File:Florencio Constantino as Cavaradossi in "Tosca".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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e problem ahappy thought struck the singer. He jumpedinto a cab and drove to the Manhattan Opera-House where he found Hammerstein and askedif there was an engagement for him. After ashort discussion Hammerstein made him aproposition for a five years contract, which heaccepted, and a couple of hours later the mes-sage came from the Metropolitan Opera-Houseagreeing to the ten performances, but it wastoo late. On his resignation from the Boston OperaCompany a dinner was given in his honor andmuch appreciation expressed regarding his ar-tistic work. An anecdote is told of Constantineau to theeffect that one day in Bilbao, — his native city,— he was standing on the street watching theefforts of a shabby individual to squeeze out afew notes from a guitar so as to procure somemoney from the people, for dinner and lodging.The crowd was unsympathetic. Constanti-neaus sympathies being aroused he took theguitar, and stood by the mans side, singing.Then he passed round the hat and gathered up
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Copyright by Mishkin Studio, New York FLORENCIO CONSTANTINEAU AS CAVARADOSSI IN TOSCAn The Boston Opera-House 377 a substantial sum, which he handed with thehat to the unfortunate musician. A singer who made a genuine sensationduring the first season of the Boston Operawas George Baklanoff, a Russian baritone, whowhile studying law at the University of St.Petersburg, had found that singing was his truevocation. Immediately after securing his* de-gree at the university Baklanoff was offeredan operatic engagement in one of the smallerRussian cities. A month later he was called tothe Imperial Opera-House at Moscow, where hemade his debut in The Demon (Rubin-steins opera) in 1905, and since that time re-mained inseparable from the successful pro-ductions at Moscow. In Boston BaklanofT made his debut as Bar-naba in La Gioconda, and quickly becameone of the chief attractions. He gave, alone,a scene from The Miser Knight, a Russianopera, which enabled him to show his dramaticability. Unfortu

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