One of the tests of great acting is whether or not an artist remains in the picture when she is not singing or speaking. Mary Garden knows how to listen on the stage. She does not need to move or speak to make herself a part of the action and she is never guilty of such an offence against artistry as that committed by Tamagno, who, according to Victor Maurel, allowed a scene in Otello to drop to nothing while he prepared himself to emit a high B.
Watching her magnificent performance of Monna Vanna it struck me that she would make an incomparable Isolde. At the present moment I cannot imagine Mary Garden learning Boche or singing in it even if she knew it, but if some one will present us Wagner's (who hated the Germans as much as Theodore Roosevelt does) music drama in French or English with Mary Garden as Isolde, I think the public will thank me for having suggested it.
Or it would be even better if Schoenberg, or Stravinsky, or Leo Ornstein, inspired by the new light the example of such a singer has cast over our lyric stage, would write a music drama, ignoring the technique and the conventions of the past, as Debussy did when he wrote Pelléas et Mélisande (creating opportunities which any opera-goer of the last decade knows how gloriously Miss Garden realized). It is thus that the new order will gradually become established. And then the new art ... the new art of the singer....
April 18, 1918.
Au Bal Musette
"Auprès de ma blonde
Qu'il fait bon, fait bon, bon, bon...."
Old French Song.