of some suggestions from Mascagni, the composer.

Her success as Santuzza was repeated in London, and, after ten years of
unremitting labor, Calve found herself acknowledged as a great artist.
Notwithstanding the excellent quality of her voice, and her mastery of
technique, her victories have been gained by her dramatic impulses.

Her next triumph was achieved in the character of Carmen. In order to
study for this part she went to Spain, where she learned the Spanish
dances, associated with the Spanish people, and learned as much as
possible of the character of the Spanish peasant.

In 1894 she appeared at the Opera Comique in Paris, as Carmen. Her
triumph has become a matter of history. It was one of the greatest
events in the annals of the lyric stage. Patti had played Carmen, Minnie
Hauk had played Carmen, Madame Galli-Marie had played Carmen, and all
had achieved success in the part; but Calve _was_ Carmen. Her conception
of the character was a revelation. Her fascinating gestures, her
complete abandon, the grace of her dances, her dazzling beauty, all
combined to make her Carmen one of the most wonderful impersonations
ever given in opera. She has been criticised as uncertain, as giving
different interpretations at different times, but the fact remains that
Calve stands pre-eminent in the world of operatic art. Her swinging,
graceful walk, her fascinating half Oriental dances, her gestures, her
infectious, reckless mirth, all help to make up the dazzling
impersonation with which her name is associated.

Of Calve's voice little has been said, because, in the perfection of her
art, the voice is not obtrusive. It is light and sympathetic, rich in
quality, and she never forces it. She frequently misses what many
singers would seize as a vocal opportunity, for the sake of dramatic
effect, and yet her singing has a marvellous charm. The "Havanaise," as
sung by Calve, is something to remember for a lifetime.

Calve has a superb, lithe form, and her large, dark eyes and delicately
modelled features give her a charming appearance. She is frank, cordial,
young-spirited, easy-going, and is intensely admired, both by her
associates at the theatre, and in the drawing-room. She is a curious
combination of the developed woman and the simple girl. No one can
prevent her from saying and doing as she pleases, but her impulses are
seldom unkind. She believes thoroughly in spiritualism, theosophy, and
astrology. Whenever she sings