Radio revue (Dec 1929-Mar 1930)

22 RADIO REVUE Her salon contains paintings of herself by the world's most famous artists. When this fact was pointed out, Miss Bori laughed gaily; "You see, I like myself!" she said. The piano is decorated by large autographed photographs of their Majesties the King and Queen of Spain, each bearing an affectionate greeting. "Yes, they like me too!" she said with quiet simplicity. "Yes, I really enjoy radio broadcasting," she went on. "John McCormack and I were the first people of our rank to sing over the air. This was back in 1925. The response after that concert was quite overwhelming; I received more than 5 0,000 requests for autographs and photographs. "I have no favorite role, and I do not diet. I take proper exercise, of course. I have sung thirty-five different roles, and I like them all. Some of my friends like to see me in special roles, but I remain loyal to all my characters, and impartial. I am not in love with anyone; I'm in love with my work, you see. Whether I get married or not does not depend upon my own decision." (Another mysterious little laugh.) Miss Bori is a slender lady, with dark, luminous eyes and a dazzling smile. Around her centers one of the most tragic stories of all opera — the loss of her magnificent voice. There is little theatricalism connected with Miss Bori. She has very expressive hands, and she calls them into play now . and then to emphasize a point. "My early training as a girl, walled around with all the traditions of old Castile, served me faithfully during my entire career," she continued. "I do not waste my energy in useless worry and in foolish posings. There were many dark months when I was not permitted to talk or to sing a single note, but I did not lose faith that some day my voice would be restored to me. I believe in God and, like most of my race, I have quite a little belief in luck. But it was my belief in a divine purpose that gave me the strength to carry on. "Early in my life I had to battle with my family for permission to become an opera singer. My father was my only ally, and I finally persuaded him to let me go to Rome to study. It was in Rome, after four months of study, tha,t I sang Micaela in Carmen, and the people liked me. Other works in the Italian repertoire followed and in April, following my debut at Rome, I sang at the San Carlo Opera House in Naples, which was my most important engagement up to that time. "Ricordi, the Italian music publisher, heard me sing and sent a complimentary message back. It was he who arranged that Puccini should also hear me, and then Gatti-Casazza and Toscanini. They came all the way from Paris to Milan to hear me. Then I sang Puccini's Manon Lescaut opposite Caruso in Paris. I had good success and was acclaimed as a 'discovery of Puccini'. "I came to America first in 1912, and it was in 1915 The Siveet-Voiced Tenor of the Air. that an operation on my vocal cords became necessary, and I found I could not sing." (A long silence followed). "It is terrible to be a singer and not be allowed to sing — not a single note. It is like being stricken suddenly with blindness when all the world is flooded with sunshine. The rebuilding of my voice was a slow and laborious process, but in 1918 and 1919 I was able to sing again in Monte Carlo. It was not until 1921 that I felt strong enough and sure enough of my voice to return to the Metropolitan, and my first role after my return was Mimi in La Bobeme". Miss Bori speaks Spanish, of course, and is equally voluble in Italian and French. She talks English rapidly but, when a word fails her, lapses into French. She explains that she learned the English language here in America. With a gracious word of thanks to the interviewer, she disappeared, smiling, into an inner room. Superb in Manon Of the many roles that Miss Bori is called upon to portray during the course of a season at the Metropolitan, it is my opinion that she excels as Manon in Massanet's opera of that name. Not only is she an excellent actress, but her voice is ideally suited to the beautiful music and her personal charm and pulchritude combine to create a sympathetic atmosphere that is in keeping with the story. She may create many characters during her operatic career, but I do not ever expect to be thrilled as greatly as I was when I saw her in Manon. She was superb. Critical Note on "The Messiah" On the Sunday before Christmas the NBC made a contribution to the holiday season in the form of a performance of Handel's famous oratorio, The Messiah. It was a most commendable production. The orchestra was under the direction of Graham Harris, who gave an exceptionally fine reading of the score. The work of the Sixteen Singers as the ensemble was excellent. Their diction was particularly good. The soloists call forth further superlatives. Lewis James, tenor, sang the aria "Every Valley Shall be Exalted" with magnificent style, phrasing and vocal finish. While he has done praiseworthy work in many varied forms, it is to be doubted if he ever shone to such great advantage as on this occasion. The other soloists were equally capable. Elizabeth Lennox, contralto, sang with her usual richness and finesse. Theodore Webb, baritone, sang beautifully and authoritatively, and Genia Zielinska, soprano, contributed a musicianly interpretation. In all, it was a performance that left little to be desired. — W. H. P.