ance, have never attained
wide popularity. The legends which Loewe employed are often delightful,
but the difficulties of translation are such that the original meaning
is either marred or destroyed. The songs or ballads of Loewe, without the
words, do not seem to grasp American audiences and singers find it a
thankless task to try to force them upon the public.

I have been so long in America that I feel it my duty to share in
popularizing the works of the many talented American composers. I
frequently place MacDowell's beautiful songs on my programs; and the
works of many other American composers, including Mrs. H. H. A. Beach,
Sidney Homer, Frank Le Forge and others make fine concert numbers. It
has seemed to me that America has a large future in the field of lyric
composition. American poets have long since won their place in the
international Hall of Fame. The lyrical spirit which they have expressed
verbally will surely be imbued in the music of American composers. The
opportunity is already here. Americans demand the best the world can
produce. It makes no difference what the nationality of the composer.
However, Americans are first of all patriotic; and the composer who
produces real lyric masterpieces is not likely to be asked to wait for
fame and competence, as did Schubert and Schumann.

[Illustration: MME. AMELITA GALLI-CURCI.

(C) Victor Georg.]

MME. AMELITA GALLI-CURCI

BIOGRAPHICAL

Mme. Galli-Curci was born at Milan, November 18th, 1889, of a family
distinguished in the arts and in the professions. She entered the Milan
Conservatory, winning the first prize and diploma in piano playing in
1903. For a time after her graduation she toured as a pianist and then
resolved to become a singer. She is practically self-taught in the vocal
art. Her debut was made in Rome at the Teatro Constanzi, in the role of
_Gilda_ in _Rigoletto_. She was pronouncedly successful from the very
start. During the next six years she sang principally in Italy, South
America (Three Tours), and in Spain, her success increasing with every
appearance. In 1916 she appeared at Chicago with the Chicago Opera
Company, creating a furore. The exceptionally beautiful records of her
interpretations created an immense demand to hear her in concert, and
her successes everywhere have been historic. Not since Patti has there
been a singer upon whom such wide-spread critical comment has been made
in praise of her exquisite velvety qu