's entire operatic activity. Just as was the case with the Manhattan opera the Chicago company's competitive strength rested in its repertory of new works and its roster of Singh is not appearing at the Metropolitan for a while it seemed that the 1919 season would provide even more competition for the Metropolitan. When Oscar Hammerstein was bought out by the Met in 1909 part of the agreement was a clause stating that Hammerstein was not to produce Opera in New York for 10 years. Those ten years were up in 1919 and everyone knew that the impresario was eager to return to his home base. This was not to be the case however for Oscar Hammerstein done it on August 2nd 1919 at the age of 72. His contribution to opera was to be long remembered. Though we can imagine that the officials at Broadway and 31st were not too deeply grieved by the terminations of his activities. As

it turned out however the 1919 season still found three opera companies performing in New York the first of these was one organized to restore the German repertoire which had been absent ever since the outbreak of the war. The mainstays of this German company were such notable artists as Otto Goritz Marguerite and Khalid Braun. All of whom had previously sung at the Metropolitan. The difficulties posed by this venture were summarized in the New York Sun. The fact is that people who have fought Germans do not at present like the sound of the German tongue. The extent of this dislike was clearly demonstrated by members of the American Legion who picketed the opening performance of the German company season on October 19th. As a compromise the next performance was sung in English but the whole venture finally had to be abandoned. The Chicago operas a season that began on January 6th was considerably more successful. No visiting company had ever

attempted such an extensive repertoire 32 operas in 35 days. The opening night featured Mary God and Edward Johnson George Buckley and off and Virgilio lot study in them on a day to day way and the rest of the Chicago's season offers such varied fare as lost one umbrella Hamlet Norma Falstaff and Reginald The Goldmans Rip Van Winkle. Once again the caliber of the singers on the roster could not be taken lightly. Garden and returned and with them a lot of people skipper had to do fron teetered rueful rosary and other sundry bunchy in the years that followed it became increasingly evident that the Chicago Opera was a strong competition. If for no other reason than its ability to hold such singers as gala Coachy Rai's or roof keeper and Johnson thereby delaying their appearance at the Metropolitan the

919 season was one in which the Metropolitan might well have profited from some of the talent on the contract of the Chicago Opera. There were few artists making their debuts that season and none of them achieved it. An overwhelming success. It had to be agreed that the artistic highlight of the year was the performance of the ice on November 22nd with Ponce Ellen Caruso in the leading role. Critic WJ Henderson described the characterization of a Nisa as one of Caruso's highest flights. Once again the great tenant proved himself to be the Metropolitan's greatest asset and irreplaceable talent we can easily imagine then the tremendous shock that came when in the following year it was discovered that the great Caruso would sing no more. On next week's program rows upon sale Giuseppe Bomba Scheck and Bruno Serato will tell us about the sad days during Caruso's illness and the deep sense of loss that was felt

when he died. But on a happier note we will also be talking with Nina Morgana who made her debut during that fateful season of 19 20. She too was deeply affected by the passing of Caruso who was a close friend of hers. But 9am Oregon was also looking ahead with great joy to her own metropolitan career. For now this is Milton Cross on behalf of Myles cast in The hoping that you'll join us again next week. Boston University Radio has presented Hall of song the story of the Metropolitan Opera from 1883 to 966 the

series is created and produced by Richard Calhoun a grant from the National Home Library Foundation has made possible the production of these programs for national educational radio. This is the national educational radio network.