How Madams Calve Became an Operatic Star.

New Zealand Graphic, Volume XXXIII, Issue XXIV, 10 December 1904, Page 63

How Madams Calve Became an Operatic Star.

There is a strange similarity between the earliest hopes and aspirations of Madame Sarah Bernhardt and Madame

Calve, respectively the greatest tragedienne and the most popular operatic singer France has ever produced. Both were drawn towards religion during girlhood days, and both became convinced that they would And their real vocation in the Church. There was, in fact, a determination in both their hearts to live the life of a nun. But fortunately for the world of art, the natural histrionic ability of the one, and the music in the other, asserted itself before either had time or opportunity to totally immure themselves in a convent.

It was with considerable misgivings, however, that Madame Calve abandoned her idea of entering a nunnery, and went from her country home in the South of France, in order to study mu-

sic. As a matter of fact, it was neeessit; which drove her to take this step. Madame Calve’s father died when she was very young, and her mother turned to her for help. The future prima donna even in those days possessed a very good voice, and she decided on a professional career in order to support the family. But the struggle was a hard one, as Madame Calve, has often confessed. It is true that she made a very successful debut on the operatic stage as Marguerite in Gounod’s “Faust” at Brussels, in 1882, when she was but sixteen years of age. It is also true that Madame Marchesi, under whom the prima donna studied singing, prophesied a great career for the now famous artiste. But triumphs did not at first come very quickly. Perhaps the main reason for this was that in those early days, Madame Calve did not take great pains to develop her wonderful power as an actress, in addition to her musical ability. To quote the words used by the popular operatic singer during the course of an interview which she recently granted to an American journalist:

“At that time, and through long years, 1 am afraid I eared little for art. Even when in 1884 I appeared under the management of Victor Maurel at what is now the Theatre Sarah Bernhardt, in an opera called ‘AbenHamet,’ 1 fear 1 was a poor artiste. 1 acted without feeling, and I had little interest in my work. Nor did I im-

prove when I joined the company of the Opera Comique. Indeed, I might never have been worth much, but for an impulse or inspiration which led me to commit what many friends considered a proof of madness. It occurred to me one day that if ever 1 was to become a great artiste, I must go to Italy. Aly health was not good at the time, and 1 was poor —pitifully poor. But 1 determined to risk everything, for 1 am of opinion that to succeed one must dare much.

“With only 500 francs in my pocket, 1 left Paris and proceeded to Milan, where, after much hardship and many adventures, I secured an engagement. But they hissed me in Milan. Yes, and now 1 can see that they were right to hiss. For I was then a bad singer and actress. On the advice of some musicians 1 returned to France, and took lessons of Madame Laborde, who taught me much that was useful. Then 1 went back to Italy, and this time I was applauded as heartily as 1 had once been hissed.”

It was during this last visit to Italy that Aladame Calve saw Aladame Duse act, and the performance of the great Italian tragedienne made a profound impression on the singer. To revert once more to Aladame Calve’s own words:

"When 1 saw Aladame Duse act, 1 understood at last the value and sincerity of art. 1 went again to see her, in fact became her disciple, and tried to profit by her example. At first to the best of my ability 1 tried to imitate her —to put more intensity into my tones, more nature into my interpretations. What 1 learned of Duse was invaluable to me.”

Since those days Aladame Calve’s caleer has been one continuous line of successes. In view of the fact, however, that in her early days Aladame Calve was once hissed at Milan, it is interesting to recall that when in October, 1891, Alascagni’s “L’Amico Fritz” was produced at the Costanza Theatre in Rome, she was selected to create the leading soprano part in that important work.

When “Cavalleria Rusticana” was given for the first time in Paris, Madame Calve was chosen for the role of Santuzza. Later, she took the principal soprano part in the late Leo Delibes’ opera “Rassa.” Not only on the Continent, however, has Madame Calve won fame. Whenever she appears in London immense audiences pay tribute to her wonderful dramatic power and vocal ability, while her visits to America have brought her equal triumphs, as may be judged from the fact that for sixty performances in the latter country she has received as much as £ 19,000.