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Updated: May 11, 2025
Campanali and Rigard, whose sonorous bass tones have thrilled two continents, came gladly at the bidding of their old master, to whom they owed so much. The opera was "Faust." The house was packed from pit to dome, with seats in the aisles, and many great people. The Countess, trembling with excitement, had with her in her box her old friends the Townes, from London, for the event.
It is not too meek; it gets its own back when it can, and likes to punish the sinner as well as to forgive him. Sister Julie of the Order of St. Charles of Nancy, Madame Rigard, in civil parlance, had been for years when the war broke out the head of a modest cottage hospital in the small country town of Gerbéviller.
From the first scene to the clear end, when, in the divine trio, Campanali, Rigard, and Katrine caught fire from each other and went mad together, in that great, strong music where right triumphs, as the song climbs higher and higher in its great insistence, it was such triumph as no first performance had been in the memory of our generation, a success that admitted no cavilling or question, a success indisputable and unparalleled, and before the performance was ended the papers were chronicling, for the ends of the earth, that a world star had arisen in the firmament of song.
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