stamped on the memory as definitely as
a figure in a Persian miniature. And the noble scorn with which, as
Prince Galitzky, he bows to the stirrup of Prince Igor at the close of
the prologue to this opera, still remains a fixed picture in my mind.
There is also the pathetic Don Quichotte of Massenet's poorest opera.
All great portraits these, to which I must add the funny, dirty,
expectorating Spanish priest of _Il Barbiere_.

[Illustration: FEODOR CHALIAPINE AS MEFISTOFELE]

Chaliapine is the possessor of a noble voice which sometimes he uses by
main strength. He has never learned to sing, in the conventional meaning
of the phrase. He must have been singing for some time before he studied
at all, and at Tiflis he does not seem to have spent many months on his
voice. In the circumstances it is an extremely tractable organ, at
least always capable of doing his bidding, dramatically speaking.
Indeed, there are many who consider him a great artist in his
manipulation of it. Mrs. Newmarch quotes Herbert Heyner on this point:

"His diction floats on a beautiful cantilena, particularly in his
_mezzo-voce_ singing, which--though one would hardly expect it from a
singer endowed with such a noble bass voice--is one of the most telling
features of his performance. There is never any striving after vocal
effects, and his voice is always subservient to the words.... The
atmosphere and tone-colour which Shaliapin imparts to his singing are of
such remarkable quality that one feels his interpretation of Schubert's
_Doppelgaenger_ must of necessity be a thing of genius, unapproachable by
other contemporary singers ... his method is based upon a thoroughly
sound breath control, which produces such splendid _cantabile_ results.
Every student should listen to this great singer, and profit by his
art."

My intention in placing before the eyes of my readers such contradictory
accounts as may be found in this article has not been altogether
ingenuous. The fact of the matter is that opinions differ on every
matter of art, and on no point are they so various as on that which
refers to interpretation. It may further be urged that the personality
of Chaliapine is so marked and his method so direct that the variations
of opinion are naturally expressed in somewhat violent language.

For those, accustomed to the occidental operatic repertoire, who find it
hard to understand how a bass could acquire such prominence, it may be
explained that d