eep voices are both common and very popular in Russia.
They may be heard in any Greek church, sustaining organ points a full
octave below the notes to which our basses descend with trepidation. As
a consequence, many of the Russian operas contain bass roles of the
first importance. In both of Moussorgsky's familiar operas, for example,
the leading part is destined for a bass voice.

_July 18, 1916._

Mariette Mazarin

Sometimes the cause of an intense impression in the theatre apparently
disappears, leaving "not a rack behind," beyond the trenchant memory of
a few precious moments, inclining one to the belief that the whole
adventure has been a dream, a particularly vivid dream, and that the
characters therein have returned to such places in space as are assigned
to dream personages by the makers of men. This reflection comes to me
as, sitting before my typewriter, I attempt to recapture the spirit of
the performances of Richard Strauss's music drama _Elektra_ at Oscar
Hammerstein's Manhattan Opera House in New York. The work remains, if
not in the repertoire of any opera house in my vicinity, at least deeply
imbedded in my eardrum and, if need be, at any time I can pore again
over the score, which is always near at hand. But of the whereabouts of
Mariette Mazarin, the remarkable artist who contributed her genius to
the interpretation of the crazed Greek princess, I know nothing. As she
came to us unheralded, so she went away, after we who had seen her had
enshrined her, tardily to be sure, in that small, slow-growing circle of
those who have achieved eminence on the lyric stage.

Before the beginning of the opera season of 1909-10, Marietta Mazarin
was not even a name in New York. Even during a good part of that season
she was recognized only as an able routine singer. She made her debut
here in _Aida_ and she sang Carmen and Louise without creating a furore,
almost, indeed, without arousing attention of any kind, good or bad
criticism. Had there been no production of _Elektra_ she would have
passed into that long list of forgotten singers who appear here in
leading roles for a few months or a few years and who, when their time
is up, vanish, never to be regretted, extolled, or recalled in the
memory again. For the disclosure of Mme. Mazarin's true powers an
unusual vehicle was required. _Elektra_ gave her her opportunity, and
proved her one of the exceptional artists of the stage.

I do not know many of t