Memoirs of an American Prima DonnaKellogg, Clara Louise
General
Memoirs of an American Prima Donna
Kellogg, Clara Louise
Kellogg, Clara Louise, 1842-1916; Singers -- United States -- Biography
Not more than a fortnight after this I had an offer for an engagement at
the Madrid Opera for $400.00 a night, very good for Spain in those days.
I suppose that it came indirectly through the influence of Queen
Christina. I wanted to go to Spain, but my mother would not let me
accept. We were almost pioneers of travel in the modern sense and had no
one to give us authoritative ideas of other countries. People alarmed us
about the climate, declaring it unhealthy; and about the public, which
they said was capricious and rude. The warning about the public
particularly frightened me. I should never object to my efforts being
received in silence in case of disapproval, but I felt that I could not
survive what I had been told was the Spanish custom of hissing. I was
also told that Spanish audiences were very mercurial and difficult to
win. So we refused the Madrid Opera offer, and I have never sung in
either Spain or Italy principally because of my dread of the hissing
habit.
That same year I heard Christine Nilsson for the first time, in _Martha_
at the Théâtre Lyrique and, later, in _Hamlet_ at the same theatre with
Faure. Shortly after both Nilsson and Faure were taken over by the Grand
Opera. Ophélie had been written for Nilsson and composed entirely around
her voice. She created the part, singing it exquisitely, and Ambrose
Thomas paid her the compliment of taking his two principal soprano
melodies from old Swedish folk-songs. Nilsson could sing Swedish
melodies in a way to drive one crazy or break one's heart. I have been
quite carried away with them again and again. There was one delicious
song that she called _Le Bal_ in which a young fellow asks a girl to
dance and she is very shy. It was slight, but ever so pretty, and it had
a minor melody that was typically northern. These were the good days
before her voice became impaired. In this connection I may mention that
it was Christine Nilsson who, having heard the Goodwin girls sing _Way
Down upon the Swanee River_, first introduced it on the stage as an
_encore_.
Public-domain text, read in full here on John Shaqi.
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