Emma Calvé.
This generation seems to be particularly fortunate in regard to the number and the quality of its singers. Not the least prominent among these is Emma Calvé, the well-known prima donna, who has sung, so it is said, in every civilized or semi-civilized country in the world and in each and every instance has vindicated her professional reputation. She was born in France in 1866 and was educated at a convent. After some years of study under continental masters, she made her début in grand opera in 1882 at the Theater De la Monnaie, Brussels, where she appeared in Massenet’s Herodiade. Since then she has been intrusted with a number of responsible operatic rôles and is well known in the United States. No small portion of her current reputation rests upon the success that she achieved in connection with her appearance in Mascagni’s “Cavalleria Rusticana.”
Zelie de Lussan.
Among the younger prima donnas who have attracted nearly as much attention abroad as they have in this country is Zelie de Lussan. She is an American girl by birth and received her musical training in New York and Boston. Subsequently she studied abroad, and after some concert work in France and Germany, returned to the United States, where she appeared in English and grand opera. Her successes from the inception of her artistic career were almost continuous. Besides her vocal gifts she owns histrionic talents of a high order. Subsequent to her last New York appearance, she was again called to Europe, and in that connection has given renewed assurance of her abilities. She is one of the several American girls who have succeeded in a profession which bristles with difficulties.
Edouard de Reszke.
Edouard de Reszke was born at Vasevie, Poland, in 1853. He is the brother of Jean de Reszke, and with him shares vocal gifts of a high order and a permanent popularity among musically inclined people. He studied music and singing under Ciaffei and Celetti, making his début as an operatic singer in Paris in 1876 as the king in “Aida.” Since then he has been before the public more or less constantly, and his reputation has not waned by reason of his many years of professional life. He is a favorite in grand opera rôles in Europe and has appeared in every city of importance in the United States. He is the owner of a basso of remarkable purity and timbre.
Jean de Reszke.
A triple alliance of magnificent vocal gifts, a commanding personality and a robust physique are responsible for the long and brilliant career of the operatic singer, Jean de Reszke. He was born in Vasevie, Poland. January 14, 1850, and studied under the masters, Ciaffei, Cotogni and Sbriglia. His début as baritone singer was made in Favorita, Venice, January, 1874, and his début as tenor singer in Madrid, 1879. Mr. de Reszke has appeared in leading rôles in grand opera both in the United States and Europe, one of his most popular characters being Tristan, in Tristan and Isolde. He was married to the Countess Marie de Goulaine, and now makes his home in New York city.
Emma Eames.
It is not often that one compasses one’s ambition to the full. More frequently it will be found that those whom the world calls successful are successful in part only, and that much is left unfilled. It is open to question, however, whether the man who has fully realized his hope is more happy than he to whom somewhat remains for which to crave and struggle. The answer to the question involved could hardly be given by Emma Eames, prima donna, for humanly speaking, she seems to have achieved the ambitions and the purposes of her life. The singer was born in Shanghai, China, August 13, 1867, of American parentage. Her childhood was spent in Boston, her musical education being at first under the direction of her mother and later under Miss Munyard, a well-known teacher of vocalism. While singing in a church choir in Boston, she attracted the attention of Prof. Gericke, then leader of the Boston symphony orchestra, and Prof. Paine, of Harvard, both of whom became interested in her. It was under their direction that the technical foundation of her future fame was laid. By their advice and with their assistance, she took lessons from Mme. Marchesi, of Paris, for two years and later, after instruction in operatic rôles by Prof. Gevart, chief of the Brussels conservatory of music, she made her début in Paris in Gounod’s Romeo and Juliet. A pronounced and spontaneous success was hers, and the news that a comparatively unknown American girl had become famous in a night excited the interest of musically inclined people all over the world. Gounod himself declared that she was his ideal Juliet. During her engagement in Paris, Miss Eames was the recipient of many social and official attentions, the president of the French republic honoring her with a decoration. In 1891 and the year following, she appeared in grand opera at the Covent Garden opera house, London, where she also scored. In 1893 and 1894 she gave New York audiences a taste of her quality by appearing in opera at the Metropolitan opera house and won immediate popular favor. She is installed a permanent favorite in musical circles of this country. In 1891 she married Julian, son of W. W. Story, the sculptor.