If Miss Abbott is not enrolled among the great opera singers, it is because her ambition[{199}] led her away from the beaten track, for, having made a reputation, she established an opera company of her own, which existed in America for several years, and enabled her to make a fortune estimated at half a million dollars. Her husband died in 1889, and his loss was a blow from which she never fully recovered. She was herself taken away in her prime in 1891.
In 1873 a young singer made her début at Dresden, who was destined to achieve a high reputation as an interpreter of Wagner, and to rival the greatest stars of her school. Thérèse Malten, who was born at Insterburg, Eastern Prussia, appeared in Dresden as Pamina, and as Agatha. For nearly ten years she sang only in Dresden, taking many of the soprano rôles in Italian opera. In 1882 she sang at Bayreuth, as Kundry, at the desire of Wagner, who had a very high opinion of her ability, which was amply justified by the results.[{200}]
In London she appeared in May, 1882, when she made a great impression, and the critics declared that, though her art in singing was not so perfect as Materna's, her voice was fresh, magnificent, powerful, and that she had great personal beauty. Besides possessing a voice of extraordinary compass, with deep and powerful notes in the lower register, she was considered an admirable actress. In 1883 she was chosen by Wagner to sing the part of Isolde at Bayreuth, when she was described, amidst all the praise that was bestowed upon her, as a young singer who was never known out of Dresden until she sang in London the previous year.
Madame Katharina Lohse-Klafsky, who was born in the same year as Malten, and was for several years prima donna at the Hamburg Opera, visited America in 1895, and died unexpectedly at Hamburg the following year as the result of an operation.[{201}] She was a native of Hungary, and began her career in Italian opera, though she was best known as a Wagnerian singer. She had a large repertoire, and created the part, in German, in "La Navarraise." She met with great success in London in 1892 and 1894. She had a full, rich-toned voice and a handsome stage presence.
A career of exceptional brilliance, but all too brief, was that of Etelka Gerster, who was born at Koschau, in Hungary, in 1856. Her father was a merchant, and brought up his family to refined tastes. All his children were fond of music, but none seemed to think of special musical study until a visiting friend from Vienna spoke of the promise which he thought lay in Etelka's voice.
This gentleman asked permission to bring his friend Hellmesberger to hear her, and some time later the visit took place. Doctor Hellmesberger endorsed the opinion already given, but said that there was only one judge[{202}] of such matters in Vienna,—Madame Marchesi A visit was therefore made to Vienna, with the result that Mlle. Gerster became a pupil of Marchesi, and after a year of hard study won first prize at the Conservatoire.
About this time "Aida" was brought out at Vienna, and the composer Verdi came to superintend its production. He visited the Conservatoire, and a little soirée musicale was given in his honor. On this occasion Gerster sang several pieces, and Verdi was so pleased that he advised her to go on the stage.
Soon after this Gerster got an engagement to sing at Venice under the management of Signor Gardini. She spent two seasons singing in Italian and Spanish towns, but in 1877 she appeared in Berlin at Kroll's Theatre. This engagement was the turning-point of her career, for by the magic of her voice she turned the second-class theatre into a resort to which the nobility flocked[{203}] every night, and the venerable emperor and his court always held the front row of seats.
For three weeks the company, composed of singers unknown to fame, sang to empty houses. Then, whispers of the fact that Kroll's Theatre had a singer of extraordinary ability resulted in increasing audiences. The emperor came and was delighted, and an invitation to sing at court was the result. After this triumphant engagement, Gerster married her manager, Signor Gardini, while they were in Pesth.
Compared with many prima donnas, Madame Gerster's life has been uneventful. Her position as a singer was as a representative of the old art of beautiful singing. She charmed with gracefulness, smoothness, and exquisite finish of execution, and the most perfect musical taste, which every phrase, even in the most florid passages, revealed. She could not awe, like Pasta, but she could fascinate and charm. She[{204}] was not a great actress, but she was graceful and pleasing on the stage.