st number was the entrance aria of Elizabeth from "Tannhaeuser," which
was given with such dramatic force that one could not fail to ask, "Is
this the singer who is about to retire?" Her great triumph came,
however, in the last number, which was "Isolden's Liebestod," and as her
wonderful voice, full of passion and dramatic power, rang through the
hall, the enthusiasm of the audience knew no bounds. After being
recalled many times Frau Materna was obliged to make a speech of thanks,
in which she touchingly referred to the many years which she had passed
at Vienna, and to the fact that Wagner had found her there and entrusted
her with the creation of his greatest parts.

In private life Materna is simple and unaffected. She is as
unpretentious in her personality as she is great in her talent. She has
the unassuming manners which so endeared Parepa-Rosa to the hearts of
the people.

As an artist she may best be called a vocal musician. She was not a
vocal technician of the school of Jenny Lind, Nilsson, Patti, or
Gerster. Her voice, though unable to give phenomenal runs, trills, or
cadenzas, was adequately trained, and was of remarkable richness and
breadth. The work of the poet rather than of the singing teacher was
apparent in her interpretations, and the dramatic intensity and
passionate force of her delivery were effective even upon the concert
stage. It is doubtful whether any singer will ever combine more of the
qualities which are essential to the perfect interpretation of Wagner's
operas, and Materna may, therefore, be set down as the greatest singer
of her school.

Materna's original contract for three years at the Imperial Opera House
was many times renewed, and she scarcely ever left Vienna during the
season. Occasionally she was heard in Frankfort, Berlin, Hamburg, and
Leipzig. She also sang in London in the Wagner concerts, and she visited
the United States several times. Since her retirement, she has left
Vienna to take up her permanent abode in the Chateau St. Johann, near
Gratz, which she has purchased.

When Bizet wrote "Carmen" he intended it for Marie Roze, a versatile
artist of the French stage. She, however, had made an engagement in
England which prevented her from creating the role as intended, and it
was re-written for Madame Galli-Marie, but although she at first had
made some objections to the character which Carmen was supposed to
represent, she afterwards became famous in that part.

Mari