File:Lincoln centennial number (1909) (14756068186).jpg

Identifier: lincolncentenni00newy (find matches)
Title: Lincoln centennial number
Year: 1909 (1900s)
Authors:
Subjects: Lincoln, Abraham, 1809-1865 Lincoln, Abraham, 1809-1865 Trumbull, Lyman, 1813-1896 Presidents
Publisher: New York
Contributing Library: Lincoln Financial Foundation Collection
Digitizing Sponsor: The Institute of Museum and Library Services through an Indiana State Library LSTA Grant

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t it must always be the solid founda-tion on which to build. Renaud had beenleaning more to the dramatic side of hisart, but his adviser—the man who gaveWagner to Brussels — reined him in, andsaved a great singer to the world. Nordid lie make the mistake of curbing^ Re-nauds dramatic genius; and so we havean artist who in two seasons at the Man-hattan Opera House has shown himselfequally great in musical art, rare gifts asan actor, wonderful powers of make-upand versatility. This versatility enableshim to appear true to life in such widelydiffering roles as Beckmesser, Wolfram,the Dutchman, Don Giovanni, the threein Les Contes dHoffmann, Athanael,Mc fist of vie in Berliozs Damnation ofFaust, a part which he created duringthe first of his nine Monte Carlo seasons,Rigoletto, TeJramund, Escamillo, Scar-pia, Hamlet, Fahtaff, and many more. Itis difficult to name his greatest achieve-ment, but probably most of his admirerswould choose Don Giovanni. It may surprise many of M. Renauds on
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MAURICE RENAUD 613 hearers to learn that with him in everycase music comes first. It is one of thepenalties of such dramatic greatness as his,that it sometimes makes one almost forgetthe other, still more necessary, talent of anopera-singer. He begins studying eachrole musically, as he believes that beforeanything else can be accomplished the musi-cal part must be absolutely ones own. Ifa sacrifice is necessary, I always sacrificedeclamation and gesture to the music.However, the perfection of art is the ab-solute fusion of all its elements. Themusic illuminates the text as the textexplains the music, and with hands knittogether he visualizes this relationship. Healso adds that all gesture, all expression,must come from the inner feeling, as itdoes in life, and that he never studies withthe aid of a mirror. Again returning tothe importance of the music, he mentionsthe many distinguished operatic artistswho were all great singers, adding thathe believes there has never been a reallygrea

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