Motion Picture Classic (Jul-Dec 1930)

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When he sp)eaks of places in Europe, he always pronounces them perfectly, with the accent called for by the language; to me an annoying habit in an American or an Englishman, nearly always springing from a desire to show off. But Everett is quite unself-conscious about it, and it even adds to his charm. Not up from the Bottom HERE, conspicuous among Everett's remarks to me, is what 1 consider to be the most incredible thing ever said by an operatic star. If I hadn't heard it with my own ears, I would not believe it myself: "I should never have reached the top if I had started at the bottom, if I had not been subsidized. "It seems as if everybody wants to be a star at the Metropolitan. The competition is terrific. There have been those who got somewhere after starting in the chorus or in small bits — but it practically never happens. The only way is to wait until one's voice is properly trained and really ready for the big things; and then to have still enough money to be able to wait, and wait, until a real chance comes along. " Mr. Raskob interested himself in me and sent me to England. I spent a year there, doing nothing except studying voice culture. Then I went to Italy. I spent six months intensively learning the language, in Milano, and then started learning operas. I didn't tr>' to get a job until I knew fourteen operas. Then, finally, I got a chance to be heard, and I was engaged to sing 'Traviata,' 'Forza del Destine,' 'Trovatore,' 'Favorita' and 'Pagliacci' at Palermo. From there I went to Torino and to numerous other cities. The Scala at Milano, where I studied, was about the only big opera I never sang at in Italy. "I had enough money to live on comfortably while I was waiting and studying. Also, I worked very hard. I did ver>' little of the drinking and carousing with Milano's American and English colony of operaaspirants. I felt there was only one way to get on; time was passing by, as time will, and I had to be showing results. A Second Hollywood "'THHE American colony in Milano is J_ strangely like the colony of extras and film-aspirants in Hollywood, from what I have been told about the latter. The petty jealousy among its members is indescribable. If you do get a part to sing in ti e opera, all the colony sit over their drinks at the cafes, waiting to hear how you got on. If you succeeded, they start suggesting that you paid the opera management to get the part. They never give anybody credit for succeeding by hard work, because the enormous majority of them are lazy themselves. It takes terrific work to get into the opera — either that, or a terrific amount of money. Many Americans in Milano pay heavily for the privilege of appearing once at the Scala, even in just a small part, because it means so much to them to write home, enclosing clippings, showing their names in the cast. But such a way into the opera never gets anybody a permanent position. "Getting in by your own efforts is tremendously difficult. But it can be done. I know, because I did it. When I finally sang at an audition at Milano, my voice was thoroughly trained, I could speak Italian perfectly, and if ever I was to be ready for leading parts I was ready then. I started off by singing leads and have never su anything else. Where Hope Springs Eternal THERE are thousands of Americans in] Milano, all trying to get into opera.i They are mostly people of rather a tough] type — and they have to be, to stand tha disappointments as long as they do. It is hard for the men, and impossible for tha women, to make any headway unless th^ are pretty tough. Most of them have plenra of money to live on — otherwise they couUH not stay there, as there is nothing at all m be made out of small-part work, even if they can get any. They are all attracted, I suppose, by the glamour of the opera.i They would give all they possessed to singl a leading part just once, most of them. .1 "The strange thing is that all the fJettyj jealousy from fellow-aspirants that I ever! had shown me was from my own country1 men. Never a suggestion of it did I get! from Italians with whom I sang in Italian! opera-houses, even though I might have the I best part in the opera. I suppose this was] because I took the trouble to learn their language so that I could speak naturally and Huently with them, and because I always tried to see their point of view. One has] only to be a good fellow with the Italians, | and show that one does not look down on them, to ha.ve them as friendly as could be. I'm not trying to blacken Americans in general, however; the colony in Milano was hardly representative. "I had been singing for several months in various Italian operas when I received an offer from the Metropolitan, which, of course, I accepted gladly. The thing that amused me there was how the foreign element, comprising most of the artists, were somewhat disdainful of Americans who as-' pired to be singers. Still, I have always got along well at the Metropolitan." 5*. Away from the Claques I ASKED Marshall whether he would miss the audiences, now that he's working in talkies. "There are two sides to that," he said. "I suppose I shall miss the bona fide audience; but certainly I shall shed no tears at being separated from that institution, found in all opera houses, known as the claque. "Yet there is a thing I can pride myself on; I never paid a cent for applause. When the leaders of the claques come to me, I treat them with extreme politeness and say that I am sorry, but if I cannot have people applaud me for my work, I would rathef. have no applause at all. That means, of course, that one starts out with a section of the audience ready to be antagonistic. "The claque, I can assure you, is a thing to be treated with extreme tact and politeness. The only man I ever heard of who used different tactics was Chaliapin, who, when he made his debut in Italy, kicked the leader of the claque down the stairs in front of the whole cast and a crowd of people. It got in the papers and added tenfold to his reception. But I haven't reached that stage. "in the talkies, at least that burden will be off my shoulders. And I am going to enjoy the work, I can assure you. It gives one so much more scope for one's own personality than opera ever can. "At the same time, I shall sing twelve weeks in opera every year, in addition to occasional concerts. Whatever John McCormack, who is not an operatic artist, anyhow, has to say about it, I am convinced opera will go on. There is just one thing that will make it live, even if there is nothing else; and that is the eternal desire of society people to see and be seen by each other." 102