File:Olive Fremstadt as Isolde.jpg

Identifier: grandoperasinger02lahe (find matches)
Title: The grand opera singers of to-day : an account of the leading operatic stars who have sung during recent years, together with a sketch of the chief operatic enterprises
Year: 1912 (1910s)
Authors: Lahee, Henry Charles, 1856-1953
Subjects: Singers Opera
Publisher: Boston : L. C. Page
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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tad employed her voice always with fineand knowing art and showed that volume maybe achieved without forcing, and intensity sug-gested without forgetting the grateful tenetsof bel canto. It was a glorious Briinnhilde per-formance vouchsafed our public by MadameFremstad, and the thunders of applause thatcompelled her to take dozens of curtain callsmust be regarded as only a just tribute to herimpressive singing and acting art. When Miss Fremstadt made her debut at theMetropolitan Opera-House in 1903 the follow-ing report was made: * Miss Fremstadt haseverything appertaining to voice and appear-ance in her favor, and though a tendencytowards the Teutonic stride and pose, whichBayreuth has encouraged, militate against thesweet naturalness of which the character ofSieglinde is an index, she took rank with mostof her predecessors in the part, and New Yorkhas heard the best representatives imaginablein it. At the end of the season of 1903-1904 theusual reviews were printed and the manner in
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Copyright by Mishkin Studio, New York OLIVE FREMSTADT AS ISOLDE The Metropolitan Opera-House 49 which Mr. Conried had performed the dutieswhich he had promised was held up to publicview. One of the best of these reviews waspublished in The Nation on March 17, 1904,and from this we quote, with permission, be-cause it touches upon certain questions, andconditions, which existed at that time, andwhich, to some extent, exist at the present day. In some respects the New York opera sea-son of 1903-1904 will be remembered as the mostinteresting on record, and it is to be regrettedthat it should have been marred by shortcom-ings which were the more exasperating becausethey were unexpected. When Mr. Conried suc-ceeded Mr. Grau, he recognized the fact thatthe one thing most needed at the MetropolitanOpera-House was provision for more thoroughrehearsing of the operas produced; he prom-ised a speedy reform in this respect, but it isdifficult to recall a season in which so many ofthe operas were a

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