Now here was
one of the most poetic scenes on the whole operatic stage utterly
marred for all refined listeners, merely for the sake of showing
admiration for a singer which might as well have been expressed later
on when the curtain was down. Campanini recognized all these
interruptions, and bowed his thanks to the audience.
Quite different was Herr Niemann's behavior when he made his _debut_
at the Metropolitan Opera House. Here was the greatest living dramatic
tenor, an artist identified with the cause and the triumphs of Wagner,
appearing on a new continent, in the same role that he had created at
the historic Bayreuth festival of 1876. The house, of course, was
packed, and included many old admirers who had heard him abroad, and
who, of course, received him with a volley of applause when he
staggered into _Hunding's_ hut. But Niemann did not acknowledge this
applause with a bow or even a smile. He appeared before the public as
_Siegmund_, and not as Herr Niemann. But when the curtain was down he
promptly responded to the enthusiastic recalls, and was quite willing,
and more than willing, to come forward as often as the audience
desired and acknowledge their kindness with bowed thanks.
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