Loe raamatut: «Stars of the Opera»
AN INTERVIEW WITH MARCELLA SEMBRICH
Early in the season of 1898-99 there was a performance of "Traviata" in the Metropolitan Opera-House which might be described as "an occasion of superlatives"—including the largest auditorium, the biggest audience, the finest singers.
Grand opera in itself is a culmination and combination of the greatest efforts of the greatest minds. There is, in the first place, the plot of the libretto, which in the case of "Traviata" was the masterpiece of Dumas, France's greatest dramatist—a man who labored all his life as tho achievement required only work, and who yet possessed such mental power as no amount of work could achieve.
After Dumas comes the librettist who transposed the story into suitable Italian verse to be set to music. And then we have the work, the inmost thoughts, of Giuseppe Verdi, Italy's greatest living composer. There was a day when each of these sparkling melodies that now delight the whole world was born in the soul of Verdi, and heard by him alone. But he patiently put upon paper every note that his years of study and his gifted soul impelled.
The work of the composer, the dramatist, and the librettist belongs to the past, however, and that audience of five thousand people did not bestow much thought on them. Nor did they think very often of the orchestra, composed of fifty thorough musicians, who really worked more during the performance than any of the other participants.
It may be mentioned here that in all grand operas the orchestra plays continually; it is the wall upon which the picture is hung. There may be pauses in the singing, but the conductor's baton never rests.
People seldom appreciate the vast knowledge of music and the remarkable ability in sight-reading which these orchestra players possess. Not one of them but has worked at his art from childhood; most of them play several different instruments; and they all hold as a creed that a false note is a sin, and a variation in rhythm is a fall from grace. The director is their temporary deity who commands the orchestra beneath and the stage above—a little universe of music. He holds all together and dictates the tempo, the expression, and the phrasing. His commands are for the time being immutable as the laws of nature, for any serious disobedience would cause the whole structure to fall to pieces.
The five thousand listeners gave some applause to the director after the playing of the introduction, and they gave a little more to the chorus—those earnest workers who serve grand opera as the stokers do a ship. Then the tenor received a good deal of applause—his reward for training his voice, studying music, memorizing operas, overcoming nervousness, and singing in public twenty years.
But the great applause, the "bravos," the cheering, the excitement, were reserved for the star, the soprano—Marcella Sembrich! It is always impressive to witness such a success. It is inspiring to know that one woman can so stir the hearts of the people.
Madame Sembrich's voice is as perfect a voice as the world has ever heard. Yet her greatness consists more in her art than in her voice. She has not been satisfied merely to use her gift as nature gave it, but she has acquired a mastery of tone-coloring so that every tone has a meaning of its own, and seems to express a distinct emotion. In the last act of "Traviata" the quality of her tones, always beautiful, but ever varying as her art dictates, conveys to the listener surely and truly the approach of death and the hope of heaven. This is great art indeed. No wonder the audience fairly gasps as the last sweet tone leaves the lips of the pale Violetta and soars away into infinite space.
It was the day after "Traviata," when, in response to a knock at Madame Sembrich's door in the Hotel Savoy, a mellow voice said, "Come in."
On my obeying this summons, the singer was "discovered"—as the librettos have it—standing near her grand piano, alone, and as unostentatious as your own sister.
There was no effect of the impressive prima donna, all flowers and frills and frou-frou. She was quite alone, just as lesser mortals sometimes are; and she furthermore spared her visitor from any sense of interrupted work, or great haste, or the magnitude of the occasion.
She was just a courteous, quiet lady who seated herself beside the visitor and talked earnestly about music and work.
When asked how early she began to study the art seriously, she replied: "When I was six years old. My father taught me the piano until I was ten. He was a very gifted man. Then I also studied for a while with Dr. Stengel, who is now my husband, and with Epstein in Vienna."
On learning that her visitor was acquainted with Vienna, Madame Sembrich's face lighted up (she has a radiant smile): "Ach! then you speak German?" And from this point she talked altogether in German, which is more akin to her native Polish.
She is fluent, however, in all the continental languages. "We have to know them all, for we need them constantly," she explained. In reply to other questions, the singer told enthusiastically of her early work.
"I can not say I was ever discouraged, for I so enjoyed my art that it was always of absorbing interest; but my whole life has been made up of hard work, always work. I also studied the violin and composition, and I used to rise early and go to bed late, for I worked six and seven hours a day."
Madame Sembrich is one of the most thorough, all-round musicians on the lyric stage to-day, for she is not only a singer, but has played successfully in public on piano and violin. Her rare gift of voice was not discovered until she was seventeen. Then her great knowledge of music enabled her quickly to develop the voice, and it was not long before she appeared in opera and made her first great success in London. When asked if she was ever nervous, the answer came promptly:
"Oh, yes, very nervous! Now I am always nervous. But in the early days it was not so bad. When you are young and have a beautiful voice, you think it is all that is necessary, and are not nervous, because you do not realize the depth and extent of art. But as you grow older you appreciate the possibilities of art—you know what it implies, and how perfect you wish to make it; and then you are nervous. It is more nervous work, too, for such artists as Madame Patti, Madame Melba, or myself, who travel about and sing first in one place and then in another, because each time we have to win our audience and make a new conquest. In Europe, at the great opera-houses such as are in Vienna or Berlin, it is different, for there the singers are engaged permanently. The public knows how well they can do, and if sometimes they are not at their best, they know the public will excuse them. I find I am more nervous, too, as my reputation increases, for more is expected of me."
Referring again to her studies, Madame Sembrich counted over thirty-seven full operas that she has learned. It is well to consider for a moment what this implies. Aside from the native gifts of voice, musical talent, and dramatic temperament, there must be years of practise in singing and acting; then the words of each opera must be memorized, sometimes in three languages. After studying, originating, and mastering the action, the music must be learned, and every word wedded to a certain tone, and every tone to a certain beat of time. Herein the actress has but a slight task compared to the opera singer, for in the drama it matters not if a word comes a moment sooner or later; but in grand opera a second's deviation might cause a discord.
Madame Sembrich delights in the opera "Traviata" because of its intense action.
"But I like, too, the lighter operas. The merriment of 'Rosina' amuses me as I act it."
One more question was asked as her visitor arose to go.
"Is it true, Madame Sembrich, that you walk two hours every day?"
"Yes," she answered good-humoredly. "I had just returned to-day when you came. I started at eleven and got home at one."
Regular and rigorous in her daily life even yet! Upon meeting Madame Sembrich, one receives an impression of graciousness and greatness not to be forgotten.
"Semiramide"
All great prima donnas have in their repertoire the majority of famous operas, but through fitness of physique or temperament or quality of voice they become associated with certain rôles more than others. Sometimes it is merely a caprice of the public that holds them to a particular line of operas. At present Madame Sembrich is regarded as the great exponent of the old Italian school. Among her thirty-seven operas "Semiramide" is one in which New Yorkers have not yet heard her; but it is in some respects the most typical of its kind.
"Semiramide" belongs to the old style of Italian operas. It is light in substance, but glistening with scales and cadenzas that are scattered over it like spangles upon tulle. Rossini's music is always beautiful but conveys little meaning, and it impresses the modern musical taste like a meal of bonbons. Although Semiramis lived hundreds of years before the Christian era, we listen in vain for any ancient atmosphere to the composition or for the "melodrame tragico," as designated by the libretto. This music would be as suitable to the "Barber of Seville" as to the "Queen of Babylon." In other words, the old operas were a series of separate songs adapted to a connected story, whereas we now expect the score so thoroughly to embody the text that the two are inseparable.
"Semiramide," however, bears several claims to distinction that prevent the possibility of extinction. It is the opera par excellence of duets. They are the delightful, old-fashioned kind, wherein the two voices are side by side, only separated by a perfect third; and when the conductor has whipped up a good tempo away they go like a span of horses, over hills and valleys of scales and arpeggios, bridged-over intervals, and clumps of trills. Differing from all other operas, this one gives as much prominence to the contralto as to the soprano. They must have equal facility of execution; and, indeed, none of the rôles are exempt from this demand. Tenor, contralto, baritone, and bass vie with each other in performing dangerous feats of vocal agility. There are passages where they all, one after another, run up a scale and land on a certain note, like athletes jumping from a spring-board. We smile at such display, and are inclined to regard the opera as one big solfeggio; but let it not be forgotten that this is the old Italian style, and interesting from this point of view.
Another claim to lasting fame is its overture—one of the prettiest, happiest, showiest orchestral compositions extant. It is a stock program piece, being simple enough for any orchestra to perform and yet rousing enough always to elicit applause.
The opening scene represents a temple wherein Oroe, the chief of the Magi, is discovered kneeling before an altar. He has received a celestial revelation of some dark crime that is awaiting vengeance, and his first short recitative refers to this secret. Arising from his knees, Oroe orders the gates of the temple to be opened. The Assyrian multitude enter bearing offerings and garlands, while they sing a light melody that would do for a modern topical song. Idrenus, an Indian prince, also comes in with his attendants, bearing incense and offerings. He is the tenor, but unimportant, because this opera has no love-scene, and consequently little use for a tenor. Assur, an Assyrian potentate, is another devout supplicant at the altar of Belus. We soon learn the occasion of these earnest efforts to propitiate the gods: Semiramis, the queen, will to-day select a successor to the late King Ninus.
A very good example of what we consider the incongruities of the old school is found in these first two arias of Idrenus and Assur. The tenor comes in alone and delivers a flourishing solo, ornate as his costume. Then Assur, the basso, makes his entrance and sings in a lower key the same remarkable pyrotechnics. This antagonizes the fundamental rule of modern opera, which requires each character to maintain a musical individuality. There is some further conversation in the form of a terzetto between Idrenus, Assur, and Oroe, and the fact is disclosed that Assur expects the queen's choice to fall on him.
Another light and bright chorus announces the entrance of Semiramis. She is represented as young and beautiful, altho she is a widow and the mother of a son who mysteriously disappeared years before the story opens. But radiant as is her appearance, Semiramis opens the ceremonies with uneasiness, for she has determined to make Arsaces the future king. He is a young army officer, and there is no just reason why he should be favored; but the queen has become enamored of him. Arsaces, however, is unconscious of her infatuation. She has summoned him to this ceremony; but he has not yet arrived, and for this reason she hesitates. In a quartet that is worked up like a rondo upon a very pleasing theme, the others urge her to begin. She reluctantly steps forward, but at her first mention of the dead king there is a flash of lightning and the sacred fires are extinguished. The people regard this as a dire omen. Oroe glances knowingly at both Semiramis and Assur as he again refers to a crime that has aroused the wrath of the gods. He orders the ceremonies to be postponed pending the arrival of a sacred oracle from Memphis. The queen and her attendants withdraw, and the temple is vacated.
The orchestra plays through several pages of sixty-fourth and thirty-second notes, after which the interesting and important Arsaces enters with two slaves who bring a casket. Arsaces is always a very youthful and impossible-looking general, in spite of his glittering cuirass, for be it known this is the contralto rôle, and, musically speaking, a very great one.
We learn from his first recitative that this casket contains precious documents and relics of the late king which have been guarded and concealed by Phradates, the supposed father of Arsaces. Phradates has recently died, and in compliance with his request Arsaces brings these treasures to the high priest. We also learn that the young general is puzzled over the queen's summons; and last, but not least, we learn that he is in love with the beautiful Princess Azema. The mere mention of her name starts him to singing a rapturous song, bubbling over with brilliant roulades. After presenting his casket to the high priest, Arsaces encounters Assur, who soon makes it known that he also loves the fair Azema. This so maddens Arsaces that he resolves at once to ask Semiramis for the hand of the princess. These rivals cordially hate each other, but Rossini inspires them to sing the same melodies, and their voices mingle in beautiful harmony of tone and rhythm.
The second rising of the curtain reveals Semiramis reclining under a bower in her palace garden. She is surrounded by maidens and slaves who sing languid, luxuriant melodies for her diversion. Rossini's style is well suited to this scene. As the arias are presented one by one, it is like unfolding the contents of an Assyrian treasure-chest full of shimmering silks and glittering jewels. Among this collection there is one gem called the "Bel Raggio," a name as famous in its way as the Koh-i-noor. This musical brilliant belongs to Queen Semiramis, who displays its scintillating beauty with evident pride. The "Bel Raggio" is one of the four great corner-stones of the bravura singer's repertoire, of which the remaining three are: "Una voce poco fa," also by Rossini; the Dinorah "Shadow Song," and Eckert's "Echo Song." When listening to "Bel Raggio" one should never try to follow the words or even wonder what she is saying. Just listen to the music. Those radiant, ravishing, intoxicating warbles and runs tell one plainly enough that she is happy, and this is sufficient.
Semiramis is awaiting Arsaces and the oracle from Memphis. The latter is received first, and bears the cheering words, "Thy peace shall be restored with the return of Arsaces." True to the nature of oracles, this one has a double meaning, and Semiramis construes it in the wrong way. When Arsaces enters there follows a bevy of famous duets. But the conversation is quite at cross purposes. Arsaces tells of a long-cherished love, which Semiramis thinks is for herself. She promises that all his hopes shall be realized, whereupon the two wander off side by side through a forest of cadences, roulades, and scales. They sometimes become separated, when the soprano pauses to run up the scale-ladder and pluck a brilliant high note, or the contralto lingers to pick up tones that are rich and full as fallen fruit; but they finally emerge together, trilling high and low like birds from a thicket.
The third scene represents a magnificent hall in the palace. There are, of course, a throne and other "properties," but most conspicuous is the tomb or mausoleum of Ninus. For a second time the Assyrian noblemen and people gather to hear the appointment of a new king. As they sing a sweeping march, Semiramis enters more gorgeously arrayed than ever. She takes her place at the throne, and with an imperious gesture commands allegiance to the king of her choice. These regal phrases contain such a prodigality of dazzling colorature that we are reminded of the far-famed hanging gardens devised by this same extravagant queen. In the matter of lavish display the music of "Semiramide" is strikingly appropriate. Assur, Arsaces, Idrenus, and Oroe vow obedience, and their hymn-like ensemble is one of the grandest themes Rossini ever composed. Like the prayer from Weber's "Freischütz," this quintet has long held a place in church choir-books, and a more religious and inspiring melody could hardly be imagined. The soprano scatters delicious appoggiaturas and cadenzas above the steady and noble ensemble like flowers upon an altar. The "Semiramide Quintet" is another one of its claims to lasting fame.
In a lighter vein is the queen's next proclamation, to the effect that the future king shall also be her husband. This arouses general surprise. But when she finally designates Arsaces, the amazement on all sides is loud. Assur demands justice from the queen, insinuating some secret compact that she dare not disregard. He is haughtily silenced by Semiramis, who at the same time bestows upon him the hand of fair Azema.
Poor Arsaces is beside himself. He tries to explain, but the queen will listen to no remonstrances. An altar is brought forward, and the priests are about to pronounce the marriage bans when a hollow, subterranean sound and distant thunder cause consternation. The people are horrified to behold the tomb of Ninus slowly open and its occupant step forth. Turning to Arsaces, the ghost bids him avenge a terrible crime: "With courage into my tomb descend; there to my ashes a victim thou shalt offer. But first obey the counsel of the priest." The ghost disappears, and the act closes with a strong chorus of dismay. Semiramis leads the singing, and for once her music has only prim quarter-notes and half-notes: her colorature is all frightened away.
The next act contains an interview between Assur and Semiramis, wherein we learn about the crime so often referred to. The late King Ninus was poisoned by Assur, who had been promised the throne. But the guilty queen has since preferred Arsaces, and this explains Assur's great anger. He threatens to kill the young favorite; but Semiramis has resumed her ostentatious manner and music, and will not heed his words.
There follows a scene in the queen's apartment. She is still striving to win Arsaces, but her overtures repel him more than ever. He has just returned from an interview with the priest. The contents of the casket have been revealed to him, and he shows Semiramis a paper proving the startling fact that Arsaces himself is her long-lost son. He has also learned that Ninus, his father, was murdered. Remorse promptly overtakes the queen. She weeps and wails in chromatics and scales that quite touch Arsaces. They sing a glorious duet that is like a benediction, so noble and pure are its harmonies. It is called "Giorno d'orrore" (day of horror). Arsaces bids his mother adieu. He is going to the tomb to avenge his father's death, tho he knows not how nor whom he shall strike. It rests with the gods to guide him; he only obeys the command. There follows another smoothly flowing duet resembling all the others in its simple structure, unmistakable rhythm, and prominent melody.
The finale of "Semiramide" has little to commend it, being absurd in action and presenting only one pleasing or noticeable theme. This is a dainty, quaint violin passage that delighted us in the overture, but which we never thought of connecting with a tragic climax. How different is this tomb music from that of Gounod's "Romeo and Juliet!" There the marvelous harmonies are like sweet dreams accompanying the sleep of death, but here we are only conscious of the "deep, damp vault, the darkness and the worm."
The chief absurdity of this scene lies in the fact that it should be too dark for the characters to see each other and yet it must be light enough for the audience to see everything. Another incongruity is the assembling of all the principals and a good-sized chorus in this tomb where we expected Arsaces alone. But it is explained that Assur heard of the hero's coming and planned to follow with the intention of killing him; Oroe heard of Assur's plan and brings an armed guard to protect Arsaces; and, finally, Semiramis follows because she is anxious about everybody and everything.
They enter at different times; grope around among tombs, and pretend not to see each other. Arsaces finally hears and recognizes the voice of Assur. He has no doubt that the gods have sent Assur to be the victim. The hero promptly stabs in the direction of the voice, but because it is so very dark he happens to kill Semiramis instead of Assur. But this mistake does not much affect either the music or the action. The final chorus of the opera is as light and bright as the first.
