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Metropolitan had aBrangaene worthy of that role. A tragic ac-tress of intense force and passion, MadameMatzenaur possesses in addition, a voice sorich and sonorous, and capable of such infinitegradations of color and emotional depictionthat the combination forms an irresistible wholeand casts a magic spell over her hearers. Sheis the greatest contralto heard in New
Yorkopera since Madame Schumann - Heink leftBroadway for wider fields in concert. In Munich Madame Matzenaur married ErnstPreuse in 1902. Preuse had been one of herteachers, and her divorce from him was one ofthe reasons why she left Munich and came toAmerica. In July, 1912, an announcement wasmade of her engagement to Signor Fontana
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so that it wasdistinctly understood. Madame
Matzenauris, in fact, distinguished for mastery oflanguages. She speaks English without a traceof continental accent, just as a cultivated Eng-lish woman speaks, although she has neverspent much time in studying it, and has spentonly a few weeks in England. She also speaksItalian fluently and French, besides Hungarian. At the end of the Metropolitan season in 1912she went to the Stadt Theatre at Hamburg, butwas engaged for a portion of each of the twofollowing seasons for America. During her American engagement MadameMatzenaur distinguished herself not only byher singing of Kundry, but also by her inter-pretation of the parts of Brunnhilde in Wal-
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Copyright by
Mishkin Studio, New York MARGARETE MATZENAUR The Metropolitan Opera-House 333 loire, as Orfeo in Glucks opera, and as Bran-gaene, on which occasion one of the papers de-clared : i Madame Matzenaur made her hearersrealize that for the first time since the days ofMarianne Brandt, the
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ack of time for rehearsal,but this excuse was proved absurd by thefact that Madame
Matzenaur, taking MissFremstadts place, sang the part without anorchestral rehearsal, and did it with anintelligence that proclaimed her a very greatartist, and what is also quite remarkable, shepronounced every word
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The grand opera singers of to-day : an account of the leading operatic stars who have sung during recent years, together with a sketch of the chief operatic enterprises
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