Biographical
Mme. Emma Eames was born at Shanghai, China. Her father, a graduate of Harvard Law School, had been a sea-captain and had been in business in the Chinese city. At the age of five she was brought back to the home of her parents at Bath, Maine. Her mother was an accomplished amateur singer who supervised her early musical training. At sixteen she went to Boston to study with Miss Munger. At nineteen she became a pupil of Marchesi in Paris and remained with the celebrated teacher for two years. At twenty-one she made her début at the Grand Opera in Paris in Romeo et Juliette. Two years later she appeared at Covent Garden, London, with such success that she was immediately engaged for the Metropolitan Opera House in New York. Few singers ever gained such a strong hold upon the American and English public. Her voice is a fine flexible soprano, capable of doing Marguerite or Elisabeth equally well. Her husband, Emilio de Gogorza, with whom it is our privilege to present a conference later in this book, is one of the foremost baritones of our time.
HOW A GREAT MASTER COACHED OPERA SINGERS
MME. EMMA EAMES
Gounod an Idealist
One does not need to review the works of Charles Gounod to any great extent before discovering that above all things he was an idealist. His whole aspect of life and art was that of a man imbued with a sense of the beautiful and a longing to actualize some noble art purpose. He was of an age of idealists. Coming at the artificial period of the Second Empire, he was influenced by that artistic atmosphere, as were such masters of the brush as Jean August Ingres and Eugène Delacroix. This, however, was unconscious, and in no way affected his perfect sincerity in all he did.
First Meeting with Gounod
I was taken to Gounod by my master, Mme. Mathilde Marchesi, who, perhaps, had some reason to regret her kindness in introducing me, since Gounod did not favor what he conceived as the Italian method of singing. He had a feeling that the Italian school, as he regarded it, was too obvious, and that French taste demanded more sincerity, more subtlety, better balance and a certain finesse which the purely vocal Italian style slightly obscured. Mme. Marchesi was very irate over Gounod's attitude, which she considered highly insulting; whereas, as a matter of fact, Gounod was doing the only thing that a man of his convictions could do, and that was to tell what he conceived as the truth.