he
stage, and has dark hair and eyes. She is an excellent linguist,
speaking four languages.

When she was a small child she would sing like a bird while alone, but
could never be induced to sing before strangers. Her father taught her
until she was old enough to determine whether she would really have a
fine voice. Then she became a pupil of Maurice Strakosch, whose nephew,
Robert Fischoff, she married.

The appearance of a new singer from America is now looked upon as
nothing unusual, for the list of those who have acquired distinction is
already long. Clara Louise Kellogg, Annie Louise Cary, Adelaide
Phillips, Marie Litta, Minnie Hauk, Marie Van Zandt, Alwina Valleria,
Emma Nevada, Marie Engle, Sybil Sanderson, Lillian Nordica,--yes, the
list might easily be increased even without enumerating the large number
of tenors and basses. The year 1890 witnessed the debut of one who is
already acknowledged as a great artist, and who adds to her laurels each
season. One who, to a glorious voice and attractive personality, adds
dramatic power and intelligence of a high order.

Emma Eames was born in China, but at a very early age was brought by her
mother to Boston, where she received her education. Mrs. Eames was a
highly accomplished musician, and was her daughter's earliest music
teacher. As her voice developed, she began to sing in church choirs and
in concerts, where the beauty of her singing attracted a good deal of
attention. After she went to Paris, she experienced considerable
difficulty in obtaining an engagement. The road to the opera is full of
intrigue and machination. Miss Eames made her way to the front by sheer
talent. She was first engaged to sing at the Opera Comique, but, for
some reason best known to itself, the management repented of having
opened its doors to an unknown singer, and gave her no part. She
therefore asked that her contract might be annulled, and her request was
granted.

A pure, fresh voice, flexible and expressive, remarkably good
intonation, and an attractive personality, were the qualities with which
Miss Eames ruled the stage. Her fault at first was a degree of calmness
in the more vehement scenes. This was noticed particularly in "Faust,"
and yet her interpretation of the role of Marguerite is considered
exceptionally fine.

In 1891 she accomplished the difficult feat of singing the part of Elsa
in "Lohengrin," after only one rehearsal, but her greatest assumption is
that of Eliz