Don José

Jonas Kaufmann

From Prosper Mérimée, 1845, Carmen, Chapter I (Translated from the French by Mary Loyd)...

the air he sang was strange and sad. As to the words, I could not understand a single one of them.

"If I am not mistaken," said I, "that's not a Spanish air you have just been singing. It's like the zorzicos I've heard in the Provinces, and the words must be in the Basque language."

"Yes," said Don Jose, with a gloomy look. He laid the mandolin down on the ground, and began staring with a peculiarly sad expression at the dying fire. His face, at once fierce and noble-looking, reminded me, as the firelight fell on it, of Milton's Satan.

Like him, perchance, my comrade was musing over the home he had forfeited, the exile he had earned, by some misdeed.

I tried to revive the conversation, but so absorbed was he in melancholy thought, that he gave me no answer.

The tenor effect II

From Willa Cather, 1905, 'The Garden Lodge' in The Troll Garden & Selected Stories...

D'Esquerre had become the center of a movement, and the Metropolitan had become the temple of a cult. When he could be induced to cross the Atlantic, the opera season in New York was successful; when he could not, the management lost money; so much everyone knew. It was understood, too, that his superb art had disproportionately little to do with his peculiar position. Women swayed the balance this way or that; the opera, the orchestra, even his own glorious art, achieved at such a cost, were but the accessories of himself; like the scenery and costumes and even the soprano, they all went to produce atmosphere, were the mere mechanics of the beautiful illusion.

Caroline understood all this; tonight was not the first time that she had put it to herself so. She had seen the same feeling in other people, watched for it in her friends, studied it in the house night after night when he sang, candidly putting herself among a thousand others.

D'Esquerre's arrival in the early winter was the signal for a feminine hegira toward New York. On the nights when he sang women flocked to the Metropolitan from mansions and hotels, from typewriter desks, schoolrooms, shops, and fitting rooms. They were of all conditions and complexions. Women of the world who accepted him knowingly as they sometimes took champagne for its agreeable effect; sisters of charity and overworked shopgirls, who received him devoutly; withered women who had taken doctorate degrees and who worshipped furtively through prism spectacles; business women and women of affairs, the Amazons who dwelt afar from men in the stony fastnesses of apartment houses. They all entered into the same romance; dreamed, in terms as various as the hues of fantasy, the same dream; drew the same quick breath when he stepped upon the stage, and, at his exit, felt the same dull pain of shouldering the pack again.

There were the maimed, even; those who came on crutches, who were pitted by smallpox or grotesquely painted by cruel birth stains. These, too, entered with him into enchantment. Stout matrons became slender girls again; worn spinsters felt their cheeks flush with the tenderness of their lost youth. Young and old, however hideous, however fair, they yielded up their heat - whether quick or latent - sat hungering for the mystic bread wherewith he fed them at this eucharist of sentiment.

Sometimes, when the house was crowded from the orchestra to the last row of the gallery, when the air was charged with this ecstasy of fancy, he himself was the victim of the burning reflection of his power. They acted upon him in turn; he felt their fervent and despairing appeal to him; it stirred him as the spring drives the sap up into an old tree; he, too, burst into bloom. For the moment he, too, believed again, desired again, he knew not what, but something.

The tenor effect I

From Gustave Flaubert, 1857, Madame Bovary, Part II, Chapter 15 (Translated from the French by Eleanor Marx-Aveling)...

His large Spanish hat fell at a gesture he made, and immediately the instruments and the singers began the sextet. Edgar, flashing with fury, dominated all the others with his clearer voice; Ashton hurled homicidal provocations at him in deep notes; Lucie uttered her shrill plaint, Arthur at one side, his modulated tones in the middle register, and the bass of the minister pealed forth like an organ, while the voices of the women repeating his words took them up in chorus delightfully. They were all in a row gesticulating, and anger, vengeance, jealousy, terror, and stupefaction breathed forth at once from their half-opened mouths. The outraged lover brandished his naked sword; his guipure ruffle rose with jerks to the movements of his chest, and he walked from right to left with long strides, clanking against the boards the silver-gilt spurs of his soft boots, widening out at the ankles. He, she thought must have an inexhaustible love to lavish it upon the crowd with such effusion. All her small fault-findings faded before the poetry of the part that absorbed her; and, drawn towards this man by the illusion of the character, she tried to imagine to herself his life—that life resonant, extraordinary, splendid, and that might have been hers if fate had willed it. They would have known one another, loved one another. With him, through all the kingdoms of Europe she would have travelled from capital to capital, sharing his fatigues and his pride, picking up the flowers thrown to him, herself embroidering his costumes. Then each evening, at the back of a box, behind the golden trellis-work she would have drunk in eagerly the expansions of this soul that would have sung for her alone; from the stage, even as he acted, he would have looked at her. But the mad idea seized her that he was looking at her; it was certain. She longed to run to his arms, to take refuge in his strength, as in the incarnation of love itself, and to say to him, to cry out, "Take me away! carry me with you! let us go! Thine, thine! all my ardour and all my dreams!"