File:Edmond Clément - The grand opera singers of to-day (1912).jpg

Identifier: grandoperasinger02lahe (find matches)
Title: The grand opera singers of to-day : an account of the leading operatic stars who have sung during recent years, together with a sketch of the chief operatic enterprises
Year: 1912 (1910s)
Authors: Lahee, Henry Charles, 1856-1953
Subjects: Singers Opera
Publisher: Boston : L. C. Page
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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he took a prize for singing, under Pro-fessor Warot. He was asked to join the OperaComique, although he had taken no lessons inacting, and knew nothing but the singing. Hisdebut was made in Gounods MireiHe, andhe worked hard to make the most of his oppor-tunity. Edmond Clement is regarded by many as thegreatest French tenor of the present day, andsince his first appearance in America the criticshave been practically unanimous in declaringthat in the artistry of song he has no superior.He has succeeded in establishing himself asfirmly in the favor of opera and concert audi-ences in America as he previously did in Eu-rope. M. Clement has been engaged at the OperaComique for some twenty years. He has alsosung in every principal theatre of Europe. InAmerica he has been, since 1909, a member ofthe Metropolitan Company and has sung in thechief cities of America with the MetropolitanCompany and as a guest. While he has appeared in many roles, per-haps the most popular one is that of Don Jose
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EDMOND CLEMENT The Metropolitan Opera-House 303 in Carmen, of which a review is herequoted: M. Clement made an ineffaceable impres-sion when he appeared here as Jose last season,with Marguerita Sylva in the title role, but ifrecollection is not deceitful, he was even morestriking this afternoon, probably on account ofthe splendid foil provided by the joyous animalvitality and the real dramatic force of Mme.Gays Carmen. Each impersonation, most hap-pily contrasted, gained by the other. M. Cle-ment is past-master of the traditions of his role.Fortunately he is also a great interpretativeartist. He moulded his own conception to col-laborate with Mme. Gay, or it might be better tosay, that in Mme. Gay he found the best pos-sible collaborator to further his own ideas. Atany rate, his business on the stage differed incertain groupings and in certain climaxes fromhis performances remembered from last season,but he built up his character and its dramaticdevelopment with even surer, more maste

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