as I tell you, until I had mastered its
beauties as well as I could, and then I opened the music score. Here I
encountered a dreadful obstacle. Accustomed to Wagner's harmonies, I was
puzzled by the French style. I did not see how the music could be sung
to the text with dramatic effect. I attended several performances of the
work at the Paris Opera, but the interpretation there did not assist me
in solving the problem. I tried every phrase in fifty different ways in
an attempt to arrive at my end, and suddenly, and unexpectedly, I found
myself in complete understanding; the exquisite refinement and nobility
of the music, the repression, the classic line, all suggested to me the
superb, eternal beauty of a Greek temple. Surely this is music that will
outlive Wagner!

"Once I understood, it was easy to put my conception on the stage. There
is no such thing as genius in singing; at least one cannot depend on
genius alone to carry one through an opera. I must know exactly how I am
going to sing each phrase before I go upon the stage. Nothing must be
left to chance. In studying _Armide_ I had sketches sent to me of every
scene, and with these I worked until I knew every movement I should
make, where I should stand, and when I should walk. Look at my score--at
all these minute diagrams and directions...."

_Armide_ was not a popular success in New York, and after one or two
performances in its second season at the Metropolitan Opera House it was
withdrawn. With the reasons for the failure of this opera to interest
the general public Mme. Fremstad, it may well be imagined, had nothing
to do. Her part in it, on the contrary, contributed to what success the
work had. New York opera-goers have never manifested any particular
regard for classic opera in any tongue; _Fidelio_ or _Don Giovanni_ have
never been popular here. Then, although Caruso sang the music of Renaud
with a style and beauty of phrasing unusual even for him, his appearance
in the part was unfortunate. It was impossible to visualize the
chevalier of the romantic story. The second tenor role, which is very
important, was intrusted to an incompetent singer, and the charming role
of the Naiad was very inadequately rendered; but the principal fault of
the interpretation was due to a misconception regarding the relative
importance of the ballet. There are dances in every act of _Armide_;
there is no lovelier music of its kind extant than that which Gluck has
devoted