File:Roberto Moranzoni, by Herman Mishkin.jpg

Identifier: morechaptersofop00kreh (find matches)
Title: More chapters of opera : being historical and critical observations and records concerning the lyric drama in New York from 1908 to 1918
Year: 1919 (1910s)
Authors: Krehbiel, Henry Edward, 1854-1923
Subjects: Opera
Publisher: New York : H. Holt and company
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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of unfitness for judgment who placed the two singerson a plane—unfitness by reason of ignorance of what Mme.Pattis voice and art had been and want of knowledgeconcerning the art of vocalization itself. Mme. Galli-Curci is a delightful singer, with so beautiful a naturalvoice and such exquisite skill that she deserves high ad-miration despite a woeful blemish in her art which obtrudeditself in nearly every one of her performances. Thisblemish, that of incorrect intonation (she generally sangflat in the early part of every one of her performances),seems to be due to imperfect training rather than faultyinstinct, but that fact neither banished nor excused it.More than that, she had had several peers as a lyric artistwithin the memory of persons whose experience is meas-ured by the span of history covered by the MetropolitanOpera House, while Mme. Patti has had none. Nilsson,Gerster, Sembrich, Melba—were they to be forgotten be-cause rivalry had broken out between the Metropolitan and
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Roberto MoranzontConductor at the Metropolitan Opera House NEW SINGERS AT THE METROPOLITAN 397 Chicago companies? That seemed to be a popular atti-tude. Few names of new singers appeared in the list publishedin the prospectus of the Metropolitan Opera House of 1917-18, and of these the most were in what may be called thejunior list. The most significant were those of FlorenceEaston, John McCormack, Hypolito Lazaro, a tenor,Thomas Chalmers, a baritone who had won favorableopinion at English performances with the Century Com-pany, and Jose Mardones, a bass who came from the wreckof the Boston National Opera Company, as did the newItalian conductor, Roberto Moranzoni. Mme. Easton, ofEnglish birth and an artist of fine stature, was among thesingers of foreign birth who had acquired not only a fineroutine which stood her in good stead but also made an en-viable reputation at the Royal Opera in Berlin before thewar. She effected her debut at the Metropolitan in Caval-leria Rusticana on Dece

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