FOOTNOTES:[1]It must be remembered that Mérimée and Borrow were writing nearly a century ago; what was true then may not be true today. Borrow, himself, says (in "The Zincali"): "It is, of course, by inter-marriage alone that the two races will ever commingle, and before that event is brought about, much modification must take place amongst the Gitanos, in their manners, in their habits, in their affections, and their dislikes, and, perhaps, even in their physical peculiarities; much must be forgotten on both sides, and everything is forgotten in the course of time."[2]NeverthelessCarmenis frequently sung in Spain, even in Seville, although probably more often in Italian than in French or Spanish.[3]There is a picturesque account of this Fábrica de Tobacos in Baron Ch. Davillier's "l'Espagne" (Hachette; Paris; 1874).[4]According to W. J. Henderson (in his introduction toCarmen; Dodd, Mead and Co., 1911), who is usually as accurate as anybody can be about such matters, "Carmenwas first performed in New York (in Italian) at the Academy of Music, October 23, 1878, under the management of Col. J. H. Mapleson. The principal singers were Minnie Hauk as Carmen, Italo Campanini as Don José, and Giuseppe del Puente as Escamillo." However it should be noted that Mme. Kellogg does not say that she was the firstNew YorkCarmen.[5]Mr. Henderson gives an interesting and probably authentic reason for the disappearance ofCarmenfrom the répertoire of the Metropolitan Opera House: "It has not been performed as much in America in recent seasons as it has in Europe because American audiences have learned to expect a very striking impersonation of the heroine and do not eagerly go to hear the opera when such an impersonation is not offered." And again: "Mme. Calvé's bold, picturesque and capricious impersonation of the gipsy became the idol of the American imagination, and thereby much harm was wrought, for whereas the gifted performer began the season with a consistent and well-executed characterization, she speedily permitted success to turn her head and lead her to abandon genuine dramatic art for catch-penny devices directed at the unthinking. The result has been that opera-goers have found correct impersonations of Carmen uninteresting."
FOOTNOTES:
[1]It must be remembered that Mérimée and Borrow were writing nearly a century ago; what was true then may not be true today. Borrow, himself, says (in "The Zincali"): "It is, of course, by inter-marriage alone that the two races will ever commingle, and before that event is brought about, much modification must take place amongst the Gitanos, in their manners, in their habits, in their affections, and their dislikes, and, perhaps, even in their physical peculiarities; much must be forgotten on both sides, and everything is forgotten in the course of time."
[1]It must be remembered that Mérimée and Borrow were writing nearly a century ago; what was true then may not be true today. Borrow, himself, says (in "The Zincali"): "It is, of course, by inter-marriage alone that the two races will ever commingle, and before that event is brought about, much modification must take place amongst the Gitanos, in their manners, in their habits, in their affections, and their dislikes, and, perhaps, even in their physical peculiarities; much must be forgotten on both sides, and everything is forgotten in the course of time."
[2]NeverthelessCarmenis frequently sung in Spain, even in Seville, although probably more often in Italian than in French or Spanish.
[2]NeverthelessCarmenis frequently sung in Spain, even in Seville, although probably more often in Italian than in French or Spanish.
[3]There is a picturesque account of this Fábrica de Tobacos in Baron Ch. Davillier's "l'Espagne" (Hachette; Paris; 1874).
[3]There is a picturesque account of this Fábrica de Tobacos in Baron Ch. Davillier's "l'Espagne" (Hachette; Paris; 1874).
[4]According to W. J. Henderson (in his introduction toCarmen; Dodd, Mead and Co., 1911), who is usually as accurate as anybody can be about such matters, "Carmenwas first performed in New York (in Italian) at the Academy of Music, October 23, 1878, under the management of Col. J. H. Mapleson. The principal singers were Minnie Hauk as Carmen, Italo Campanini as Don José, and Giuseppe del Puente as Escamillo." However it should be noted that Mme. Kellogg does not say that she was the firstNew YorkCarmen.
[4]According to W. J. Henderson (in his introduction toCarmen; Dodd, Mead and Co., 1911), who is usually as accurate as anybody can be about such matters, "Carmenwas first performed in New York (in Italian) at the Academy of Music, October 23, 1878, under the management of Col. J. H. Mapleson. The principal singers were Minnie Hauk as Carmen, Italo Campanini as Don José, and Giuseppe del Puente as Escamillo." However it should be noted that Mme. Kellogg does not say that she was the firstNew YorkCarmen.
[5]Mr. Henderson gives an interesting and probably authentic reason for the disappearance ofCarmenfrom the répertoire of the Metropolitan Opera House: "It has not been performed as much in America in recent seasons as it has in Europe because American audiences have learned to expect a very striking impersonation of the heroine and do not eagerly go to hear the opera when such an impersonation is not offered." And again: "Mme. Calvé's bold, picturesque and capricious impersonation of the gipsy became the idol of the American imagination, and thereby much harm was wrought, for whereas the gifted performer began the season with a consistent and well-executed characterization, she speedily permitted success to turn her head and lead her to abandon genuine dramatic art for catch-penny devices directed at the unthinking. The result has been that opera-goers have found correct impersonations of Carmen uninteresting."
[5]Mr. Henderson gives an interesting and probably authentic reason for the disappearance ofCarmenfrom the répertoire of the Metropolitan Opera House: "It has not been performed as much in America in recent seasons as it has in Europe because American audiences have learned to expect a very striking impersonation of the heroine and do not eagerly go to hear the opera when such an impersonation is not offered." And again: "Mme. Calvé's bold, picturesque and capricious impersonation of the gipsy became the idol of the American imagination, and thereby much harm was wrought, for whereas the gifted performer began the season with a consistent and well-executed characterization, she speedily permitted success to turn her head and lead her to abandon genuine dramatic art for catch-penny devices directed at the unthinking. The result has been that opera-goers have found correct impersonations of Carmen uninteresting."