Singing Career
Eames made her professional operatic debut in Gounod's Roméo et Juliette at the Paris Opéra's headquarters, the Palais Garnier, in 1889. She would perform the role of Juliette many other times during the next two years, while adding other leading French-opera parts to her repertoire. As early as November 1889, The Times newspaper called her "the favourite cantatrice of the Opera". She left the company in 1891, however, for personal reasons. (She agreed to sing again in Paris in 1904, in a benefit performance of Puccini's Tosca, but this production was staged at La Salle Favart rather than the Palais Garnier.)
Towards the end of 1891, Eames debuted at the Metropolitan Opera in New York City in her trademark part of Juliette, and she quickly became a favourite with Met audiences. She would perform regularly at the Met in a variety of operas until 1909, when a dispute with management precipitated her departure. Eames also made a number of successful appearances at London's Royal Opera House, Covent Garden. She sang there intermittently from 1891 to 1901 and established herself as a genuine rival to Covent Garden's reigning diva, Nellie Melba, whom she heartily disliked. Eames also sang in Madrid and fulfilled lucrative singing engagements at Monaco's chic Monte Carlo Opera during the 1890s.
In 1906, Eames visited San Francisco with a touring troupe of leading Met singers. She was fortunate to survive unscathed when a devastating earthquake and fire struck the city, damaging her hotel. Eames gave her farewell operatic performances during the 1911-12 seasons with the Boston opera company. She then undertook a series of concert tours of the United States, appearing on the recital platform for the last time in 1916, by which time her voice was showing signs of deterioration. Her autobiography, Some Memories and Reflections, was published in 1929.
Eames' press notices included the following random examples from the beginning of her career:
Paris Opera House:
Saint-Saëns' Ascanio, 1890: ""Mon coeur est sous la pierre", of Colombe... sung with exquisite taste and without accompaniment... a delightful Colombe... consummate art... evoking unanimous plaudits".
Covent Garden:
Gounod's Faust, April 7, 1891: "debut... immediate and very great success... middle notes of the voice, which have a peculiarly beautiful quality... approaching the timbre of the mezzo-soprano... the organ as a whole, though exceedingly sweet, is not very powerful, but the singer's method leaves nothing to desire, and her execution of brilliant passages is neat and accurate... no very striking amount of tragic power... charming and sincerely artistic".
Wagner's Lohengrin, April 11, 1891: " a good deal of success... very great charm of her voice". Indeed, Hatton was to claim in 1931 that "The supreme personality is the one who can monopolise a part without any change ever being called for or desired -- such as ... Emma Eames as Elsa".
Massenet's Werther, 1894: "Mme. Emma Eames sings and acts most charmingly as Charlotte ... the beautiful quality of the singer's lower notes.. her performance was entirely successful".
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