Famous Singers of To-day and Yesterday

by Henry Charles Lahee

Madame Nordica wins many friends by frank, engaging cordiality of manner, while her impulsive nature and enthusiasm help her over many difficulties. One may imagine the consternation caused in the Boston Symphony Orchestra by her startling declaration, at a rehearsal, that they were like a Kalamazoo band. Perhaps the sore is still[{230}] open, but her winning manners will close it the next time that she comes among them.

One of the most brilliant singers among the number of Americans who have, during the latter half of this century, won distinction on the operatic stage, is Emma Nevada. She is the daughter of a physician named William Wallace Wixom, of Nevada City, Cal.

As a child she was so musical that she sang in public when only three years old. Her mother died when she was quite young, and she received her education at a seminary in Oakland, California. She was now consumed by a desire to go to Europe and make a study of voice, and she became one of a party of girls under the care of a Doctor Eberl, who was to escort them and keep them under his protection in Berlin. When the vessel anchored in the Elbe, the passengers were transferred to a smaller steamer to be landed. Dr. Eberl went on board the little steamer with the rest, walked into the[{231}] cabin and died. This was a terrible calamity for the party under his care, but Emma Wixom succeeded in finding her way to Berlin, where she sought advice with regard to her voice, and was recommended to go to Marchesi at Vienna.

It is said that on reaching Vienna she found her funds exhausted, but she sought Madame Marchesi and told her her circumstances. Marchesi was so much captivated by her voice and manners that she offered her a home and took care of her until her début.

Through Marchesi's influence an engagement was secured for her in London, where she made her début in "Sonnambula" in 1880. On making her appearance in public, Miss Wixom followed the custom of assuming the name of her native place, and so became Emma Nevada. Concerning her début a critic of the time wrote: "Mapleson has brought a new prima donna, Mlle. Nevada, who is gifted with a very light[{232}] voice, which is, however, extremely flexible, and is used very effectively in the upper registers. The great merits of her voice lie in her staccato effects, chromatic runs,—which she gives with great purity,—and notes in altissimo. The defects are excessive lightness of tone, lack of good lower notes, and a rather imperfect trill. She won many friends by her refined manners and culture, and if not a great singer she is certainly an agreeable one."

Another admirer tells us about a performance of "Lucia." In the roulade duet between the flute and the voice, after the competition was ended and her full, firm shake, as effortless as the simplest strain, was about half over, she ran off the stage, the shake continuing just as perfect all the way, and as she disappeared left a final note away up among the clouds. But with all this brilliant execution she delighted as much by her sustained notes, which were[{233}] of beautiful, flutelike quality. She also won the affection and respect of all her associates, by her kindly ways.

A staccato polka was written for Mlle. Nevada, with a view to exhibiting her voice, and her rendering of it was considered a marvellous exhibition of vocal technique.

Although her voice was criticised as being too light for grand opera, Mlle. Nevada was engaged at once to sing in Italy, after which she sang in 1883 at the Opera Comique in Paris, and has had an exceptionally successful career, both in Europe and America, where, in 1885, she was warmly welcomed. In April, 1898, Emma Nevada sang in Paris after a tour through Holland, showing no diminution of her artistic powers.

A little anecdote was told concerning a performance of "Lucia" in Paris, which tends to show the kindly disposition, of the young prima donna. She was, in the mad scene, accompanied in a most delicious manner[{234}] by the flutist in the orchestra. One was often puzzled during the celebrated duet to determine which were the notes of the flute and which were those of the singer. Now and then a pathetic vibration would reveal the human voice and cause it to rise triumphant above the instrument. She taxed the skill of the musician to the uttermost to follow her through the intricate mazes of sound. When, through nervousness, she for a moment forgot the words of her song, the humble musician came to her rescue and improvised a few sparkling variations to enable her to regain her breath and recollect the lost phrases. At the end of the duet, two powdered footmen advanced from the wings with a gigantic basket of flowers which had been sent to her from Rome by some friends. She selected the finest rose, and, advancing to the footlights, handed it to the leader of the orchestra to be passed on to the flute player. The action was taken[{235}] with much grace and spontaneity, and brought down a storm of applause, while the poor flutist, unaccustomed to the recognition of his talent, was overcome with joy at such a graceful acknowledgment.

One of her trials took place when the Edgardo (Gayarré), who more than simulated jealous rage, knocked her about in good earnest. His violence made her forget everything but her part, and she had no chance to think of the public while trying to keep her wrists out of his reach.