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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yal residences during her several sea-sons in opera in London. When Miss Neilsen first appeared in grandopera in her native land she was prima donnaof the San Carlo Opera Company, which hadbeen organized by Henry Russell, and gave aseries of performances in New Orleans, visit-ing other cities also, later in the season. Thiswas in 1906. She remained with the San CarloCompany during its seasons until the establish-ment of the Boston Opera, with which she sangtwo seasons. After 1911 Miss Neilsen was onlya visiting artist of the Boston Company butsang with the Metropolitan Company also. Shecreated the leading role in The Sacrifice when it was produced. Miss Neilsen has particularly distinguishedherself as a singer of Mozart. The following article appeared in the BostonTranscript, under date of February 10, 1912,describing Miss Neilsens truly Mozartian sing-ing: There is no opportunity of 6 faking inMozart; every carelessness and shoddinessyells its sin to the world and requires equal pro-
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Photograph by — matzexe — Chicago ALICE NEILSEN The Boston Opera-House 361 portions of voice, natural talent, dramatic imag-ination, every day common sense and tirelessindustry. These, but above all these, con-science, the every day variety of working con-science. Probably it is this conscience that makesMiss Alice Neilsens singing of Mozart so thor-ough and so authoritative. No amount of orig-inal talent or artistic education could have doneit alone. An aria like the Voi che sapete,from Figaro, demands too much of every-thing a singer has to be achieved by any esotericor mystic quality. In the clear light of day,alike to the intellect and to the emotions, hersinging stood the test. She had what everyMozart aria demands; first of all, pure voice;not so much natural voice or vocal bigness, butrather a high percentage of efficiency in the useof the voice one has. Then there was a clearrealization of form, of mere decorative beauty.Next a conception of this form as organic, witheach

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