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l —-Little Eight-Year-Old
Rosa Dressed Up in
Her Sunday Best.
Oo s o Tovia WP ooyt 1 Taen
The Sl(y-Roclcet ]ump of
Rosa Ponzflla. a22-Year
Old Connecticut Country
Inn-Keeper’s Daughter.. From a Cabaret Singer to a Place Beside
Caruso in the Metropolitan
Opera Stars
F' there is any one thing which we have
been taught to believe it is that the
sacred gates of the Grand Opera can
only be approached over a long, trying,
weary roa.d of years and years of patient
labor and study.
But a little Connecticut girl got there in
five months!
: We have been told how the special
®enius of great foreign music teachers,
Hke the famous Mme. Marchesi, is so vitally
mecessary to train and develop the hard
working singer, who hopes some day to
reach the stage of the great Metropolitan
Opera House.
Bui young Rosa Ponselle studied just five
monihs with a New York music teacher,
eut ont all the Mme. Marchesi-years-of
soulful-study-in-Europe idea and landed
emong the great Metropolitan stars with
out any difficulty!
Nordica, Calve, Eames, Fremstadt and
the long list of stars who served their time
under the zreat foreign teachers have told
young aspirants to follow this slow and
gainful road if they hoped for success.
tudy in Ttaly was vital. Study in Italy and
also in France was really quite necessary,
And, in fact, to the years of study in Italy
and France it was desirable to be added a
term in Berlin—yes, and London, too.
But Miss Ponselle never had time to run
over to Italy or France, and she is singing
leading parts with the great Caruso, never
theless. sShe is twenty-two years old and
the newest star of the Metropolitan Opera
House galaxy. Capricions nature appears
to have endowed this untrained, country
innkeeper's child with a voice which did
not need vears of sandpapering, polishing
and varnishing to perfect it.
A critic said “Rosa Ponselle as Leonora,
making her operatic debut, was both a
surprise and a delight. Her voice is
fresh, clear and of lovely quality. She
used it with a fine grace and effective
ness. In her Mr. Gatti has found some
thing worth whilé; and to his and her
eredit she was unheralded.”
Gatti Casazza, the manager of the Metro
politan said: “Signorina Ponselle has a
voice like Caruso’s. It is like velvet. It
fs ‘without holes. Most voices are like
& garment, thick in one place, thin in
others. Hers is strong and even.”
Hers was no one appearance success.
Rosa Ponselle’s performance was not Than
atopsis, her first effort being equaled and
surpassed by successive ones. Said an
other critic of her second performance:
“After the too numerous exhibitions of
‘shouting’ singers in the Metropolitan, it
affords inexpressible satisfaction to the
Hstener to hear so velvety and well-con
trolled a volce as Miss Ponselle used in
the way a singing voice should be. The
American soprano sang last evening with
an intelligence and an artistry that con
tirm previous estimates.”
Were you to encounter Rosa Ponselle on
the street, in a drawing room, at a
matinee, you would think: *“A good-look
ing girl in an ample way! How brilliant
her coloring! How magnificent her vital
ity!” And when she spoke yvou would
~ think: “How softly girlish is ber voice!”
From her exudes abundant strength. She
fs such a girl as one instinctively believes
is “country bred!”
Like most of the human voices in the
great aviary housed by the Metropolitan’s
square, smoke-stamed roof, Rosa Ponselle
f 8 of humble origin. Nearer the soil
greater the singing voice quality.
Caruso the great was a butcher’s boy.
He delivered steaks and at the rear doors
of Italian mansions was bullied by cooks
in the kitchens of great families. Lina
Cavalieri was a singer in cases In Rome.
Lillian Nordica stood behind a counter
and sold gloves in a Boston shop. Mar
garet Romaine sang in the streets of Lon
don to drawn crowds to the meetings held
by her father, a Mormon missionary from
Ogden, Utah. Anna (Case was a black
’f gmith’'s daughter who borrowed quarters
feom the grocer to pay for her first
gocal lessons in a New Jersey village. And
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Rosa Ponselle’s first recol
lection is of the corner
grocery, case and saloon,
kept by her father, in
Meriden, Conn.
As soon as she was able
to toddle about their small
rooms Rosa helped to
make and bake the spa
ghetti and baste the chick
ens for her father's pa
trons. She fed the hens
and ducks in the back
vard. Her first taste of
tragedy c¢ame the day
when she had to see the
most beloved of her roost
ers transformed into a
roast for the family and
the boarders.
Romance came into her
life when her beautiful
sister Carmela, four years
older, ran away from
home. Their father, though
a Neopolitan and by
natural sequence a music
lover, had forbidden his
daughters to study music.
To remove the temptation
he had furnished them a
home without a piano. The
reason for this was to his
mind a goodly one. Music,
though a beautiful art,
sprang from and wmade its
appeal to the emotions.
He agreed with the Eng
lish poet that “they are
dangerous guides, the feel
ings. I myself am not ex
empt.” Besides, girls as
beautiful as his Carmela
and as magnetic as Rosa
might follow the path of
music to the stage. And
did not all know that the
“footlights are flashes from
the devil's eves?”
The girls then were only
allowed to exercise their
voices — young, fresh,
sweet and powerful, with
the exquisite bel ecanto
quality of the Italian—in
Sunday school. There the
teachers encouraged them
to lead the singing. To
“warm” their flne voices
they sang all the way to
Sunday school. From sheer
joy they sang all the way
back. Strangers in the
town stopped to stare and
listen.
Carmela, the rebel, ran
away. She came back
now and then for a visit
to the home town. She
said she was a cabaret
singer. Rosa, with a small
sister's envy, admired
Carmela's wonderful city
clothes,
“Go to, work yourself,
kid, and earn them,” was
her practical advice.
“How?” asked her big
little sister, for even at
thirteen Rosa had ceased
to be called Rosita., It
seemed so absurd, her
father and mother said, to
call a magnificent creature
as tal]l as themselves, and
with a high chest of ten
inch expansion, their little
Rose,
“That little motion pie
ture house down the street
may want you to sing illus
trated songs,” said the
wise ome from far-away
but near New York.
“T will gee him,” sald thirteen-year-old
Rosa with the twenty-five-year-old will.
So Rosa applied for work, and the man
ager asked, “What can you sing?”
“A lot of Sunday school hymns.”
‘Let's hear you.” The big little girl
sang, “I Am So Glad That Jesus Loves
Me.”
“Another one,” demanded the manager.
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3 —When the Cabaret Craze Came Along Rosa Began to Use 4—Tbon Rosa and Her Sister Carmela Got the
That Wonderful Voice of Hers and Make a Little Money. Idea That They Could Make a Hit im
Vaudeville; and They Did.
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©) MISHKIN 4 (o
7 ~—And Five Months Later the Metropolitan Opera House Programme Announces a New Star
“Signorina Rosa Ponselle.” The Little Connecticut Girl Had Arrived in Three Quick Jumps
—Cabaret, Vaudeville, Opera! To Fulfill the Traditions of the Metropolitan She Changed Her
Name from Ponzilla to Ponselle. Note How This Photograph Reflects l:o Statuesque Pose and
Artistic Composition Which Miss Rosa Had Also Incidentally Acquired-—No Flashy Cabaret or
Vaudeville Effect Any More,
She remembered the only funeral she had
ever attended. She sang “Abide with Me.”
The manager, unashamed, wiped his eyes.
“You'll do,” he said. *“I'll give you sl6
a week, You can ging ‘Home, Sweet
Home,’ and some hymns., I'll have the
pictures ready on Saturday.”
She sang at the “movie” house for a
week, Another motion picture house,
Conyright, )918 hy Star Company
farther down the street, offered her $lB &
week, She thought of a new white plume
labeled, “price $3” she had geen in a
shop window. ‘TII come,” she said. She
had been ginging at the motion picture
house for six months and acquired a ward
robe that her sister on her next vigit
home pronounced “wonderful.”
“I've spent all my salafy on them. Buty
Great Britain Rights Reserved
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6 ~lf Cabaret Singing Was So Easy
and Their Vaudeville Hit Was So
Perfectly Simple, Maybe All This Solemn
Tradition About the Difficulties of Grand
Opera Was Bunk. Anyhow Rosa Decidea
to Put in “ler Evenings Practicing a Little
with a View to a Job Alongside Caruso
and Farrar.
somehow, they don't look like yours,” she
complained to Carmela.
A friend of the family who had listened
to the illustrated songs said: “You ought
to go over to New Haven and sing in a
cabaret.”
“No, no,” said the child with the woman’s
will, “cabarets are wicked. Besides vou
have to sing to jazz music. 1 prefer the
classical.”
“This restaurent is all right, and Jim
Malone will let you sing whatever you
wish, He caters to a good class of par
ticular patrons.”
The gir! aecomnanied the family's friend
to the New Haven restaurant. “First,
have a good dinner, then we'll talk terms,”
said the proprietor. Rosa’siliking for good
food determined her future. She signed a
contract to sing in the cabaret for three
years,
When the contract expired Carmela, the
runaway, said: “Now you are ready to
come up a step higher. Alwavsg go higher,
You are ready for vaudeville”
The new diva, waleome?! «¢ tha Metro
politan by the most diseriminating andi
ence in America, told me the rest of her
story simply in a cosy uptown apartment,
shared by her forceful sister.
“But before we could place our sister
act, which takes time, Carmela sang at
Wallick's and I at Lorber's. lLorber's, yon
know, is the restaurant on ‘Broadway.
Across the street was the Metropolitan
Opera House. Between my songs I used
to sit at a window and watch the singers
arrive. I saw Lou Tellegen help Geraldine
Farrar out of her car and bow nearly to
the step as the stage door closed behind
her. 1 saw Caruso walk down from his
rooms at the Knickerbocker Hotel. 1
watched, them with a sigh and a pain deep
in my heart,
“‘What’s the matter? sald the head
waiter to me. He had seen tears in my
eyes, I dragged my gaze from the window.
“‘Just a thought’ 1 answered. ‘1 was
thinking this 1s as near as 1 will ever
come to the Metropolitan Opera Ilonse.'
“But my big sister, Carmela, knew my
wish. Some of her friends knew of it.
They arranged to take me to a Saturday
matinee. I heard opera for the first time.
Carugo sang. And Geraldine Farrar, 1
was the last one to leave the house.
When the opera was over and the lights
had gone down and the people had gone
out 1 still sat there, held in the gpell of
the music. My sister tapped my shoulder
and laughed. ‘Come on,’ ghe said. 1 seemed
to awake from a deep, delicious gleep.
“We went into vaudevillee. We sang
four times a day. Last vear the agent re
fused to pay us more. We saved during
our two years of hard work in vaudeville,
“‘Now is the time to study,’ said Car
mela. Up to that time I had never had a
vocal lesson.
“A friend who ‘d ug sing took us to
Willlam Thoruer, tle is the well-known
5 —This Photo
graph Looks
a~ Little Sou
brettish, But
That Was As
far As Rosa
Had Gotten
Along the Road
to Fame nd
Dignity At 'F\ifi
Period.
cewunus waw wsogverea Anna IFtziua wnen
she was Anna Fitzhugh, of musical comedy.
They =ay he persuaded Campanini to give
Galli Curci her chance with the Chicago
Opera Company, Mr. Thorner tried Car
mela's volee and liked it. - He didn’t care
much for mine. But we persuaded him to
give me some lessons, He was surprised
at my improvement and sald: ‘Before six
months have passed [ can place you at
the Metropolitan.'
“l went every day to Mr. Thorner's
studio for an hour's lesson. Then I went
to Romano Romani's studio to be coached
in the overatic roles.
“One day a wonderful thing happened.
T went to Mr. Thorner’s and was presented
to Caruso. [ was mute. Remembering
how I had heard him sing I could only
bow and Jook and long to kiss hig hand.
He was affable to me, a poor, unknown,
He heard me sing. He said, ‘I will speak
to Gatti-Casazza about youn.'
“I was summoned to an audition. T sang
three times. 1 was agked to come back in
two weeks. The next time I sang four
times. 1 was so nervous that as I finished
the last aria I fainted. Carmela ran into
the wings and caught me in her arms.”
“And the night of your debut?”
“It was very wonderful. 1 sang with
Caruso. 1 was nervous. 1 said, ‘T will
sing tofnight but never again.' Yet I have
sung seven times and, of course, will sing
as often as my contract requires,
“But, really, the most painful part of it
all was the reducing my flesh. [ was very
stout, for 1 had eaten much spaghetti and
was very fat. I had to rid myself of forty
two pounds, I did it by foregoing pastry
and chocolates,
“And it was hard to learn enough Italian
to sing the roles. My father and mother
werg Itallans, but they have been long in
America, 1 was born here and we always
spoke English.” '
“How do you explain your short cut to
grand opera?”’ | asked. ‘
“I don't know,” she answered with sin
cerity. Fntered her coach, Romano Ro
mani, of the black héir, the serious face
and the broken English. With his hand
he formed a cup about his ear. “It is bee
cause sghe has the marvellous inutition
with this,” he said.
“Ig she like any other grand opera prima
donna you have known?' 1 asked.
“She is like a great singer whom you do
not know here bui who {8 much loved in
Italy and South America. She is another
Bolzi,” he answered,
They released the much-discussed voice
from a graphophone record. It was these
graphophone records and the ten thou
sand dollars they had addeq to the family
exchequer that won over Father Ponzilla,
of Meriden, Conn.
“Music pays better than the restaurant
business,” he admitted. “Perhaps Rosa
was right.”
But even while she laughed at the little
story of fatherly discomfiture, Rosa said
she had another pain in her heart, like
that with which ghe had looked across the
street at the Metropolitan Opera House,
“I am sorry for my success because I
ghall nover have a husband and home and
children. Prima donnas should not marry.”
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