My first impressions have usually remained. In justice to the
fine contralto, Schumann-Heink, I will relate my first impressions of
her in song. Mr. L. Sherman of Sherman & Clay sent me, to my great
delight, two tickets for the opera of "Lohengrin." I had never heard
the opera nor the singer. When I heard her sing her role, her first
notes so astonished me I just held my breath, I could not realize the
voice of a woman, she sang like a baritone. The opera was given in
German, and I thought I never heard such a masculine voice in my life,
and the whole opera was spoiled by her number for me, and the
impression was so lasting that nothing could induce me to hear her
again after that opera. I could not bear to think of such a man's
voice in a woman. This was when Mapelson was here in 1884. I never
heard her again until 1908 at Ye Liberty. Everybody had lauded her all
these years, and I never expressed my opinion but held to my
impressions on my first hearing of her work. At last I asked myself,
why should all these musical people call her great and praise her tone
productions as being so perfect, and I stand alone in my opinion. I
resolved, if she ever came again, to hear and see if the fault lay
with me. The opportunity was granted me in 1908 and, engaging a box in
the gallery, I took two pupils with me to hear the great singer and
accord her justice if I had erred. I beheld a wholesome looking woman,
but not beautiful.
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