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beyond all doubt. He then astounded his asso. |
cilates with the unprecedented announcement — that he was going to put his new invention to the supreme test of public comparison with artists whose voices he had recorded. Imagine any talking-machine manufacturer proposing to a great artist that the artist stand side by side with | his talking machine in a public concert hall and sing in comparison with its reproduction of her voice. Such a proposition would be resented as an insult by any reputable artist. But Mr. Edison knew he had succeeded in literally RE-CREATING the human voice and that no artist could have any valid objection to the test he proposed.
The first, and now memorable, test was so com~ pletely successful that many others were, and have been made by such great artists as Marie Rappold, lyric soprano of the Metropolitan; Carolina Lazzari, contralto of the Chicago Opera Co; Anna Case, lyric soprano of the Metropolitan; Margaret Matzenauer, leading mezzo-soprano of the Metropolitan; Marie Sundelius, lyric soprano of the Metropolitan; Marie Tiffany, lyric soprano of the Metropolitan; Jacques Urlus, Wagnerian tenor of the Metropolitan; Thomas Chalmers, baritone, of the Metropolitan; Arthur Middleton, bass-baritone of the Chicago Opera Company; Karl Jorn, tenor, formerly of the Metropolitan; Julia Heinrich, soprano, formerly of the Metropolitan; Odette le Fontenay, soprano, formerly of the Metropolitan; Christine Miller, noted concert contralto; Edoardo Ferrari-Fontana, tenor, formerly of the Boston Opera Company; Albert Spalding, America’s greatest violinist; Giovanni Zenatello, tenor, formerly of the Boston Opera Company; Gtido Ciccolini, celebrated Italian tenor; Merle Alcock, concert contralto; Hardy Williamson, operatic and concert tenor; Alice
Vrlet, soprano, formerly of the Paris Opera; 4