ANTONIO SCOTTI
TRAINING AMERICAN SINGERS FOR OPERA
A singer of finished art and ripe experience is Antonio Scotti. His operatic career has been rich in development, and he stands to-day at the top of the ladder, as one of the most admired dramatic baritones of our time.
One of Naples' sons, he made a first appearance on the stage at Malta, in 1889. Successful engagements in Milan, Rome, Madrid, Russia and Buenos Aires followed. In 1899 he came to London, singing Don Giovanni at Covent Garden. A few months thereafter, he came to New York and began his first season at the Metropolitan. His vocal and histrionic gifts won instant recognition here and for the past twenty years he has been one of the most dependable artists of each regular season.
Antonio Scotti
CHARACTERIZATION
With all his varied endowments, it seldom or never falls to the lot of a baritone to impersonate the lover; on the contrary it seems to be his métier to portray the villain. Scotti has been forced to hide his true personality behind the mask of a Scarpia, a Tonio, an Iago, and last but not least, the most repulsive yet subtle of all his villains—Chim-Fang, in L'Oracolo. Perhaps the most famous of them all is Scarpia. But what a Scarpia, the quintessence of the polished, elegant knave! The refinement of Mr. Scotti's art gives to each rôle distinct characteristics which separate it from all the others.
OPPORTUNITY FOR THE AMERICAN SINGER
Mr. Scotti has done and is doing much for the young American singer, by not only drilling the inexperienced ones, but also by giving them opportunity to appear in opera on tour. To begin this enterprise, the great baritone turned impresario, engaged a company of young singers, most of them Americans, and, when his season at the Metropolitan was at an end, took this company, at his own expense, on a southern trip, giving opera in many cities.
Discussing his venture on one occasion, Mr. Scotti said:
"It was an experiment in several ways. First, I had an all-American company, which was indeed an experiment. I had some fine artists in the principal rôles, with lesser known ones in smaller parts. With these I worked personally, teaching them how to act, thus preparing them for further career in the field of opera. I like to work with the younger and less experienced ones, for it gives me real pleasure to watch how they improve, when they have the opportunity.
"Of course I am obliged to choose my material carefully, for many more apply for places than I can ever accept.
ITALIAN OPERA IN AMERICA
"So closely is Italy identified with all that pertains to opera," he continued, "that the question of the future of Italian opera in America interests me immensely. It has been my privilege to devote some of the best years of my life to singing in Italian opera in this wonderful country of yours. One is continually impressed with the great advance America has made and is making along all musical lines. It is marvelous, though you who live here may not be awake to the fact. Musicians in Europe and other parts of the world, who have never been here, can form no conception of the musical activities here.
"It is very gratifying to me, as an Italian, to realize that the operatic compositions of my country must play an important part in the future of American musical art. It seems to me there is more intrinsic value—more variety in the works of modern Italian composers than in those of other nations. We know the operas of Mozart are largely founded on Italian models.
"Of the great modern Italian composers, I feel that Puccini is the most important, because he has a more intimate appreciation of theatrical values. He seems to know just what kind of music will fit a series of words or a scene, which will best bring out the dramatic sense. Montemezzi is also very great in this respect. This in no way detracts from what Mascagni, Leoncavallo and others have accomplished. It is only my personal estimate of Puccini as a composer. The two most popular operas to-day are Aida and Madame Butterfly, and they will always draw large audiences, although American people are prone to attend the opera for the purpose of hearing some particular singer and not for the sake of the work of the composer. In other countries this is not so often the case. We must hope this condition will be overcome in due time, for the reason that it now often happens that good performances are missed by the public who are only attracted when some much heralded celebrity sings."
AMERICAN COMPOSERS
Asked for his views regarding American operatic composers, Mr. Scotti said:
"American composers often spoil their chances of success by selecting uninteresting and uninspired stories, which either describe some doleful historic incident or illustrate some Indian legend, in which no one of to-day is interested, and which is so far removed from actual life that it becomes at once artificial, academic and preposterous. Puccini spends years searching for suitable librettos, as great composers have always done. When he finds a story that is worthy he turns it into an opera. But he will wait till he discovers the right kind of a plot. No wonder he has success. In writing modern music dramas, as all young Americans endeavor to do, they will never be successful unless they are careful to pick out really dramatic stories to set to music."
OPERATIC TRAINING
On a certain occasion I had an opportunity to confer with this popular baritone, and learn more in regard to his experiences as impresario. This meeting was held in the little back office of the Metropolitan, a tiny spot, which should be—and doubtless is—dear to every member of the company. Those four walls, if they would speak, could tell many interesting stories of singers and musicians, famed in the world of art and letters, who daily pass through its doors, or sit chatting on its worn leather-covered benches, exchanging views on this performance or that, or on the desirability or difficulty of certain rôles. Even while we were in earnest conference, Director Gatti-Casazza passed through the room, stopping long enough to say a pleasant word and offer a clasp of the hand. Mr. Guard, too, flitted by in haste, but had time to give a friendly greeting.
Mr. Scotti was in genial mood and spoke with enthusiasm of his activities with a favorite project—his own opera company. To the question as to whether he found young American singers in too great haste to come before the public, before they were sufficiently prepared, thus proving they were superficial in their studies, he replied:
"No, I do not find this to be the case. As a general rule, young American singers have a good foundation to build upon. They have good voices to start with; they are eager to learn and they study carefully. What they lack most—those who go in for opera I mean—is stage routine and a knowledge of acting. This, as I have said before, I try to give them. I do not give lessons in singing to these young aspirants, as I might in this way gain the enmity of vocal teachers; but I help the untried singers to act their parts. Of course all depends on the mentality—how long a process of training the singer needs. The coloratura requires more time to perfect this manner of singing than others need; but some are much quicker at it than others.
"It is well I am blessed with good health, as my task is extremely arduous. When on tour, I sing every night, besides constantly rehearsing my company. We are ninety in all, including our orchestra. It is indeed a great undertaking. I do not do it for money, for I make nothing personally out of it, and you can imagine how heavy the expenses are; four thousand dollars a week, merely for transportation. But I do it for the sake of art, and to spread the love of modern Italian opera over this great, wonderful country, the greatest country for music that exists to-day. And the plan succeeds far beyond my hopes; for where we gave one performance in a place, we now, on our second visit, can give three—four. Next year we shall go to California.
"So we are doing our part, both to aid the young singer who sorely needs experience and to educate the masses and general public to love what is best in modern Italian opera!"