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!"