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!"