never sang the three Bruennhildes in sequence at the
Metropolitan Opera House (of late years no soprano has done so), but she
was called upon at various times to sing them all separately.
Undoubtedly it was as the Bruennhilde in _Goetterdaemmerung_ that she made
the most lasting impression. The scene of the oath on the spear she
carried into the realms of Greek tragedy. Did Rachel touch greater
heights? Was the French Jewess more electric? The whole performance
displayed magnificent proportions, attaining a superb stature in the
immolation scene. In scenes of this nature, scenes hovering between life
and death, the eloquent grandeur of Mme. Fremstad's style might be
observed in its complete flowering. Isolde over the body of Tristan,
Bruennhilde over the body of Siegfried, exhibited no mincing pathos; the
mood established was one of lofty calm. Great artists realize that this
is the true expression of overwhelming emotion. In this connection it
seems pertinent and interesting to recall a notable passage in a letter
from Ivan Turgeniev to Pauline Viardot:--

"You speak to me also about _Romeo_, the third act; you have the
goodness to ask me for some remarks on Romeo. What could I tell you that
you have not already known and felt in advance? The more I reflect on
the scene of the third act the more it seems to me that there is only
one manner of interpreting it--yours. One can imagine nothing more
horrible than finding oneself before the corpse of all that one loves;
but the despair that seizes you then ought to be so terrible that, if it
is not held and _frozen_ by the resolution of suicide, or by another
_grand_ sentiment, art can no longer render it. Broken cries, sobs,
fainting fits, these are nature, but they are not art. The spectator
himself will not be moved by that poignant and profound emotion which
you stir so easily. Whereas by the manner in which you wish to do Romeo
(as I understand what you have written me) you will produce on your
auditor an ineffaceable effect. I remember the fine and just observation
that you once made on the agitated and restrained little gestures that
Rachel made, at the same time maintaining an attitude of calm nobility;
with her, perhaps, that was only technique; but in general it is the
calm _arising from a strong conviction or from a profound emotion_, that
is to say the calm which envelopes the desperate transports of passion
from all sides, which communicates to them that purity