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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/15446-8.txt b/15446-8.txt new file mode 100644 index 0000000..e3f5439 --- /dev/null +++ b/15446-8.txt @@ -0,0 +1,6745 @@ +The Project Gutenberg EBook of Vocal Mastery, by Harriette Brower + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Vocal Mastery + Talks with Master Singers and Teachers + +Author: Harriette Brower + +Release Date: March 23, 2005 [EBook #15446] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK VOCAL MASTERY *** + + + + +Produced by Chuck Greif and the Online Distributed +Proofreading Team (https://www.pgdp.net). + + + + + + +[Illustration: To Miss Harriette Brower Very Sincerely Enrico Caruso +N.Y. 1919] + + + + +VOCAL MASTERY + +TALKS WITH MASTER SINGERS AND TEACHERS + +COMPRISING INTERVIEWS WITH CARUSO, FARRAR, MAUREL, LEHMANN, AND OTHERS + +BY + +HARRIETTE BROWER + +Author of "Piano Mastery, First and Second Series," "Home-Help in Music +Study," "Self-Help in Piano Study" + +WITH TWENTY PORTRAITS + +NEW YORK + +FREDERICK A. STOKES COMPANY PUBLISHERS + + +1917, +by OLIVER DITSON COMPANY + +1918, 1919, +by THE MUSICAL OBSERVER COMPANY + +1920, +by FREDERICK A. STOKES COMPANY + + + + +FOREWORD + + +It has long been a cherished desire to prepare a series of Talks with +famous Singers, which should have an equal aim with Talks with Master +Pianists, namely, to obtain from the artists their personal ideas +concerning their art and its mastery, and, when possible, some inkling +as to the methods by which they themselves have arrived at the goal. + +There have been unexpected and untold difficulties in the way of such an +undertaking. The greater the artist the more numerous the body-guard +which surrounds him--or her; the more stringent the watch over the +artist's time and movements. If one is able to penetrate this barrier +and is permitted to see the artist, one finds usually an affable +gentleman, a charming woman, with simple manners and kindly intentions. + +However, when one is fortunate enough to come in touch with great +singers, one finds it difficult to draw from them a definite idea of the +process by which they have achieved victory. A pianist can describe his +manner of tone production, methods of touch, fingering, pedaling; the +violinist can discourse on the bow arm, use of left hand, on staccato +and pizzicati; but the singer is loath to describe his own instrument. +And even if singers could analyze, the description might not fit any +case but their own. For the art of singing is an individual art, the +perfecting an instrument hidden from sight. Each artist must achieve +mastery by overcoming difficulties which beset his own personal path. + +Despite these obstacles, every effort has been put forth to induce +artists to speak from an educational standpoint. It is hoped the various +hints and precepts they have given, may prove of benefit to singers and +teachers. Limitations of space prevent the inclusion of many other +artists and teachers. + +HARRIETTE BROWER. + +150 West 80 Street, New York City. + + + + + +CONTENTS + + +FOREWORD + +ENRICO CARUSO ... The Value of Work + +GERALDINE FARRAR ... The Will to Succeed a Compelling Force + +VICTOR MAUREL ... Mind Is Everything + +A VISIT TO MME. LILLI LEHMANN + +AMELITA GALLI-CURCI ... Self-teaching the Great Essential + +GIUSEPPE DE LUCA ... Ceaseless Effort Necessary for Artistic Perfection + +LUISA TETRAZZINI ... The Coloratura Voice + +ANTONIO SCOTTI ... Training American Singers for Opera + +ROSA RAISA ... Patience and Perseverance Win Results + +LOUISE HOMER ... The Requirements of a Musical Career + +GIOVANNI MARTINELLI ... "Let Us Have Plenty of Opera in America" + +ANNA CASE ... Inspired Interpretation + +FLORENCE EASTON ... Problems Confronting the Young Singer + +MARGUERITE D'ALVAREZ ... The Message of the Singer + +MARIA BARRIENTOS ... Be Your Own Critic + +CLAUDIA MUZIO ... A Child of the Opera + +EDWARD JOHNSON (EDOUARDO DI GIOVANNI) ... The Evolution of an Opera Star + +REINALD WERRENRATH ... Achieving Success on the Concert Stage + +SOPHIE BRASLAU ... Making a Career in America + +MORGAN KINGSTON ... The Spiritual Side of the Singer's Art + +FRIEDA HEMPEL ... A Lesson with a Prima Donna + + +WITH THE MASTER TEACHERS + +DAVID BISPHAM ... The Making of Artist Singers + +OSCAR SAENGER ... Use of Records in Vocal Study + +HERBERT WITHERSPOON ... Memory, Imagination, Analysis + +YEATMAN GRIFFITH ... Causation + +J.H. DUVAL ... Some Secrets of Beautiful Singing + +THE CODA ... A Resumé + + + + +ILLUSTRATIONS + +Enrico Caruso _Frontispiece_ + +Geraldine Farrar + +Victor Maurel + +Amelita Galli-Curci + +Giuseppe de Luca + +Luisa Tetrazzini + +Antonio Scotti + +Rosa Raisa + +Louise Homer + +Giovanni Martinelli + +Anna Case + +Florence Easton + +Marguerite d'Alvarez + +Maria Barrientos + +Claudia Muzio + +Edward Johnson + +Reinald Werrenrath + +Sophie Braslau + +Morgan Kingston + +Frieda Hempel + + + + + + +VOCAL MASTERY + + + + +I + +=ENRICO CARUSO= + +THE VALUE OF WORK + + +Enrico Caruso! The very name itself calls up visions of the greatest +operatic tenor of the present generation, to those who have both heard +and seen him in some of his many rôles. Or, to those who have only +listened to his records, again visions of the wonderful voice, with its +penetrating, vibrant, ringing quality, the impassioned delivery, which +stamps every note he sings with the hall mark of genius, the tremendous, +unforgettable climaxes. Not to have heard Caruso sing is to have missed +something out of life; not to have seen him act in some of his best +parts is to have missed the inspiration of great acting. As Mr. Huneker +once wrote: "The artistic career of Caruso is as well known as that of +any great general or statesman; he is a national figure. He is a great +artist, and, what is rarer, a genuine man." + +And how we have seen his art grow and ripen, since he first began to +sing for us. The date of his first appearance at the Metropolitan Opera +House, New York, was November 23rd, 1903. Then the voice was marvelous +in its freshness and beauty, but histrionic development lagged far +behind. The singer seemed unable to make us visualize the characters he +endeavored to portray. It was always Caruso who sang a certain part; we +could never forget that. But constant study and experience have +eliminated even this defect, so that to-day the singer and actor are +justly balanced; both are superlatively great. Can any one who hears and +sees Caruso in the rôle of Samson, listen unmoved to the throbbing wail +of that glorious voice and the unutterable woe of the blind man's +poignant impersonation? + + +IN EARLY DAYS + +Enrico Caruso was born in Naples, the youngest of nineteen children. His +father was an engineer and the boy was taught the trade in his father's +shop, and was expected to follow in his father's footsteps. But destiny +decreed otherwise. As he himself said, to one listener: + +"I had always sung as far back as I can remember, for the pure love of +it. My voice was contralto, and I sang in a church in Naples from +fourteen till I was eighteen. Then I had to go into the army for awhile. +I had never learned how to sing, for I had never been taught. One day a +young officer of my company said to me: 'You will spoil your voice if +you keep on singing like that'--for I suppose I was fond of shouting in +those days. 'You should learn _how_ to sing,' he said to me; 'you must +study.' He introduced me to a young man who at once took an interest in +me and brought me to a singing master named Vergine. I sang for him, but +he was very discouraging. His verdict was it would be hopeless to try to +make a singer out of me. As it was, I might possibly earn a few lire a +night with my voice, but according to his idea I had far better stick to +my father's trade, in which I could at least earn forty cents a day. + +"But my young friend would not give up so easily. He begged Vergine to +hear me again. Things went a little better with me the second time and +Vergine consented to teach me. + + +RIGID DISCIPLINE + +"And now began a period of rigid discipline. In Vergine's idea I had +been singing too loud; I must reverse this and sing everything softly. +I felt as though in a strait-jacket; all my efforts at expression were +most carefully repressed; I was never allowed to let out my voice. At +last came a chance to try my wings in opera, at ten lire a night +($2.00). In spite of the régime of repression to which I had been +subjected for the past three years, there were still a few traces of my +natural feeling left. The people were kind to me and I got a few +engagements. Vergine had so long trained me to sing softly, never +permitting me to sing out, that people began to call me the Broken +Tenor. + + +THE FIRST REAL CHANCE + +"A better chance came before long. In 1896 the Opera House in Salerno +decided to produce _I Puritani_. At the last moment the tenor they had +engaged to sing the leading rôle became ill, and there was no one to +sing the part. Lombardi, conductor of the orchestra, told the directors +there was a young singer in Naples, about eighteen miles away, who he +knew could help them out and sing the part. When they heard the name +Caruso, they laughed scornfully. 'What, the Broken Tenor?' they asked. +But Lombardi pressed my claim, assured them I could be engaged, and no +doubt would be glad to sing for nothing. + +"So I was sent for. Lombardi talked with me awhile first. He explained +by means of several illustrations, that I must not stand cold and stiff +in the middle of the stage, while I sang nice, sweet tones. No, I must +let out my voice, I must throw myself into the part, I must be alive to +it--must live it and in it. In short, I must act as well as sing. + + +A REVELATION + +"It was all like a revelation to me. I had never realized before how +absolutely necessary it was to act out the character I attempted. So I +sang _I Puritani_, with as much success as could have been expected of a +young singer with so little experience. Something awoke in me at that +moment. From that night I was never called a 'Broken Tenor' again. I +made a regular engagement at two thousand lire a month. Out of this I +paid regularly to Vergine the twenty-five per cent which he always +demanded. He was somewhat reconciled to me when he saw that I had a real +engagement and was making a substantial sum, though he still insisted +that I would lose my voice in a few years. But time passes and I am +still singing. + + +RESULTS OF THE REVELATION + +"The fact that I could secure an opera engagement made me realize I had +within me the making of an artist, if I would really labor for such an +end. When I became thoroughly convinced of this, I was transformed from +an amateur into a professional in a single day. I now began to take care +of myself, learn good habits, and endeavored to cultivate my mind as +well as my voice. The conviction gradually grew upon me that if I +studied and worked, I would be able one day to sing in such a way as to +satisfy myself." + + +THE VALUE OF WORK TO THE SINGER + +Caruso believes in the necessity for work, and sends this message to all +ambitious students: "To become a singer requires work, work, and again +work! It need not be in any special corner of the earth; there is no one +spot that will do more for you than other places. It doesn't matter so +much where you are, if you have intelligence and a good ear. Listen to +yourself; your ear will tell you what kind of tones you are making. If +you will only use your own intelligence you can correct your own +faults." + + +CEASELESS STUDY + +This is no idle speech, voiced to impress the reader. Caruso practices +what he preaches, for he is an incessant worker. Two or three hours in +the forenoon, and several more later in the day, whenever possible. He +does not neglect daily vocal technic, scales and exercises. There are +always many rôles to keep in rehearsal with the accompanist. He has a +repertoire of seventy rôles, some of them learned in two languages. +Among the parts he has prepared but has never sung are: _Othello, Fra +Diavolo, Eugen Onegin, Pique Dame, Falstaff_ and _Jewels of the +Madonna_. + +Besides the daily review of opera rôles, Caruso examines many new songs; +every day brings a generous supply. Naturally some of these find their +way into the waste basket; some are preserved for reference, while the +favored ones which are accepted must be studied for use in recital. + +I had the privilege, recently, of spending a good part of one forenoon +in Mr. Caruso's private quarters at his New York Hotel, examining a +whole book full of mementos of the Jubilee celebration of March, 1919, +on the occasion when the great tenor completed twenty-five years of +activity on the operatic stage. Here were gathered telegrams and +cablegrams from all over the world. Many letters and cards of greeting +and congratulation are preserved in this portly volume. Among them one +noticed messages from Mme. Schumann-Heink, the Flonzaley Quartet, +Cleofonte Campanini and hosts of others. Here, too, is preserved the +Jubilee Programme booklet, also the libretto used on that gala occasion. +Music lovers all over the world will echo the hope that this wonderful +voice may be preserved for many years to come! + + +A LAST WORD + +The above article was shown to Mr. Caruso, at his request, and I was +asked a few days later to come to him. There had been the usual +rehearsal at the Opera House that day. "Ah, those rehearsals," exclaimed +the secretary, stopping his typewriter for an instant; "no one who has +never been through it has any idea of what a rehearsal means." And he +lifted hands and eyes expressively. "Mr. Caruso rose at eight, went to +rehearsal at ten and did not finish till after three. He is now resting, +but will see you in a moment." + +Presently the great tenor opened the door and entered. He wore a +lounging coat of oriental silk, red bordered, and on the left hand +gleamed a wonderful ring, a broad band of dull gold, set with diamonds, +rubies and sapphires. He shook hands, said he had read my story, that it +was quite correct and had his entire approval. + +"And have you a final message to the young singers who are struggling +and longing to sing some day as wonderfully as you do?" + +"Tell them to study, to work always,--and--to sacrifice!" + +His eyes had a strange, inscrutable light in them, as he doubtless +recalled his own early struggles, and life of constant effort. + +And so take his message to heart: + +"Work, work--and--sacrifice!" + + + + +II + +=GERALDINE FARRAR= + +THE WILL TO SUCCEED A COMPELLING FORCE + + +"To measure the importance of Geraldine Farrar (at the Metropolitan +Opera House, New York) one has only to think of the void there would +have been during the last decade, and more, if she had not been there. +Try to picture the period between 1906 and 1920 without Farrar--it is +inconceivable! Farrar, more than any other singer, has been the +triumphant living symbol of the new day for the American artist at the +Metropolitan. She paved the way. Since that night, in 1906, when her +Juliette stirred the staid old house, American singers have been added +year by year to the personnel. Among these younger singers there are +those who will admit at once that it was the success of Geraldine Farrar +which gave them the impetus to work hard for a like success." + +[Illustration: GERALDINE FARRAR] + +These thoughts have been voiced by a recent reviewer, and will find a +quick response from young singers all over the country, who have been +inspired by the career of this representative artist, and by the +thousands who have enjoyed her singing and her many characterizations. + +I was present on the occasion of Miss Farrar's début at the greatest +opera house of her home land. I, too, was thrilled by the fresh young +voice in the girlish and charming impersonation of Juliette. It is a +matter of history that from the moment of her auspicious return to +America she has been constantly before the public, from the beginning to +end of each operatic season. Other singers often come for part of the +season, step out and make room for others. But Miss Farrar, as well as +Mr. Caruso, can be depended on to remain. + +Any one who gives the question a moment's thought, knows that such a +career, carried through a score of years, means constant, unremitting +labor. There must be daily work on vocal technic; repertoire must be +kept up to opera pitch, and last and perhaps most important of all, new +works must be sought, studied and assimilated. + +The singer who can accomplish these tasks will have little or no time +for society and the gay world, inasmuch as her strength must be devoted +to the service of her art. She must keep healthy hours, be always ready +to appear, and never disappoint her audiences. And such, according to +Miss Farrar's own words is her record in the service of art. + +While zealously guarding her time from interruption from the merely +curious, Miss Farrar does not entrench herself behind insurmountable +barriers, as many singers seem to do, so that no honest seeker for her +views of study and achievement can find her. While making a rule not to +try voices of the throng of young singers who would like to have her +verdict on their ability and prospects, Miss Farrar is very gracious to +those who really need to see her. Again--unlike others--she will make an +appointment a couple of weeks in advance, and one can rest assured she +will keep that appointment to the day and hour, in spite of many +pressing calls on her attention. + +To meet and talk for an hour with an artist who has so often charmed you +from the other side of the footlights, is a most interesting experience. +In the present instance it began with my being taken up to Miss Farrar's +private sanctum, at the top of her New York residence. Though this is +her den, where she studies and works, it is a spacious parlor, where all +is light, color, warmth and above all, _quiet_. A thick crimson carpet +hushes the footfall. A luxurious couch piled with silken cushions, and +comfortable arm chairs are all in the same warm tint; over the grand +piano is thrown a cover of red velvet, gold embroidered. Portraits of +artists and many costly trifles are scattered here and there. The young +lady who acts as secretary happened to be in the room and spoke with +enthusiasm of the singer's absorption in her work, her delight in it, +her never failing energy and good spirits. "From the day I heard Miss +Farrar sing I felt drawn to her and hoped the time would come when I +could serve her in some way. I did not know then that it would be in +this way. Her example is an inspiration to all who come in touch with +her." + +In a few moments Miss Farrar herself appeared, and the young girl +withdrew. + +And was this Farrar who stood before me, in the flush of vigorous +womanhood, and who welcomed me so graciously? The first impression was +one of friendliness and sincerity, which caused the artist for the +moment to be forgotten in the unaffected simplicity of the woman. + +Miss Farrar settled herself comfortably among the red silk cushions and +was ready for our talk. The simplicity of manner was reflected in her +words. She did not imply--there is only one right way, and I have found +it. "These things seem best for my voice, and this is the way I work. +But, since each voice is different, they might not fit any one else. I +have no desire to lay down rules for others; I can only speak of my own +experience." + + +THE QUESTION OF HEALTH + +"And you would first know how I keep strong and well and always ready? +Perhaps the answer is, I keep regular hours and habits, and love my +work. I have always loved to sing, as far back as I can remember. Music +means everything to me--it is my life. As a child and young girl, I was +the despair of my playmates because I would not join their games; I did +not care to skate, play croquet or tennis, or such things. I never +wanted to exercise violently, and, to me, unnecessarily, because it +interfered with my singing; took energy which I thought might be better +applied. As I grew older I did not care to keep late hours and be in an +atmosphere where people smoked and perhaps drank, for these things were +bad for my voice and I could not do my work next day. My time is always +regularly laid out. I rise at half past seven, and am ready to work at +nine. I do not care to sit up late at night, either, for I think late +hours react on the voice. Occasionally, if we have a few guests for +dinner, I ask them, when ten thirty arrives, to stay as long as they +wish and enjoy themselves, but I retire. + + +TECHNICAL STUDY + +"There are gifted people who may be called natural born singers. Melba +is one of these. Such singers do not require much technical practice, or +if they need a little of it, half an hour a day is sufficient. I am not +one of those who do not need to practice. I give between one and two +hours daily to vocalizes, scales and tone study. But I love it! A scale +is beautiful to me, if it is rightly sung. In fact it is not merely a +succession of notes; it represents color. I always translate sound into +color. It is a fascinating study to make different qualities of tonal +color in the voice. Certain rôles require an entirely different range of +colors from others. One night I must sing a part with thick, heavy, +rich tones; the next night my tones must be thinned out in quite another +timbre of the voice, to fit an opposite character." + +Asked if she can hear herself, Miss Farrar answered: + +"No, I do not actually hear my voice, except in a general way; but we +learn to know the sensations produced in muscles of throat, head, face, +lips and other parts of the anatomy, which vibrate in a certain manner +to correct tone production. We learn the _feeling_ of the tone. +Therefore every one, no matter how advanced, requires expert advice as +to the results. + + +WITH LEHMANN + +"I have studied for a long time with Lilli Lehmann in Berlin; in fact I +might say she is almost my only teacher, though I did have some +instruction before going to her, both in America and Paris. You see, I +always sang, even as a very little girl. My mother has excellent taste +and knowledge in music, and finding I was in danger of straining my +voice through singing with those older than myself, she placed me with a +vocal teacher when I was twelve, as a means of preservation. + +"Lehmann is a wonderful teacher and an extraordinary woman as well. +What art is there--what knowledge and understanding! What intensity +there is in everything she does. She used to say: 'Remember, these four +walls which inclose you, make a very different space to fill compared to +an opera house; you must take this fact into consideration and study +accordingly.' No one ever said a truer word. If one only studies or +sings in a room or studio, one has no idea of what it means to fill a +theater. It is a distinct branch of one's work to gain power and control +and to adapt one's self to large spaces. One can only learn this by +doing it. + +"It is sometimes remarked by listeners at the opera, that we sing too +loud, or that we scream. They surely never think of the great size of +the stage, of the distance from the proscenium arch to the footlights, +or from the arch to the first set of wings. They do not consider that +within recent years the size of the orchestra has been largely +increased, so that we are obliged to sing against this great number of +instruments, which are making every possible kind of a noise except that +of a siren. It is no wonder that we must make much effort to be heard: +sometimes the effort may seem injudicious. The point we must consider +is to make the greatest possible effect with the least possible +exertion. + +"Lehmann is the most painstaking, devoted teacher a young singer can +have. It is proof of her excellent method and her perfect understanding +of vocal mastery, that she is still able to sing in public, if not with +her old-time power, yet with good tone quality. It shows what an artist +she really is. I always went over to her every summer, until the war +came. We would work together at her villa in Gruenewald, which you +yourself know. Or we would go for a holiday down nearer Salzburg, and +would work there. We always worked wherever we were. + + +MEMORIZING + +"How do I memorize? I play the song or rôle through a number of times, +concentrating on both words and music at once. I am a pianist anyway; +and committing to memory is very easy for me. I was trained to learn by +heart from the very start. When I sang my little songs at six years old, +mother would never let me have any music before me: I must know my songs +by heart. And so I learned them quite naturally. To me singing was like +talking to people. + + +CONTRASTING COLORATURA AND DRAMATIC SINGING + +"You ask me to explain the difference between the coloratura and the +dramatic organ. I should say it is a difference of timbre. The +coloratura voice is bright and brilliant in its higher portion, but +becomes weaker and thinner as it descends; whereas the dramatic voice +has a thicker, richer quality all through, especially in its lower +register. The coloratura voice will sing upper C, and it will sound very +high indeed. I might sing the same tone, but it would sound like A flat, +because the tone would be of such totally different timbre. + + +TO THE YOUNG SINGER + +"If I have any message to the young singer, it would be: Stick to your +work and study systematically, whole-heartedly. If you do not love your +work enough to give it your best thought, to make sacrifices for it, +there is something wrong with you. Then choose some other line of work, +to which you can give undivided attention and devotion. For music +requires this. As for sacrifices, they really do not exist, if they +promote the thing you honestly love most. + +"Do not fancy you can properly prepare yourself in a short time to +undertake a musical career, for the path is a long and arduous one. You +must never stop studying, for there is always so much to learn. If I +have sung a rôle a hundred times, I always find places that can be +improved; indeed I never sing a rôle twice exactly in the same way. So, +from whatever side you consider the singer's work and career, both are +of absorbing interest. + +"Another thing; do not worry, for that is bad for your voice. If you +have not made this tone correctly, or sung that phrase to suit yourself, +pass it over for the moment with a wave of the hand or a smile; but +don't become discouraged. Go right on! I knew a beautiful American in +Paris who possessed a lovely voice. But she had a very sensitive nature, +which could not endure hard knocks. She began to worry over little +failures and disappointments, with the result that in three years her +voice was quite gone. We must not give way to disappointments, but +conquer them, and keep right along the path we have started on. + + +MODERN MUSIC + +"Modern music requires quite a different handling of the voice and makes +entirely different demands upon it than does the older music. The old +Italian operas required little or no action, only beautiful singing. The +opera houses were smaller and so were the orchestras. The singer could +stand still in the middle of the stage and pour out beautiful tones, +with few movements of body to mar his serenity. But we, in these days, +demand action as well as song. We need singing actors and actresses. The +music is declamatory; the singer must throw his whole soul into his +part, must act as well as sing. Things are all on a larger scale. It is +a far greater strain on the voice to interpret one of the modern Italian +operas than to sing one of those quietly beautiful works of the old +school. + +"America's growth in music has been marvelous on the appreciative and +interpretive side. With such a musical awakening, we can look forward to +the appearance of great creative genius right here in this country, +perhaps in the near future. Why should we not expect it? We have not yet +produced a composer who can write enduring operas or symphonies. +MacDowell is our highest type as yet; but others will come who will +carry the standard higher. + + +VOICE LIMITATIONS + +"The singer must be willing to admit limitations of voice and style and +not attempt parts which do not come within the compass of her +attainments. Neither is it wise to force the voice up or down when it +seems a great effort to do so. We can all think of singers whose natural +quality is mezzo--let us say--who try to force the voice up into a +higher register. There is one artist of great dramatic gifts, who not +content with the rich quality of her natural organ, tried to add several +high notes to the upper portion. The result was disastrous. Again, some +of our young singers who possess beautiful, sweet voices, should not +force them to the utmost limit of power, simply to fill, or try to fill +a great space. The life of the voice will be impaired by such injurious +practice. + + +VOCAL MASTERY + +"What do I understand by vocal mastery? It is something very difficult +to define. For a thing that is mastered must be really perfect. To +master vocal art, the singer must have so developed his voice that it is +under complete control; then he can do with it whatsoever he wishes. He +must be able to produce all he desires of power, pianissimo, accent, +shading, delicacy and variety of color. Who is equal to the task?" + +Miss Farrar was silent a moment; then she said, answering her own +question: + +"I can think of but two people who honestly can be said to possess vocal +mastery: they are Caruso and McCormack. Those who have only heard the +latter do little Irish tunes, have no idea of what he is capable. I have +heard him sing Mozart as no one else I know of can. These two artists +have, through ceaseless application, won vocal mastery. It is something +we are all striving for!" + + + + +III + +=VICTOR MAUREL= + +MIND IS EVERYTHING + + +Mr. James Huneker, in one of his series of articles entitled "With the +Immortals," in the New York _World_, thus, in his inimitable way +characterizes Victor Maurel: + +"I don't suppose there is to be found in musical annals such diversity +of aptitudes as that displayed by this French baritone. Is there an +actor on any stage to-day who can portray both the grossness of Falstaff +and the subtlety of Iago? Making allowance for the different art medium +that the singing actor must work in, and despite the larger curves of +operatic pose and gesture, Maurel kept astonishingly near to the +characters he assumed. He was Shakespearian; his Falstaff was the most +wonderful I ever saw." + +[Illustration: VICTOR MAUREL] + +And then Iago: "In the Maurel conception, Othello's Ancient was not +painted black in black--the heart of darkness, but with many nuances, +many gradations. He was economical of gesture, playing on the jealous +Moor as plays a skillfully handled bow upon a finely attuned violin. His +was truly an objective characterization. His Don Giovanni was broadly +designed. He was the aristocrat to the life, courtly, brave, amorous, +intriguing, cruel, superstitious and quick to take offense. In his best +estate, the drinking song was sheer virtuosity. Suffice to add that +Verdi intrusted to him the task of "originating" two such widely +sundered rôles as Iago and Falstaff. An extraordinary artist!" + +One evening we were discussing the merits of various famous singers of +the past and present. My friend is an authority whose opinion I greatly +respect. He is not only a singer himself but is rapidly becoming a +singing master of renown. + +After we had conferred for a long time, my friend summed it all up with +the remark: + +"You know who, in my opinion, is the greatest, the dean of them all, a +past master of the art of song--Victor Maurel." + +Did I not know! In times gone by had we not discussed by the hour every +phase of Maurel's mastery of voice and action? Did we not together +listen to that voice and watch with breathless interest his investiture +of Don Giovanni, in the golden days when Lilli Lehmann and the De +Reszkes took the other parts. Was there ever a more elegant courtly Don, +a greater Falstaff, a more intriguing Iago? + +In those youthful days, my friend's greatest ambition was to be able to +sing and act like Maurel. To this end he labored unceasingly. Second +only to this aim was another--to know the great baritone personally, to +become his friend, to discuss the finest issues of art with him, to +consult him and have the benefit of his experience. The consummation of +this desire has been delayed for years, but it is one of the "all +things" which will surely come to him who waits. Maurel is now once more +on American soil, and doubtless intends remaining for a considerable +period. My friend is also established in the metropolis. The two have +met, not only once but many times--indeed they have become fast friends. + +"I will take you to him," promised friend Jacque,--knowing my desire to +meet the "grand old man"; "but don't ask for too many of his opinions +about singers, as he does not care to be quoted." + +Late one afternoon we arrived at his residence. At the moment he was in +his music room, where, for the last hour he had been singing +_Falstaff_! If we could only have been hidden away in some quiet corner +to listen! He came running down the stairway with almost the agility of +a boy, coming to meet us with simple dignity and courtesy. After the +first greetings were over we begged permission to examine the many +paintings which met the eye everywhere. There was a large panel facing +us, representing a tall transparent vase, holding a careless bunch of +summer flowers, very artistically handled. Near it hung an out-of-door +sketch, a garden path leading into the green. Other bits of landscape +still-life and portraits made up the collection. They had all been +painted by the same artist--none other than Maurel himself. As we +examined the flower panel, he came and stood by us. + +"Painting is a great art," he said; "an art which requires profound +study. I have been a close student of this art for many years and love +it more and more." + +"M. Maurel aims now to express himself through the art of color and +form, as he has always done through voice and gesture," remarked my +friend. + +"Art is the highest means of expression," went on the master, "whether +through music, painting, sculpture, architecture or the theater. The +effort to express myself through another art-medium, painting, has long +been a joy to me. I have studied with no teacher but myself, but I have +learned from all the great masters; they have taught me everything." + +He then led the way to his music room on the floor above. Here were more +paintings, many rare pieces of furniture and his piano. A fine portrait +of Verdi, with an affectionate autograph, stood on a table; one of +Ambroise Thomas, likewise inscribed, hung near. "A serious man, almost +austere," said Maurel, regarding the portrait of Verdi thoughtfully, +"but one of the greatest masters of all time." + +Praying us to be seated, he placed himself on an ottoman before us. The +talk easily drifted into the subject of the modern operatic stage, and +modern operas of the Italian school, in which one is so often tempted to +shout rather than sing. The hero of Mozart's Don Giovanni, who could +sing his music as perhaps no one else has ever done, would not be likely +to have much patience with the modern style of explosive vocal +utterance. + +"How do you preserve your voice and your repertoire?" I questioned. + +M. Maurel gazed before him thoughtfully. + +"It is entirely through the mind that I keep both. I know so exactly +how to produce tone qualities, that if I recall those sensations which +accompany tone production, I can induce them at will. How do we make +tones, sing an aria, impersonate a rôle? Is not all done with the mind, +with thought? I must think the tone before I produce it--before I sing +it; I must mentally visualize the character and determine how I will +represent it, before I attempt it. I must identify myself with the +character I am to portray before I can make it _live_. Does not then all +come from thinking--from thought? + +"Again: I can think out the character and make a mental picture of it +for myself, but how shall I project it for others to see? I have to +convince myself first that I am that character--I must identify myself +with it; then I must convince those who hear me that I am really that +character." Maurel rose and moved to the center of the room. + +"I am to represent some character--Amonasro, let us say. I must present +the captive King, bound with chains and brought before his captors. I +must feel with him, if I am really going to represent him. I must +believe myself bound and a prisoner; then I must, through pose and +action, through expression of face, gesture, voice, everything--I must +make this character real to the audience." + +And as we looked, he assumed the pose of the man in chains, his hands +seemed tied, his body bent, his expression one in which anger and +revenge mingled; in effect, he was for the moment Amonasro. + +"I have only made you see my mental concept of Amonasro. If I have once +thoroughly worked out a conception, made it my own, then it is mine. I +can create it at any moment. If I feel well and strong I can sing the +part now in the same way as I have always sung it, because my thought is +the same and thought produces. Whether I have a little more voice, or +less voice, what does it matter? I can never lose my conception of a +character, for it is in my mind, and mind projects it. So there is no +reason to lose the voice, for that also is in mind and can be thought +out at will. + +"Suppose I have an opposite character to portray,--the elegant Don +Giovanni, for example"; and drawing himself up and wrapping an imaginary +cloak about him, with the old well-remembered courtly gesture, his face +and manner were instantly transformed at the thought of his favorite +character. He turned and smiled on us, his strong features lighted, and +his whole appearance expressed the embodiment of Mozart's hero. + +"You see I must have lived, so to say, in these characters and made them +my own, or I could not recall them at a moment's notice. All +impersonation, to be artistic, to be vital, must be a part of one's +self; one must get into the character. When I sing Iago I am no longer +myself--I am another person altogether; self is quite forgotten; I am +Iago, for the time being. + +"In Paris, at the Sorbonne, I gave a series of lectures; the first was +on this very subject, the identification of one's self with the +character to be portrayed. The large audience of about fifteen hundred, +contained some of the most famous among artists and men of letters"; and +Maurel, with hands clasped about his knee, gazed before him into space, +and we knew he was picturing in mental vision, the scene at the +Sorbonne, which he had just recalled. + +After a moment, he resumed. "The singer, though trying to act out the +character he assumes, must not forget to _sing_. The combination of fine +singing and fine acting is rare. Nowadays people think if they can act, +that atones for inartistic singing; then they yield to the temptation +to shout, to make harsh tones, simply for effect." And the famous +baritone caricatured some of the sounds he had recently heard at an +operatic performance with such gusto, that a member of the household +came running in from an adjoining room, thinking there must have been an +accident and the master of the house was calling for help. He hastily +assured her all was well--no one was hurt; then we all had a hearty +laugh over the little incident. + +And now we begged to be allowed to visit the atelier, where the +versatile artist worked out his pictures. He protested that it was in +disorder, that he would not dare to take us up, and so on. After a +little he yielded to persuasion, saying, however, he would go up first +and arrange the room a little. As soon as he had left us my friend +turned to me: + +"What a remarkable man! So strong and vigorous, in spite of his advanced +age. No doubt he travels those stairs twenty times a day. He is as alert +as a young man; doubtless he still has his voice, as he says. And what a +career he has had. You know he was a friend of Edward the Seventh; they +once lived together. Then he and Verdi were close friends; he helped +coach singers for Verdi's operas. He says it was a wonderful +experience, when the composer sat down at the piano, put his hands on +the keys and showed the singers how he wanted his music sung! + +"Early in his career Maurel sang in Verdi's opera, _Simone Boccanegra_, +which one never hears now, but it has a fine baritone part, and a couple +of very dramatic scenes, especially the final scene at the close. This +is the death scene. Maurel had sung and acted so wonderfully on a +certain occasion that all the singers about him were in tears. Verdi was +present at this performance and was deeply moved by Maurel's singing and +acting. He came upon the stage when all was over, and exclaimed, in a +voice trembling with emotion: 'You have created the rôle just as I would +have it; I shall write an opera especially _for you_!' This he did; it +was _Othello_, and the Iago was composed for Maurel. In his later years, +when he seldom left his home, the aged composer several times expressed +the wish that he might go to Paris, just to hear Maurel sing once more. + +"It is very interesting that he was led to speak to us as he did just +now, about mental control, and the part played by mind in the singer's +study, equipment and career. It is a side of the question which every +young singer must seriously consider, first, last and always. But here +he comes." + +Again protesting about the appearance of his simple studio, the master +led the way up the stairways till we reached the top of the house, where +a north-lighted room had been turned into a painter's atelier. With +mingled feelings we stepped within this modest den of a great artist, +which held his treasures. These were never shown to the casual observer, +nor to the merely curious; they were reserved for the trusted few. + +The walls were lined with sketches; heads, still life, landscapes, all +subjects alike interested the painter. A rugged bust of Verdi, over life +size, modeled in plaster, stood in one corner. On an easel rested a +spirited portrait of Maurel, done by himself. + +"My friends tell me I should have a larger studio, with better light; +but I am content with this, for here is quiet and here I can be alone, +free to commune with myself. Here I can study my art undisturbed,--for +Art is my religion. If people ask if I go to church, I say No, but I +worship the immortality which is within, which I feel in my soul, the +reflection of the Almighty!" + +In quiet mood a little later we descended the white stairway and passed +along the corridors of this house, which looks so foreign to American +eyes, and has the atmosphere of a Paris home. + +The artist accompanied us to the street door and bade us farewell, in +his kindly dignified manner. + +As the door closed and we were in the street, my friend said: + +"A wonderful man and a rare artist. Where shall we find his like +to-day?" + + + + +IV + +A VISIT TO MME. LILLI LEHMANN + + +A number of years before the great war, a party of us were spending a +few weeks in Berlin. It was midsummer; the city, filled as it was for +one of us at least, with dear memories of student days, was in most +alluring mood. Flowers bloomed along every balcony, vines festooned +themselves from windows and doorways, as well as from many unexpected +corners. The parks, large and small, which are the delight of a great +city, were at their best and greenest--gay with color. Many profitable +hours were spent wandering through the galleries and museums, hearing +concerts and opera, and visiting the old quarters of the city, so +picturesque and full of memories. + +Two of us, who were musicians, were anxious to meet the famous dramatic +soprano, Lilli Lehmann, who was living quietly in one of the suburbs of +the city. Notes were exchanged, and on a certain day we were bidden to +come, out of the regular hours for visitors, by "special exception." + +How well I remember the drive through the newer residential section of +Berlin. The path before long led us through country estates, past +beautifully kept gardens and orchards. Our destination was the little +suburb of Gruenewald, itself like a big garden, with villas nestling +close to each other, usually set back from the quiet, shaded streets. +Some of the villas had iron gratings along the pathway, through which +one saw gay flowers and garden walks, often statuary and fountains. +Other homes were secluded from the street by high brick walls, +frequently decorated on top by urns holding flowers and drooping vines. + +Behind such a picturesque barrier, we found the gateway which led to +Mme. Lehmann's cottage. We rang and soon a trim maid came to undo the +iron gate. The few steps leading to the house door did not face us as we +entered the inclosure, but led up from the side. We wanted to linger and +admire the shrubs and flowering plants, but the maid hastened before us +so we had to follow. + +From the wide entrance hall doors led into rooms on either hand. We were +shown into a salon on the left, and bidden to await Madame's coming. + +In the few moments of restful quiet before she entered, we had time to +glance over this sanctum of a great artist. To say it was filled with +mementos and _objets d'art_ hardly expresses the sense of repleteness. +Every square foot was occupied by some treasure. Let the eye travel +around the room. At the left, as one entered the doorway, stood a fine +bust of the artist, chiseled in pure white marble, supported on a +pedestal of black marble. Then came three long, French windows, opening +into a green garden. Across the farther window stood a grand piano, +loaded with music. At the further end of the room, if memory serves, +hung a large, full length portrait of the artist herself. A writing +desk, laden with souvenirs, stood near. On the opposite side a divan +covered with rich brocade; more paintings on the walls, one very large +landscape by a celebrated German painter. + +Before we could note further details, Mme. Lehmann stood in the doorway, +then came forward and greeted us cordially. + +How often I had seen her impersonate her great rôles, both in Germany +and America. They were always of some queenly character. Could it be +possible this was the famous Lehmann, this simple housewife, in black +skirt and white blouse, with a little apron as badge of home keeping. +But there was the stately tread, the grand manner, the graceful +movement. What mattered if the silver hair were drawn back severely from +the face; there was the dignity of expression, classic features, +penetrating glance and mobile mouth I remembered. + +After chatting a short time and asking many questions about America, +where her experiences had been so pleasant, our talk was interrupted, +for a little, by a voice trial, which Madame had agreed to give. Many +young singers, from everywhere, were anxious to have expert judgment on +their progress or attainments, so Lehmann was often appealed to and gave +frequent auditions of this kind. The fee was considerable, but she never +kept a penny of it for herself; it all went to one of her favorite +charities. The young girl who on this day presented herself for the +ordeal was an American, who, it seemed, had not carried her studies very +far. + + +EXAMINING A PUPIL + +Mme. Lehmann seated herself at the piano and asked for scales and +vocalizes. The young girl, either from fright or poor training, did not +make a very fortunate impression. She could not seem to bring out a +single pure steady tone, much less sing scales acceptably. + +Madame with a resigned look finally asked for a song, which was given. +It was a little song of Franz, I remember. Then Lehmann wheeled around +on the stool and said to us, in German: + +"The girl cannot sing--she has little or no voice to begin with, and has +not been rightly trained." Then to the young girl she said, kindly, in +English: + +"My dear young lady, you have almost everything to learn about singing, +for as yet you cannot even sing one tone correctly; you cannot even +speak correctly. First of all you need physical development; you must +broaden your chest through breathing exercises; you are too thin +chested. You must become physically stronger if you ever hope to sing +acceptably. Then you must study diction and languages. This is +absolutely necessary for the singer. Above all you must know how to +pronounce and sing in your own language. So many do not think it +necessary to study their own language; they think they know that +already; but one's mother tongue requires study as well as any other +language. + +"The trouble with American girls is they are always in a hurry. They are +not content to sit down quietly and study till they have developed +themselves into something before they ever think of coming to Europe. +They think if they can just come over here and sing for an artist, that +fact alone will give them prestige in America. But that gives them quite +the opposite reputation over here. American girls are too often looked +upon as superficial, because they come over here quite unprepared. I say +to all of them, as I say to you: Go home and study; there are plenty of +good teachers of voice and piano in your own land. Then, when you can +_sing_, come over here, if you wish; but do not come until you are +prepared." + +After this little episode, we continued our talk for a while longer. +Then, fearing to trespass on her time, we rose to leave. She came to the +door with us, followed us down the steps into the front garden, and held +the gate open for us, when we finally left. We had already expressed the +hope that she might be able to return to America, at no very distant +day, and repeat her former triumphs there. Her fine face lighted at the +thought, and her last words to us were, as she held open the little iron +wicket. "I have a great desire to go to your country again; perhaps, in +a year or two--who knows--I may be able to do it." + +She stood there, a noble, commanding figure, framed in the green of her +garden, and waved her handkerchief, till our cab turned a corner, and +she was lost to our view. + + +THE MOZART FESTIVAL + +Several years later, a year before the world war started, to be exact, +we had the pleasure of meeting the artist again, and this time, of +hearing her sing. + +It was the occasion of the Mozart Festival in Salzburg. It is well known +that Lehmann, devoted as she has always been to the genius of Mozart, +and one of the greatest interpreters of his music, had thrown her whole +energy into the founding of a suitable memorial to the master in his +native city. This memorial was to consist of a large music school, a +concert hall and home for opera. The Mozarteum was not yet completed, +but a Festival was held each year in Salzburg, to aid the project. +Madame Lehmann was always present and sang on these occasions. + +We timed our visit to Mozart's birthplace, so that we should be able to +attend the Festival, which lasted as usual five days. The concerts were +held in the Aula Academica, a fine Saal in the old picturesque quarter +of the city. + +At the opening concert, Lehmann sang a long, difficult Concert Aria of +Mozart. We could not help wondering, before she began, how time had +treated this great organ; whether we should be able to recognize the +famous Lehmann who had formerly taken such high rank as singer and +interpreter in America. We need not have feared that the voice had +become impaired. Or, if it had been, it had become rejuvenated on this +occasion. Mme. Lehmann sang with all her well-remembered power and +fervor, all her exaltation of spirit, and of course she had a great +ovation at the close. She looked like a queen in ivory satin and rare +old lace, with jewels on neck, arms and in her silver hair. In the +auditorium, three arm chairs had been placed in front of the platform. +The Arch-duke, Prince Eugen, the royal patron of the Festival, occupied +one. When Madame Lehmann had finished her Aria, she stepped down from +the platform. The Prince rose at once and went to meet her. She gave him +her hand with a graceful curtesy and he led her to the armchair next his +own, which had evidently been placed in position for her special use. + +At the close of the concert we had a brief chat with her. The next day +she was present at the morning concert. This time she was gowned in +black, with an ermine cape thrown over her shoulders. The Arch-duke sat +beside her in the arm chair, as he had done the evening before. We had a +bow and smile as she passed down the aisle. + +We trust the Mozarteum in Salzburg, for which Mme. Lehmann has labored +with such devotion, will one day fulfill its noble mission. + + +LEHMANN THE TEACHER + +As a teacher of the art of singing Madame Lehmann has long been a +recognized authority, and many artists now actively before the public, +have come from under her capable hands. Her book, "How to +Sing,"--rendered in English by Richard Aldrich--(Macmillan) has +illumined the path, for many a serious student who seeks light on that +strange, wonderful, hidden instrument--the voice. Madame Lehmann, by +means of many explanations and numerous plates, endeavors to make clear +to the young student how to begin and how to proceed in her vocal +studies. + + +BREATHING + +On the important subject of breathing she says: "No one can sing +without preparing for it mentally and physically. It is not enough to +sing well, one must know how one does it. I practice many breathing +exercises without using tone. Breath becomes voice through effort of +will and by use of vocal organs. When singing emit the smallest quantity +of breath. Vocal chords are breath regulators; relieve them of all +overwork. + +"At the start a young voice should be taught to begin in the middle and +work both ways--that is, up and down. A tone should never be forced. +Begin piano, make a long crescendo and return to piano. Another exercise +employs two connecting half tones, using one or two vowels. During +practice stand before a mirror, that one may see what one is doing. +Practice about one hour daily. Better that amount each day than ten +hours one day and none the next. The test will be; do you feel rested +and ready for work each morning? If not you have done too much the day +before." + + +REGISTERS + +In regard to registers Madame Lehmann has this to say: "In the formation +of the voice no registers should exist or be created. As long as the +word is kept in use, registers will not disappear." + + +PHYSIOLOGY + +In spite of the fact there are many drawings and plates illustrating the +various organs of head and throat which are used in singing, Madame +Lehmann says: + +"The singer is often worried about questions of physiology, whereas she +need--must--know little about it. + + +THE NASAL QUALITY + +"The singer must have some nasal quality, otherwise the voice sounds +colorless and expressionless. We must sing toward the nose: (not +necessarily through the nose). + +"For many ills of the voice and tone production, I use long, slow +scales. They are an infallible cure. + + +USE OF THE LIPS + +"The lips play a large part in producing variety of tone quality. Each +vowel, every word can be colored, as by magic, by well controlled play +of the lips. When lips are stiff and unresponsive, the singing is +colorless. Lips are final resonators, through which tones must pass, +and lip movements can be varied in every conceivable manner." + + +POWER AND VELOCITY + +She humorously writes: "Singers without power and velocity are like +horses without tails. For velocity, practice figures of five, six, seven +and eight notes, first slowly, then faster and faster, up and down." + + + + +V + +=AMELITA GALLI-CURCI= + +SELF-TEACHING THE GREAT ESSENTIAL + + +No singer can rise to any distinction without the severest kind of +self-discipline and hard work. This is the testimony of all the great +vocalists of our time--of any time. This is the message they send back +from the mountain top of victory to the younger ones who are striving to +acquire the mastery they have achieved. Work, work and again--work! And +if you have gained even a slight foothold on the hill of fame, then work +to keep your place. Above all, be not satisfied with your present +progress,--strive for more perfection. There are heights you have not +gained--higher up! There are joys for you--higher up, if you will but +labor to reach them. + +[Illustration: _Photo by De Strelecki, N.Y._ AMELITA GALLI-CURCI] + +Perhaps there is no singer who more thoroughly believes in the gospel of +work, and surely not one who more consistently practices what she +preaches, than Amelita Galli-Curci. She knows the value of work, and she +loves it for its own sake. There is no long cessation for her, during +summer months, "to rest her voice." There is no half-day seclusion after +a performance, to recover from the fatigue of singing a rôle the night +before. No, for her this event does not spell exhaustion but happiness, +exhilaration. It is a pleasure to sing because it is not wearisome--it +is a part of herself. And she enjoys the doing! Thus it happens that the +morning after a performance, she is up and abroad betimes, ready to +attend personally to the many calls upon her time and attention. She can +use her speaking voice without fear, because she has never done anything +to strain it; she is usually strong and well, buoyant and bright. Those +soft, dark eyes are wells of intelligent thinking; the mouth smiles +engagingly as she speaks; the slight figure is full of life and energy. +Yet there is a deep sense of calm in her presence. A brave, bright +spirit; a great, wonderful artist! + +These thoughts faintly glimpse my first impression of Mme. Galli-Curci, +as she entered her big, sunny parlor, where I was waiting to see her. +Her delicate, oval face was aglow with the flush of healthful exercise, +for she had just come in from a shopping expedition and the wintry air +was keen. "I love to go shopping," she explained, "so I always do it +myself." + +She bade me sit beside her on a comfortable divan, and at once began to +speak of the things I most wished to hear. + +"I am often asked," she began, "to describe how I create this or that +effect, how I produce such and such tones, how I make the voice float to +the farthest corner, and so on. I answer, that is my secret. In reality +it is no secret at all, at least not to any one who has solved the +problem. Any one possessing a voice and intelligence, can acquire these +things, who knows how to go to work to get them. But if one has no +notion of the process, no amount of mere talking will make it plain. +Singing an opera rôle seems such an easy thing from the other side of +the footlights. People seem to think, if you only know how to sing, it +is perfectly natural and easy for you to impersonate a great lyric rôle. +And the more mastery you have, the easier they think it is to do it. The +real truth of the matter is that it requires years and years of +study--constant study, to learn how to sing, before attempting a big +part in opera. + +"There are so many organs of the body that are concerned in the process +of breathing and tone production; and most of these organs must be, if +not always, yet much of the time, relaxed and in an easy pliable +condition when you sing. There is the diaphragm--then the throat, +larynx, the lungs, nose, lips--all of them help to make the tone. +Perhaps I might say the larynx is the most important factor of all. If +you can manage that, you have the secret. But no human being can tell +you exactly how to do it. Some singers before the public to-day have no +notion of how to manage this portion of their anatomy. Others may do so +occasionally, but it may only be by accident. They sometimes stumble +upon the principle, but not understanding how they did so, they cannot +reproduce the desired effects at will. The singer who understands her +business must know just how she produces tones and vocal effects. She +can then do them at all times, under adverse circumstances, even when +nervous, or not in the mood, or indisposed. + + +SELF-STUDY + +"How did I learn to know these things? By constant study, by constant +listening--for I have very keen ears--by learning the sensations +produced in throat and larynx when I made tones that were correctly +placed, were pleasing and at the same time made the effects I was +seeking. + +"Milan is my home city--beautiful Milano under the blue Italian skies, +the bluest in the world. As a young girl, the daughter of well-to-do +parents, I studied piano at the Royal Conservatory there, and also +musical theory and counterpoint. I shall ever be grateful I started in +this way, with a thorough musical foundation, for it has always been of +great advantage to me in further study. When my father met with +reverses, I made good use of my pianistic training by giving piano +lessons and making a very fair income for a young girl. + +"But I longed to sing! Is it not the birthright of every Italian to have +a voice? I began to realize I had a voice which might be cultivated. I +had always sung a little--every one does; song is the natural, +spontaneous expression of our people. But I wished to do more--to +express myself in song. So I began to teach myself by singing scales and +vocalizes between my piano lessons. Meanwhile I studied all the books on +singing I could lay hands on, and then tried to put the principles I +learned in this way in practice. In trying to do this I had to find out +everything for myself. And that is why I know them! I know exactly what +I am about when I sing, I know what muscles are being used, and in what +condition they ought to be; what parts of the anatomy are called into +action and why. Nature has given me two great gifts, a voice and good +health; for both these gifts I am deeply grateful. The first I have +developed through arduous toil; the second I endeavor to preserve +through careful living, regular hours and plenty of exercise in the +fresh air. I have developed the voice and trained it in the way that +seemed to me best for it. There are as many kinds of voices as there are +persons; it seems to me each voice should be treated in the way best +suited to its possessor. How can any other person tell you how that +should be done?" And the singer gave me a bright look, and made a pretty +deprecating gesture. "You yourself must have the intelligence to +understand your own case and learn how to treat it. + + +NEVER STRAIN THE VOICE + +"A singer who would keep her voice in the best condition, should +constantly and reasonably exercise it. I always do a half hour or so of +exercises, vocalizes and scales every morning; these are never +neglected. But I never do anything to strain the voice in any way. We +are told many fallacies by vocal teachers. One is that the diaphragm +must be held firmly in order to give support to the tone. It seems to me +this is a serious mistake. I keep the diaphragm relaxed. Thus tone +production, in my case, is made at all times with ease; there is never +any strain. You ask if it is not very fatiguing to sing against a large +orchestra, as we have to, and with a temperamental conductor, like +Marinuzzi, for instance, I do not find it so; there is a pure, clear +tone, which by its quality, placement and ease of production, will carry +farther than mere power ever can. It can be heard above a great +orchestra, and it _gets over_. + + +USE OF THE VOWELS + +"Young singers ask me what vowels to use in vocal practice. In my own +study I use them all. Of course some are more valuable than others. The +O is good, the E needs great care; the Ah is the most difficult of all. +I am aware this is contrary to the general idea. But I maintain that the +Ah is most difficult; for if you overdo it and the lips are too wide +apart, the result is a white tone. And on the other hand, if the lips +are nearer--or too near together, or are not managed rightly, stiffness +or a throaty quality is apt to result; then the tone cannot 'float.' I +have found the best way is to use the mixed vowels, one melting into the +other. The tone can be started with each vowel in turn, and then mingled +with the rest of the vowels. Do you know, the feathered songster I love +best--the nightingale--uses the mixed vowels too. Ah, how much I have +learned from him and from other birds also! Some of them have harsh +tones--real quacks--because they open their bills too far, or in a +special way. But the nightingale has such a lovely dark tone, a 'covered +tone,' which goes to the heart. It has the most exquisite quality in the +world. I have learned much from the birds, about what not to do and what +to do. + + +MEMORIZING + +"In taking up a new rôle I begin with the story, the libretto, so I may +first learn what it is about, its meaning and psychology. I take it to +bed with me, or have it by me if lying down, because I understand +musical composition and can get a clear idea of the composer's meaning +without going to the instrument. After a short time I begin to work it +out at the piano, in detail, words and music together. For a great rôle +like the _Somnambula_ or _Traviata_, I must spend three or four years, +perhaps more, in preparation, before bringing it to public performance. +It takes a long time to master thoroughly an operatic rôle, to work it +out from all sides, the singing, the acting, the characterization. To +the lay mind, if you can sing, you can easily act a part and also +memorize it. They little know the labor which must be bestowed on that +same rôle before it can be presented in such a shape as to be adequate, +in a way that will get it across. It does not go in a few weeks or even +months; it is the work of years. And even then it is never really +finished, for it can always be improved with more study, with more care +and thought. + + +THE NECESSITY FOR LANGUAGES + +"We hear much about need for study of languages by the singer, and +indeed too much stress cannot be placed on this branch of the work. I +realize that in America it is perhaps more difficult to impress people +with this necessity, as they have not the same need to use other +languages in every day life. The singer can always be considered +fortunate who has been brought up from earliest years to more than one +language. My mother was Spanish, my father Italian, so this gave me +both languages at home. Then in school I learned French, German and +English, not only a little smattering of each, but how to write and +speak them." + +"You certainly have mastered English remarkably well," I could not help +remarking, for she was speaking with great fluency, and with hardly any +accent. This seemed to please her, for she gave me one of those flashing +smiles. + + +COLORATURA AND DRAMATIC + +"Would you be pleased," I asked, "if later on your voice should develop +into a dramatic soprano?" + +Mme. Galli-Curci thought an instant. + +"No," she said, "I think I would rather keep the voice I have. I +heartily admire the dramatic voice and the rôles it can sing. Raisa's +voice is for me the most beautiful I know. But after all I think, for +myself, I prefer the lyric and coloratura parts, they are so beautiful. +The old Italian composers knew well how to write for the voice. Their +music has beauty, it has melody, and melodic beauty will always make its +appeal. And the older Italian music is built up not only of melody and +fioriture, but is also dramatic. For these qualities can combine, and +do so in the last act of _Traviata_, which is so full of deep feeling +and pathos. + + +BREATH CONTROL + +"Perhaps, in Vocal Mastery, the greatest factor of all is the breathing. +To control the breath is what each student is striving to learn, what +every singer endeavors to perfect, what every artist should master. It +is an almost endless study and an individual one, because each organism +and mentality is different. Here, as in everything else, perfect ease +and naturalness are to be maintained, if the divine song which is the +singer's concept of beauty, is to be 'floated on the breath,' and its +merest whisper heard to the farthest corner of the gallery. + + +THE MATTER IN A NUTSHELL + +"To sum up then, the three requirements of vocal mastery are: a, +Management of the Larynx; b, Relaxation of the Diaphragm; c, Control of +the Breath. To these might be added a fourth; Mixed Vowels. + +"But when all these are mastered, what then? Ah, so much more it can +never be put into words. It is self-expression through the medium of +tone, for tone must always be a vital part of the singer's +individuality, colored by feeling and emotion. Tone is the outlet, the +expression of all one has felt, suffered and enjoyed. To perfect one's +own instrument, one's medium of expression, must always be the singer's +joy and satisfaction." + +"And you will surely rest when the arduous season is over?" + +"Yes, I will rest when the summer comes, and will return to Italy this +year. But even though I seem to rest, I never neglect my vocal practice; +that duty and pleasure is always performed." + +And with a charming smile and clasp of the hand, she said adieu. + + + + + +VI + +=GIUSEPPE DE LUCA= + +CEASELESS EFFORT NECESSARY FOR ARTISTIC PERFECTION + + +"A Roman of Rome" is what Mr. Giuseppe De Luca has been named. The very +words themselves call up all kinds of enchanting pictures. Sunny Italy +is the natural home of beautiful voices: they are her birthright. Her +blue sky, flowers and olive trees--her old palaces, hoary with age and +romantic story, her fountains and marbles, her wonderful treasures of +art, set her in a world apart, in the popular mind. Everything coming +from Italy has the right to be romantic and artistic. If it happens to +be a voice, it should of necessity be beautiful in quality, rich, +smooth, and well trained. + +[Illustration: To Mrs. Harriette Brower cordially Giuseppe De Luca] + +While all singers who come from the sunny land cannot boast all these +qualifications, Mr. De Luca, baritone of the Metropolitan Opera House, +New York, can do so. Gifted with a naturally fine organ, he has +cultivated it arduously and to excellent purpose. He began to study in +early youth, became a student of Saint Cecilia in Rome when fifteen +years of age, and made his début at about twenty. He has sung in opera +ever since. + +In 1915,--November 25th to be exact--De Luca came to the Metropolitan, +and won instant recognition from critics and public alike. It is said of +him that he earned "this success by earnest and intelligent work. +Painstaking to a degree, there is no detail of his art that he neglects +or slights--so that one hesitates to decide whether he is greater as a +singer or as an actor." Perhaps, however, his most important quality is +his mastery of "_bel canto_"--pure singing--that art which seems to +become constantly rarer on the operatic and concert stage. + +"De Luca does such beautiful, finished work; every detail is carefully +thought out until it is as perfect as can be." So remarked a member of +the Metropolitan, and a fellow artist. + +Those who have listened to the Roman baritone in the various rôles he +has assumed, have enjoyed his fine voice, his true _bel canto_ style, +and his versatile dramatic skill. He has never disappointed his public, +and more than this, is ever ready to step into the breach should +necessity arise. + +A man who has at least a hundred and twenty operas at his tongue's end, +who has been singing in the greatest opera houses of the world for more +than twenty years, will surely have much to tell which can help those +who are farther down the line. If he is willing to do so, can speak the +vernacular, and can spare a brief hour from the rush of constant study +and engagement, a conference will be possible. It was possible, for time +was made for it. + + +THE MUSICAL GIFT + +Mr. De Luca, who speaks the English language remarkably well, greeted +the writer with easy courtesy. His genial manner makes one feel at home +immediately. Although he had just come from the Opera House, where he +had sung an important rôle, he seemed as fresh and rested as though +nothing had happened. + +"I think the ability to act, and also, in a measure, to sing, is a +gift," began the artist. "I remember, even as a little child, I was +always acting out in pantomime or mimicry what I had seen and felt. If I +was taken to the theater, I would come home, place a chair for audience, +and act out the whole story I had just seen before it. From my youngest +years I always wanted to sing and act. + + +A REMARKABLE TEACHER + +"As early as I could, at about the age of fifteen, I began to study +singing, with a most excellent teacher; who was none other than Signor +Wenceslao Persischini, who is now no longer living. He trained no fewer +than seventy-four artists, of which I was the last. Battestini, that +wonderful singer, whose voice to-day, at the age of sixty-five, is as +remarkable as ever, is one of his pupils. We know that if a vocal +teacher sings himself, and has faults, his pupils are bound to copy +those faults instinctively and unconsciously. With Persischini this +could not be the case; for, owing to some throat trouble, he was not +able to sing at all. He could only whisper the tones he wanted, +accompanying them with signs and facial grimaces." And Mr. De Luca +illustrated these points in most amusing fashion. Then he continued: + +"But he had unerring judgment, together with the finest ear. He knew +perfectly how the tone should be sung and the student was obliged to do +it exactly right and must keep at it till it was right. He would let +nothing faulty pass without correction. I also had lessons in acting +from Madame Marini, a very good teacher of the art. + + +THE ARTIST LIFE + +"After five years of hard study I made my début at Piacenza, as +Valentine, in _Faust_, November 6th, 1897. Then, you may remember, I +came to the Metropolitan in the season of 1915-1916, where I have been +singing continually ever since. + +"The artist should have good health, that he may be always able to sing. +He owes this to his public, to be always ready, never to disappoint. I +think I have never disappointed an audience and have always been in good +voice. It seems to me when one is no longer able to do one's best it is +time to stop singing." + +"It is because you study constantly and systematically that you are +always in good voice." + +"Yes, I am always at work. I rise at eight in the morning, not later. +Vocalizes are never neglected. I often sing them as I take my bath. Some +singers do not see the necessity of doing exercises every day; I am not +one of those. I always sing my scales, first with full power, then +taking each tone softly, swelling to full strength, then dying away--in +mezza voce. I use many other exercises also--employing full power. +English is also one of the daily studies, with lessons three times a +week. + + +CONSTANTLY ON THE WATCH + +"When singing a rôle, I am always listening--watching--to be conscious +of just what I am doing. I am always criticizing myself. If a tone or a +phrase does not sound quite correct to me as to placement, or +production, I try to correct the fault at once. I can tell just how I am +singing a tone or phrase by the feeling and sensation. Of course I +cannot hear the full effect; no singer ever can actually hear the effect +of his work, except on the records. There he can learn, for the first +time, just how his voice sounds. + + +LEARNING A NEW RÔLE + +"How do I begin a new part? I first read over the words and try to get a +general idea of their meaning, and how I would express the ideas. I try +over the arias and get an idea of those. Then comes the real work--the +memorizing and working out the conception. I first commit the words, and +know them so well I can write them out. Next I join them to the music. +So far I have worked by myself. After this much has been done, I call in +the accompanist, as I do not play the piano very well; that is to say, +my right hand will go but the left lags behind! + + +ALWAYS BEING SURE OF THE WORDS + +"Yes, as you say, it requires constant study to keep the various rôles +in review, especially at the Metropolitan, where the operas are changed +from day to day. Of course at performance the prompter is always there +to give the cue--yet the words must always be in mind. I have never yet +forgotten a word or phrase. On one occasion--it was in the _Damnation of +Faust_, a part I had already sung a number of times--I thought of a word +that was coming, and seemed utterly unable to remember it. I grew quite +cold with fear--I am inclined to be a little nervous anyway--but it was +quite impossible to think of the word. Luckily at the moment when I +needed the word I was so fearful about, it suddenly came to me. + + +NATURAL ANXIETY + +"Of course there is always anxiety for the artist with every public +appearance. There is so much responsibility--one must always be at +one's best; and the responsibility increases as one advances, and begins +to realize more and more keenly how much is expected and what depends on +one's efforts. I can assure you we all feel this, from the least to the +greatest. The most famous singers perhaps suffer most keenly. + +"I have always sung in Italian opera, in which the language is easy for +me. Latterly I have added French operas to my list. _Samson and +Delilah_, which I had always done in Italian, I had to relearn in +French; this for me was very difficult. I worked a long time on it, but +mastered it at last. + +"This is my twenty-second season in opera. I have a repertoire of about +one hundred and twenty rôles, in most of which I have sung many times in +Italy. Some I wish might be brought out at the Metropolitan. Verdi's +_Don Carlos_, for instance, has a beautiful baritone part; it is really +one of the fine operas, though it might be considered a bit +old-fashioned to-day. Still I think it would be a success here. I am +preparing several new parts for this season; one of them is the +Tschaikowsky work--_Eugene Onegin_. So you see I am constantly at work. + +"My favorite operas? I think they are these"; and Mr. De Luca hastily +jotted down the following: _Don Carlos, Don Giovanni, Hamlet, Rigoletto, +Barbier, Damnation of Faust_, and last, but not least, _Tannhauser_. + + +GROWTH OF MUSICAL APPRECIATION IN AMERICA + +Asked if he considered appreciation for music had advanced during his +residence in America, his answer was emphatically in the affirmative. + +"The other evening I attended a reception of representative American +society, among whom were many frequenters of the Metropolitan. Many of +them spoke to me of the opera _Marouf_. I was surprised, for this modern +French opera belongs to the new idiom, and is difficult to understand. +'Do you really like the music of _Marouf_?' I asked. 'Oh, yes indeed,' +every one said. It is one of my longest parts, but not one of my special +favorites. + +"In the summer! Ah, I go back to my beloved Italy almost as soon as the +Metropolitan season closes. I could sing in Buenos Aires, as the season +there follows the one here. But I prefer to rest the whole time until I +return. I feel the singer needs a period of rest each year. To show you +how necessary it is for the singer to do daily work on the voice, I +almost feel I cannot sing at all during the summer, as I do no +practicing, and without vocalizes one cannot keep in trim. If I am asked +to sing during vacation, I generally refuse. I tell them I cannot sing, +for I do not practice. It takes me a little while after I return, to get +the vocal apparatus in shape again. + +"Thus it means constant study, eternal vigilance to attain the goal, +then to hold what you have attained and advance beyond it if possible." + + + + +VII + +=LUISA TETRAZZINI= + +THE COLORATURA VOICE + + +Luisa Tetrazzini has been called the greatest exponent of coloratura +singing that we have at the present time. Her phenomenal successes in +various quarters of the globe, where she has been heard in both opera +and concert, are well known, and form pages of musical history, full of +interest. This remarkable voice, of exquisite quality and development, +is another proof that we have as beautiful voices to-day, if we will but +realize the fact, as were ever known or heard of in the days of famous +Italian songsters. + +[Illustration: LOUISA TETRAZZINI] + +Portraits often belie the artist, by accentuating, unduly, some +individuality of face or figure, and Tetrazzini is no exception. From +her pictures one would expect to find one of the imperious, dominating +order of prima donnas of the old school. When I met the diva, I was at +once struck by the simplicity of her appearance and attire. There was +nothing pompous about her; she did not carry herself with the air of +one conscious of possessing something admired and sought after by all +the world, something which set her on a high pedestal apart from other +singers. Not at all. I saw a little lady of plump, comfortable figure, a +face which beamed with kindliness and good humor, a mouth wreathed with +smiles. Her manner and speech were equally simple and cordial, so that +the visitor was put at ease at once, and felt she had known the great +singer for years. + +Before the conference could begin a pretty episode happened, which +showed the human side of the singer's character, and gave a glimpse into +her every day life. Mme. Tetrazzini was a little late for her +appointment, as she had been out on a shopping expedition, an occupation +which she greatly enjoys. Awaiting her return was a group of +photographers, who had arranged their apparatus, mirrors and flash-light +screen, even to the piano stool on which the singer was to be placed. +She took in the situation at a glance, as she entered, and obediently +gave herself into the hands of the picture makers. + +"Ah, you wish to make me beautiful," she exclaimed, with her pretty +accent; "I am not beautiful, but you may try to make me look so." With +patience she assumed the required poses, put her head on this side or +that, drew her furs closer about her or allowed them to fall away from +the white throat, with its single string of pearls. The onlooker +suggested she be snapped with a little black "Pom," who had found his +way into the room and was now an interested spectator, on his vantage +ground, a big sofa. So little "Joy" was gathered up and held in +affectionate, motherly arms, close against his mistress' face. It was +all very human and natural, and gave another side to the singer's +character from the side she shows to the public. + +At last the ordeal was over, and Madame was free to leave her post and +sit in one of the arm chairs, where she could be a little more +comfortable. The secretary was also near, to be appealed to when she +could not make herself intelligible in English. "My English is very +bad," she protested; "I have not the time now to learn it properly; that +is why I speak it so very bad. In the summer, or next year, I will +really learn it. Now, what is it I can tell you? I am ready." + + +FOR THE DÉBUTANTE + +To ask such a natural born singer how she studies and works, is like +asking the fish swimming about in the ocean, to tell you where is the +sea! She could not tell you how she does it. Singing is as the breath of +life to Tetrazzini--as natural as the air she breathes. Realizing this, +I began at the other end. + +"What message have you, Madame, for the young singer, who desires to +make a career?" + +"Ah, yes, the débutante. Tell her she must practice much--very much--" +and Madame spread out her hands to indicate it was a large subject; "she +must practice several hours every day. I had to practice very much when +I began my study--when I was sixteen; but now I do not have to spend +much time on scales and exercises; they pretty well go of themselves"; +and she smiled sweetly. + +"You say," she continued, "the débutante--the young singer--does not +know--in America--how much she needs the foreign languages. But she +should learn them. She should study French, Italian and Spanish, and +know how to speak them. Because, if she should travel to those +countries, she must make herself understood, and she must be able to +sing in those languages, too. + +"Besides the languages, it is very good for her to study piano also; +she need not know it so well as if she would be a pianist, but she +should know it a little; yet it is better to know more of the piano--it +will make her a better musician." + + +THE COLORATURA VOICE + +"You love the coloratura music, do you not, Madame?" + +"Ah, yes, I love the coloratura,--it suits me; I have always studied for +that--I know all the old Italian operas. For the coloratura music you +must make the voice sound high and sweet--like a bird--singing and +soaring. You think my voice sounds something like Patti's? Maybe. She +said so herself. Ah, Patti was my dear friend--my very dear friend--I +loved her dearly. She only sang the coloratura music, though she loved +Wagner and dramatic music. Not long before she died she said to me: +'Luisa, always keep to the coloratura music, and the beautiful _bel +canto_ singing; do nothing to strain your voice; preserve its velvety +quality.' Patti's voice went to C sharp, in later years; mine has +several tones higher. In the great aria in Lucia, she used to substitute +a trill at the end instead of the top notes; but she said to +me--'Luisa, _you_ can sing the high notes!'" + +"Then the breathing, Madame, what would you say of that?" + +"Ah, the breathing, that is very important indeed. You must breathe from +here, you know--what you call it--from the diaphragm, and from both +sides; it is like a bellows, going in and out," and she touched the +portions referred to. "One does not sing from the chest,--that would +make queer, harsh tones." She sang a few tones just to show how harsh +they would be. + +"You have shown such wonderful breath control in the way you sustain +high tones, beginning them softly, swelling then diminishing them." + +"Ah, yes, the coloratura voice must always be able to do those things," +was the answer. + +"Should you ever care to become a dramatic singer?" she was asked. + +Tetrazzini grew thoughtful; "No, I do not think so," she said, after a +pause; "I love my coloratura music, and I think my audience likes it +too; it goes to the heart--it is all melody, and that is what people +like. I sing lyric music also--I am fond of that." + +"Yes, and you sing songs in English, with such good diction, that we +can all understand you--almost every word." + +Madame beamed. + +"I promise you I will learn English better next year; for I shall come +back to my friends in America next autumn. I shall be in Italy in the +summer. I have two homes over there, one in Italy and one in +Switzerland. + +"Do I prefer to sing in opera or concert, you ask? I believe I like +concert much better, for many reasons. I get nearer to the audience; I +am freer--much freer, and can be myself and not some other person. There +is no change of costume, either; I wear one gown, so it is easier; yes, +I like it much more. + +"In traveling over your big country--you see I have just been out to +California and back--I find your people have advanced so very much in +appreciation of music; you know so much more than when I was here +before; that was indeed a long time ago--about twelve years,--" and +Madame made a pretty little gesture. + +"But in one way your great big country has scarcely advanced any if at +all; you have not advanced in providing opera for your music lovers. You +need permanent opera companies in all the larger cities. The opera +companies of New York and Chicago are fine, oh yes,--but they cannot +give opera to the whole country. There are a few traveling companies +too, which are good. But what are they in your big country? You should +have opera stock companies all over, which would give opera for the +people. Then your fine American girls would have the chance to gain +operatic experience in their own country, which they cannot get now. +That is why the foreign singer has such a chance here, and that is why +the native singer can hardly get a chance. All the American girls' eyes +turn with longing to the Metropolitan Opera House; and with the best +intentions in the world the Director can only engage a small number of +those he would like to have, because he has no room for them. He can not +help it. So I say, that while your people have grown so much in the +liking and in the understanding of music, you do not grow on this side, +because your young singers are obliged to travel to a foreign land to +get the practice in opera they are unable to get at home. You need to do +more for the permanent establishing of opera in the large and small +cities of your country." + +Madame did not express her thoughts quite as consecutively as I have set +them down, but I am sure she will approve, as these are her ideas of +the musical situation in this country. + +As I listened to the words of this "second Patti," as she is called, and +learned of her kindly deeds, I was as much impressed by her kindness of +heart as I had been by her beautiful art of song. She does much to +relieve poverty and suffering wherever she finds it. As a result of her +"vocal mastery," she has been able to found a hospital in Italy for +victims of tuberculosis, which accommodates between three and four +hundred patients. The whole institution is maintained from her own +private income. During the war she generously gave of her time and art +to sing for the soldiers and aided the cause of the Allies and the Red +Cross whenever possible. For her labors of love in this direction, she +has the distinction of being decorated by a special gold medal of honor, +by both the French and Italian Governments; a distinction only conferred +on two others beside herself. + +After our conference, I thanked her for giving me an hour from her +crowded day. She took my hand and pressed it warmly in both hers. + +"Please do not quite forget me, Madame." + +"Indeed not, will you forget me?" + +"No, I shall always remember this delightful hour." + +"Then, you see, I cannot forget you!" and she gave my hand a parting +squeeze. + + + + +VIII + +=ANTONIO SCOTTI= + +TRAINING AMERICAN SINGERS FOR OPERA + + +A singer of finished art and ripe experience is Antonio Scotti. His +operatic career has been rich in development, and he stands to-day at +the top of the ladder, as one of the most admired dramatic baritones of +our time. + +One of Naples' sons, he made a first appearance on the stage at Malta, +in 1889. Successful engagements in Milan, Rome, Madrid, Russia and +Buenos Aires followed. In 1899 he came to London, singing _Don Giovanni_ +at Covent Garden. A few months thereafter, he came to New York and began +his first season at the Metropolitan. His vocal and histrionic gifts won +instant recognition here and for the past twenty years he has been one +of the most dependable artists of each regular season. + + +CHARACTERIZATION + +[Illustration: [handwritten note] To Miss Harriette Brower Cordially A +Scotti New York 1920] + +With all his varied endowments, it seldom or never falls to the lot of a +baritone to impersonate the lover; on the contrary it seems to be his +métier to portray the villain. Scotti has been forced to hide his true +personality behind the mask of a Scarpia, a Tonio, an Iago, and last but +not least, the most repulsive yet subtle of all his villains--Chim-Fang, +in _L'Oracolo_. Perhaps the most famous of them all is Scarpia. But what +a Scarpia, the quintessence of the polished, elegant knave! The +refinement of Mr. Scotti's art gives to each rôle distinct +characteristics which separate it from all the others. + + +OPPORTUNITY FOR THE AMERICAN SINGER + +Mr. Scotti has done and is doing much for the young American singer, by +not only drilling the inexperienced ones, but also by giving them +opportunity to appear in opera on tour. To begin this enterprise, the +great baritone turned impresario, engaged a company of young singers, +most of them Americans, and, when his season at the Metropolitan was at +an end, took this company, at his own expense, on a southern trip, +giving opera in many cities. + +Discussing his venture on one occasion, Mr. Scotti said: + +"It was an experiment in several ways. First, I had an all-American +company, which was indeed an experiment. I had some fine artists in the +principal rôles, with lesser known ones in smaller parts. With these I +worked personally, teaching them how to act, thus preparing them for +further career in the field of opera. I like to work with the younger +and less experienced ones, for it gives me real pleasure to watch how +they improve, when they have the opportunity. + +"Of course I am obliged to choose my material carefully, for many more +apply for places than I can ever accept. + + +ITALIAN OPERA IN AMERICA + +"So closely is Italy identified with all that pertains to opera," he +continued, "that the question of the future of Italian opera in America +interests me immensely. It has been my privilege to devote some of the +best years of my life to singing in Italian opera in this wonderful +country of yours. One is continually impressed with the great advance +America has made and is making along all musical lines. It is marvelous, +though you who live here may not be awake to the fact. Musicians in +Europe and other parts of the world, who have never been here, can form +no conception of the musical activities here. + +"It is very gratifying to me, as an Italian, to realize that the +operatic compositions of my country must play an important part in the +future of American musical art. It seems to me there is more intrinsic +value--more variety in the works of modern Italian composers than in +those of other nations. We know the operas of Mozart are largely founded +on Italian models. + +"Of the great modern Italian composers, I feel that Puccini is the most +important, because he has a more intimate appreciation of theatrical +values. He seems to know just what kind of music will fit a series of +words or a scene, which will best bring out the dramatic sense. +Montemezzi is also very great in this respect. This in no way detracts +from what Mascagni, Leoncavallo and others have accomplished. It is only +my personal estimate of Puccini as a composer. The two most popular +operas to-day are _Aïda_ and _Madame Butterfly_, and they will always +draw large audiences, although American people are prone to attend the +opera for the purpose of hearing some particular singer and not for the +sake of the work of the composer. In other countries this is not so +often the case. We must hope this condition will be overcome in due +time, for the reason that it now often happens that good performances +are missed by the public who are only attracted when some much heralded +celebrity sings." + + +AMERICAN COMPOSERS + +Asked for his views regarding American operatic composers, Mr. Scotti +said: + +"American composers often spoil their chances of success by selecting +uninteresting and uninspired stories, which either describe some doleful +historic incident or illustrate some Indian legend, in which no one of +to-day is interested, and which is so far removed from actual life that +it becomes at once artificial, academic and preposterous. Puccini spends +years searching for suitable librettos, as great composers have always +done. When he finds a story that is worthy he turns it into an opera. +But he will wait till he discovers the right kind of a plot. No wonder +he has success. In writing modern music dramas, as all young Americans +endeavor to do, they will never be successful unless they are careful to +pick out really dramatic stories to set to music." + + +OPERATIC TRAINING + +On a certain occasion I had an opportunity to confer with this popular +baritone, and learn more in regard to his experiences as impresario. +This meeting was held in the little back office of the Metropolitan, a +tiny spot, which should be--and doubtless is--dear to every member of +the company. Those four walls, if they would speak, could tell many +interesting stories of singers and musicians, famed in the world of art +and letters, who daily pass through its doors, or sit chatting on its +worn leather-covered benches, exchanging views on this performance or +that, or on the desirability or difficulty of certain rôles. Even while +we were in earnest conference, Director Gatti-Casazza passed through the +room, stopping long enough to say a pleasant word and offer a clasp of +the hand. Mr. Guard, too, flitted by in haste, but had time to give a +friendly greeting. + +Mr. Scotti was in genial mood and spoke with enthusiasm of his +activities with a favorite project--his own opera company. To the +question as to whether he found young American singers in too great +haste to come before the public, before they were sufficiently prepared, +thus proving they were superficial in their studies, he replied: + +"No, I do not find this to be the case. As a general rule, young +American singers have a good foundation to build upon. They have good +voices to start with; they are eager to learn and they study carefully. +What they lack most--those who go in for opera I mean--is stage routine +and a knowledge of acting. This, as I have said before, I try to give +them. I do not give lessons in singing to these young aspirants, as I +might in this way gain the enmity of vocal teachers; but I help the +untried singers to act their parts. Of course all depends on the +mentality--how long a process of training the singer needs. The +coloratura requires more time to perfect this manner of singing than +others need; but some are much quicker at it than others. + +"It is well I am blessed with good health, as my task is extremely +arduous. When on tour, I sing every night, besides constantly rehearsing +my company. We are ninety in all, including our orchestra. It is indeed +a great undertaking. I do not do it for money, for I make nothing +personally out of it, and you can imagine how heavy the expenses are; +four thousand dollars a week, merely for transportation. But I do it for +the sake of art, and to spread the love of modern Italian opera over +this great, wonderful country, the greatest country for music that +exists to-day. And the plan succeeds far beyond my hopes; for where we +gave one performance in a place, we now, on our second visit, can give +three--four. Next year we shall go to California. + +"So we are doing our part, both to aid the young singer who sorely needs +experience and to educate the masses and general public to love what is +best in modern Italian opera!" + + + + +IX + +=ROSA RAISA= + +PATIENCE AND PERSEVERANCE WIN RESULTS + + +To the present day opera goers the name of Rosa Raisa stands for a +compelling force. In whatever rôle she appears, she is always a +commanding figure, both physically, dramatically and musically. Her +feeling for dramatic climax, the intensity with which she projects each +character assumed, the sincerity and self forgetfulness of her +naturalistic interpretation, make every rôle notable. Her voice is a +rich, powerful soprano, vibrantly sweet when at its softest--like a +rushing torrent of passion in intense moments. At such moments the +listener is impressed with the belief that power and depth of tone are +limitless; that the singer can never come to the end of her resources, +no matter how deeply she may draw on them. There are such moments of +tragic intensity, in her impersonation of the heroine in _Jewels of the +Madonna_, in _Sister Angelica_, in _Norma_, as the avenging priestess, +in which rôle she has recently created such a remarkable impression. + +[Illustration: Rosa Raisa] + + +A PRIMA DONNA AT HOME + +If one has pictured to one's self that because the Russian prima donna +can show herself a whirlwind of dynamic passion on the stage, therefore +she must show some of these qualities in private life, one would quickly +become disabused of such an impression when face to face with the +artist. One would then meet a slender, graceful young woman, of gentle +presence and with the simplest manners in the world. The dark, liquid +eyes look at one with frankness and sincerity; the wide, low brow, from +which the dark hair is softly drawn away, is the brow of a madonna. In +repose the features might easily belong to one of Raphael's saints. +However, they light up genially when their owner speaks. + +Mme. Raisa stood in the doorway of her New York apartment, ready to +greet us as we were shown the way to her. Her figure, clad in +close-fitting black velvet, looked especially slender; her manner was +kind and gracious, and we were soon seated in her large, comfortable +salon, deep in conference. Before we had really begun, the singer's pet +dog came bounding to greet us from another room. The tiny creature, a +Mexican terrier, was most affectionate, yet very gentle withal, and +content to quietly cuddle down and listen to the conversation. + +"I will speak somewhat softly," began Mme. Raisa, "since speaking seems +to tire me much more than singing, for what reason I do not know. We +singers must think a little of our physical well being, you see. This +means keeping regular hours, living very simply and taking a moderate +amount of exercise. + +"Yes, I always loved to sing; even as a little child I was constantly +singing. And so I began to have singing lessons when I was eight years +old. Later on I went to Italy and lived there for a number of years, +until I began to travel. I now make my home in Naples. My teacher there +was Madame Marchesio, who was a remarkable singer, musician and +teacher--all three. Even when she reached the advanced age of eighty, +she could still sing wonderfully well. She had the real _bel canto_, +understood the voice, how to use it and the best way to preserve it. I +owe so much to her careful, artistic training; almost everything, I may +say. + + +THE SINGER'S LIFE + +"One cannot expect to succeed in the profession of music without giving +one's best time and thought to the work of vocal training and all the +other subjects that go with it. A man in business gives his day, or the +most of it, to his office. My time is devoted to my art, and indeed I +have not any too much time to study all the necessary sides of it. + +"During the season, I do regular vocal practice each day and keep the +various rôles in review. During the summer I study new parts, for then I +have the time and the quiet. That is what the singer needs--quiet. I +always return to Naples for the vacation, unless I go to South America +and sing there. Then I must have a little rest too, that I may be ready +for the labors of the following season. + + +VOCAL TRAINING + +"Even during the busiest days technic practice is never neglected. +Vocalizes, scales, terzetta--what you call them--broken thirds, yes, and +long, slow tones in _mezza di voce_, that is, beginning softly, swelling +to loud then gradually diminishing to soft, are part of the daily +régime. One cannot omit these things if one would always keep in +condition and readiness. When at work in daily study, I sing softly, or +with medium tone quality; I do not use full voice except occasionally, +when I am going through a part and wish to try out certain effects. + + +"ONE VOICE" + +"I was trained first as a coloratura and taught to do all the old +Italian operas of Bellini, Rosini, Donizetti and the rest of the florid +Italian school. This gives the singer a thorough, solid training--the +sort of training that requires eight or ten years to accomplish. But +this is not too much time to give, if one wishes to be thoroughly +prepared to sing all styles of music. In former days, when singers +realized the necessity of being prepared in this way, there existed I +might say--_one voice;_ for the soprano voice was trained to sing both +florid and dramatic music. But in these days sopranos are divided into +High, Lyric, Coloratura and Dramatic; singers choose which of these +lines seems to suit best their voice and temperament. + + +COLORATURA AND DRAMATIC + +"It is of advantage to the singer to be trained in both these arts. In +the smaller opera houses of Italy, a soprano, if thus trained, can sing +_Lucia_ one night and _Norma_ the next; _Traviata_ one night and +_Trovatore_ the next. + +"Modern Italian opera calls for the dramatic soprano. She must be an +actress just as well as a singer. She must be able to express in both +voice and gesture intense passion and emotion. It is the period of storm +and stress. Coloratura voices have not so much opportunity at the +present time, unless they are quite out of the ordinary. And yet, for +me, a singer who has mastery of the beautiful art of _bel canto,_ is a +great joy. Galli-Curci's art is the highest I know of. For me she is the +greatest singer. Melba also is wonderful. I have heard her often--she +has been very kind to me. When I hear her sing an old Italian air, with +those pure, bell-like tones of hers, I am lifted far up; I feel myself +above the sky. + + +DO NOT YIELD TO DISCOURAGEMENT + +"The younger singer need not yield to discouragement, for she must know +from the start, that the mastery of a great art like singing is a long +and arduous task. If the work seems too difficult at times, do not give +up or say 'I cannot.' If I had done that, I should have really given up +many times. Instead I say; 'I can do it, and not only I can but I will!' + + +MUSICIANSHIP + +"There are so many sides to the singer's equipment, besides singing +itself"; and Mme. Raisa lifted dark eyes and spread out her graceful +hands as though to indicate the bigness of the subject. "Yes, there is +the piano, for instance; the singer is much handicapped without a +knowledge of that instrument, for it not only provides accompaniment but +cultivates the musical sense. Of course I have learned the piano and I +consider it necessary for the singer. + +"Then there are languages. Be not content with your own, though that +language must be perfectly learned and expressed, but learn others." + +"You of course speak several languages?" questioned the listener. + +"Yes, I speak eight," she answered modestly. "Russian, of course, for I +am Russian; then French, Italian, German, Spanish, Polish, Roumanian and +English. Besides these I am familiar with a few dialects. + + +HAVE PATIENCE + +"So many young singers are so impatient; they want to prepare themselves +in three or four years for a career," and Madame frowned her +disapproval. "Perhaps they may come before the public after that length +of time spent in study; but they will only know a part--a little of all +they ought to know. With a longer time, conscientiously used, they would +be far better equipped. The singer who spends nine or ten years in +preparation, who is trained to sing florid parts as well as those which +are dramatic--she indeed can sing anything, the music of the old school +as well as of the new. In Rome I gave a recital of old music, assisted +by members of the Sistine Chapel choir. We gave much old music, some of +it dating from the sixth century. + +"Do I always feel the emotions I express when singing a rôle? Yes, I can +say that I endeavor to throw myself absolutely into the part I am +portraying; but that I always do so with equal success cannot be +expected. So many unforeseen occurrences may interfere, which the +audience can never know or consider. One may not be exactly in the mood, +or in the best of voice; the house may not be a congenial space, or the +audience is unsympathetic. But if all is propitious and the audience +with you--then you are lifted up and carry every one with you. Then you +are inspired and petty annoyances are quite forgotten. + + +VOCAL MASTERY + +"You ask a very difficult question when you ask of what vocal mastery +consists. If I have developed perfect control throughout the two and a +half octaves of my voice, can make each tone with pure quality and +perfect evenness in the different degrees of loud and soft, and if I +have perfect breath control as well, I then have an equipment that may +serve all purposes of interpretation. + +"Together with vocal mastery must go the art of interpretation, in which +all the mastery of the vocal equipment may find expression. In order to +interpret adequately one ought to possess a perfect instrument, +perfectly trained. When this is the case one can forget mechanism, +because confident of the ability to express whatever emotion is +desired." + +"Have you a message which may be carried to the young singers?" she was +asked. + +"Tell them to have patience--patience to work and patience to wait for +results. Vocal mastery is not a thing that can be quickly accomplished; +it is not the work of weeks and months, but of years of consistent, +constant effort. It cannot be hurried, but must grow with one's growth, +both mentally and physically. But the reward of earnest effort is sure +to come!" + + + +X + +=LOUISE HOMER= + +THE REQUIREMENTS OF A MUSICAL CAREER + + +Madame Louise Homer is a native artist to whom every loyal American can +point with pardonable pride. Her career has been a constant, steady +ascent, from the start; it is a career so well known in America that +there is hardly any need to review it, except as she herself refers to +it on the rare occasions when she is induced to speak of herself. For +Mme. Homer is one of the most modest artists in the world; nothing is +more distasteful to her than to seek for publicity through ordinary +channels. So averse is she to any self-seeking that it was with +considerable hesitation that she consented to express her views to the +writer, on the singer's art. As Mr. Sidney Homer, the well known +composer and husband of Mme. Homer, remarked, the writer should prize +this intimate talk, as it was the first Mme. Homer had granted in a very +long time. + +[Illustration: LOUISE HOMER] + +The artist had lately returned from a long trip, crowded with many +concerts, when I called at the New York residence of this ideal musical +pair and their charming family. Mme. Homer was at home and sent down +word she would see me shortly. In the few moments of waiting, I seemed +to feel the genial atmosphere of this home, its quiet and cheer. A +distant tinkle of girlish laughter was borne to me once or twice; then a +phrase or two sung by a rich, vibrant voice above; then in a moment +after, the artist herself descended and greeted me cordially. + +"We will have a cup of tea before we start in to talk," she said, and, +as if by magic, the tea tray and dainty muffins appeared. + +How wholesome and fresh she looked, with the ruddy color in her cheeks +and the firm whiteness of neck and arms. The Japanese robe of "midnight +blue," embroidered in yellows, heightened the impression of vigorous +health by its becomingness. + + +FOR THE GIRL WHO WANTS TO MAKE A CAREER + +"There is so much to consider for the girl who desires to enter the +profession," began Mme. Homer, in response to my first query. "First, +she must have a voice, there is no use attempting a career without the +voice; there must be something to develop, something worth while to +build upon. And if she has the voice and the means to study, she must +make up her mind to devote herself exclusively to her art; there is no +other way to succeed. She cannot enter society, go to luncheons, dinners +and out in the evening, and at the same time accomplish much in the way +of musical development. Many girls think, if they attend two or three +voice lessons a week and learn some songs and a few operatic arias, that +is all there is to it. But there is far more. They must know many other +things. The vocal student should study piano and languages; these are +really essential. Not that she should strive to become a pianist; that +would not be possible if she is destined to become a singer; but the +more she knows of the piano and its literature, the more this will +cultivate her musical sense and develop her taste. + + +HOW AN ARTIST WORKS + +"I am always studying, always striving to improve what I have already +learned and trying to acquire the things I find difficult, or that I +have not yet attained to. I do vocal technic every day; this is +absolutely essential, while one is in the harness. It is during the +winter that I work so industriously, both on technic and repertoire, +between tours. This is when I study. I believe in resting the voice part +of the year, and I take this rest in the summer. Then, for a time, I do +not sing at all. I try to forget there is such a thing as music in the +world, so far as studying it is concerned. Of course I try over Mr. +Homer's new songs, when they are finished, for summer is his time for +composition. + +"Since the voice is such an intangible instrument, the singer needs +regular guidance and criticism, no matter how advanced she may be. As +you say, it is difficult for the singer to determine the full effect of +her work; she often thinks it much better than it really is. That is +human nature, isn't it?" she added with one of her charming smiles. + + +THE START IN OPERA + +"How did you start upon an operatic career?" the singer was asked. + +Just here Mr. Homer entered and joined in the conference. + +"I do not desire to go into my life-history, as that would take too +long. In a few words, this is how it happened--years ago. + +"We were living in Boston; I had a church position, so we were each busy +with our musical work. My voice was said to be 'glorious,' but it was a +cumbersome, unwieldy organ. I could only sing up to F; there were so +many things I wanted to do with my voice that seemed impossible, that I +realized I needed more training. I could have remained where I was; the +church people were quite satisfied, and I sang in concert whenever +opportunity offered. But something within urged me on. We decided to +take a year off and spend it in study abroad. Paris was then the Mecca +for singers and to Paris we went. I plunged at once into absorbing +study; daily lessons in voice training and repertoire; languages, and +French diction, several times a week, and soon acting was added, for +every one said my voice was for the theater. I had no idea, when I +started out, that I should go into opera. I had always loved to sing, as +far back as I can remember. My father was a Presbyterian clergyman, and +when we needed new hymn books for church or Sunday School, they used to +come to our house. I would get hold of every hymn book I could find and +learn the music. So I was always singing; but an operatic career never +entered my thought, until the prospect seemed to unfold before me, as a +result of my arduous study in Paris. Of course I began to learn +important arias from the operas. Every contralto aspires to sing the +grand air from the last act of _Le Prophete;_ you know it of course. I +told my teacher I could never do it, as it demanded higher tones than I +had acquired, going up to C. He assured me it would be perfectly easy in +a little while, if I would spend a few moments daily on those high +notes. His prediction was correct, for in a few months I had no trouble +with the top notes. + +"I studied stage deportment and acting from one of the greatest singing +actors of the French stage, Paul Lherie. What an artist he was! So +subtle, so penetrating, so comprehensive. The principles he taught are a +constant help to me now, and his remarks often come back to me as I +study a new rôle. + +"As I say, I studied this line of work, not knowing what would grow out +of it; I did it on faith, hoping that it might prove useful." + +"It seems to me," remarked the composer, "that young singers would do +well to make a study of acting, along with languages and piano. Then, if +the voice developed and an operatic career opened to them, they would be +so much better prepared; they would have made a start in the right +direction; there would not be so much to learn all at once, later on." + +"If the girl could only be sure she was destined for a stage career," +said Mme. Homer, thoughtfully, "she might do many things from the start +that she doesn't think of doing before she knows. + +"To go on with my Paris story. I kept faithfully at work for a year, +preparing myself for I knew not just what; I could not guess what was in +store. Then I got my first opera engagement, quite unexpectedly. I was +singing for some professional friends in a large _saale_. I noticed a +man standing with his back to me, looking out of one of the long +windows. When I finished, he came forward and offered me an engagement +at Vichy, for the summer season. The name Vichy only suggested to my +mind a kind of beverage. Now I learned the town had a flourishing Opera +House, and I was expected to sing eight rôles. Thus my stage career +began." + + +WHAT ARE THE ASSETS FOR A CAREER? + +"And what must the girl possess, who wishes to make a success with her +singing?" was asked. + +"First of all, as I have already said, she must have a voice; she can +never expect to get very far without that. Voice is a necessity for a +singer, but it rests with her what she will do with it, how she will +develop it. + +"The next asset is intelligence; that is as great a necessity as a +voice. For through the voice we express what we feel, what we are; +intelligence controls, directs, shines through and illumines everything. +Indeed what can be done without intelligence? I could mention a young +singer with a good natural voice, who takes her tones correctly, who +studies well; indeed one can find no fault with the technical side of +her work; but her singing has no meaning--it says absolutely nothing; it +only represents just so many notes." + +"That is because she has not a musical nature," put in Mr. Homer. "To my +mind that is the greatest asset any one can have who wishes to become a +musician in any branch of the art. What can be done without a musical +nature? Of course I speak of the young singer who wishes to make a +career. There are many young people who take up singing for their own +pleasure, never expecting to do much with it. And it is a good thing to +do so. It gives pleasure to their family and friends--is a healthful +exercise, and last but not least, is financially good for the teacher +they employ. + +"But the trouble comes when these superficial students aspire to become +opera singers, after a couple of seasons' study. Of course they all cast +eyes at the Metropolitan, as the end and aim of all striving. + +"Just as if, when a young man enters a law office, it is going to lead +him to the White House, or that he expects it will," said Mr. Homer. + +"Then," resumed the artist, "we have already three requirements for a +vocal career; Voice, Intelligence and a Musical Nature. I think the +Fourth should be a Capacity for Work. Without application, the gifts of +voice, intelligence and a musical nature will not make an artist. To +accomplish this task requires ceaseless labor, without yielding to +discouragement. Perhaps the Fifth asset would be a cheerful optimism as +proof against discouragement. + +"That is the last thing the student should yield to--discouragement, for +this has stunted or impaired the growth of many singers possessed of +natural talent. The young singer must never be down-hearted. Suppose +things do not go as she would like to have them; she must learn to +overcome obstacles, not be overcome by them. She must have backbone +enough to stand up under disappointments; they are the test of her +mettle, of her worthiness to enter the circle with those who have +overcome. For she can be sure that none of us have risen to a place in +art without the hardest kind of work, struggle and the conquering of all +sorts of difficulties. + +"The sixth asset ought to be Patience, for she will need that in large +measure. It is only with patient striving, doing the daily vocal task, +and trying to do it each day a little better than the day before, that +anything worth while is accomplished. It is a work that cannot be +hurried. I repeat it; the student must have unlimited patience to labor +and wait for results. + + +COLORATURA AND DRAMATIC + +"I would advise every student to study coloratura first. Then, as the +voice broadens, deepens and takes on a richer timbre, it will turn +naturally to the more dramatic expression. The voice needs this +background, or foundation in the old Italian music, in order to acquire +flexibility and freedom. I was not trained to follow this plan myself, +but my daughter Louise, who is just starting out in her public career, +has been brought up to this idea, which seems to me the best. + + +MEMORIZING + +"I memorize very easily, learning both words and music at the same time. +In taking up a new rôle, my accompanist plays it for me and we go over +it carefully noting all there is in language and notes. When I can take +it to bed with me, and go over it mentally; when I can go through it as +I walk along the street, then it has become a part of me; then I can +feel I know it." + +"Mme. Homer holds the banner at the Metropolitan, for rapid memorizing," +said her husband. "On one occasion, when _Das Rheingold_ was announced +for an evening performance, the Fricka was suddenly indisposed and +unable to appear. Early in the afternoon, the Director came to Mme. +Homer, begging her to do the part, as otherwise he would be forced to +close the house that night. A singer had tried all forenoon to learn the +rôle, but had now given it up as impossible. Mme. Homer consented. She +started in at three o'clock and worked till six, went on in the evening, +sang the part without rehearsal, and acquitted herself with credit. This +record has never been surpassed at the Metropolitan." "I knew the other +Frickas of the Ring," said Madame, "but had never learned the one in the +_Rheingold_; it is full of short phrases and difficult to remember, but +I came through all right. I may add, as you ask, that perhaps _Orfeo_ is +my favorite rôle, one of the most beautiful works we have." + + +VOCAL MASTERY + +"What do I understand by Vocal Mastery? The words explain themselves. +The singer must master all difficulties of technic, of tone production, +so as to be able to express the thought of the composer, and the meaning +of the music." + +"Don't forget that the singer must have a musical nature," added Mr. +Homer, "for without this true vocal mastery is impossible." + + + + +XI + +=GIOVANNI MARTINELLI= + +"LET US HAVE PLENTY OF OPERA IN AMERICA" + + +Said the Professor: "How well I remember the first time I heard +Martinelli. We were traveling in Italy that summer, and had arrived in +Verona rather late in the afternoon. The city seemed full of people, +with many strangers, and we could not at first secure accommodations at +the hotel. Inquiring the cause, the answer was: 'Does not the signer +know that to-day is one holiday, and to-night, in the Amphitheater, +_Aïda_ will be sung, under the stars.' We finally secured rooms, and of +course heard the opera that night. Young Martinelli was the Rhadames, +and I shall never forget how splendidly his voice rang out over those +vast spaces of the Arena. It was a most unusual experience to hear that +music sung in the open--'under the stars,' and it was unforgettable." + +[Illustration: GIOVANNI MARTINELLI] + +Giovanni Martinelli, who has been for several years one of the leading +tenors at the Metropolitan Opera House, New York, has warmly entrenched +himself in the hearts of music lovers in America. To be a great singer, +as some one has said, requires, first, voice; second, voice; third, +voice. However, at the present hour a great singer must have more than +voice; we demand histrionic ability also. We want singing actors as well +as great singers. + +Mr. Martinelli is the possessor of a beautiful voice and, moreover, is a +fine actor and an excellent musician. He was, first of all, a +clarinetist before he became a singer, and so well did he play his +chosen instrument that his services were in great demand in his home +town in Italy. Then it was discovered he had a voice and he was told he +could make a far greater success with that voice than he ever could +playing the clarinet. He set to work at once to cultivate the voice in +serious earnest and under good instruction. After a considerable time +devoted to study, he made his début in Milan, in Verdi's _Ernani_. His +success won an engagement at Covent Garden and for Monte Carlo. + +A visit to the singer's New York home is a most interesting experience. +He has chosen apartments perched high above the great artery of the +city's life--Broadway. From the many sun-flooded windows magnificent +views of avenue, river and sky are visible, while at night the +electrical glamour that meets the eye is fairy-like. It is a sightly +spot and must remind the singer of his own sun lighted atmosphere at +home. + +The visitor was welcomed with simple courtesy by a kindly, unaffected +gentleman, who insists he cannot speak "your English," but who, in spite +of this assertion, succeeds in making himself excellently well +understood. One feels his is a mentality that will labor for an object +and will attain it through force of effort. There is determination in +the firm mouth, which smiles so pleasantly when speaking; the thoughtful +brow and serious eyes add their share to the forceful personality. The +Titian-tinted hair indicates, it is said, a birthplace in northern +Italy. This is quite true in the case of Mr. Martinelli, as he comes +from a village not far from Padua and but fifty miles from Venice--the +little town of Montagnana. + + +DAILY STUDY + +"You ask about my daily routine of study. In the morning I practice +exercises and vocalizes for one hour. These put the voice in good +condition, tune up the vocal chords and oil up the mechanism, so to +speak. After this I work on repertoire for another hour. I always +practice with full voice, as with half voice I would not derive the +benefit I need. At rehearsals I use half voice, but not when I study. In +the afternoon I work another hour, this time with my accompanist; for I +do not play the piano myself, only just enough to assist the voice with +a few chords. This régime gives me three hours' regular study, which +seems to me quite sufficient. The voice is not like the fingers of a +pianist, for they can be used without limit. If we would keep the voice +at its best, we must take care not to overwork it. + + +TREATMENT OF THE VOICE + +"In regard to the treatment of the voice, each singer must work out his +own salvation. A great teacher--one who understands his own voice and +can sing as well as teach--may tell how he does things, may explain how +he treats the voice, may demonstrate to the student his manner of +executing a certain phrase or passage, or of interpreting a song. But +when this is done he can do little more for the student, for each person +has a different mentality and a different quality of voice--indeed +there are as many qualities of voice as there are people. After general +principles are thoroughly understood, a singer must work them out +according to his own ability. This does not mean that he cannot be +guided and helped by the greater experience of a master higher up, who +can always criticize the _result_ of what the student is trying to do. +The voice is a hidden instrument, and eventually its fate must rest with +its possessor. + + +A NEW RÔLE + +"When I take up a new part I read the book very carefully to get a +thorough idea of the story, the plot and the characters. Then comes the +study of my own part, of which I memorize the words first of all. As +soon as the words are committed I begin on the music. When these are +both well in hand, work with the accompanist follows. + +"I have many tenor rôles in my repertoire and am working on others. If +you ask for my favorite opera, or operas, I would answer, as most +Italians would do, that I enjoy singing the music of Verdi more than +that of any composer. I love his _Aïda_ perhaps best of all. _Ernani_ is +a beautiful opera, but maybe would be thought too old-fashioned for New +York. I sing various rôles in French as well as Italian--_Faust, Sans +Gene_, and many more. In Italy we know Wagner very well--_Lohengrin, +Tannhauser, Tristan_ and _Meistersinger_,--but of course they are always +sung in Italian. + + +OPERA IN EVERY CITY + +"The Metropolitan is one of the greatest opera houses in the world--but +it is only _one_. You have a wonderful country, yet most of its cities +must do without opera. Do not forget that in Italy every city and town +has its opera house and its season of opera, lasting ten weeks or more. +Of course the works are not elaborately produced, the singers may not be +so great or high-salaried, but the people are being educated to know and +love the best opera music. Performances are given Wednesdays and +Thursdays, Saturdays and Sundays; the singers resting the days between. +They need to as they are obliged to sing at every performance. + +"Ah, if you would follow some such plan in America! It would create a +great love for good music in the smaller cities and towns where people +hear so little, and so seldom this kind of music. You do so much for +music in every other style, but not for opera. Of course I must except +the half dozen cities large enough and rich enough to be favored with a +season of extended operatic performances; these are the real music +centers of your country. + +"I will show you what we do for opera in Italy. Here is an Italian +musical journal, which I have just received." Mr. Martinelli took up a +single-sheet newspaper which lay upon his desk. "You will find all the +large cities and most of the small ones reported here. Accordingly, +accounts are given of what works are being performed, what artists are +singing and where, and how long each season will last. Thus we can +glance over the whole field and keep in touch with every singer. +Naturally, the time and length of the seasons of performance differ +widely in the different places. Thus a singer of reputation can make +engagements in various places, then go from one town to another in a +complete tour, without conflicting. + +"I have had the pleasure of singing a number of seasons at the +Metropolitan. During the summer I do not always go back to Italy when +the season is over here; last year I sang in Buenos Aires. This keeps +me at work the whole year. Buenos Aires is a beautiful city, and reminds +one of Milan. Yes, I like New York. It is more commercial, of course, +but I have grown accustomed to that side of it." + +As the visitor was leaving, courteously conducted through the corridor +by Mr. Martinelli, a small chariot was encountered, crammed with dolls +and toys, the whole belonging to little Miss Martinelli, aged eleven +months. + +"Shall you make a singer of the little lady?" the artist was asked. + +"Ah, no; one singer in a family is enough," was the quick response. "But +who can tell? It may so happen, after all." + + + + +XII + +=ANNA CASE= + +INSPIRED INTERPRETATION + + +Anna Case, known from one end of our land to the other, in song recital, +is surely one hundred per cent. American. She was born in the little +State of New Jersey, and received her entire vocal training right here +in New York City, of a single teacher. No running about from one +instructor to another, "getting points" from each, for this singer. She +knew from the first moment that she had found the right teacher, one who +understood her, what she wanted to do, and could bring her to the goal. + +And when one has discovered just the right person to develop talent, one +should have the good sense and loyalty to stick to that person. This is +exactly what Miss Case has done, for along with other gifts she has the +best gift of all--common sense. "Mme. Ostrom-Renard has been my only +teacher," she says; "whatever I am or have accomplished I owe entirely +to her. She has done everything for me; I feel she is the most wonderful +teacher in the world." + +[Illustration: ANNA CASE] + +A life of constant travel and almost daily concerts and recitals, lies +before Miss Case from early in the Autumn to the end of Spring, with but +a few breathing places here and there, between the tours, when she +returns home to rest up. + +During one of these oases it was a pleasant experience to meet and talk +with the charming young singer, in her cozy New York apartment. She had +just come in from a six weeks' trip, which had included concerts in +Texas and Mexico, where the usual success had attended her everywhere. + +It must surely give a sense of relief to know that the quiet home is +awaiting one's return; that there are to be found one's favorite books, +music, piano, the silken divan, soft lights, pictures,--all the familiar +comforts one is deprived of on the road. + +The visitor, coming in from the biting winds without, was impressed with +the comfort and warmth of the small salon, as the mistress of it +entered. Clad in soft draperies of dull blue, which but thinly veiled +the white arms and fell away from the rounded throat, Miss Case was just +as beautiful to look upon as when she stands in bewildering evening gown +before a rapt audience. And, what is much more to the point, she is a +thoroughly sensible, sincere American girl, with no frills and no +nonsense about her. + +After greetings were over, the singer settled herself among the silken +cushions of her divan ready for our talk. + +"I believe I always wanted to sing, rather than do anything else in the +way of music. I studied the piano a little at first, but that did not +exactly appeal to me. I also began the violin, because my father is fond +of that instrument and wanted me to play it. But the violin was not just +what I wanted either, for all the time I longed to sing. Singing is such +a part of one's very self; I wanted to express myself through it. I had +no idea, when I started, that I should ever make a specialty of it, or +that, in a comparatively few years I should be singing all over the +country. I did not know what was before me, I only wanted to learn to +sing. + +"Now I cannot tell just how I do the different things one must do to +sing correctly. I know that, if I have to master some subject, I just +sit down and work at that thing till I can do it--till it is done. My +teacher knows every organ in the anatomy, and can describe the muscles, +bones and ligaments found in the head, face and throat. She can make a +diagram of the whole or any part. Not that such knowledge is going to +make a singer, but it may help in directing one's efforts." + + +TONE PLACEMENT + +"Can you describe tone placement?" she was asked. + +"For the deeper tones--as one makes them--they seem to come from lower +down: for the middle and higher tones, you feel the vibrations in facial +muscles and about the eyes, always focused forward, just at the base of +the forehead, between the eyes. It is something very difficult to put +into words; the sensations have to be experienced, when making the +tones. The singer must judge so much from sensation, for she cannot very +well hear herself. I do not really hear myself; I mean by this I cannot +tell the full effect of what I am doing." + + +WHEN TO PRACTICE + +"No doubt you do much practice--or is that now necessary?" + +Miss Case considered this thoughtfully. + +"I never practice when I am tired, for then it does more harm than good. +It is much better for the voice to rest and not use it at all, than to +sing when not physically fit. One must be in good condition to make +good tones; they will not be clear and perfect if one is not strong and +in good health. I can really study, yet not sing at all. For the whole +work is mental anyway. + + +USING FULL VOICE + +"When I work on the interpretation of a song, in the quiet of my music +room here, I try to sing it just as I would before an audience; I have +not two ways of doing it, one way for a small room and another for a +large one. If your tone placement is correct, and you are making the +right effects, they will carry equally in a large space. At least this +is my experience. But," she added, smiling, "you may find other artists +who would not agree to this, who would think quite differently. Each one +must see things her own way; and singing is such an individual thing +after all. + + +THE SUBJECT OF INTERPRETATION + +"The interpretation of a rôle, or song, is everything--of course. What +are mere notes and signs compared to the thoughts expressed through +them? Yet it is evident there are people who don't agree to this, for +one hears many singers who never seem to look deeper than the printed +page. They stand up and go through their songs, but the audiences +remain cold; they are not touched. The audiences are blamed for their +apathy or indifference, but how can they be warmed when the singer does +not kindle them into life? + +"To me there is a wonderful bond of sympathy between the audience and +myself. I feel the people, in a sense, belong to me--are part of my +family. To them I pour out all my feelings--my whole soul. All the +sorrow of the sad songs, all the joy of the gay ones, they share with +me. In this spirit I come before them; they feel this, I am sure. It +awakens a response at once, and this always inspires me. I put myself in +a receptive mood; it has the desired effect; my interpretation becomes +inspired through their sympathy and my desire to give out to them. + + +THE WORDS OF A SONG PARAMOUNT + +"I feel the greatest thing about a song is the words. They inspired the +music, they were the cause of its being. I cannot imagine, when once +words have been joined to music, how other words can be put to the same +music, without destroying the whole idea. The words must be made plain +to the audience. Every syllable should be intelligible, and understood +by the listener. I feel diction is so absolutely essential. How can a +singer expect the audience will take an interest in what she is doing, +if they have no idea what it is all about? And this applies not only to +English songs but to those in French as well. In an audience there will +be many who understand French. Shall the singer imagine she can +pronounce a foreign tongue in any old way, and it will go--in these +days? No, she must be equally careful about all diction and see that it +is as nearly perfect as she can make it; that it is so correct that +anybody can understand every word. When she can do this, she has gone a +long way toward carrying her audience with her when she sings. + +"When the diction is satisfactory, there is yet something much deeper; +it is the giving out of one's best thought, one's best self, which +must animate the song and carry it home to the listener. It touches +the heart, because it comes from one's very inmost being. I am a +creature of mood. I cannot sing unless I feel like it. I must be +inspired in order to give an interpretation that shall be worth +anything. + + +GROWTH OF APPRECIATION + +"In traveling over the country, I have found such wonderful musical +growth, and it seems to increase each year. Even in little places the +people show such appreciation for what is good. And I only give them +good music--the best songs, both classical and modern. Nothing but the +best would interest me. In my recent trip, down in Mexico and Oklahoma, +there are everywhere large halls, and people come from all the country +round to attend a concert. Men who look as though they had driven a +grocery wagon, or like occupation, sit and listen so attentively and +with such evident enjoyment. I am sure the circulation of the phonograph +records has much to do with America's present wonderful advancement in +musical understanding." + +Just here a large cat slipped through the doorway; such a beautiful +creature, with long gray and white fur and big blue eyes. + +"It is a real chinchilla, of high degree," said Miss Case, caressing her +pet. "I call her Fochette. I am so fond of all animals, especially dogs +and cats." + +"You must know the country well, having been over it so much." + +"Yes, but oh, the long distances! It often takes so many hours to go +from one place to another. I think there is a reason why foreign singers +are apt to be rather stout; they are not worn out by traveling great +distances, as cities are so much nearer together than over here!" And +Miss Case smiled in amusement. "But, in spite of all discomforts of +transportation and so on, the joy of bringing a message to a waiting +audience is worth all it costs. I often think, if one could just fly to +Chicago or Philadelphia, for instance, sing one's program and return +just as quickly, without all these hours of surface travel, how +delightful it would be! I had a wonderful experience in an airplane last +summer. Flying has the most salutary effect on the voice. After sailing +through the air for awhile, you feel as though you could sing anything +and everything, the exhilaration is so great. One takes in such a +quantity of pure air that the lungs feel perfectly clear and free. One +can learn a lesson about breathing from such an experience." + +Before parting a final question was asked: + +"What, in your opinion, are the vital requisites necessary to become a +singer?" + +Almost instantly came the reply: + +"Brains, Personality, Voice." + +With this cryptic answer we took leave of the fair artist. + + + + +XIII + +=FLORENCE EASTON= + +PROBLEMS CONFRONTING THE YOUNG SINGER + + +English by birth, American by marriage, beloved in every country where +her art is known, Florence Easton, after ten years of activity in the +music centers of Europe, is now making her home in America. Mme. Easton +is a singer whose attitude towards music is one of deepest sincerity. No +one could witness her beautiful, sympathetic investiture of the Saint +Elizabeth, of Liszt, or some of her other important rôles, without being +impressed with this complete, earnest sincerity. It shines out of her +earnest eyes and frank smile, as she greets the visitor; it vibrates in +the tones of her voice as she speaks. What can even a whole hour's talk +reveal of the deep undercurrents of an artist's thought? Yet in sixty +minutes many helpful things may be said, and Mme. Easton, always serious +in every artistic thing she undertakes, will wish the educational side +of our talk to be uppermost. + + +THE YOUNG SINGER + +"I have a deep sympathy for the American girl who honestly wishes to +cultivate her voice. Of course, in the first place, she must have a +voice to start with; there is no use trying to train something which +doesn't exist. Given the voice and a love for music, it is still +difficult to tell another how to begin. Each singer who has risen, who +has found herself, knows by what path she climbed, but the path she +found might not do for another. + +"There are quantities of girls in America with good voices, good looks +and a love for music. And there are plenty of good vocal teachers, too, +not only in New York, but in other large cities of this great country. +There is always the problem, however, of securing just the right kind of +a teacher. For a teacher may be excellent for one voice but not for +another. + + +THE STUDIO VERSUS THE CONCERT ROOM + +[Illustration: FLORENCE EASTON] + +"The American girl, trained in the studio, has little idea of what it +means to sing in a large hall or opera house. In the small room her +voice sounds very pretty, and she can make a number of nice effects; she +may also have a delicate pianissimo. These things are mostly lost when +she tries them in a large space. It is like beginning all over again. +She has never been taught any other way but the studio way. If young +singers could only have a chance to try their wings frequently in large +halls, it would be of the greatest benefit. If they could sing to a +public who only paid a nominal sum and did not expect great things; a +public who would come for the sake of the music they were to hear, +because they wanted the enjoyment and refreshment of it, not for the +sake of some singers with big names, they would judge the young aspirant +impersonally, which would be one of the best things for her. + + +VALUE OF HONEST CRITICISM + +"Frequently the trouble with the young singer is that her friends too +often tell her how wonderful she is. This is a hindrance instead of a +help. She should always have some one who will criticize her honestly. +The singer cannot really hear herself, that is, not until she is well +advanced in her work. Therefore she should always have the guidance of a +teacher. I never think of giving a program without going through it for +criticism. The office of critic is a very difficult one, especially if +you are to criticize some one you are fond of. Mr. Maclennan and I try +to do it for each other. I assure you it is no easy task to sing a +program knowing some one is listening who will not spare you, and will +tell you all your faults. I know this is all very salutary, but it is +human nature to wish to hear one's good points rather than the poor +ones. I sometimes say: 'Do tell me the good things I did.' But he says +he does not need to speak of those; I only need to know my faults in +order that they may be corrected. + +"It is so easy to overdo a little, one way or the other. For instance, +you make a certain effect,--it goes well. You think you will make it a +little more pronounced next time. And so it goes on, until before you +know it you have acquired a definite habit, which the critics will call +a mannerism and advise you to get rid of. So the artist has to be +constantly on the watch, to guard against these incipient faults." + + +BREATHING EXERCISES + +Asked what kind of breathing exercises she used, Mme. Easton continued: +"No doubt each one has her own exercises for the practice and teaching +of breath control. For myself, I stand at the open window, for one +should always breathe pure air, and I inhale and exhale slowly, a +number of times, till I feel my lungs are thoroughly clear and filled +with fresh air. Then I frequently sing tones directly after these long +inhalations. A one-octave scale, sung slowly in one breath, or at most +in two, is an excellent exercise. You remember Lilli Lehmann's talks +about the 'long scale'? But the way in which she uses it perhaps no one +but a Lehmann could imitate. What a wonderful woman she was--and is! She +has such a remarkable physique, and can endure any amount of effort and +fatigue. Every singer who hopes to make a success in any branch of the +musical profession, should look after the physical side, and see that it +is cared for and developed. + + +"STUDY THE PIANO!" + +"If a girl is fond of music, let her first of all study the piano, for a +knowledge of the piano and its music is really at the bottom of +everything. If I have a word of advice to mothers, it should be: 'Let +your child study the piano.' All children should have this opportunity, +whether they greatly desire it or not. The child who early begins to +study the piano, will often--almost unconsciously--follow the melody +she plays with her voice. Thus the love of song is awakened in her, and +a little later it is discovered she has a voice that is worth +cultivating. How many of our great singers began their musical studies +first at the piano. + +"On the other hand, the girl with a voice, who has never worked at the +piano, is greatly handicapped from the start, when she begins her vocal +studies. As she knows nothing of the piano, everything has to be played +for her,--she can never be independent of the accompanist; she loses +half the pleasure of knowing and doing things herself." + + +FULL OR HALF VOICE + +Asked if she used full or half voice for practice, Mme. Easton replied: + +"I do not, as a rule, use full voice when at work. But this admission, +if followed, might prove injurious to the young singer. In the earlier +stages of study, one should use full voice, for half voice might result +in very faulty tone production. The advanced singer, who has passed the +experimental stage can do many things the novice may not attempt, and +this is one of them. + + +IN REGARD TO MEMORIZING + +"Here again my particular method of work can hardly be of value to +others, as I memorize with great rapidity. It is no effort for me; I +seem to be able to visualize the whole part. Music has always been very +easy to remember and with sufficient concentration I can soon make the +words my own. I always concentrate deeply on what I am doing. Lately I +was asked to prepare a leading rôle in one of the season's new operas, +to replace a singer at short notice, should this be necessary. I did so +and accomplished the task in four days. Mr. Caruso laughingly remarked I +must have a camera in my head. I know my own parts, both voice and +accompaniment. In learning a song, I commit both voice and words at the +same time. + + +FEELING DEEPLY DURING PERFORMANCE + +"I feel the meaning of the music, the tragedy or comedy, the sadness or +gayety of it each time I perform it, but not, as a rule, to the extent +of being entirely worn out with emotion. It depends, however, on the +occasion. If you are singing in a foreign language, which the audience +does not understand, you make every effort to 'put it over,' to make +them see what you are trying to tell them. You strive to make the song +intelligible in some way. You may add facial expression and gesture, +more than you would otherwise do. All this is more wearing because of +the effort involved. + + +LANGUAGE + +"This brings us to another point, the study of languages. The Italian +sings nearly all his rôles in his own tongue, with a few learned in +French. With the Frenchman, it is the same: he sings in his own tongue +and learns some parts in Italian. But we poor Americans are forced to +learn our parts in all three languages. This, of itself, greatly adds to +our difficulties. We complain that the American sings his own language +so carelessly. An Italian, singing his own language for his own people, +may not be any more careful than we are, but he will make English, if he +attempts it, more intelligible than we do, because he takes extra care +to do so. The duty is laid upon Americans to study other languages, if +they expect to sing. I know how often this study is neglected by the +student. It is another phase of that haste to make one's way which is +characteristic of the young student and singer. + +"Take, for example, the girl in the small town, who is trying to do +something with her voice. She believes if she can get to New York, or +some other music center, and have six months' lessons with some well +known teacher, she will emerge a singer. She comes and finds living +expenses so great that only one lesson a week with the professor is +possible. There is no chance for language or diction study, or piano +lessons; yet all these she ought to have. And one vocal lesson a week is +entirely inadequate. The old way of having daily lessons was far more +successful. The present way vocal teachers give lessons is not conducive +to the best development. The pupils come in a hurry, one after another, +to get their fifteen or twenty minutes of instruction. Yet one cannot +blame the teacher for he must live. + + +THE IDEAL WAY + +"The ideal way is to have several lessons a week, and not to take them +in such haste. If the pupil arrives, and finds, on first essay, that her +voice is not in the best of trim, how much better to be able to wait a +bit, and try again; it might then be all right. But, as I said, under +modern conditions, this course seems not to be possible, for the teacher +must live. If only vocal lessons could be free, at least to the +talented ones! It seems sad that a gifted girl must pay to learn to +sing, when it is a very part of her, as much as the song of the bird. +Ah, if I had plenty of money, I would see that many of them should have +this privilege, without always looking at the money end of it. + + +AMOUNT OF DAILY PRACTICE + +"It seems to me the young singer should not practice more than two +periods of fifteen or twenty minutes each. At most one should not use +the voice more than an hour a day. We hear of people practicing hours +and hours daily, but that is probably in books. The voice cannot be +treated as the pianist or violinist does his fingers. One must handle +the voice with much more care. + + +OPPORTUNITIES FOR THE YOUNG SINGER IN AMERICA + +"The chances for the American singer to make a career in concert and +recital are abundant. In no other country in the world do such +opportunities exist. If she can meet the requirements, she can win both +fame and fortune on the concert stage. + +"In opera, on the other hand, opportunities are few and the outlook +anything but hopeful. Every young singer casts longing eyes at the +Metropolitan, or Chicago Opera, as the goal of all ambition. But that is +the most hopeless notion of all. No matter how beautiful the voice, it +is drill, routine, experience one needs. Without these, plus musical +reputation, how is one to succeed in one of the two opera houses of the +land? And even if one is accepted 'for small parts,' what hope is there +of rising, when some of the greatest artists of the world hold the +leading rôles? What the American singer needs is opportunity to gain +experience and reputation in smaller places. Several years' drill and +routine would fit the aspirant for a much broader field. This would give +her command over her resources and herself, and perfect her voice and +impersonations, if she has the gifts and constantly studies to improve +them. Even England, so small compared to America, has seven opera +companies that travel up and down the land, giving opera; they have done +this during all the years of the war. + +"This question of providing opportunity for operatic experience in +America, is one which has long been discussed and many experiments have +been tried, without arriving at satisfactory results. What is needed is +to awaken interest in opera in small places--just little out-of-the-way +towns. My idea would be to have a regular stock local opera company, and +have the standard operas studied. Have a little orchestra of about +twenty and a small chorus. The small parts to be learned by the most +competent singers in the place. Then have the few principal rôles taken +by 'guest artists,' who might make these engagements in regular route +and succession. It seems to me such a plan could be carried out, and +what a joy it would be to any small community! But people must gradually +awake to this need: it will take time." + + + + +XIV + +=MARGUERITE D'ALVAREZ= + +THE MESSAGE OF THE SINGER + + +A great podium backed with green, reminding one of a forest of palms; +dim lights through the vast auditorium; a majestic, black-robed figure +standing alone among the palms, pouring out her voice in song; a voice +at once vibrant, appealing, powerful, filled now with sweeping passion, +again with melting tenderness; such was the stage setting for my first +impression of Mme. Marguerite d'Alvarez, and such were some of the +emotions she conveyed. + +Soon after this experience, I asked if I might have a personal talk with +the artist whose singing had made such a deep impression upon me. It was +most graciously granted, and at the appointed hour I found myself in a +charmingly appointed yet very home-like salon, chatting with this +Spanish lady from Peru, who speaks such beautiful English and is +courtesy itself. + +This time it was not a somber, black-robed figure who came forward so +graciously to greet me, for above a black satin walking skirt, Madame +had added a blouse of soft creamy lace, which revealed the rounded +curves of neck and arms; the only ornament being a string of pearls +about the full throat. Later in our talk I ventured to express my +preference for creamy draperies instead of black, for the concert room; +but the singer thought otherwise. "No," she said; "my gown must be +absolutely unobtrusive--negative. I must not use it to heighten effect, +or to attract the audience to me personally. People must be drawn to me +by what I express, by my art, by what I have to give them." + +But to begin at the beginning. In answer to my first question, "What +must one do to become a singer?" Madame said: + +[Illustration: MARGUERITE D'ALVAREZ] + +"To become a singer, one must have a voice; that is of the first +importance. In handling and training that voice, breathing is perhaps +the most vital thing to be considered. To some breath control seems to +be second nature; others must toil for it. With me it is intuition; it +has always been natural. Breathing is such an individual thing. With +each person it is different, for no two people breathe in just the same +way, whether natural or acquired. Just as one pianist touches the keys +of the instrument in his own peculiar way, unlike the ways of all other +pianists. For instance, no two singers will deliver the opening phrase +of 'My heart at thy sweet voice,' from _Samson_, in exactly the same +way. One will expend a little more breath on some tones than on others; +one may sing it softer, another louder. Indeed how can two people ever +give out a phrase in the same way, when they each feel it differently? +The great thing is to control the management of the breath through +intelligent study. But alas,"--with a pretty little deprecating +gesture,--"many singers do not seem to use their intelligence in the +right way. They need to study so many things besides vocalizes and a few +songs. They ought to broaden themselves in every way. They should know +books, pictures, sculpture, acting, architecture,--in short everything +possible in the line of art, and of life. For all these things will help +them to sing more intelligently. They should cultivate all these means +of self-expression. For myself, I have had a liberal education in +music--piano, harmony, theory, composition and kindred subjects. And +then I love and study art in all its forms and manifestations." + +"Your first recital in New York was a rich and varied feast," I +remarked. + +"Indeed I feel I gave the audience too much; there was such a weight of +meaning to each song, and so many! I cannot sing indifferent or +superficial songs. I must sing those which mean much, either of sadness +or mirth, passion or exaltation. No one knows (who has not been through +it) what it means to face a great audience of strangers, knowing that +something in you must awake those people and draw them toward you: you +must bare your very soul to them and bring theirs to you, in answering +response, just by your voice. It is a wonderful thing, to bring to +masses of people a message in this way. I feel this strongly, whenever I +stand before a large audience, that with every note I sing I am +delivering something of the God-given gift which has been granted to +me--that I can do some good to each one who hears. If they do not care +for me, or if they misunderstand my message, they may hate me--at first. +When they do understand, then they adore me. + + +SENTIMENT VERSUS TEMPERAMENT + +"You can well believe it is far more difficult to sing a recital program +than to do an operatic rôle. In the recital you are absolutely alone, +and entirely responsible for your effect on the audience. You must be +able to express every variety of emotion and feeling, must make them +realize the difference between sorrow and happiness, revenge or disdain; +in short, make them, for the moment, experience these things. The artist +who can best vivify these varying emotions must have temperament. On the +piano, you may hear players who express sentiment, feeling, fine +discrimination in tone color and shading; but comparatively few possess +real temperament. There is great difference between that quality and +sentiment. The one can be learned, to a certain extent; but temperament +is one's very life and soul, and is bound to sweep everything before it. +Of this one thing I am very sure; the singer cannot express all these +emotions without feeling them to the full during performance. I always +feel every phrase I sing--live it. That is why, after a long and +exhausting program, I am perfectly limp and spent. For I have given all +that was in me. Friends of Sara Bernhardt say that after a performance, +they would find her stretched prone on a couch in her dressing room, +scarcely able to move or speak. The strain of a public appearance, when +one gives one's heart's blood, is beyond words"; and Madame's upturned +face and expressive gesture denoted how keenly alive she was to this +experience. + +After a little pause, I said: "Let us come down to earth, while you tell +me just how you study. No doubt you do some daily technical practice." + + +MASSAGE THE VOICE + +"Oh, yes, technic is most important; one can do nothing without it. When +I begin to study in the morning, I give the voice what I call a massage. +One's voice cannot be driven, it must be coaxed, enticed. This massage +consists of humming exercises, with closed lips. Humming is the sunshine +of the voice." The singer illustrated the idea with a short musical +figure, consisting of three consecutive tones of the diatonic scale, +ascending and descending several times; on each repetition the phrase +began on the next higher note of the scale. "You see," she continued, +"this little exercise brings the tone fully forward. As you feel the +vibration, it should be directly between the eyes. + +"Now, after you have coaxed the voice forward in this way, and then +opened your lips to sing a full tone, this tone should, indeed must, be +right in the same place where the humming tones were,--it cannot be +anywhere else." Madame illustrated again, first humming on one tone, +then letting it out with full resonance, using the vowel Ah, which +melted into O, and later changed into U, as the tone died away. "This +vibration in the voice should not be confounded with a tremolo, which +is, of course, very undesirable. A voice without vibrato, would be cold +and dead, expressionless. There must be this pulsing quality in the +tone, which carries waves of feeling on it. + +"Thus the singer entices the voice to come forward and out, never +treating it roughly or harshly, never forcing or straining it. Take +pleasure in every tone you make; with patience and pleasure much is +accomplished. I could not give you a more useful tip than this." + +"Will you tell me how you learn a song?" she was asked. + +"I first read over the text and get a good idea of its meaning. When I +begin to study the song, I never separate the music from the words, but +learn both together. I play the piano of course, and thus can get a good +idea of the accompaniment, and of the whole _ensemble_. + +"I feel so strongly that real art, the highest art, is for those who +truly understand it and its mission. A dream of mine is one day to found +a school of true art. Everything in this school shall be on a high plane +of thought. The instructors shall be gifted themselves and have only +lofty ideals. And it will be such a happiness to watch the development +of talent which may blossom into genius through having the right +nurture. I shall watch this work from a distance, for I might be too +anxious if I allowed myself to be in the midst of the work. But this is +my dream, and I hope it will one day come true." + + + + +XV + +=MARIA BARRIENTOS= + +BE YOUR OWN CRITIC + + +It is often remarked that the world has grown far away from coloratura +singing; that what we want to-day is the singing actor, the dramatic +singer, who can portray passion--tear it to tatters if need be--but at +least throw into voice gesture and action all the conflicting emotions +which arise when depicting a modern dramatic character. It is said, with +much truth, composers do not write coloratura parts in these days, since +audiences do not care to listen to singers who stand in the middle of +the stage, merely to sing beautiful arias and tonal embroideries. +Therefore there are very few coloratura singers at present, since their +opportunities are so limited. + +To the last objection it can be answered that audiences do still flock +to hear a great coloratura artist, for they know they will hear pure, +beautiful melodies when they listen to the old Italian operas. And +melody proves to be a magnet every time; it always touches the heart. + +Again, the coloratura singer is not obliged to stand in the middle of +the stage, while she warbles beautiful tones, with seemingly little +regard for the rôle she is enacting. The coloratura singer, who is an +artist, can act as well as sing. Tetrazzini, as she moves about the +room, greeting her guests, as she does in _Traviata_ or _Lucia_, can at +the same time keep right on with her florid song, proving she can think +of both arts at once. + +It is quite true there are not many coloratura singers of the first rank +to-day. When you have mentioned Galli-Curci, Tetrazzini, Barrientos, and +Frieda Hempel--the last is both lyric and coloratura--you have named all +the great ones who are known to us here in America. There are a couple +of younger artists, Garrison and Macbeth, who are rapidly gaining the +experience which will one day place them in the charmed circle. + +[Illustration: MARIA BARRIENTOS] + +Consider for an instant the three first named singers. They stand at the +very top of their profession; they are each and all great in their +chosen line, to which they are fitted by reason of their special vocal +gifts. Yet how absolutely different is each from the other! They cannot +even be compared. They all sing the great florid arias, but each with +her own peculiar timbre of voice, her individual nuance and manner of +expression. And it is well this should be so. We would not have all +coloratura singing of the same pattern of sameness or quality, for we +find uniformity is monotonous. There is one peculiar mode of mastery for +Galli-Curci, another for Tetrazzini, still another for Barrientos; each +in her particular _genre_ is unique, apart. + +Perhaps this is especially the case with the Spanish prima donna, +Barrientos, who has for several years past come to the Metropolitan for +part of the season. She lives very quietly--almost in seclusion--in the +great city, keeping very much to herself, with her mother and the +members of her household, and does not care to have the simple routine +she plans for herself interrupted by any outside demands on her crowded +days. + +Thus it happens that very few come face to face with the Spanish artist +except her personal friends. But once in a while she breaks the strict +rule, and will consent to speak with a serious questioner about her +manner of study, how she happened to take up a musical career, also some +of the characteristics of her country, its people and its musical art. + +As her own art of song is most delicate and pure, as her instrument is +the most fragile and ethereal of any of the voices of her class, so the +singer herself is of slight and delicate physique. Her oval face, with +its large luminous eyes, has a charm more pronounced than when seen on +the other side of the footlights. Her manner is simple and sincere, in +common with that of all great artists. + +"Although I always loved singing, I never expected to become a singer," +began Mme. Barrientos, as we were seated on a comfortable divan in her +artistic music room. "As a very young girl, hardly more than a child, my +health became delicate. I had been working very hard at the Royal +Conservatory of Music, in Barcelona, my native city, studying piano, +violin and theory, also composition. I was always a delicate child, and +the close application required for these studies was too much for me. +Singing was prescribed in order to develop my chest and physique; I took +it up as a means of health and personal pleasure, without the slightest +idea to what it might lead. + +"You speak of the responsibility of choosing a good and reliable vocal +instructor. This is indeed a difficult task, because each teacher is +fully persuaded that his method is the only correct one. But there are +so _many teachers_, and some of them do not even sing themselves at +all. Can you imagine a vocal teacher who cannot sing himself, who is so +to say voiceless, unable to demonstrate what he teaches? A piano or +violin teacher must play his instrument, or he will not be able to show +the pupils how it ought to be done. But the vocal teacher thinks to +instruct without demonstrating what he is trying to impart. + + +BEGINNING VOCAL STUDY WITH OPERA + +"So I did not begin my studies with a regular vocal teacher, but with a +dilettante--I do not know just how you say that in English. This +gentleman was not a professional; he was a business man who at the same +time was a good musician. Instead of starting me with a lot of scales +and exercises, we began at once with the operas. I was twelve years old +when I began, and after one year of this kind of study, made my début in +the rôle of Inez, in _L'Africaine_. About this time I lost my kind +instructor, who passed away. I then worked by myself until I was +sixteen, when I began to study technic systematically. As you see, then, +I am practically self-taught. It seems to me, if one has voice and +intelligence, one can and should be one's own teacher. No one else can +do as much for you as you can do for yourself. You can tell what the +sensations are, what parts are relaxed and what parts are firm, better +than any one else. You can listen and work on tone quality until it +reaches the effect you desire. I do not neglect vocal technic now, for I +know its value. I do about three quarters of an hour technical practice +every day--scales and exercises. + + +MEMORIZING + +"I memorize very easily; it only takes a few weeks to learn an operatic +rôle. I spent three weeks on _Coq d'Or_, and that is a difficult part, +so many half tones and accidentals. But I love that music, it is so +beautiful; it is one of my favorite rôles. Some parts are longer and +more difficult than others. Of course I know most of the Italian operas +and many French ones. I should like to sing _Mireille_ and _Lakmé_ here, +but the Director may wish to put on other works instead. + + +SPANISH OPERA + +"Yes, we have native opera in Spain, but the works of our operatic +composers are little known in other lands. The Spanish people are +clannish, you see, and seem to lack the ambition to travel abroad to +make their art known to others; they are satisfied to make it known to +their own people. Casals and I--we are perhaps the ones who regularly +visit you, though you have several Spanish singers in the opera who +reside here permanently. + +"As for Spanish composers of instrumental music, you are here somewhat +familiar with the names of Grovelez and Albeniz; Granados you know also, +both his opera, _Goyescas_, which was performed at the Metropolitan, and +his personality. He came to America to witness the premier of his opera, +and while here proved he was a most excellent pianist as well as a +composer of high merit, which fact was revealed in his piano and vocal +compositions. The American people were most kind and appreciative to +him. When the disaster came and he was lost at sea, the testimonial they +sent his orphaned children was a goodly sum, though I hardly think the +children appreciated your goodness. + +"Among the composers in Spain who have turned their gifts toward +operatic channels I can mention Pedrell, Morea, Falla, Vives and Breton. +Vives is now writing an opera for me, entitled _Abanico_. Gradually, no +doubt, the music of our country, especially its opera, will find its +way to other lands. Even in England, I am told, Spanish music is very +little known; our many distinguished modern musicians are hardly even +names. Of course the world knows our Toreador songs, our castanet +dances, and the like; perhaps they think we have little or no serious +music, because it is still unknown. Spanish music is peculiar to the +country; it is permeated with the national spirit and feeling." + +Asked if she would sing in South America during the vacation, the singer +answered: + +"I have sung there with great success. But I shall not be able to go +there this summer. My little boy has been placed in a school in France; +it is the first time we have been separated, and it has been very hard +for me to have the ocean between us. I shall sing at Atlanta, the first +week of May, and then sail the middle of the month for France. Yes, +indeed, I hope to return to America next season. + +"I trust you have been able to understand my poor English," she said +smiling, as she parted with her visitor; "we speak several languages +here in my home--Spanish with my mother and friends, French and Italian +with others in the household. But there seems little necessity for using +English, even though I am living in the heart of the metropolis. +Perhaps next year, I shall master your language better." + +And the picture of her, as she stood in her artistic, home-like salon, +with its lights, its pictures and flowers, is even more lasting than any +to be remembered on the operatic stage. + + + + +XVI + +=CLAUDIA MUZIO= + +A CHILD OF THE OPERA + +[Illustration: CLAUDIA MUZIO] + +In tales of romance one reads sometimes of a gifted girl who lives in a +musical atmosphere all her life, imbibing artistic influences as +naturally and almost as unconsciously as the air she breathes. At the +right moment, she suddenly comes out into the light and blossoms into a +full fledged singer, to the surprise and wonder of all her friends. Or +she is brought up behind the scenes in some great Opera House of the +world, where, all unnoticed by her elders, she lives in a dream world of +her own, peopled by the various characters in the operas to which she +daily listens. She watches the stage so closely and constantly that she +unconsciously commits the rôles of the heroines she most admires, to +memory. She knows what they sing, how they act the various parts, how +they impersonate the characters. Again, at the right moment, the leading +prima donna is indisposed, there is no one to take her place; manager +is in despair, when the slip of a girl, who is known to have a voice, +but has never sung in opera, offers to go on in place of the absent one. +She is finally permitted to do so; result, a popular success. + +Some pages of Claudia Muzio's musical story read like the romantic +experiences of a novel-heroine. She, too, was brought up in great opera +houses, and it seemed natural, that in due course of time, she should +come into her own, in the greatest lyric theater of the land of her +adoption. + +When she returned to America, a couple of years ago, after gaining +experience in Europe, she arrived toward the end of the season preceding +her scheduled début here, to prepare herself more fully for the coming +appearance awaiting her. + +I was asked to meet and talk with the young singer, to ascertain her +manner of study, and some of her ideas regarding the work which lay +before her. + + * * * * * + +"It was always my dream to sing at the Metropolitan, and my dream has +come true." + +Claudia Muzio said the words with her brilliant smile, as her great soft +dark eyes gazed luminously at the visitor. + +The day was cold and dreary without, but the singer's apartment was of +tropical warmth. A great bowl of violets on the piano exhaled delicious +fragrance; the young Italian in the bloom of her oriental beauty, seemed +like some luxuriant tropical blossom herself. + +Claudia Muzio, who was just about to take her place among the personnel +of the Metropolitan, is truly to the manner born,--a real child of the +opera. She has lived in opera all her life, has imbibed the operatic +atmosphere from her earliest remembrance. It must be as necessary for a +singer who aspires to fill a high place in this field of artistic +endeavor, to live amid congenial surroundings, as for a pianist, +violinist or composer to be environed by musical influences. + +"Yes, I am an Italian," she began, "for I was born in Italy; but when I +was two years old I was taken to London, and my childhood was passed in +that great city. My father was stage manager at Covent Garden, and has +also held the same post at the Manhattan and Metropolitan Opera Houses +in New York. So I have grown up in the theater. I have always listened +to opera--daily, and my childish imagination was fired by seeing the art +of the great singers. I always hoped I should one day become a singer, +so I always watched the artists in action, noting how they did +everything. As a result, I do not now have to study acting as a separate +branch of the work, for acting comes to me naturally. I am very +temperamental; I feel intuitively how the rôle should be enacted. + +"All tiny children learn to sing little songs, and I was no exception. I +acquired quite a number, and at the age of six, exhibited my +accomplishments at a little recital. But I never had singing lessons +until I began to study seriously at about the age of sixteen. Although I +did not study the voice till I reached that age, I was always occupied +with music, for I learned as a little girl to play both harp and piano. + +"We lived in London, of which city I am very fond, from the time I was +two, till I was fourteen, then we came to America. After residing here a +couple of years, it was decided I should make a career, and we went to +Italy. I was taken to Madame Anna Casaloni at Turino. She was quite +elderly at that time, but she had been a great singer. When she tried my +voice, she told me it was quite properly placed--so I had none of that +drudgery to go through. + +"At first my voice was a very light soprano, hardly yet a coloratura. It +became so a little later, however, and then gradually developed into a +dramatic soprano. I am very happy about this fact, for I love to portray +tears as well as laughter--sorrow and tragedy as well as lightness and +gayety. The coloratura manner of singing is all delicacy and lightness, +and one cannot express deep emotion in this way. + +"We subsequently went to Milano, where I studied with Madame Viviani, a +soprano who had enjoyed great success on the operatic stage. + +"After several years of serious study I was ready to begin my career. So +I sang in Milan and other Italian cities, then at Covent Garden, and now +I am in the Metropolitan. In Italy I created the rôle of Fiora in _Amore +del tre Re_, and sang with Ferrari-Fontana. I also created Francesca in +_Francesca da Rimini_, under its composer, Zandonai. I have a repertoire +of about thirty operas, and am of course adding to it constantly, as one +must know many more than thirty rôles. Since coming to New York, I have +learned _Aïda_, which I did not know before, and have already appeared +in it. It was learned thoroughly in eight days. Now I am at work on +_Madame Butterfly_. + + +TECHNICAL PRACTICE + +"I work regularly every morning on vocal technic. Not necessarily a +whole hour at a stretch, as some do; but as much time as I feel I need. +I give practically my whole day to study, so that I can make frequent +short pauses in technical practice. If technic is studied with complete +concentration and vigor, as it always should be, it is much more +fatiguing than singing an opera rôle. + +"You ask about the special forms of exercises I use. I sing all the +scales, one octave each--once slow and once fast--all in one breath. +Then I sing triplets on each tone, as many as I can in one breath. I can +sing about fifteen now, but I shall doubtless increase the number. For +all these I use full power of tone. Another form of exercise is to take +one tone softly, then go to the octave above, which tone is also sung +softly, but there is a large crescendo made between the two soft tones. +My compass is three octaves--from C below middle C, to two octaves above +that point. I also have C sharp, but I do not practice it, for I know I +can reach it if I need it, and I save my voice. Neither do I work on the +final tones of the lowest octave, for the same reason--to preserve the +voice. + + +BREATH CONTROL + +"Every singer knows how important is the management of the breath. I +always hold the chest up, taking as long breaths as I can conveniently +do. The power to hold the breath, and sing more and more tones with one +breath, grows with careful, intelligent practice. There are no rules +about the number of phrases you can sing with a single breath. A teacher +will tell you; if you can sing two phrases with one breath, do so; if +not, take breath between. It all rests with the singer. + + +MEMORIZING + +"I learn words and music of a rôle at the same time, for one helps the +other. When I have mastered a rôle, I know it absolutely, words, music +and accompaniment. I can always play my accompaniments, for I understand +the piano. I am always at work on repertoire, even at night. I don't +seem to need very much sleep, I think, and I often memorize during the +night; that is such a good time to work, for all is so quiet and still. +I lie awake thinking of the music, and in this way I learn it. Or, +perhaps it learns itself. For when I retire the music is not yet +mastered, not yet my own, but when morning comes I really know it. + +"Of course I must know the words with great exactness, especially in +songs. I shall do English songs in my coming song recital work, and the +words and diction must be perfect, or people will criticize my English. +I always write out the words of my rôles, so as to be sure I understand +them and have them correctly memorized. + + +KEEPING UP REPERTOIRE + +"Most singers, I believe, need a couple of days--sometimes longer--in +which to review a rôle. I never use the notes or score when going over a +part in which I have appeared, for I know them absolutely, so there is +no occasion to use the notes. Other singers appear frequently at +rehearsal with their books, but I never take mine. My intimate knowledge +of score, when I assisted my father in taking charge of operatic scores, +is always a great help to me. I used to take charge of all the scores +for him, and knew all the cuts, changes and just how they were to be +used. The singers themselves often came to me for stage directions about +their parts, knowing I had this experience. + +"Yes, as you suggest, I could sing here in winter, then in South America +in summer." (Miss Muzio accomplished this recently, with distinguished +success and had many thrilling adventures incident to travel.) "This +would mean I would have no summer at all, for that season with them is +colder than we have it here. No, I want my summer for rest and study. +During the season at the Metropolitan I give up everything for my art. I +refuse all society and the many invitations I receive to be guest of +honor here and there. I remain quietly at home, steadfastly at work. My +art means everything to me, and I must keep myself in the best condition +possible, to be ready when the call comes to sing. One cannot do both, +you know; art and society do not mix well. I have never disappointed an +audience; it would be a great calamity to be obliged to do so." + + + + +XVII + +=EDWARD JOHNSON= + +(=EDOUARDO DI GIOVANNI=) + +THE EVOLUTON OF AN OPERA STAR + + +The story of Edward Johnson's musical development should prove an +incentive, nay more, a beacon light along the path of consistent +progress toward the goal of vocal and operatic achievement. Indeed as a +tiny child he must have had the desire to become a singer. A friend +speaks of musical proclivities which began to show themselves at an +early age, and describes visits of the child to their home, where, in a +little Lord Fauntleroy suit, he would stand up before them all and sing +a whole recital of little songs, to the delight of all his relatives. +The singer's progress, from the musical child on and up to that of an +operatic artist, has been rational and healthy, with nothing hectic or +overwrought about it; a constant, gradual ascent of the mountain. And +while an enviable vantage ground has been reached, such an artist must +feel there are yet other heights to conquer. For even excellence, +already achieved, requires constant effort to be held at high water +mark. And the desire for greater perfection, which every true artist +must feel, is a never-ending urge to continued struggle. + +In a recent conversation with the tenor, Mr. Johnson spoke of early +days, when he desired above everything else to become a musician and +follow a musical career, though his family expected him to enter the +business world. He came to New York to look the ground over, hoping +there might be opportunity to continue his studies and make his way at +the same time. He was fortunate enough to secure a church position, and +sang subsequently in some of the best New York and Brooklyn churches. +After this period he did much concert work, touring through the Middle +West with the Chicago Symphony Orchestra and singing in many Music +Festivals throughout the country. + +[Illustration: Edward Johnson] + +But church and concert singing did not entirely satisfy; he longed to +try his hand at opera,--in short to make an operatic career. He was well +aware that he would not find this field nor gain the necessary +experience in America; he must go to Italy, the land of song, to gain +the required training and experience. He was also fully aware of the +fact that there was plenty of hard work, and probably many +disappointments before him, but he did not shrink from either. + +"Fortunately, I have a fund of humor," he said, and there was a twinkle +in his eye as he spoke. "It is a saving grace, as you say; without it I +believe I should have many times given up in sheer despair." + +Mr. Johnson went to Italy in 1909, beginning at once his studies with +Lombardi, in Florence. In the ten years of his absence from his home +land he has built up a reputation and made a career in the great +operatic centers of Italy, Spain and South America. After his début in +Padua, he became leading tenor at La Scala, Milan, for five consecutive +seasons. In Rome he spent four seasons at the Costanzi Theater, in the +meantime making two visits to the Colon Theater, Buenos Aires, and +filling engagements in Madrid, Bologna, Florence and Genoa. + +"How could I stay away from America for such a length of time? you ask. +For various reasons. I was getting what I had come to Italy for, +experience and reputation. I was comfortable and happy in my work. I +loved the beautiful country, and the life suited me. The people were +kind. I had my own home in Florence, which is still there and to which I +can return when my season is over here. Best of all I had the +opportunity of creating all the new tenor rôles in the recent operas of +Puccini, Montemezzi, Pizzetti and Gratico. I also created the rôle of +_Parsifal_ in Italian, and the first season at La Scala, it was +performed twenty-seven times." + +"With your permission let us go a little into detail in regard to the +needs of the young singer and his method of study, so that he may +acquire vocal mastery. What do you consider the most important and +necessary subject for the young singer, or any one who wishes to enter +the profession, to consider?" + +"A musical education," was the prompt, unhesitating reply. "So many +think if they have a good natural voice and take singing lessons, that +is quite sufficient; they will soon become singers. But a singer should +also be a musician. He should learn the piano by all means and have some +knowledge of theory and harmony. These subjects will be of the greatest +benefit in developing his musicianship; indeed he cannot well get on +without them. A beautiful voice with little musical education, is not of +as much value to its possessor as one not so beautiful, which has been +well trained and is coupled with solid musical attainments. + + +A MUSICAL CAREER + +"If one goes in for a musical career, one should realize at the start, +something of what it means, what is involved, and what must go with it. +Singing itself is only a part, perhaps even the smaller part, of one's +equipment. If opera be the goal, there are languages, acting, make up, +impersonation, interpretation, how to walk, how to carry oneself, all to +be added to the piano and harmony we have already spoken of. The art of +the singer is a profession--yes, and a business too. You prepare +yourself to fill a public demand; you must prove yourself worthy, you +must come up to the standard, or there will not be a demand for what you +have to offer. And it is right this should be so. We should be willing +to look the situation fairly in the eye, divesting it of all those rose +colored dreams and fancies; then we should get right down to work. + + +NOT MANY RULES + +"If you get right down to the bottom, there are in reality not so many +singing rules to learn. You sing on the five vowels, and when you can +do them loudly, softly, and with mezzo voce, you have a foundation upon +which to build vocal mastery. And yet some people study eight, ten years +without really laying the foundation. Why should it take the singer such +a long time to master the material of his equipment? A lawyer or doctor, +after leaving college, devotes three or four years only to preparing +himself for his profession, receives his diploma, then sets up in +business. It ought not to be so much more difficult to learn to sing +than to learn these other professions. + + +THE EAR + +"Of course the ear is the most important factor, our greatest ally. It +helps us imitate. Imitation forms a large part of our study. We hear a +beautiful tone; we try to imitate it; we try in various ways, with +various placements, until we succeed in producing the sound we have been +seeking. Then we endeavor to remember the sensations experienced in +order that we may repeat the tone at will. So you see Listening, +Imitation and Memory are very important factors in the student's +development. + + +BEL CANTO + +"I have just spoken of a beautiful tone. The old Italian operas +cultivate the _bel canto_, that is--beautiful singing. Of course it is +well for the singer to cultivate this first of all, for it is excellent, +and necessary for the voice. But modern Italian opera portrays the real +men and women of to-day, who live, enjoy, suffer, are angry and +repentant. _Bel canto_ will not express these emotions. When a man is +jealous or in a rage, he will not stand quietly in the middle of the +stage and sing beautiful tones. He does not think of beautiful tones at +all. Hatred and jealousy should be expressed in the voice as well as in +action and gesture; they are far from lovely in themselves, and to be +natural and true to life, they will not make lovely tones in the voice. +We want singing actors to-day, men and women who can adequately portray +the characters they impersonate through both voice and action. + + +LEARNING A RÔLE + +"In taking up a new part I vocalize the theme first, to get an idea of +the music; then I learn the words. After this I work with the +accompanist who comes to me every morning. Of course, besides this, I do +daily vocalizes and vocal exercises; one must always keep up one's +vocal technic. + +"But learning words and music is only a part of the work to be done on a +rôle. It must then be interpreted; more than this it must be visualized. +This part of the work rests largely with the singer, and gives +opportunity for his individuality to assert itself. Of course the +general idea of the characterization is given us, the make-up, posturing +and so on. To work out these ideas, to make the part our own, to feel at +home in it, so that it shall not seem like acting, but appear perfectly +natural--all this takes a great deal of thought, time and study. It is +all a mental process, as every one knows; we must project our thought +out to the audience, we must 'get it over,' or it will never strike +fire!" + + +INTERPRETATION + +On the subject of individuality in interpretation, Mr. Johnson was +convincing. "I feel that if I have worked out a characterization, I must +stick to my idea, in spite of what others say. It is my own conception, +and I must either stand or fall by it. At times I have tried to follow +the suggestions of this or that critic and have changed my +interpretation to suit their taste. But it always rendered me self +conscious, made my work unnatural and caused me speedily to return to my +own conception. + + +LEARNING BY DOING + +"The singer finds the stage a great teacher. Before the footlights he +has constant opportunity to try out this or that effect, to note which +placement of the voice best fits the tones he wishes to produce. Then, +too, he soon learns to feel whether he has made the impression he had +hoped, whether he has the audience with him. If he cannot win the +audience, he takes careful thought to see why. In order to win his +hearers, to get his work across the footlights, there are certain things +he must have, virtues he must possess. For instance,"--and the artist +counted them off on his finger tips,--"he must have Accent, Diction, +Characterization, and above all, Sincerity. No matter what other good +qualities he may possess, he must be sincere before anything else. If he +lack this the audience soon finds it out. There's nothing that wins its +way like the grace of sincerity. You see I give prominent place to +accent and diction. Whatever fault the critics found with me, they have +always conceded to me both these virtues. + +"But time passes and soon the work of the night will begin. I trust that +our informal conference may contain a few points of personal experience +which may be helpful to those who are striving to enter the field of +opera." And with his pleasant smile and genial greeting, Mr. Johnson +closed the conference. + + + + +XVIII + +=REINALD WERRENRATH= + +ACHIEVING SUCCESS ON THE CONCERT STAGE + + +At the close of a recital by Reinald Werrenrath, the listener feels he +has something to carry away, a tangible impression, a real message. What +is the impression--can it be defined? Perhaps it is more the complete +effect as a whole that makes the deepest impression. The voice is always +agreeable, the diction so clear and distinct that every syllable can be +followed from the topmost corner of Carnegie Hall, so there is no need +to print a program book for this singer. Different qualities of voice +render the picture or mood more vivid, and all is accomplished with +perfect ease, in itself a charm. People settle in their seats as if +certain that a song recital by Werrenrath is sure to bring enjoyment and +satisfaction. + +And Mr. Werrenrath has proven, through season after season of concert +giving in America, that he is filling his own special niche in the +scheme of the country's musical life; that he has his own message of +the beautiful--the natural--in vocal art to deliver to the people all +over the land, and he is accomplishing this with ever increasing ability +and success. + +To go through a season filled with concert tours, such as a popular +singer has laid out for him, means so many weeks and months of strenuous +toil and travel. There may be a few brief hours or days here and there, +when he can be at home among family and friends; but soon he is off +again--"on the road." + +Mr. Werrenrath is the sort of singer who is generally on the wing, or if +not exactly that, is so rushed with work, record making and rehearsing +for occasional opera appearances, that it is very difficult to get a +word with him. I was exceedingly fortunate however, one day recently, to +catch a glimpse of him between a Metropolitan rehearsal on the one hand, +and some concert business on the other. He entered the room where I +waited, tall, vigorous, his fine face lighted by a rapid walk in the +fresh air; he seemed the embodiment of mental vigor and alertness. + + +VOCAL CONTROL + +[Illustration: REINALD WERRENRATH] + +I plunged at once into the subject I had come for, telling him I wanted +to know how he had worked to bring about such results as were noted in +his recent recital in Carnegie Hall; in what way he had studied, and +what, in his opinion, were the most important factors, from an +educational point of view, for the young singer to consider. + +"That is entirely too difficult a question to be answered briefly, even +in a half hour, or in an hour's talk. There are too many angles;" his +clear gray eyes looked at me frankly as he spoke. "Voice culture, voice +mastery, what is it? It is having control of your instrument to such an +extent that you put it out of your thought completely when you sing. The +voice is your servant and must do your bidding. This control is arrived +at through a variety of means, and can be considered from a thousand +angles, any one of which would be interesting to follow up. I have been +on the concert stage for nearly a score of years, and ought to know +whereof I speak; yet I can say I have not learned it all even now, not +by any means. Vocal technic is something on which you are always +working, something which is never completed, something which is +constantly improving with your mental growth and experience--if you are +working along the right lines. People talk of finishing their vocal +technic; how can that ever be done? You are always learning how to do +better. If you don't make the effect you expected to, in a certain +place, when singing in public, you take thought of it afterward, +consider what was the matter, _why_ you couldn't put it over--why it had +no effect on the audience. Then you work on it, learn how to correct and +improve it. + + +EARLY EXPERIENCES + +"As you may know, my father was a great singer; he was my first teacher. +After I lost him I studied for several years with Dr. Carl Duft and +later with Arthur Mees. In all this time I had learned a great deal +about music from the intellectual and emotional sides, music in the +abstract and so on. In fact, I thought I knew about all there was to be +learned about the art of song; I settled back on my oars and let the +matter go at that. At last, however, I awoke to see that I didn't know +it all yet; I discovered I couldn't put the feeling and emotion which +surged within me across to others in the way I wanted to--in the way +which could move and impress them; I could not make the effects I +wanted; I was getting into a rut. This was seven years ago. At that time +I went to Percy Rector Stevens, who has done me an immense amount of +good, and with whom I constantly keep in touch, in case there should be +anything wrong with my instrument anywhere. Mr. Stevens understands the +mechanics of the voice perhaps better than any one I know of. If I go to +him and say: 'I made some tones last night that didn't sound right to +me,' or 'I couldn't seem to put over this or that effect; I want you to +tell me what is the matter.' He will say: 'Sing for me, show me the +trouble and we'll see what we can do for it.' So I sing and he will say: +'You are tightening your throat at that place,' or 'your diaphragm is +not working properly,' or there is some other defect. He can always put +his finger directly on the weak spot. He is my vocal doctor. Your whole +vocal apparatus must work together in entire harmony. We hear of +teachers who seem to specialize on some one part of the anatomy to the +exclusion of other parts. They are so particular about the diaphragm, +for instance; that must be held with exactly the right firmness to +support the tone. That is all very well; but what about the chest, the +larynx, the throat, the head and all the rest of the anatomy? The truth +is the whole trunk and head of the body are concerned in the act of tone +production; they form the complete instrument, so to say. When the +singer is well and strong and in good condition, all the parts respond +and do their work easily and efficiently. + + +DAILY PRACTICE + +"I do not go through a routine of scales and exercises daily--at least +not in the season, for I have no time. If you are going to take your +automobile out for a spin you don't ride it around for half an hour in +the yard to see whether it will go. No, you first look after the +machinery, to see if all is in working order, and then you start out, +knowing it will go. I do a lot of gymnastics each day, to exercise the +voice and limber up the anatomy. These act as a massage for the voice; +they are in the nature of humming, mingled with grunts, calls, +exclamations, shouts, and many kinds of sounds--indeed so many and +various they cannot be enumerated. But they put the voice in condition, +so there is no need for all these other exercises which most singers +find so essential to their vocal well-being. I will say right here that +I am working with two masters; the first for the mechanics of the voice, +the second who helps me from quite an opposite angle--interpretation and +finish. + + +WITH MAUREL + +"The master from whom I have learned so much that it cannot be estimated +is Victor Maurel. He is a most remarkable man, a great thinker and +philosopher. If he had turned his attention to any other art or science, +or if he had been but a day laborer, he would be a great man anywhere, +in any capacity. + +"I have been with him, whenever possible, for two years now. He has +shown me the philosophy, the psychology of singing. He has taught me the +science of intense diction. By means of such diction, I can sing _mezza +voce_, and put it over with less effort and much more artistic effect +than I ever used to do, when I employed much more voice. You hear it +said this or that person has a big voice and can sing with great power. +A brass band can make a lot of noise. I have stood beside men, who in a +smaller space, could make much more noise than I could. But when they +got out on the stage you couldn't hear them at the back of the hall. It +is the knowing how to use the voice with the least possible effort, +coupled with the right kind of diction, that will make the greatest +effect. Now I can express myself, and deliver the message I feel I have +to give. + + +THE SINGER BEFORE AN AUDIENCE + +"You ask if I hear myself, when I am singing for an audience. In a +general way, yes. Of course I do not get the full effect of what I am +doing; a singer never does. It takes the records to tell me that, and I +have been making records for a good number of years. But I know the +sensations which accompany correct tone production, and if I feel they +are different in any place or passage, I try to make a mental note of +the fact and the passage, that I may correct it afterwards. But I must +emphasize the point that when I sing, I cast away all thought of _how_ I +do anything technical; I want to get away from the mechanics of the +voice; I must keep my thought clear for the interpretation, for the +message I have brought to the audience. To be constantly thinking--how +am I doing this or that--would hamper me terribly. I should never get +anywhere. I must have my vocal apparatus under such control that it goes +of itself. A pianist does not think of technic when playing in public, +neither should a singer think of his vocal technic. Of course there may +be occasions when adverse circumstances thrust conditions upon me. If I +have a slight cold, or tightness of throat, I have to bring all my +resources to bear, to rise above the seeming handicap, and sing as well +as I can in spite of it. I can say gratefully, without any desire to +boast, that during the past eleven years, I have never once missed an +engagement or disappointed an audience. Of course I have had to keep +engagements when I did not feel in the mood, either physically or +mentally. Many singers would have refused under like conditions. But it +does not seem fair to the audience to disappoint, or to the manager +either; it puts him in a very difficult and unpleasant position. It +seems to me the artist should be more considerate of both manager and +audience, than to yield to a slight indisposition and so break his +engagement. + + +THE SINGER IN HIS STUDIO + +"It makes such a difference--in quality of tone and in effect--whether +you sing in a small or large space. Things you do in the studio and +which may sound well there, are quite different or are lost altogether +in a large hall. You really cannot tell what the effect will be in a +great space, by what you do in your studio. In rehearsing and study, I +use half voice, and only occasionally do I use full voice, that is when +I wish to get a better idea of the effect." + + +VOCAL MASTERY + +As we stood at the close of the conference, I asked the supreme +question--What do you understand by Vocal Mastery? The artist looked as +though I were making an impossible demand in requiring an answer to so +comprehensive a subject. He took a few strides and then came back. + +"I can answer that question with one word--Disregard. Which means, that +if you have such control of your anatomy, such command of your vocal +resources that they will always do their work, that they can be depended +upon to act perfectly, then you can disregard mechanism, and think only +of the interpretation--only of your vocal message. Then you have +conquered the material--then you have attained Vocal Mastery!" + + + + +XIX + +=SOPHIE BRASLAU= + +MAKING A CAREER IN AMERICA + + +A fact, often overlooked when considering the career of some of our +great singers of to-day, is the fact that they started out to become an +instrumentalist rather than a singer. In other words they become +proficient on some instrument before taking up serious study of the +voice. In this connection one thinks of Mme. Sembrich, who was both +pianist and violinist before becoming known as a singer. It would be +interesting to follow up this idea and enumerate the vocalists who have +broadened their musicianship through the study of other instruments than +their own voices. But this delightful task must be reserved for future +leisure. For the present it can be set down here that Miss Sophie +Braslau, probably the youngest star in the constellation of the +Metropolitan artists, is an accomplished pianist, and intended to make +her career with the aid of that instrument instead of with her voice. + +But we will let the young artist speak for herself. On the occasion in +question, she had just returned from a walk, her arms full of rosebuds. +"I never can resist flowers," she remarked, as she had them placed in a +big silver vase. Then she carried the visitor off to her own special +rooms, whose windows overlooked an inner garden, where one forgot one +was in the heart of New York. "Indeed it is not like New York at all, +rather like Paris," said Miss Braslau, answering my thought. + +On a _chaise longue_ in this ivory and rose sanctum, reposed a big, +beautiful doll, preserved from childish days. The singer took it up; "I +don't play with it now," she said with a smile, "but I used to." She +placed it carefully in a chair, then settled herself to talk. + +[Illustration: SOPHIE BRASLAU] + +"Yes, I intended to make the piano my instrument and began my studies at +the age of six. Before long it was seen that I had something of a voice, +but no one gave it much thought, supposing I was to be a pianist; indeed +I have the hand of one," holding it up. "I don't think, in those early +years, I was so very anxious to become a player. I did not love +scales--do not now, and would quite as soon have sat at the piano with a +book in my lap, while my fingers mechanically did their stunts. But my +mother looked after my practice, and often sat near me. She required a +regular amount of time given to music study each day. I am so grateful +that she was strict with me, for my knowledge of piano and its +literature is the greatest joy to me now. To my thinking all children +should have piano lessons; the cost is trifling compared to the benefits +they receive. They should be made to study, whether they wish to or not. +They are not prepared to judge what is good for them, and if they are +given this advantage they will be glad of it later on. + +"In due time I entered the Institute of Musical Art, taking the full +piano course. Arthur Hochmann was my teacher for piano, and I found him +an excellent master. He did a great deal for me; in interpretation, in +fineness of detail, in artistic finish I owe him very much. Later I +studied several years with Alexander Lambert. + +"While at work with my piano, it grew more apparent that I had a voice +that should be cultivated. So I began. Afterwards I worked three years +with Signor Buzzi Peccia, who started me on an operatic career and +finally brought me to the Metropolitan. + +"It was a great ordeal for a young singer, almost a beginner, to start +at our greatest Opera House! It meant unremitting labor for me. I worked +very hard, but I am not afraid of work. Toscanini held sway when I +began, and he was a marvelous musician and conductor. Such exactness, +such perfection of detail; he required perfection of every one. He did +not at first realize how much of a beginner I was, though I had really +learned a large number of rôles. He was so strict in every detail that I +wept many bitter tears for fear I would not come up to the mark. I knew +the music, but had not gained experience through routine. It seems to me +every singer should gain this experience in some smaller places before +attempting the highest. My advice would be to go and get experience in +Europe first. I have never been in Germany, but in Italy and France +there are many small opera houses where one may learn routine. + +"Another thing. There is a mistaken notion that one cannot reach any +height in opera without 'pull' and great influence. I am sure this is +not true; for while a pull may help, one must be able to deliver the +goods. If one cannot, all the backing in the world will not make one a +success. The singer must have the ability to 'put it over.' Think of +the artists who can do it--Farrar, Gluck, Schumann-Heink. There is never +any doubt about them; they always win their audiences. What I have done +has been accomplished by hard work, without backing of any kind. Really +of what use is backing anyway? The public can judge--or at least it can +_feel_. I know very well that when my chance came to sing _Shanewis_, if +I had not been able to do it, no amount of influence would have helped +the situation. I had it in my own hand to make or mar my career. I often +wonder whether audiences really know anything about what you are trying +to do; whether they have any conception of what is right in singing, or +whether they are merely swayed by the temperament of the singer. + +"Whether we are, or are not to be a musical nation should be a question +of deep interest to all music lovers. If we really become a great +musical people, it will be largely due to the work of the records. We +certainly have wonderful advantages here, and are doing a tremendous lot +for music. + +"I had an interesting experience recently. It was in a little town in +North Carolina, where a song recital had never before been given. Can +you fancy a place where there had never even been a concert? The people +in this little town were busy producing tobacco and had never turned +their thought toward music. In the face of the coming concert what did +those people do? They got a program, studied what pieces I had sung on +the Victor, got the music of the others; so they had a pretty good idea +of what I was going to sing. When I stepped on the platform that night +and saw the little upright piano (no other instrument could be secured) +and looked into those eager faces, I wondered how they would receive my +work. My first number was an aria from _Orfeo_. When I finished, the +demonstration was so deafening I had to wait minutes before I could go +on. And so it continued all the evening. + +"How do I work? Very hard, at least six hours a day. Of these I actually +sing perhaps three hours. I begin at nine and give the first hour to +memory work on repertoire. I give very thorough study to my programs; +for I must know every note in them, both for voice and piano. I make it +a point to know the accompaniments, for in case I am ever left without +an accompanist, I can play for myself, and it has a great effect on +audiences. They may not know or care whether you can play Beethoven or +Chopin, but the fact that you can play while you sing, greatly impresses +them. + +"In committing a song, I play it over and sing it sufficiently to get a +good idea of its construction and meaning; then I work in detail, +learning words and music at the same time, usually. Certain things are +very difficult for me, things requiring absolute evenness of passage +work, or sustained calm. Naturally I have an excess of temperament; I +feel things in a vivid, passionate way. So I need to go very slowly at +times. To-day I gave several hours to only three lines of an aria by +Haendel, and am not yet satisfied with it. Indeed, can we ever rest +satisfied, when there is so much to learn, and we can always improve? + +"The second hour of my day is given to vocalizes. Of course there are +certain standard things that one must do; but there are others that need +not be done every day. I try to vary the work as much as I can. + +"The rest of the day is given to study on repertoire and all the things +that belong to it. There is so much more to a singer's art than merely +to sing. And it is a sad thing to find that so many singers lack +musicianship. They seem to think if they can sing some songs, or even a +few operas, that is all there is to it. But one who would become an +artist must work most of the time. I am sure Charles Hackett knows the +value of work; so does Mabel Garrison and many other Americans. And when +you think of it, there are really a brave number of our own singers who +are not only making good, but making big names for themselves and +winning the success that comes from a union of talent and industry." + + + + +XX + +=MORGAN KINGSTON= + +THE SPIRITUAL SIDE OF THE SINGER'S ART + + +"A man who has risen to his present eminence through determined effort +and hard work, who has done it all in America, is a unique figure in the +world of art. He can surely give much valuable information to students, +for he has been through so much himself." Thus I was informed by one who +was in a position to understand how Morgan Kingston had achieved +success. The well known tenor was most kind in granting an audience to +one seeking light on his ideas and experiences. He welcomed the visitor +with simple, sincere courtesy, and discussed for an hour and a half +various aspects of the singer's art. + +"In what way may I be of service to you?" began Mr. Kingston, after the +first greetings had been exchanged. + +"There are many questions to ask," was the answer; "perhaps it were best +to propound the most difficult one first, instead of reserving it till +the last. What, in your opinion, goes into the acquiring of Vocal +Mastery?" + +"That is certainly a difficult subject to take up, for vocal mastery +includes so many things. First and foremost it includes vocal technic. +One must have an excellent technic before one can hope to sing even +moderately well. The singer can do nothing without technic, though of +course there are many people who try to sing without it. They, however, +never get anywhere when hampered by such a lack of equipment. Technic +furnishes the tools with which the singer creates his vocal art work; +just as the painter's brushes enable him to paint his picture. + + +RULES OF TECHNIC + +[Illustration: MORGAN KINGSTON] + +"I said the singer should have a finished technic in order to express +the musical idea aright, in order to be an artist. But technic is never +finished; it goes on developing and broadening as we ourselves grow and +develop. We learn by degrees what to add on and what to take away, in +our effort to perfect technic. Students, especially in America, are too +apt to depend on rules merely. They think if they absolutely follow the +rules, they must necessarily become singers; if they find that you +deviate from rule they tell you of it, and hold you up to the letter of +the law, rather than its meaning and spirit. I answer, rules should be +guides, not tyrants. Rules are necessary in the beginning; later we get +beyond them,--or rather we work out their spirit and are not hide-bound +by the letter. + + +EARLY STRUGGLES + +"As you may know, I was born in Nottinghamshire, England. I always sang, +as a small boy, just for the love of it, never dreaming I would one day +make it my profession. In those early days I sang in the little church +where Lord Byron is buried. How many times I have walked over the slab +which lies above his vault. When I was old enough I went to work in the +mines, so you see I know what hardships the miners endure; I know what +it means to be shut away from the sun for so many hours every day. And I +would lighten their hardships in every way possible. I am sure, if it +rested with me, to choose between having no coal unless I mined it +myself, I would never dig a single particle. But this is aside from the +subject in hand. + +"I always sang for the love of singing, and I had the hope that some day +I could do some good with the gift which the good God had bestowed on +me. Then, one day, the opportunity came for me to sing in a concert in +London. Up to that time I had never had a vocal lesson in my life; my +singing was purely a natural product. On this occasion I sang, evidently +with some little success, for it was decided that very night that I +should become a singer. Means were provided for both lessons and living, +and I now gave my whole time and attention toward fitting myself for my +new calling. The lady who played my accompaniments at that concert +became my teacher. And I can say, with gratitude to a kind Providence, +that I have never had, nor wished to have any other. When I hear young +singers in America saying they have been to Mr. S. to get his points, +then they will go to Mr. W. to learn his point of view, I realize afresh +that my experience has been quite different and indeed unique; I am +devoutly thankful it has been so. + + +WHAT THE TEACHER SHOULD DO FOR THE STUDENT + +"My teacher made a study of me, of my characteristics, mentality and +temperament. That should be the business of every real teacher, since +each individual has different characteristics from every other. + +"It is now ten years since I began to study the art of singing. I came +to America soon after the eventful night which changed my whole career; +my teacher also came to this country. I had everything to learn; I could +not even speak my own language; my speech was a dialect heard in that +part of the country where I was brought up. I have had to cultivate and +refine myself. I had to study other languages, Italian, French and +German. I learned them all in America. So you see there is no need for +an American to go out of his own country for vocal instruction or +languages; all can be learned right here at home. I am a living proof of +this. What I have done others can do. + + +THE TECHNICAL SIDE + +"As for technical material, I have never used a great quantity. Of +course I do scales and vocalizes for a short time each day; such things +are always kept up. Then I make daily use of about a dozen exercises by +Rubini. Beyond these I make technical studies out of the pieces. But, +after one has made a certain amount of progress on the technical side, +one must work for one's self--I mean one must work on one's moral +nature. + + +THE MORAL SIDE + +"I believe strongly that a singer cannot adequately express the +beautiful and pure in music while cherishing at the same time, a bad +heart and a mean nature behind it. Singing is such a personal thing, +that one's mentality, one's inner nature, is bound to reveal itself. +Each one of us has evil tendencies to grapple with, envy, jealousy, +hatred, sensuality and all the rest of the evils we are apt to harbor. +If we make no effort to control these natural tendencies, they will +permanently injure us, as well as impair the voice, and vitiate the good +we might do. I say it in all humility, but I am earnestly trying to +conquer the errors in myself, so that I may be able to do some good with +my voice. I have discovered people go to hear music when they want to be +soothed and uplifted. If they desire to be amused and enjoy a good +laugh, they go to light opera or vaudeville; if they want a soothing, +quieting mental refreshment, they attend a concert, opera or oratorio. +Therefore I want to give them, when I sing, what they are in need of, +what they are longing for. I want to have such control of myself that I +shall be fitted to help and benefit every person in the audience who +listens to me. Until I have thus prepared myself, I am not doing my +whole duty to myself, to my art or to my neighbor. + +"We hear about the petty envy and jealousy in the profession, and it is +true they seem to be very real at times. Picture two young women singing +at a concert; one receives much attention and beautiful flowers, the +other--none of these things. No doubt it is human nature, so-called, for +the neglected one to feel horribly jealous of the favored one. Now this +feeling ought to be conquered, for I believe, if it is not, it will +prevent the singer making beautiful, correct tones, or from voicing the +beauty and exaltation of the music. We know that evil thoughts react on +the body and result in diseases, which prevent the singer from reaching +a high point of excellence. We must think right thoughts for these are +the worth while things of life. Singing teachers utterly fail to take +the moral or metaphysical side into consideration in their teaching. +They should do this and doubtless would, did they but realize what a +large place right thinking occupies in the development of the singer. + +"One could name various artists who only consider their own +self-aggrandizement; one is compelled to realize that, with such low +aims, the artist is bound to fall short of highest achievement. It is +our right attitude towards the best in life and the future, that is of +real value to us. How often people greet you with the words: 'Well, how +is the world treating you to-day?' Does any one ever say to you--'How +are you treating the world to-day?' That is the real thing to consider. + +"As I said a few moments ago, I have studied ten years on vocal technic +and repertoire. I have not ventured to say so before, but I say it +to-night--I can sing! Of course most of the operatic tenor rôles are in +my repertoire. This season I am engaged for fourteen rôles at the +Metropolitan. These must be ready to sing on demand, that is at a +moment's notice,--or say two hours' notice. That means some memory work +as well as constant practice. + +"Would I rather appear in opera, recital or oratorio? I like them all. A +recital program must contain at least a dozen songs, which makes it as +long as a leading operatic rôle. + +"The ten years just passed, filled as they have been with close study +and public work, I consider in the light of preparation. The following +ten years I hope to devote to becoming more widely known in various +countries. And then--" a pleasant smile flitted over the fine, clean-cut +features,--"then another ten years to make my fortune. But I hasten to +assure you the monetary side is quite secondary to the great desire I +have to do some good with the talent which has been given me. I realize +more and more each day, that to develop the spiritual nature will mean +happiness and success in this and in a future existence, and this is +worth all the effort and striving it costs." + + + + +XXI + +=FRIEDA HEMPEL= + +A LESSON WITH A PRIMA DONNA + + +There is no need to say that Frieda Hempel is one of the most admired +artists on the opera and concert stage to-day. Every one knows the fact. +Miss Hempel has endeared herself to all through her lovely voice, her +use of it, her charm of manner and the sincerity of her art. + +[Illustration: _Photo by Alfred Chancy Johnston_ FRIEDA HEMPEL] + +It is seven years since Miss Hempel first came to sing at the +Metropolitan. America has advanced very greatly in musical appreciation +during this period. Miss Hempel herself has grown in artistic stature +with each new character she has assumed. This season she has exchanged +the opera field for that of the concert room, to the regret of opera +patrons and all music lovers, who desired to see her at the +Metropolitan. Being so constantly on the wing, it has been extremely +difficult to secure a word with the admired artist. Late one afternoon, +however, toward the end of her very successful concert season, she was +able to devote an hour to a conference with the writer on the +principles of vocal art. + +How fair, slender and girlish she looked, ensconced among the cushions +of a comfortable divan in her music room, with a favorite pet dog +nestling at her side. + +"And you ask how to master the voice; it seems then, I am to give a +vocal lesson," she began, with an arch smile, as she caressed the little +creature beside her. + + +BREATHING + +"The very first thing for the singer to consider is breath control; +always the breathing--the breathing. She thinks of it morning, noon and +night. Even before rising in the morning, she has it on her mind, and +may do a few little stunts while still reclining. Then, before beginning +her vocal technic in the morning, she goes through a series of breathing +exercises. Just what they are is unnecessary to indicate, as each +teacher may have his own, or the singer has learned for herself what +forms are most beneficial. + + +VOCAL TECHNIC + +"The pianist before the public, or the player who hopes to master the +instrument in the future, never thinks of omitting the daily task of +scales and exercises; he knows that his chances for success would soon +be impaired, even ruined, if he should neglect this important and +necessary branch of study. + +"It is exactly the same thing with the singer. She cannot afford to do +without scales and exercises. If she should, the public would soon find +it out. She must be in constant practice in order to produce her tones +with smoothness and purity; she must also think whether she is producing +them with ease. There should never be any strain, no evidence of effort. +Voice production must always seem to be the easiest thing in the world. +No audience likes to see painful effort in a singer's face or throat. + + +VOCAL PRACTICE + +"The young singer should always practice with a mirror--do not forget +that; she must look pleasant under all circumstances. No one cares to +look at a singer who makes faces and grimaces, or scowls when she sings. +This applies to any one, young or older. Singing must always seem easy, +pleasant, graceful, attractive, winning. This must be the mental +concept, and, acted upon, the singer will thus win her audience. I do +not mean that one should cultivate a grin when singing; that would be +going to the other extreme. + +"Let the singer also use a watch when she practices, in order not to +overdo. I approve of a good deal of technical study, taken in small +doses of ten to fifteen minutes at a time. I myself do about two hours +or more, though not all technic; but I make these pauses for rest, so +that I am not fatigued. After all, while we must have technic, there is +so much more to singing than its technic. Technic is indeed a means to +an end, more in the art of song than in almost any other form of art. +Technic is the background for expressive singing, and to sing +expressively is what every one should be striving for. + + +WHAT IT MEANS TO BE A SINGER + +"A beautiful voice is a gift from heaven, but the cultivation of it +rests with its possessor. Here in America, girls do not realize the +amount of labor and sacrifice involved, or they might not be so eager to +enter upon a career. They are too much taken up with teas, parties and +social functions to have sufficient time to devote to vocal study and +all that goes with it. There are many other things to study; some piano +if possible, languages of course, physical culture and acting, to make +the body supple and graceful. I say some piano should be included, at +least enough to play accompaniments at sight. But when she has mastered +her song or rôle, she needs an accompanist, for she can never play the +music as it should be played while she endeavors to interpret the song +as that should be sung. One cannot do complete justice to both at the +same time. + +"In order to study all the subjects required, the girl with a voice must +be willing to give most of her day to the work. This means sacrificing +the social side and being willing to throw herself heart and soul into +the business of adequately preparing for her career. + + +AMERICAN VOICES + +"I find there are quantities of lovely voices here in America. The +quality of the American female voice is beautiful; in no country is it +finer, not even in Italy. You have good teachers here, too. Then why are +there so few American singers who are properly prepared for a career? +Why do we hear of so few who make good and amount to something? If the +girl has means and good social connections, she is often not ready to +sacrifice social gayeties for the austere life of the student. If she +is a poor girl, she frequently cannot afford to take up the subjects +necessary for her higher development. Instruction is expensive here, and +training for opera almost impossible. The operatic coach requires a +goodly fee for his services. And when the girl has prepared several +rôles where shall she find the opportunity to try them out? +Inexperienced singers cannot be accepted at the Metropolitan; that is +not the place for them. At the prices charged for seats the management +cannot afford to engage any but the very best artists. Until there are +more opera houses throughout the country, the American girl will still +be obliged to go to Europe for experience and routine. In Europe it is +all so much easier. Every little city and town has its own opera house, +where regular performances are given and where young singers can try +their wings and gain experience. The conductor will often help and coach +the singer and never expect a fee for it. + + +THE YOUNG SINGER BEFORE AN AUDIENCE + +"The singer who wishes to make a career in concert, should constantly +study to do things easily and gracefully. She is gracious in manner, +and sings to the people as though it gave her personal pleasure to stand +before them. She has a happy expression of countenance; she is simple, +unaffected and sincere. More than all this her singing must be filled +with sentiment and soul; it must be deeply felt or it will not touch +others. Of what use will be the most elaborate technic in the world if +there is no soul back of it. So the young singer cultivates this power +of expression, which grows with constant effort. The artist has learned +to share her gift of song with her audience, and sings straight across +into the hearts of her listeners. The less experienced singer profits by +her example. + +"Shall the singer carry her music in a song recital, is a much discussed +question. Many come on with nothing in hand. What then happens? The +hands are clasped in supplication, as though praying for help. This +attitude becomes somewhat harrowing when held for a whole program. Other +singers toy with chain or fan, movements which may be very inappropriate +to the sentiment of the song they are singing. For myself I prefer to +hold in hand a small book containing the words of my songs, for it seems +to be more graceful and Jess obtrusive than the other ways I have +mentioned. I never refer to this little book, as I know the words of my +songs backward; I could rise in the middle of the night and go through +the program without a glance at words or music, so thoroughly do I know +what I am singing. Therefore I do not need the book of words, but I +shall always carry it, no matter what the critics may say. And why +should not the executive artist reassure himself by having his music +with him? It seems to me a pianist would feel so much more certain of +himself if he had the notes before him; he of course need not look at +them, but their presence would take away the fear that is often an +obsession. With the notes at hand he could let himself go, give free +reign to fancy, without the terrible anxiety he must often feel. + + +OPERA OR CONCERT + +"People often ask whether I prefer to sing in opera or concert. I always +answer, I love both. I enjoy opera for many reasons; I love the concert +work, and I am also very fond of oratorio. Of course in the opera I am +necessarily restrained; I can never be Frieda Hempel, I must always be +some one else; I must always think of the others who are playing with +me. In concert I can be myself and express myself. I get near the +people; they are my friends and I am theirs. I am much in spirit with +oratorio also. + + +COLORATURA OR DRAMATIC + +"Do I think the coloratura voice will ever become dramatic? It depends +on the quality of the voice. I think every dramatic singer should +cultivate coloratura to some extent--should study smooth legato scales +and passages. To listen to some of the dramatic rôles of to-day, one +would think that smooth legato singing was a lost art. Nothing can take +its place, however, and singers should realize this fact." + +Miss Hempel believes that every singer, no matter how great, should +realize the advantage of constant advice from a capable teacher, in +order to prevent the forming of undesirable habits. She also considers +Vocal Mastery implies the perfection of everything connected with +singing; that is to say, perfect breath control, perfect placement of +the voice, perfect tone production, together with all requisite grace, +feeling and expressiveness. + + + + +WITH THE MASTER TEACHERS + + + + +XXII + +=DAVID BISPHAM= + +THE MAKING OF ARTIST SINGERS + + +If we were asked to name one of the best known, and best loved of +American singers, the choice would surely fall on David Bispham. This +artist, through his vocal, linguistic and histrionic gifts, his serious +aims and high ideals, has endeared himself to musicians and music lovers +alike. We are all proud of him as an American, and take a sort of +personal pride in his achievements. + +Mr. Bispham has been before the public as actor-singer for many years. +There is no other artist in the English-speaking world who has had +greater experience in all kinds of vocal work than this "Quaker Singer," +as he calls himself, for he comes from Philadelphia, and is of old +English, Quaker, Colonial stock. His professional début was made in +London, in 1891, with the Royal English Opera Company, as the Duc De +Longueville, in the beautiful Opera Comique, _The Basoche_, by Messager. +The following year he appeared in Wagnerian Music Drama at the Royal +Opera, Covent Garden, performing the part of Kurwenal, in _Tristan and +Isolde_, without rehearsal. His adaptability to music in English, +French, Italian and German, caused him to be at once accepted as a +member of that distinguished company. + +In 1896, Mr. Bispham joined the forces of the Metropolitan Opera House, +New York, and remained there for a number of years, singing each season +alternately on both sides of the ocean. Of recent years he has devoted +most of his time to concerts, though he is one of the founders and +officers of the Society of American Singers, with which artistic body he +frequently appears in the classic operas of Mozart, Pergolesi, Donizetti +and others. + +My first conference with Mr. Bispham was held in his New York studio. +Here, in this artistic retreat where absolute quiet reigns, though +located in the heart of the great city's busy life, the noted singer +teaches and works out his programs and various characterizations. + + +THE PROBLEM OF BREATH CONTROL + +"The singer should breathe as easily and naturally as animals and people +do when they sleep," he began. "But we are awake when we sing; correct +breath control, therefore, must be carefully studied, and is the result +of understanding and experience. The best art conceals art. The aim is +to produce tones with the utmost ease and naturalness, though these must +be gained with patient toil. A child patting the keyboard with his tiny +hands, is _unconsciously_ natural and at ease, though he does not know +what he is doing; the great pianist is _consciously_ at ease because he +understands principles of ease and relaxation, and has acquired the +necessary control through years of training. + +"The singer acquires management of the breath through correct position +and action of his anatomy. The body is held erect, chest active; the +network of abdominal muscles constantly gain strength as they learn to +push, push, push the air up through the lungs to the windpipe, then +through the mouth and nasal cavities." Mr. Bispham illustrated each +point in his own person as he described it. + +"When the manner of taking breath, and the way to develop the diaphragm +and abdominal muscles, is understood, that is only a beginning. +Management of the breath is an art in itself. The singer must know what +to do with the breath once he has taken it in, or he may let it out in +quarts the moment he opens his mouth. He has to learn how much he needs +for each phrase. He learns how to conserve the breath; and while it is +not desirable to hold one tone to attenuation, that the gallery may gasp +with astonishment, as some singers do, yet it is well to learn to do all +one conveniently can with one inhalation, provided the phrase permits +it. + + +TECHNICAL MATERIAL + +"I give many vocalizes and exercises, which I invent to fit the needs of +each pupil. I do not require them to be written down, simply remembered. +At the next lesson quite a different set of exercises may be +recommended. I also make exercises out of familiar tunes or themes from +operatic airs. It will be found that technical material in the various +manuals is often chosen from such sources, so why not use them in their +original form. Thus while the student is studying technic he is also +acquiring much beautiful material, which will be of great value to him +later on. + + +THE STUDY OF REPERTOIRE + +"Repertoire is a wide subject and offers a fascinating study to the +vocal student. He must have both imagination and sentiment, also the +ability to portray, through movement and facial expression, the various +moods and states of feeling indicated by words and music. + +"In taking up a new rôle, I read the story to get at the kernel or plot, +and see what it means. The composer first saw the words of poem or +libretto, and these suggested to him suitable music. So the singer +begins his work by carefully reading the words. + +"I then have the music of the whole work played for me on the piano, so +as to discover its trend and meaning--its content. If the composer is +available I ask him to do this. I next begin to study my own part in +detail, not only the important sections but the little bits, which seem +so small, but are often so difficult to remember." + + +CHARACTERIZATION + +Under this head the singer spoke at length of the difficulty some +singers encounter when they endeavor to portray character, or +differentiate emotions. There is endless scope in this line, to exercise +intelligence and imagination. + +"Some singers," continued the artist, "seem incapable of characterizing +a rôle or song. They can do what I call 'flat work,' but cannot +individualize a rôle. A singer may have a beautiful voice yet not be +temperamental; he may have no gift for acting, nor be able to do +character work. + +"At the present moment I am preparing several new rôles, three of them +are of old men. It rests with me to externalize these three in such a +way that they shall all be different, yet consistent with the characters +as I understand them. Each make-up must be distinctive, and my work is +to portray the parts as I see and feel them. I must get into the skin of +each character, so to say, then act as I conceive that particular person +would behave under like circumstances. Many singers cannot act, and most +actors cannot sing. When the two are combined we have a singing actor, +or an actor-singer. Once there was a popular belief that it was not +necessary for the singer to know much about acting--if he only had a +voice and could sing. The present is changing all that. Many of us +realize how very much study is required to perfect this side of our art. + +"In this connection I am reminded of my London début. I was to make it +with the Royal English Opera Company. They heard me three times before +deciding to take me on. With this formality over, rehearsals began. I +soon found that my ideas of how my rôle--an important one--was to be +acted, did not always coincide with the views of the stage director, and +there were ructions. The manager saw how things were going, and advised +me to accept seemingly the ideas of the stage director during +rehearsals, but to study acting with the highest authorities and then +work out the conception after my own ideas. Accordingly, I spent an hour +daily, before the morning rehearsal, with one of the finest actors of +comedy to be found in London. Later in the day, after rehearsal, I spent +another hour with a great tragic actor. Thus I worked in both lines, as +my part was a mixture of the tragic and the comic. I put in several +weeks of very hard work in this way, and felt I had gained greatly. Of +course this was entirely on the histrionic side, but it gives an idea of +the preparation one needs. + +"When the day of the dress rehearsal arrived, I appeared on the scene in +full regalia, clean shaven (I had been wearing a beard until then), and +performed my rôle as I had conceived it, regardless of the peculiar +ideas of the stage director. At the first performance I made a hit, and +a little later was engaged for grand opera at Covent Garden, where I +remained for ten years. + + +KNOWLEDGE OF ANATOMY + +"While I believe in understanding one's anatomy sufficiently for proper +tone production, and all that goes with it, there are many peculiar and +unnecessary fads and tricks resorted to by those who call themselves +teachers of singing. The more fantastic the theories inculcated by these +people, the more the unwary students seem to believe in them. People +like to be deluded, you know. But I am not able to gratify their desires +in this direction; for I can't lie about music! + +"I was present at a vocal lesson given by one of these so-called +instructors. 'You must sing in such a way that the tone will seem to +come out of the back of your head,' he told the pupil, and he waved his +arms about his head as though he were drawing the tone out visibly. +Another pupil was placed flat on his back, then told to breathe as +though he were asleep, and then had to sing in that position. Another +teacher I know of makes pupils eject spit-balls of tissue paper at the +ceiling, to learn the alleged proper control of the breath. What +criminal nonsense this is! + +"As I have said, I believe in knowing what is necessary about anatomy, +but not in too great measure. A new book will soon be issued, I am told, +which actually dissects the human body, showing every bone and muscle in +any way connected with breath or voice. All this may be of interest as a +matter of research, but must one go into such minutiae in order to teach +singing? I think the answer must ever be in the negative. You might as +well talk to a gold-fish in a bowl-and say: 'If you desire to proceed +laterally to the right, kindly oscillate gently your sinister dorsal +fin, and you will achieve the desired result.' Oh, Art, what sins are +committed in thy name!" + + +IN THE STUDIO + +It is often affirmed that an artist finds experience the best teacher. +It must be equally true that the artist-teacher of wide experience in +both performance and instruction, should be a safe guide, just because +of this varied experience. + +I was impressed with this fact when I recently had the privilege of +visiting Mr. Bispham's studio during lesson hours, and listening to his +instruction. A most interesting sanctum is this studio, filled as it is +with souvenirs and pictures of the artist's long career on the operatic +stage. Here hangs a drawing in color of Bispham as Telramund, in shining +chain armor; there a life-size portrait as "Beethoven," and again as +himself. In the midst of all is the master, seated at a table. In front +of him, at the piano, stands the student. It is an English song she is +at work on, for Mr. Bispham thoroughly believes in mastering English as +well as other languages. + +How alert he is as he sits there; how keen of eye and ear. Not the +slightest fault escapes him. He often sings the phrase himself, then +calls for its repetition. + +"Sing that passage again; there is a tone in it that is not +pleasant--not well-sounding; make it beautiful!" "Careful of your +consonants there, they are not distinct; let them be clearer, but don't +make them over distinct." "Don't scoop up the ends of the phrases; make +the tones this way"; and he illustrates repeatedly. "Sing this phrase in +one breath if you can, if not, breathe here--" indicating the place. + +The student now takes up an Italian aria. Of course the master teacher +has no need of printed score; he knows the arias by heart. He merely +jots down a few remarks on a slip of paper, to be referred to later. + +The aria goes quite well. At its close the singer goes to her seat and +another takes her place. A voice of rich, warm timbre. More English--and +it must be most exact, to suit Mr. Bispham's fastidious ear. + +"Make the word _fire_ in _one_ syllable, not _two_. Do not open the +mouth quite so wide on the word _desire_, for, by doing so you lose the +balance and the tone is not so good." + + +VOCALIZES + +Another student--with a fine tenor--was asked to vocalize for a number +of minutes. He sang ascending and descending tone-figures, sometimes +doing them in one breath, at others taking a fresh breath at top. Some +of the syllables used were: la, ma, may, and mi. He then sang single +tones, swelling and diminishing each. It was found that passing from +_forte_ to _piano_ was much more difficult than swelling from soft to +loud. + +The aria "Be not afraid," was now taken up; it was pronounced one of the +most difficult solos ever written, and a very valuable composition for +vocal training. + +"You sing that phrase too loud," cautioned the instructor. "This is not +a human being who is speaking, rather it is a heavenly voice. That high +note of the phrase should be made softer, more ethereal. Make it a +_young tone_--put the quality of Spring into it. The whole thing should +be more spiritual or spiritualized. Now go through it again from +beginning to end." + +When this was finished a halt was called; there had been enough work +done for that day. Soon the class was dismissed. The young singers--some +if not all of them known upon the concert stage--filed out. One young +woman remained; she was to have a drama lesson. The master of singing +showed himself equally efficient as master of English diction for the +spoken drama. + +And here, for a time, we must leave him at his work. + + + + +XXIII + +OSCAR SAENGER + +USE OF RECORDS IN VOCAL STUDY + + +Mr. Oscar Saenger has been termed "maker of artists," since a number of +our great singers have come from under his capable hands. He has a rare +gift for imparting instruction in a way that is concise and convincing. +A man of wide experience, profound knowledge of his subject, commanding +personality and winning courtesy, he impresses all who come within his +radius that he knows whereof he speaks. A man who "knows what he knows" +is one to be followed. + +Mr. Saenger had just returned from a season of travel over America as +far as the Coast. A most profitable trip he called it, filled with many +interesting and unique experiences. He had been lecturing also, in a +number of cities, on his new method of vocal study with the aid of the +Victor Talking Machine. When he learned I had come expressly to ask for +his ideas on vocal technic and study, he said: + +"I think you will be interested to hear about my latest hobby, the +study of singing with the aid of records." Then he plunged at once into +the most absorbingly interesting account of his ideas and achievements +in this line I had ever listened to. + + +TEACHER, ARTIST AND ACCOMPANIST IN ONE + +"This is my own idea, of combining the teacher, artist and accompanist +in one trinity," he began. "And, by the way, my idea is now patented in +Washington. It is the result of nine years' thought and labor, before +the idea could be brought out in its finished form. The design has been +to make the method and its elucidation so simple that the girl from a +small town can understand it. + +"The method consists of twenty lessons for each of the five kinds of +voices: Soprano, Mezzo-Soprano, Tenor, Baritone and Bass. Each portfolio +holds twenty records, together with a book containing minute directions +for studying and using the records. I believe that any one, with good +intelligence, who wishes to learn to sing, can take the book and records +and begin his studies, even though he has never sung before. He can thus +prepare himself for future lessons. For you must understand this method +is not meant to replace the teacher, but to aid the teacher. I can +assure you it aids him in ways without number. It gives him a perfect +exemplar to illustrate his principles. If he be fatigued, or unable to +sing the passage in question, here is an artist who is never wearied, +who is always ready to do it for him. I myself constantly use the +records in my lessons. If I have taught a number of consecutive hours, +it is a relief to turn to the artist's record and save my own voice. + + +SIMPLICITY + +"As I have said, the design has been to make everything plain and +simple. I wrote the book and sent it to the Victor people. They returned +it, saying I had written an excellent book, but it was not simple +enough. They proposed sending a man to me who was neither a musician nor +a singer. If I could make my meaning clear enough for him to understand, +it was likely the girl from a little Western town could grasp it. + +"So this man came and we worked together. If I talked about head tones, +he wanted to know what I meant; if about throaty tones, I had to make +these clear to him. When he understood, I was sure any one could +understand. + +"Thus the books as they stand came into being. The records themselves +represent an immense amount of care and effort. Will you believe we had +to make over two thousand in order to secure the one hundred needed for +the present series? The slightest imperfection is enough to render an +otherwise perfect record useless. Even the artists themselves would +sometimes become discouraged at the enormous difficulties. It is +nerve-racking work, for one must be on tension all the time. + + +IMITATION A FUNDAMENTAL PRINCIPLE + +"If you are interested, I will go a little more into detail. The main +idea of this unique method of study, is imitation. Every human being +likes to imitate--from the tiny child to the adult. Acting upon this +idea, we take the artist as model. Everything the model does, the +student strives to imitate. By means of the record, it is possible for +the student to do this over and over again, until he has learned to copy +it as accurately as it is possible. And here is where the knowledge and +experience of the teacher come in. During the lesson he tests each tone, +each phrase, advising the pupil how nearly he approaches the perfect +model, or showing him his faults and why he does not succeed in +imitating the model more correctly." + + +FOR BEGINNERS + +"Do you mean to say, Mr. Saenger, that this method of vocal study can be +taken up by one who knows really nothing of the voice, or singing, and +can be used with success; that such a person can become a singer through +self-study?" + +"It is indeed possible," was the answer; "and it is being done every +day. If the student has much intelligence, determination and +concentration, she can learn to sing from these directions and these +records. They are a great boon to young aspirants in small towns, where +there are really no good teachers. In such places local teachers can +study and teach from these records. + +"Again, you often find people too shy, or too ashamed to go to a teacher +for a voice trial or lessons. They want to sing--every one would like to +do that; but they don't know how to go at it. With these records they +can begin to study, and thus get ready for later lessons. With these +records those who are far from a music center can have the benefit of +expert instruction at small cost. I might work with a pupil for several +months in the ordinary way--without the records--and not be able to +teach him even with half the accuracy and quickness obtainable by the +new method. + + +THE ACCOMPANIST + +"All singers know how important, how necessary it is to have services of +an expert accompanist. The student of this method has one at hand every +hour of the day; a tireless accompanist, who is willing to repeat +without complaint, as often as necessary. + + +THE SPEAKING VOICE + +"A very important branch of the work, for the would-be singer, is to +cultivate the speaking voice. Tones in speaking should always be made +beautiful and resonant. Even in children a pleasant quality of voice in +speaking can be acquired. Mothers and teachers can be trained to know +and produce beautiful tones. The ear must be cultivated to know a pure, +beautiful tone and to love it. + + +BREATHING EXERCISES + +"The management of the breath is a most important factor, as the life of +the tone depends on the continuance of the breath. The student must +cultivate the power of quickly inhaling a full breath and of exhaling it +so gradually that she can sing a phrase lasting from ten to twenty +seconds. This needs months of arduous practice. In all breathing, inhale +through the nose. The lower jaw during singing should be entirely +relaxed. + +"The tone should be focused just back of the upper front teeth. The way +to place the tone forward is to _think_ it forward. The student must +think the tone into place. + +"To 'attack' a tone is to sing it at once, without any scooping, and +with free open throat. When the throat is tightened the student loses +power to attack her tones in the right way. + + +PHRASING + +"Phrasing, in a limited sense, is simply musical punctuation. In its +broader sense it is almost synonymous with interpretation. For it has to +do not only with musical punctuation but with the grouping of tones and +words in such a way that the composition is rendered intelligible as a +whole, so as to express the ideas of the composer. This is where the +intellectual and musical qualities of the singer are brought into +requisition. She must grasp the content, whether it be song or aria, in +order to effect this grouping intelligently. _Accent, crescendo_ and +_diminuendo_ are the most important factors in phrasing. From the very +beginning the student should be careful how and where she takes breath +and gives accent; there must always be a reason, and thought will +generally make the reason clear. + + +TONE PRODUCTION + +"The first thing to be considered is the position of the body; for +beauty of tone cannot be obtained unless all efforts harmonize to +produce the desired result. An easy, graceful, buoyant position is +essential; it can be cultivated in front of a mirror, from the first +lesson. + +"Tone production is the result of thought. Picture to yourself a +beautiful tone; sing it on the vowel Ah. If you stood in rapture before +an entrancing scene you would exclaim, Ah, how beautiful. Producing a +beautiful tone rests on certain conditions. First, breath control; +Second, Freedom of throat; Third, Correct focus of tone. + +"We know that a stiff jaw and tongue are the greatest hindrances to the +emission of good tone. Muscles of chin and tongue must be trained to +become relaxed and flexible. Do not stiffen the jaw or protrude the +chin, else your appearance will be painful and your tones faulty. + +"To think the tone forward is quite as important as to sing it forward. +Without the mental impression of correct placing, the reality cannot +exist. It is much better to think the tone forward for five minutes and +sing one minute, than to practice the reverse. One should practice in +fifteen-minute periods and rest at least ten minutes between. The +student should never sing more than two hours a day--one in the morning +and one in the afternoon. As most singers love their work, many are +inclined to overdo. + +"Do not tamper with the two or three extreme upper or lower tones of +your voice lest you strain and ruin it permanently. Never practice when +suffering from a cold. + +"Ideal attack is the tone which starts without any scooping, breathiness +or explosiveness. Breathe noiselessly, the secret of which is to breathe +from down, up. Faulty emissions of tone are: nasal, guttural, throaty +and tremulous. I will give you examples of all these from the record No. +33, which will show you first the fault and then the perfect example. If +the pupil studies these perfect emissions of tone and tries to imitate +them, there is no need for her to have the common faults mentioned. + + +SUSTAINED TONES + +"The next step is to study sustained tones. As you see the artist begins +in the middle of her voice--always the best way--and sings a whole tone +on A, with the syllable Ah, always waiting a whole measure for the pupil +to imitate the tone. Next she sings A flat and so on down to lower A, +the pupil imitating each tone. She now returns to middle A and ascends +by half steps to E natural, the pupil copying each tone after it is sung +by the artist. + +"The tone should be free, round and full, but not loud, and the aim be +to preserve the same quality throughout. Do not throw or push the tone, +_but spin it_. + + +UNITING SEVERAL TONES + +"We first begin by uniting two tones, smoothly and evenly, then three in +the same way. After each pair or group of tones, the accompaniment is +repeated and the pupil imitates what the artist has just sung. Now comes +the uniting of five tones, up and down; after this the scale of one +octave. The scale should be sung easily with moderate tone quality. A +slight accent can be given to the first and last tones of the scale. We +all realize the scale is one of the most important exercises for the +building of the voice; the preceding exercises have prepared for it. + + +ARPEGGIOS + +"For imparting flexibility to the voice, nothing can exceed the +Arpeggio, but like all vocal exercises, it must be produced with +precision of tone, singing each interval clearly, with careful +intonation, always striving for beauty of tone. + +"There are various forms of arpeggios to be used. The second form is +carried a third above the octave; the third form a fifth above. This +makes an exercise which employs every tone in the scale save one, and +gives practice in rapid breathing. Remember, that the note before, +taking breath is slightly shortened, in order to give time for taking +breath, without disturbing the rhythm. + + +THE TRILL + +"The trill is perhaps the most difficult of all vocal exercises, unless +the singer is blessed with a natural trill, which is a rare gift. We +begin with quarter notes, then add eighths and sixteenths. This +exercise, if practiced daily, will produce the desired result. It is +taken on each tone of the voice--trilling in major seconds. + + +VOCALIZES + +"The purpose of vocalizes is to place and fix the voice accurately and +to develop taste, while singing rhythmically and elegantly. The records +give some Concone exercises, ably interpreted by one of our best known +voices. You hear how even and beautiful are the tones sung, and you note +the pauses of four measures between each phrase, to allow the student to +repeat the phrase, as before. + +"I firmly believe this method of study is bound to revolutionize vocal +study and teaching. You see it goes to the very foundation, and trains +the student to imitate the best models. It even goes farther back, to +the children, teaching them how to speak and sing correctly, always +making beautiful tones, without harshness or shouting. Young children +can learn to sing tones and phrases from the records. Furthermore, I +believe the time is coming when the _technic and interpretation of every +instrument will be taught in this way_. + +"It is my intention to follow up this set of foundational records by +others which will demonstrate the interpretation of songs and arias as +they are sung by our greatest artists. The outlook is almost limitless. + +"And now, do you think I have answered your questions about tone +production, breath control and the rest? Perhaps I have, as convincingly +as an hour's talk can do." + + + + +XXIV + +=HERBERT WITHERSPOON= + +MEMORY, IMAGINATION, ANALYSIS + + +No doubt the serious teacher, who may be occupied in any branch of +musical activity, has often pictured to himself what an ideal +institution of musical art might be like, if all students assembled +should study thoroughly their particular instrument, together with all +that pertained to it. They should by all means possess talent, +intelligence, industry, and be far removed from a superficial attitude +toward their chosen field. The studio used for instruction in this +imagined institution, should also be ideal, quiet, airy, home-like, +artistic. + +Some such vision perhaps floats before the minds of some of us teachers, +when we are in the mood to dream of ideal conditions under which we +would like to see our art work conducted. + +It has been possible for Mr. Herbert Witherspoon, the distinguished +basso and teacher, to make such a dream-picture come true. For he has +established an institution of vocal art--in effect if not in +name--where all the subjects connected with singing, are considered and +taught in the order of their significance. Not less ideal is the +building which contains these studios, for Mr. Witherspoon has fitted up +his private home as a true abiding place for the muse. + +At the close of a busy day, marked like all the rest with a full +complement of lessons, the master teacher was willing to relax a little +and speak of the work in which he is so deeply absorbed. He apologized +for having run over the time of the last lesson, saying he never could +teach by the clock. + +"I do not like to call this a school," he began, "although it amounts to +one in reality, but only in so far as we take up the various subjects +connected with vocal study. I consider languages of the highest +importance; we have them taught here. There are classes in analysis, in +pedagogy--teaching teachers how to instruct others. We have an excellent +master for acting and for stage deportment: I advise that students know +something of acting, even if they do not expect to go in for opera; they +learn how to carry themselves and are more graceful and self-possessed +before an audience. + +"The work has developed far beyond my expectations. There are over two +hundred students, and I have eight assistants, who have been trained by +me and know my ways and methods. Some of these give practice lessons to +students, who alternate them with the lessons given by me. These lessons +are quite reasonable, and in combination with my work, give the student +daily attention. + +"My plan is not to accept every applicant who comes, but to select the +most promising. The applicants must measure up to a certain standard +before they can enter. To this one fact is due much of our success." + +"And what are these requirements?" + +"Voice, to begin with; youth (unless the idea is to teach), good looks, +musical intelligence, application. If the candidate possesses these +requisites, we begin to work. In three months' time it can be seen +whether the student is making sufficient progress to come up to our +standard. Those who do not are weeded out. You can readily see that as a +result of this weeding process, we have some very good material and fine +voices to work with. + +"We have many musicals and recitals, both public and private, where +young singers have an opportunity to try their wings. There is a most +generous, unselfish spirit among the students; they rejoice in each +others' success, with never a hint of jealousy. We have had a number of +recitals in both Aeolian and Carnegie Halls, given by the artist +students this season. On these occasions the other students always +attend and take as much interest as though they were giving the recital +themselves." + + +BEL CANTO + +"You have remarked lately that 'singers are realizing that the lost art +of _bel canto_ is the thing to strive for and they are now searching for +it.' Can you give a little more light on this point?" + +"I hardly meant to say that in any sense the art of bel canto was lost; +how could it be? Many singers seem to attach some uncanny significance +to the term. Bel canto means simply _beautiful singing_. When you have +perfect breath control, and distinct, artistic enunciation, you will +possess bel canto, because you will produce your tones and your words +beautifully. + +"Because these magic words are in the Italian tongue does not mean that +they apply to something only possessed by Italians. Not at all. Any one +can sing beautifully who does so with ease and naturalness, the American +just as well as those of any other countries. In fact I consider +American voices, in general, better trained than those of Italy, Germany +or France. The Italian, in particular, has very little knowledge of the +scientific side; he usually sings by intuition. + +"We ought to have our own standards in judging American voices; until we +do so, we will be constantly comparing them with the voices of foreign +singers. The quality of the American voice is different from the quality +found in the voices of other countries. To my mind the best women's +voices are found right here in our midst. + + +MEMORY + +"I have also said that there are three great factors which should form +the foundation stones upon which the singer should rear his structure of +musical achievement. These factors are Memory, Imagination, Analysis. I +have put memory first because it is the whole thing, so to say. The +singer without memory--a cultivated memory--does not get far. Memory +lies at the very foundation of his work, and must continue with it the +whole journey through, from the bottom to the top. In the beginning you +think a beautiful tone, you try to reproduce it. When you come to it +again you must remember just how you did it before. Each time you repeat +the tone this effort of memory comes in, until at last it has become +second nature to remember and produce the result; you now begin to do so +automatically. + +"As you advance there are words to remember as well as notes and tones. +Memory, of course, is just as necessary for the pianist. He must be able +to commit large numbers of notes, phrases and passages. In his case +there are a number of keys to grasp at once, but the singer can sing but +one tone at a time. Both notes and words should be memorized, so the +singer can come before the audience without being confined to the +printed page. When acting is added there is still more to remember. Back +of memory study lies concentration; without concentration little can be +accomplished in any branch of art. + + +IMAGINATION + +"The central factor is imagination; what can be done without it! Can you +think of a musician, especially a singer, without imagination? He may +acquire the letter--that is, execute the notes correctly, but the +performance is dead, without life or soul. With imagination he +comprehends what is the inner meaning of the text, the scene; also what +the composer had in mind when he wrote. Then he learns to express these +emotions in his own voice and action, through the imaginative power, +which will color his tones, influence his action, render his portrayal +instinct with life. Imagination in some form is generally inherent in +all of us. If it lies dormant, it can be cultivated and brought to bear +upon the singer's work. This is absolutely essential. + + +ANALYSIS + +"I have put analysis last because it is the crowning virtue, the prime +necessity. We study analysis here in the studios, learning how to +separate music into its component parts, together with simple chord +formations, general form and structure of the pieces, and so on. Can you +comprehend the dense ignorance of many music students on these subjects? +They will come here to me, never having analyzed a bit of music in their +lives, having not an inkling of what chord structure and form in music +mean. If they played piano even a little, they could hardly escape +getting a small notion of chord formation. But frequently vocal +students know nothing of the piano. They are too apt to be superficial. +It is an age of superficiality--and cramming: we see these evils all the +way from the college man down. I am a Yale man and don't like to say +anything about college government, yet I cannot shut my eyes to the fact +that men may spend four years going through college and yet not be +educated when they come out. Most of us are in too much of a hurry, and +so fail to take time enough to learn things thoroughly; above all we +never stop to analyze. + +"Analysis should begin at the very outset of our vocal or instrumental +study. We analyze the notes of the music we are singing, and a little +later its form. We analyze the ideas of the composer and also our own +thoughts and ideas, to try and bring them in harmony with his. After +analyzing the passage before us, we may see it in a totally different +light, and so phrase and deliver it with an entirely different idea from +what we might have done without this intelligent study." + + +CONSCIOUS OR UNCONSCIOUS CONTROL + +"Do you advise conscious action of the parts comprising the vocal +instrument, or do you prefer unconscious control of the instrument, with +thought directed to the ideal quality in tone production and delivery?" +was asked. + +"By all means unconscious control," was the emphatic answer. "We wish to +produce beautiful sounds; if the throat is open, the breathing correct, +and we have a mental concept of that beautiful sound, we are bound to +produce it. It might be almost impossible to produce correct tones if we +thought constantly about every muscle in action. There is a great deal +of nonsense talked and written about the diaphragm, vocal chords and +other parts of the anatomy. It is all right for the teacher who wishes +to be thoroughly trained, to know everything there is to know about the +various organs and muscles; I would not discourage this. But for the +young singer I consider it unnecessary. Think supremely of the beautiful +tones you desire to produce; listen for them with the outer ear--and the +inner ear--that is to say--mentally--and you will hear them. Meanwhile, +control is becoming more and more habitual, until it approaches +perfection and at last becomes automatic. When that point is reached, +your sound producing instrument does the deed, while your whole +attention is fixed on the interpretation of a master work, the +performance of which requires your undivided application. If there is +action, you control that in the same way until it also becomes +automatic; then both singing and acting are spontaneous." + + +DOES THE SINGER HEAR HIMSELF? + +This question was put to Mr. Witherspoon, who answered: + +"The singer of course hears himself, and with study learns to hear +himself better. In fact I believe the lack of this part of vocal +training is one of the greatest faults of the day, and that the singer +should depend more upon hearing the sound he makes than upon feeling the +sound. In other words, train the _ear_, the court of ultimate resort, +and the only judge--and forget sensation as much as possible, for the +latter leads to a million confusions. + +"Undoubtedly a singer hears in his own voice what his auditors do not +hear, for he also hears with his inner ear, but the singer must learn to +hear his own voice as others hear it, which he can do perfectly well. +Here we come to analysis again. + +"The phonograph records teach us much in this respect, although I never +have considered that the phonograph reproduces the human voice. It +comes near it in some cases, utterly fails in others, and the best +singers do not always make the best or most faithful reproductions." + + + + +XXV + +=YEATMAN GRIFFITH= + +CAUSATION + + +"The causation of beautiful singing can only be found through a pure and +velvety production of the voice, and this is acquired in no other way +than by a thorough understanding of what constitutes a perfect +beginning--that is the attack or start of the tone. If the tone has a +perfect beginning it must surely have a perfect ending." + +Thus Mr. Yeatman Griffith began a conference on the subject of vocal +technic and the art of song. He had had a day crowded to the brim with +work--although all days were usually alike filled--yet he seemed as +fresh and unwearied as though the day had only just begun. One felt that +here was a man who takes true satisfaction in his work of imparting to +others; his work is evidently not a tiresome task but a real joy. Mrs. +Griffith shares this joy of work with her husband. "It is most ideal," +she says; "we have so grown into it together; we love it." + +As is well known, this artist pair returned to their home land at the +outbreak of the war, after having resided and taught for five years in +London, and previous to that for one year in Florence, Italy. Of course +they were both singers, giving recitals together, like the Henschels, +and appearing in concert and oratorio. But constant public activity is +incompatible with a large teaching practice. One or the other has to +suffer. "We chose to do the teaching and sacrifice our public career," +said Mr. Griffith. During the five years in which these artists have +resided in New York, they have accomplished much; their influence has +been an artistic impulse toward the ideals of beautiful singing. Among +their many artist pupils who are making names for themselves, it may be +mentioned that Florence Macbeth, a charming coloratura soprano, owes +much of her success to their careful guidance. + +"Michael Angelo has said," continued Mr. Griffith, "that 'a perfect +start is our first and greatest assurance of a perfect finish.' And +nowhere is this precept more truly exemplified than in vocal tone +production. The tone must have the right beginning, then it will be +right all through. A faulty beginning is to blame for most of the vocal +faults and sins of singers. Our country is full of beautiful natural +voices; through lack of understanding many of them, even when devoting +time and money to study, never become more than mediocre, when they +might have developed into really glorious voices if they had only had +the right kind of treatment. + + +TONE PLACEMENT + +"We hear a great deal about tone placement in these days; the world +seems to have gone mad over the idea. But it is an erroneous idea. How +futile to attempt to place the tone in any particular spot in the +anatomy. You can focus the tone, but you cannot place it. There is but +one place for it to come from and no other place. It is either emitted +with artistic effect or it is not. If not, then there is stiffness and +contraction, and the trouble ought to be remedied at once. + +"Every one agrees that if the vocal instrument were something we could +see, our task would be comparatively easy. It is because the instrument +is hidden that so many false theories about it have sprung up. One +teacher advocates a high, active chest; therefore the chest is held high +and rigid, while the abdominal muscles are deprived of the strength +they should have. Another advises throwing the abdomen forward; still +another squares the shoulders and stiffens the neck. These things do not +aid in breath control in the least; on the contrary they induce rigidity +which is fatal to easy, natural tone emission. + + +IN THE BEGINNING + +"When the pupil comes to me, we at once establish natural, easy +conditions of body and an understanding of the causes which produce good +tone. We then begin to work on the vowels. They are the backbone of good +singing. When they become controlled, they are then preceded by +consonants. Take the first vowel, A; it can be preceded by all the +consonants of the alphabet one after another, then each vowel in turn +can be treated in the same way. We now have syllables; the next step is +to use words. Here is where difficulties sometimes arise for the +student. The word becomes perfectly easy to sing if vowels and +consonants are properly produced. When they are not, words become +obstacles. Correct understanding will quickly obviate this. + + +BREATH CONTROL + +"Breath control is indeed a vital need, but it should not be made a +bugbear to be greatly feared. The young student imagines he must inflate +the lungs almost to bursting, in order that he may take a breath long +enough to sing a phrase. Then, as soon as he opens his lips, he allows +half the air he has taken in to escape, before he has uttered a sound. +With such a beginning he can only gasp a few notes of the phrase. Or he +distends the muscles at the waist to the fullest extent and fancies this +is the secret of deep breathing. In short, most students make the +breathing and breath control a very difficult matter indeed, when it is, +or should be an act most easy and natural. They do not need the large +quantity of breath they imagine they do; for a much smaller amount will +suffice to do the work. I tell them, 'Inhale simply and naturally, as +though you inhaled the fragrance of a flower. And when you open your +lips after this full natural breath, do not let the breath escape; the +vocal chords will make the tone, if you understand how to make a perfect +start. If the action is correct, the vocal chords will meet; they will +not be held apart nor will they crowd each other. Allow the diaphragm +and respiratory muscles to do their work, never forcing them; then you +will soon learn what breath control in singing means. Remember again, +not a particle of breath should be allowed to escape. Every other part +of the apparatus must be permitted to do its work, otherwise there will +be interference somewhere.' + + +CAUSATION + +"Everything pertaining to the study of vocal technic and the art of +singing may be summed up in the one word--Causation. A cause underlies +every effect. If you do not secure the quality of tone you desire, there +must be a reason for it. You evidently do not understand the cause which +will produce the effect. That is the reason why singers possessing +really beautiful voices produce uneven effects and variable results. +They may sing a phrase quite perfectly at one moment. A short time after +they may repeat the same phrase in quite a different way and not at all +perfectly. One night they will sing very beautifully; the next night you +might hardly recognize the voice, so changed would be its quality. This +would not be the case if they understood causation. A student, rightly +taught, should know the cause for everything he does, how he does thus +and so and why he does it. A singer should be able to produce the voice +correctly, no matter in what position the rôle he may be singing may +require the head or body to be in. In opera the head or body may be +placed in difficult unnatural positions, but these should not interfere +with good tone production. + + +REGISTERS + +"I am asked sometimes if I teach registers of the voice. I can say +decidedly no, I do not teach registers. The voice should be one and +entire, from top to bottom, and should be produced as such, no matter in +what part of the voice you sing. Throughout the voice the same +instrument is doing the work. So, too, with voices of different caliber, +the coloratura, lyric and dramatic. Each and all of these may feel the +dramatic spirit of the part, but the lighter quality of the voice may +prevent the coloratura from expressing it. The world recognizes the +dramatic singer in the size of the voice and of the person. From an +artistic point of view, however, there are two ways of looking at the +question, since the lyric voice may have vivid dramatic instincts, and +may be able to bring them out with equal or even greater intensity than +the purely dramatic organ. + + +VOCAL MASTERY + +"Vocal Mastery is acquired through correct understanding of what +constitutes pure vowel sounds, and such control of the breath as will +enable one to convert every atom of breath into singing tone. This +establishes correct action of the vocal chords and puts the singer in +possession of the various tints of the voice. + +"When the diaphragm and respiratory muscles support the breath +sufficiently and the vocal chords are permitted to do their work, you +produce pure tone. Many singers do not understand these two vital +principles. They either sing with too much relaxation of the diaphragm +and respiratory muscles, or too much rigidity. Consequently the effort +becomes local instead of constitutional, which renders the tone hard and +strident and variable to pitch. Again the vocal chords are either forced +apart or pinched together, with detriment to tone production. + +"The real value of control is lost when we attempt to control the +singing instrument and the breath by seeking a place for the tone the +singing instrument produces. When the vocal chords are allowed to +produce pure vowels, correct action is the result and with proper breath +support, Vocal Mastery can be assured." + + + + +XXVI + +=J.H. DUVAL= + +SOME SECRETS OF BEAUTIFUL SINGING + + +A young French girl had just sung a group of songs in her own language +and had won acclaim from the distinguished company present. They admired +the rich quality of her voice, her easy, spontaneous tone production and +clear diction. A brilliant future was predicted for the young singer. +One critic of renown remarked: "It is a long time since I have heard a +voice so well placed and trained." + +"And who is your teacher?" she was asked. + +"It is Mr. Duval; I owe everything to him. He has really made my voice; +I have never had another teacher and all my success will be due to him," +she answered. + +We at once expressed a desire to meet Mr. Duval and hear from his own +lips how such results were attained. + +A meeting was easily arranged and we arrived at the appointed hour, just +in time to hear one of the brilliant students of this American-French +singing master. + +Mr. Duval is young, slim and lithe of figure, with sensitive, refined +features, which grow very animated as he speaks. He has a rich fund of +humor and an intensity of utterance that at once arrests the listener. +He came forward to greet the visitor with simple cordiality, saying he +was pleased we could hear one of his latest "finds." + +The young tenor was at work on an air from _Tosca_. His rich, vibrant +voice, of large power and range and of real Caruso-like quality, poured +forth with free and natural emission. With what painstaking care this +wise teacher aided him to mold each tone, each phrase, till it attained +the desired effect. Being a singer himself, Mr. Duval is able to show +and demonstrate as well as explain. He does both with the utmost +clearness and with unfailing interest and enthusiasm. Indeed his +interest in each pupil in his charge is unstinted. + +The lesson over, Mr. Duval came over to us. "There is a singer I shall +be proud of," he said. "Several years ago I taught him for a few months, +giving him the principles of voice placement and tone production. This +was in Europe. I had not seen him since then till recently, when +circumstances led him to New York. He never forgot what he had +previously learned with me. He now has a lesson every day and is a most +industrious worker. I believe he has a fortune in that voice. Next +season will see him launched, and he will surely make a sensation." + +"Will you give some idea of the means by which you accomplish such +results?" + +"The means are very simple and natural. So many students are set on the +wrong track by being told to do a multitude of things that are +unnecessary, even positively harmful. For instance, they are required to +sing scales on the vowels, A, E, I, O, U. I only use the vowel Ah, for +exercises, finding the others are not needed, especially excluding E and +U as injurious. Indeed one of the worst things a young voice can do is +to sing scales on E and U, for these contract the muscles of the lips. +Another injurious custom is to sing long, sustained tones in the +beginning. This I do not permit. + +"After telling you the things I forbid, I must enlighten you as to our +plan of study. + +"The secret of correct tone emission is entire relaxation of the lips. I +tell the pupil, the beginner, at the first lesson, to sing the vowel Ah +as loudly and as deeply as possible, thinking constantly of relaxed lips +and loose lower jaw. Ah is the most natural vowel and was used +exclusively in the old Italian school of Bel Canto. Long sustained tones +are too difficult. One should sing medium fast scales at first. If we +begin with the long sustained tone, the young singer is sure to hold the +voice in his throat, or if he lets go, a tremolo will result. Either a +throaty, stiff tone or a tremolo will result from practicing the single +sustained tone. + +"Singing pianissimo in the beginning is another fallacy. This is one of +the most difficult accomplishments and should be reserved for a later +period of development. + +"The young singer adds to scales various intervals, sung twice in a +breath, beginning, not at the extreme of the lower voice, but carried up +as high as he can comfortably reach. I believe in teaching high tones +early, and in showing the pupil how to produce the head voice. Not that +I am a high tone specialist," he added smiling, "for I do not sacrifice +any part of the voice to secure the upper notes. But after all it is the +high portion of the voice that requires the most study, and that is +where so many singers fail. + +"The young student practices these first exercises, and others, two half +hours daily, at least two hours after eating, and comes to me three +times a week. I suggest she rest one day in each week, during which she +need not sing at all, but studies other subjects connected with her art. +As the weeks go by, the voice, through relaxed lips and throat and +careful training, grows richer and more plentiful. One can almost note +its development from day to day. + + +WORDS IN THE VOICE + +"When the time comes to use words, the important thing is to put _the +words in the voice, not the voice in the words_, to quote Juliani, the +great teacher, with whom I was associated in Paris. More voices have +been ruined by the stiff, exaggerated use of the lips in pronouncing, +than in any other way. When we put the words in the voice, in an easy, +natural way, we have bel canto. + +"Another thing absolutely necessary is breath support. Hold up the +breath high in the body, for high tones, though always with the throat +relaxed. This point is not nearly enough insisted upon by teachers of +singing. + +"The points I have mentioned already prove that a vocal teacher who +desires the best results in his work with others, must know how to sing +himself; he should have had wide experience in concert and opera before +attempting to lead others along these difficult paths. Because a man can +play the organ and piano and has accompanied singers is not the +slightest cause for thinking he can train voices in the art of song. I +have no wish to speak against so-called teachers of singing, but say +this in the interests of unsuspecting students. + +"It is impossible," continued Mr. Duval, "to put the whole method of +vocal training into a few sentences. The student advances gradually and +naturally, but surely, from the beginnings I have indicated, to the +trill, the pizzicati, to more rapid scales, to learning the attack, and +so on. Of course diction plays a large part in the singer's development. +With the first song the student learns to put other vowels in the same +voice with which the exercises on Ah have been sung, and to have them +all of the same size, easily and loosely pronounced. Never permit the +pronunciation to be too broad for the voice. The pronunciation should +never be mouthed, but should flow into the stream of the breath without +causing a ripple. This is bel canto! + +"In teaching I advise two pupils sharing the hour, for while one is +singing the other can rest the voice and observe what is being taught. +It is too fatiguing to a young voice to expect it to work a full half +hour without rest. + +"I was teaching in my Paris studio for a number of months after the war +started, before coming to America. It is my intention, in future, to +divide my time between New York and Paris. I like teaching in the French +capital for the reason I can bring out my pupils in opera there. I am +also pleased to teach in my own land, for the pleasant connections I +have made here, and for the fresh, young American voices which come to +me to be trained." + + +VOCAL MASTERY + +"What is Vocal Mastery? There are so many kinds! Every great artist has +his own peculiar manner of accomplishing results--his own vocal mastery. +Patti had one kind, Maurel another, Lehmann still another. Caruso also +may be considered to have his own vocal mastery, inasmuch as he commands +a vocal technic which enables him to interpret any rôle that lies within +his power and range. The greatest singer of to-day, Shalyapin, has also +his individual vocal mastery, closely resembling the sort that enabled +Maurel to run such a gamut of emotions with such astonishing command and +resource. + +"In fine, as every great artist is different from his compeers, there +can be no fixed and fast standard of vocal mastery, except the mastery +of doing a great thing convincingly." + + + + +XXVII + +=THE CODA= + +A RESUMÉ + + +The student, seeking light on the many problems of vocal technic, the +training for concert and opera, how to get started in the profession, +and kindred subjects of vital importance, has doubtless found, in the +foregoing talks a rich fund of help and suggestion. It is from such high +sources that a few words of personal experience and advice, have often +proved to be to the young singer a beacon light, showing what to avoid +and what to follow. It were well to gather up these strands of +suggestion from great artists and weave them into a strong bulwark of +precept and example, so that the student may be kept within the narrow +path of sound doctrine and high endeavor. + +At the very outset, two points must be borne in mind: + +1. Each and every voice and mentality is individual. + +2. The artist has become a law unto himself; it is not possible for him +to make rules for others. + +First, as to difference in voices. When it is considered that the human +instrument, unlike any fabricated by the hand of man, is a purely +personal instrument, subject to endless variation through variety in +formation of mouth and throat cavities, also physical conditions of the +anatomy, it is no cause for wonder that the human instrument should +differ in each individual. Then think of all sorts and conditions of +mentality, environment, ambitions and ideals. It is a self evident fact +that the vocal instrument must be a part of each person, of whom there +are "no two alike." + +Artists in general have strongly expressed themselves on this point: +most of them agree with Galli-Curci, when she says: "There are as many +kinds of voices as there are persons; therefore it seems to me each +voice should be treated in the manner best suited to its possessor." +"Singing is such an individual thing, after all," says Anna Case; "it is +a part of one's very self." "Each person has a different mentality and a +different kind of voice," says Martinelli; "indeed there are as many +qualities of voice as there are people." + +Granting, then, that there are no two voices and personalities in the +world, exactly alike, it follows, as a natural conclusion, that the +renowned vocalist, who has won his or her way from the beginning up to +fame and fortune, realizes that her instrument and her manner of +training and handling it are peculiarly personal. As she has won success +through certain means and methods, she considers those means belong to +her, in the sense that they especially suit her particular instrument. +She is then a law unto herself and is unwilling to lay down any laws for +others. Geraldine Farrar does not imply there is only one right way to +train the voice, and she has found that way. In speaking of her method +of study, she says: "These things seem best for my voice, and this is +the way I work. But, since each voice is different, my ways might not +suit any one else. I have no desire to lay down rules for others; I can +only speak of my own experience." + +Galli-Curci says: "The singer who understands her business must know +just how she produces tones and vocal effects. She can then do them at +all times, even under adverse circumstances, when nervous or not in the +mood. I have developed the voice and trained it in the way that seemed +to me best for it. How can any other person tell you how that is to be +done?" + +"It rests with the singer what she will do with her voice--how she will +develop it," remarks Mme. Homer. Martinelli says: "The voice is a hidden +instrument and eventually its fate must rest with its possessor. After +general principles are understood, a singer must work them out according +to his ability." Florence Easton remarks: "Each singer who has risen, +who has found herself, knows by what path she climbed, but the path she +found might not do for another." + +Instead of considering this reticence on the part of the successful +singer, to explain the ways and means which enabled him to reach +success, in the light of a selfish withholding of advice which would +benefit the young student, we rather look upon it as a worthy and +conscientious desire not to lead any one into paths which might not be +best for his or her instrument. + +In the beginning the student needs advice from an expert master, and is +greatly benefited by knowing how the great singers have achieved. Later +on, when principles have become thoroughly understood, the young singers +learn what is best for their own voices; they, too, become a law unto +themselves, capable of continuing the development of their own voices in +the manner best suited to this most individual of all instruments. + + +AMERICAN VOICES + +We often hear slighting things said of the quality of American voices, +especially the speaking voice. They are frequently compared to the +beauty of European voices, to the disparagement of those of our own +country. Remembering the obloquy cast upon the American voice, it is a +pleasure to record the views of some of the great singers on this point. +"There are quantities of girls in America with good voices, good looks +and a love for music," asserts Mme. Easton. Mme. Hempel says: "I find +there are quantities of lovely voices here in America. The quality of +the American female voice is beautiful; in no country is it finer, not +even in Italy." Herbert Witherspoon, who has such wonderful experience +in training voices, states: "We ought to have our own standards in +judging American voices; until we do so, we will be constantly comparing +them with the voices of foreign singers. The quality of the American +voice is different from the quality found in the voices of other +countries. To my mind, the best women's voices are found right here in +our midst." And he adds: "Any one can sing beautifully who does so with +ease and naturalness, the American just as well as those of any other +country. In fact I consider American voices, in general, better trained +than those of Italy, Germany or France. The Italian, in particular, has +very little knowledge of the scientific side; he usually sings by +intuition." + + +AMERICAN VOICE TEACHERS + +If this be accepted, that American voices are better trained than those +of other countries, and there is no reason to doubt the statement of +masters of such standing, it follows there must be competent instructors +in the art of song right in our own land. Mme. Easton agrees with this. +"There are plenty of good vocal teachers in America," she says, "not +only in New York City, but in other large cities of this great country. +There is always the problem, however, of securing just the right kind of +a teacher. For a teacher may be excellent for one voice but not for +another." Morgan Kingston asserts: "There is no need for an American to +go out of his own country for vocal instruction or languages; all can be +learned right here at home. I am a living proof of this. What I have +done others can do." "You have excellent vocal teachers right here in +America," says Mme. Hempel. Then she marvels, that with all these +advantages at her door, there are not more American girls who make good. +She lays it to the fact that our girls try to combine a social life with +their musical studies, to the great detriment of the latter. + + +ARE AMERICAN VOCAL STUDENTS SUPERFICIAL? + +It is doubtless a great temptation to the American girl who possesses a +voice and good looks, who is a favorite socially, to neglect her studies +at times, for social gaiety. She is in such haste to make something of +herself, to get where she can earn a little with her voice; yet by +yielding to other calls she defeats the very purpose for which she is +striving by a lowered ideal of her art. Let us see how the artists and +teachers view this state of things. Lehmann says: + +"The trouble with American girls is they are always in a hurry. They are +not content to sit down quietly and study till they have developed +themselves into something before they ever think of coming to Europe. +They think if they can only come over here and sing for an artist, that +fact alone will give them prestige in America. With us American girls +are too often looked upon as superficial because they come over here +quite unprepared. I say to them: Go home and study; there are plenty of +good teachers of voice and piano in your own land. Then, when you can +_sing_, come here if you wish." + +Frieda Hempel speaks from close observation when she says: "Here in +America, girls do not realize the amount of labor and sacrifice +involved, or they might not be so eager to enter upon a musical career. +They are too much taken up with teas, parties, and social functions to +have sufficient time to devote to vocal study and to all that goes with +it. In order to study all the subjects required, the girl with a voice +must be willing to give most of her day to work. This means sacrificing +the social side, and being willing to throw herself heart and soul into +the business of adequately preparing herself for her career." + + +THE VOCAL STUDENT MUST NOT BE AFRAID TO WORK + +In the words of Caruso's message to vocal students, they must be willing +"to work--to work always--and to sacrifice." But Geraldine Farrar does +not consider this in the light of sacrifice. Her message to the young +singer is: + +"Stick to your work and study systematically, whole-heartedly. If you do +not love your work enough to give it your best thought, to make +sacrifices for it, then there is something wrong with you. Better choose +some other line of work, to which you can give undivided attention and +devotion. For music requires both. As for sacrifices, they really do not +exist, if they promote the thing you honestly love most. You must never +stop studying, for there is always so much to learn." "I have developed +my voice through arduous toil," to quote Mme. Galli-Curci. Raisa says: +"One cannot expect to succeed in the profession of music without giving +one's best time and thought to the work of vocal training and all the +other subjects that go with it. A man in business gives his day, or the +most of it, to his office. My time is devoted to my art, and indeed I +have not any too much time to study all the necessary sides of it." + +"I am always studying, always striving to improve what I have already +learned and trying to acquire the things I find difficult, or have not +yet attained to," testifies Mme. Homer. + + +THE REQUIREMENTS FOR A VOCAL CAREER + +Those who have been through the necessary drudgery and struggle and have +won out, should be able to give an authoritative answer to this all +important question. They know what they started with, what any singer +must possess at the beginning, and what she must acquire. + +Naturally the singer must have a voice, for there is no use trying to +cultivate something which does not exist. All artists subscribe to this. +They also affirm she should have good looks, a love for music and a +musical nature. Let us hear from Mme. Homer on this subject. + +"1. Voice, first of all. 2. Intelligence; for intelligence controls, +directs, shines through and illumines everything. What can be done +without it? 3. Musical nature. 4. Capacity for Work. Without +application, the gifts of voice, intelligence and a musical nature will +not make an artist. 5. A cheerful optimism, which refuses to yield to +discouragement. 6. Patience. It is only with patient striving, doing the +daily vocal task, and trying to do it each day a little better than the +day before, that anything worth while is accomplished. The student must +have unlimited patience to labor and wait for results." + +Mr. Witherspoon states, that students coming to him must possess "Voice, +to begin with; youth, good looks, musical intelligence and application. +If the candidate possess these requisites, we begin to work." Anna Case +answers the question as to the vital requisites necessary to become a +singer: "Brains, Personality, Voice." + +Quotations could be multiplied to prove that all artists fully concur +with those already mentioned. There must be a promising voice to +cultivate, youth, good looks, (for a public career) and the utmost +devotion to work. + + +WHAT BRANCHES OF STUDY MUST BE TAKEN UP? + +All agree there are many other subjects to study besides singing; that +alone is far from sufficient. Edward Johnson says: "Singing itself is +only a part, perhaps the smaller part of one's equipment. If opera be +the goal, there are languages, acting, make up, impersonation, +interpretation, how to walk, all to be added to piano, harmony and +languages. The most important of all is a musical education." + +Most of the great singers have emphatically expressed themselves in +favor of piano study. Indeed, many were pianists in the beginning, +before they began to develop the voice. Among those who had this +training are: Galli-Curci, Lehmann, Raisa, D'Alvarez, Barrientos, +Braslau, Case. Miss Braslau says: "I am so grateful for my knowledge of +the piano and its literature; it is the greatest help to me now. To my +thinking all children should have piano lessons; the cost is trifling +compared with the benefits they receive. They should be made to study, +whether they wish it or not, for they do not know what is best for +them." + +Mme. Raisa says: "There are so many sides to the singer's equipment +besides singing itself. The piano is a necessity; the singer is greatly +handicapped without a knowledge of that instrument, for it not only +provides accompaniment but cultivates musical sense." "The vocal student +should study piano as well as languages," asserts Mme. Homer; "both are +the essentials. Not that she need strive to become a pianist; that would +not be possible if she is destined to be a singer. But the more she +knows of the piano and its literature, the more this will cultivate her +musical sense and develop her taste." + +Florence Easton is even more emphatic. "If a girl is fond of music, let +her first study the piano, for a knowledge of the piano and its music is +at the bottom of everything. All children should have this opportunity, +whether they desire it or not. The child who early begins to study +piano, will often unconsciously follow the melody with her voice. Thus +the love of song is awakened in her, and a little later it is discovered +she has a voice worth cultivating." + +On the subject of languages, artists are equally specific. Languages are +an absolute necessity, beginning with one's mother tongue. The student +should not imagine that because he is born to the English language, it +does not require careful study. Galli-Curci remarks: "The singer can +always be considered fortunate who has been brought up to more than one +language. I learned Spanish and Italian at home. In school I learned +French, German and English, not only a little smattering of each, but +how to write and speak them." + +Rosa Raisa speaks eight languages, according to her personal statement. +Russian, of course, as she is Russian, then French, Italian, German, +Spanish, Polish, Roumanian and English. + +"The duty is laid upon Americans to study other languages, if they +expect to sing," says Florence Easton. "I know how often this study is +neglected by the student. It is only another phase of that haste which +is characteristic of the young student and singer." + + +BREATH CONTROL + +Following the subject of requirements for a vocal career, let us get +right down to the technical side, and review the ideas of artists on +Breath Control, How to Practice, What are the Necessary Exercises, What +Vowels Should be Used, and so on. + +All admit that the subject of Breath Control is perhaps the most +important of all. Lehmann says: "I practice many breathing exercises +without using tone. Breath becomes voice through effort of will and by +use of vocal organs. When singing, emit the smallest quantity of breath. +Vocal chords are breath regulators; relieve them of all overwork." + +Mme. Galli-Curci remarks: "Perhaps, in vocal mastery, the greatest +factor of all is the breathing. To control the breath is what each +student is striving to learn, what every singer endeavors to perfect, +what every artist should master. It is an almost endless study and an +individual one, because each organism and mentality is different." + +Marguerite d'Alvarez: "In handling and training the voice, breathing is +perhaps the most vital thing to be considered. To some breath control +seems second nature; others must toil for it. With me it is intuition. +Breathing is such an individual thing. With each person it is different, +for no two people breathe in just the same way." + +Claudia Muzio: "Every singer knows how important is the management of +breath. I always hold up the chest, taking as deep breaths as I can +conveniently. The power to hold the breath and sing more and more tones +with one breath, grows with careful, intelligent practice." + +Frieda Hempel: "The very first thing for a singer to consider is breath +control--always the breathing, the breathing. She thinks of it morning, +noon and night. Even before rising in the morning she has it on her +mind, and may do a few little stunts while still reclining. Then, before +beginning vocal technic in the morning, she goes through a series of +breathing exercises." + +David Bispham: "Correct breath control must be carefully studied and is +the result of understanding and experience. When the manner of taking +breath and the way to develop the diaphragm and abdominal muscles, is +understood, that is only a beginning. Management of the breath is an art +in itself. The singer must know what to do with the breath once he has +taken it in, or he may let it out in quarts when he opens his mouth. He +learns how much he needs for each phrase; he learns how to conserve the +breath." + +Oscar Saenger: "The management of the breath is a most important factor, +as the life of the tone depends on a continuance of the breath. The +student must cultivate the power of quickly inhaling a full breath, and +exhaling it so gradually that she can sing a phrase lasting from ten to +twenty seconds. This needs months of arduous practice. In all breathing, +inhale through the nose." + +Yeatman Griffith: "Breath control is indeed a vital need, but should not +be made a bugbear to be greatly feared. Most students make breathing and +breath control a difficult matter, when it should be a natural and easy +act. They do not need the large amount of breath they imagine they do, +for a much smaller quantity will suffice. When you open the lips after a +full, natural breath, do not let the breath escape; the vocal chords +will make the tone, if you understand how to make a perfect start." + + +SPECIFIC EXERCISES + +Great singers are chary of giving out vocal exercises which they have +discovered, evolved, or have used so constantly as to consider them a +part of their own personal equipment, for reasons stated earlier in this +chapter. However, a few artists have indicated certain forms which they +use. Mme. d'Alvarez remarks: "When I begin to study in the morning, I +give the voice what I call a massage. This consists of humming +exercises, with closed lips. Humming is the sunshine of the voice. One +exercise is a short figure of four consecutive notes of the diatonic +scale, ascending and descending several times; on each repetition of the +group of phrases, the new set begins on the next higher note of the +scale. This exercise brings the tone fully forward." + +Lehmann counsels the young voice to begin in the middle and work both +ways. Begin single tones piano, make a long crescendo and return to +piano. Another exercise employs two connecting half tones, using one or +two vowels. During practice stand before a mirror. + +Raisa assures us she works at technic every day. "Vocalizes, scales, +broken thirds, long, slow tones in mezza di voce--that is beginning +softly, swelling to loud, then diminuendo to soft, are part of the daily +régime." Farrar works on scales and single tones daily. Muzio says: "I +sing all the scales, one octave each, once slow and once fast--all in +one breath. Then I sing triplets on each tone, as many as I can in one +breath. Another exercise is to take one tone softly, then go to the +octave above; this tone is always sung softly, but there is a large +crescendo between the two soft tones." Kingston says: "As for technical +material, I have never used a great quantity. I do scales and vocalizes +each day. I also make daily use of about a dozen exercises by Rubini. +Beyond these I make technical exercises out of the pieces." De Luca +sings scales in full power, then each tone alone, softly, then swelling +to full strength and dying away. Bispham: "I give many vocalizes and +exercises, which I invent to fit the need of each student. They are not +written down, simply remembered. I also make exercises out of familiar +tunes or themes from opera. Thus, while the student is studying technic, +he is acquiring much beautiful material." + +Oscar Saenger: "We begin by uniting two tones smoothly and evenly, then +three in the same way; afterwards four and five. Then the scale of one +octave. Arpeggios are also most important. The trill is the most +difficult of all vocal exercises. We begin with quarter notes, then +eighths and sixteenths. The trill is taken on each tone of the voice, in +major seconds." Werrenrath: "I do a lot of gymnastics each day, to +exercise the voice and limber up the anatomy. These act as a massage for +the voice; they are in the nature of humming, mingled with grunts, +calls, exclamations, shouts, and many kinds of sounds. They put the +voice in condition, so there is no need for all these other exercises +which most singers find so essential to their vocal well being." + +Duval asserts: "Long, sustained tones are too difficult for the young +voice. One should sing medium fast scales at first." + + +LENGTH OF TIME FOR DAILY PRACTICE + +It may be helpful to know about how much time the artists devote to +daily study, especially to technical practice. It is understood all +great singers work on vocalizes and technical material daily. + +Caruso is a constant worker. Two or three hours in the forenoon, and +several more later in the day, whenever possible. Farrar devotes between +one and two hours daily to vocalizes, scales and tone study, Lehmann +counsels one hour daily on technic. Galli-Curci gives a half hour or so +to vocalizes and scales every morning. Martinelli practices exercises +and vocalizes one hour each morning; then another hour on repertoire. In +the afternoon an hour more--three hours daily. Easton says: "It seems to +me a young singer should not practice more than an hour a day, at most, +beginning with two periods of fifteen or twenty minutes each." Anna Case +says: "I never practice when I am tired, for then it does more harm than +good. One must be in good condition to make good tones. I can study and +not sing at all, for the work is all mental anyway." Muzio states she +gives practically her whole day to study, dividing it into short +periods, with rest between. + +Frieda Hempel says: "I do about two hours or more, though not all of +this for technic. I approve of a good deal of technical study, taken in +small doses of ten to fifteen minutes at a time. Technic is a means to +an end, more in the art of song than in almost any other form of art. +Technic is the background of expressive singing." + +Sophie Braslau is an incessant worker,--"at least six hours a day. Of +these I actually sing three hours. The first hour to memory work on +repertoire. The second hour to vocalizes. The rest of the time is given +to repertoire and the things that belong to it." Barrientos states she +gives about three-quarters of an hour to vocal technic--scales and +exercises--each day. Duval advises the young student to practice two +half hours daily, two hours after eating, and rest the voice one day +each week, during which she studies other subjects connected with her +art. Oscar Saenger says: "One should practice in fifteen-minute periods, +and rest at least ten minutes between. Sing only two hours a day, one in +the morning and one in afternoon." + + +WHAT VOWELS TO USE + +There seems a divergence of opinion as to what vowels are most +beneficial in technical practice and study. Galli-Curci says: "In my own +study I use them all, though some are more valuable than others. The Ah +is the most difficult of all. The O is good; E needs great care. I have +found the best way is to use mixed vowels, one melting into the other. +The tone can be started with each vowel in turn, then mingled with the +rest of the vowels." Mme. d'Alvarez often starts the tone with Ah, which +melts into O and later changes to U, as the tone dies away. Bispham has +the student use various vowel syllables, as: Lah, Mah, May, and Mi. With +Oscar Saenger the pupil in early stages at least, uses Ah for vocalizes. +Duval requires students to use the vowel Ah, for exercises and scales, +finding the others are not needed, especially excluding E and U as +injurious. Griffith uses each vowel in turn, preceded by all the +consonants of the alphabet, one after another. + + +HALF OR FULL VOICE? + +Shall the young singer practice with half or full voice seems a matter +depending on one's individual attainments. De Luca uses full power +during practice, while Raisa sings softly, or with medium, tone, during +study hours, except occasionally when she wishes to try out certain +effects. Martinelli states he always practices with full voice, as with +half voice he would not derive the needed benefit. Mme. Easton admits +she does not, as a rule, use full voice when at work; but adds, this +admission might prove injurious to the young singer, for half voice +might result in faulty tone production. Anna Case says when at work on +a song in her music room, she sings it with the same power as she would +before an audience. She has not two ways of doing it, one for a small +room and another for a large one. Mr. Duval advises the young pupil to +sing tones as loudly and deeply as possible. Singing pianissimo is +another fallacy for a young voice. This is one of the most difficult +accomplishments, and should be reserved for a later period. Oscar +Saenger: "The tone should be free, round and full, but not loud." + + +HEARING YOURSELF + +Does the singer really hear himself is a question which has been put to +nearly every artist. Many answered in a comparative negative, though +with qualifications. Miss Farrar said: + +"No, I do not actually hear my voice, except in a general way, but we +learn to know the sensations produced in throat, head, face, lips and +other parts of the anatomy, which vibrate in a certain manner to correct +tone production. We learn the _feeling_ of the tone." "I can tell just +how I am singing a tone or phrase," says De Luca, "by the feeling and +sensation; for of course I cannot hear the full effect; no singer can +really hear the effect of his work, except on the records." "The singer +must judge so much from sensation, for she cannot very well hear +herself, that is, she cannot tell the full effect of what she is doing," +says Anna Case. Mr. Witherspoon says: "The singer of course hears +himself and with study learns to hear himself better. The singer should +depend more on hearing the sound he makes than on feeling the sound. In +other words, train the _ear_, the court of ultimate resort, and the only +judge, and forget sensation as much as possible, for the latter leads to +a million confusions." + + +VOCAL MASTERY, FROM THE ARTISTS' VIEWPOINT + +Farrar: "A thing that is mastered must be really perfect. To master +vocal art, the singer must have so developed his voice that it is under +complete control; then he can do with it what he wishes. He must be able +to produce all he desires of power, pianissimo, accent, shading, +delicacy and variety of color." + +Galli-Curci: "To sum up: the three requirements of vocal mastery are: +Management of the Larynx; Relaxation of the Diaphragm; Control of the +Breath. To these might be added a fourth: Mixed Vowels. But when these +are mastered, what then? Ah, so much more it can never be put into +words. It is self-expression through the medium of tone, for tone must +always be a vital part of the singer's individuality, colored by feeling +and emotion. To perfect one's own instrument, must always be the +singer's joy and satisfaction." + +Raisa: "If I have developed perfect control throughout the two and a +half octaves of my voice, can make each tone with pure quality and +perfect evenness in the different degrees of loud and soft, and if I +have perfect breath control as well, I then have an equipment that may +serve all purposes of interpretation. For together with vocal mastery +must go the art of interpretation, in which all the mastery of the vocal +equipment may find expression. In order to interpret adequately one +ought to possess a perfect instrument, perfectly trained. When this is +the case one can forget mechanism, because confident of the ability to +express any desired emotion." + +Homer: "The singer must master all difficulties of technic, of tone +production in order to be able to express the thought of the composer, +and the meaning of the music." + +Werrenrath: "I can answer the question in one word--Disregard. For if +you have complete control of your anatomy and such command of your +vocal resources that they will always do their work; that they can be +depended on to act perfectly, then you can disregard mechanism and think +only of the interpretation--only of your vocal message. Then you have +conquered the material and have attained Vocal Mastery." + +Kingston: "Vocal Mastery includes so many things. First and foremost, +vocal technic. One must have an excellent technic before one can hope to +sing even moderately well. Technic furnishes the tool with which the +singer creates his vocal art work. Then the singer must work on his +moral nature so that he shall express the beautiful and pure in music. +Until I have thus prepared myself, I am not doing my whole duty to +myself, my art or to my neighbor." + +Griffith: "Vocal Mastery is acquired through correct understanding of +what constitutes pure vowel sounds, and such control of the breath as +will enable one to convert every atom of breath into singing tone. This +establishes correct action of the vocal chords and puts the singer in +possession of the various tints of the voice. + +"When the vocal chords are allowed to produce pure vowels, correct +action is the result, and with proper breath support, Vocal Mastery can +be assured." + +Duval: "What is Vocal Mastery? Every great artist has his own peculiar +manner of accomplishing results--has his own vocal mastery. Patti had +one kind, Maurel another, Lehmann still another. Caruso may also be said +to have his own vocal mastery. + +"In fine, as every great artist is different from his compeers, there +can be no fixed and fast standard of vocal mastery, except the mastery +of doing a great thing greatly and convincingly." + + +THE END + + + + + + + +End of the Project Gutenberg EBook of Vocal Mastery, by Harriette Brower + +*** END OF THIS PROJECT GUTENBERG EBOOK VOCAL MASTERY *** + +***** This file should be named 15446-8.txt or 15446-8.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/1/5/4/4/15446/ + +Produced by Chuck Greif and the Online Distributed +Proofreading Team (https://www.pgdp.net). + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Vocal Mastery + Talks with Master Singers and Teachers + +Author: Harriette Brower + +Release Date: March 23, 2005 [EBook #15446] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK VOCAL MASTERY *** + + + + +Produced by Chuck Greif and the Online Distributed +Proofreading Team (https://www.pgdp.net). + + + + + + +</pre> + + <br /> + <br /> +<span class="pagenum"><a name="Frontispiece" + id="Frontispiece"></a>{Frontispiece}</span> + <div class="figcenter" style="width: 329px;"> + <img src="images/0001-1.png" width="329" height="460" alt="Enrico Caruso" + title="Enrico Caruso" /> <b>Enrico Caruso</b> + </div> + <div class="figcenter" style="width: 310px;"> + <img src="images/0001-2.png" width="310" height="144" + alt="To Miss Harriette Brower, Very Sincerely, Enrico Caruso N.Y. 1919" + title="To Miss Harriette Brower, Very Sincerely, Enrico Caruso N.Y. 1919" /> + </div> + <hr style="width: 65%;" /> + <h1><a name="VOCAL_MASTERY" id="VOCAL_MASTERY"></a>VOCAL MASTERY</h1> + <h2>TALKS WITH MASTER SINGERS AND TEACHERS</h2> + <h2>COMPRISING INTERVIEWS WITH CARUSO, FARRAR, MAUREL, LEHMANN, AND OTHERS</h2> + <h3>BY</h3> + <h2>HARRIETTE BROWER</h2> + <h3>Author of "Piano Mastery, First and Second Series,"</h3> + <h3>"Home-Help in Music Study,"</h3> + <h3>"Self-Help in Piano Study"</h3> + <h2>WITH TWENTY PORTRAITS</h2> + <h6>FREDERICK A. STOKES COMPANY PUBLISHERS <i>1917, by</i> OLIVER DITSON + COMPANY NEW YORK</h6> + <h6><i>1918, 1919, by</i> THE MUSICAL OBSERVER COMPANY</h6> + <h6><i>1920, by</i> FREDERICK A. STOKES COMPANY</h6> + <hr style="width: 65%;" /> + <h2>CONTENTS</h2> + +<div class='centered'> +<table border="0" cellpadding="0" cellspacing="0" width="90%" summary="Table of Contents"> +<tr> +<td align='left'><a href="#FOREWORD"><b>FOREWORD BY THE AUTHOR</b></a></td> +<td> </td> +<td align='right'>iii</td> +</tr> +<tr> +<td align='left'><a href="#I"><b>I. ENRICO CARUSO</b></a></td> +<td align='left'>The Value of Work</td> +<td align='right'>1</td> +</tr> +<tr> +<td align='left'><a href="#II"><b>II. GERALDINE FARRAR</b></a></td> +<td align='left'>The Will to Succeed a Compelling Force</td> +<td align='right'>10</td> +</tr> +<tr> +<td align='left'><a href="#III"><b>III. VICTOR MAUREL</b></a></td> +<td align='left'>Mind Is Everything</td> +<td align='right'>24</td> +</tr> +<tr> +<td align='left'><a href="#IV"><b>IV . A VISIT TO MME. LILLI LEHMANN</b></a></td> +<td align='left'> </td> +<td align='right'>36</td> +</tr> +<tr> +<td align='left'><a href="#V"><b>V. AMELITA GALLI-CURCI</b></a></td> +<td align='left'>Self-teaching the Great Essential</td> +<td align='right'>48</td> +</tr> +<tr> +<td align='left'><a href="#VI"><b>VI. GIUSEPPE DE LUCA</b></a></td> +<td align='left'>Ceaseless Effort Necessary for Artistic Perfection</td> +<td align='right'>60</td> +</tr> +<tr> +<td align='left'><a href="#VII"><b>VII. LUISA TETRAZZINI</b></a></td> +<td align='left'>The Coloratura Voice</td> +<td align='right'>70</td> +</tr> +<tr> +<td align='left'><a href="#VIII"><b>VIII. ANTONIO SCOTTI</b></a></td> +<td align='left'>Training American Singers for Opera</td> +<td align='right'>80</td> +</tr> +<tr> +<td align='left'><a href="#IX"><b>IX. ROSA RAISA</b></a></td> +<td align='left'>Patience and Perseverance Win Results</td> +<td align='right'>88</td> +</tr> +<tr> +<td align='left'><a href="#X"><b>X . LOUISE HOMER</b></a></td> +<td align='left'>The Requirements of a Musical Career</td> +<td align='right'>98</td> +</tr> +<tr> +<td align='left'><a href="#XI"><b>XI. GIOVANNI MARTINELLI</b></a></td> +<td align='left'>"Let Us Have Plenty of Opera in America"</td> +<td align='right'>110</td> +</tr> +<tr> +<td align='left'><a href="#XII"><b>XII. ANNA CASE</b></a></td> +<td align='left'>Inspired Interpretation</td> +<td align='right'>118</td> +</tr> +<tr> +<td align='left'><a href="#XIII"><b>XIII. FLORENCE EASTON</b></a></td> +<td align='left'>Problems Confronting the Young Singer</td> +<td align='right'>127</td> +</tr> +<tr> +<td align='left'><a href="#XIV"><b>XIV. MARGUERITE D'ALVAREZ</b></a></td> +<td align='left'>The Message of the Singer</td> +<td align='right'>139</td> +</tr> +<tr> +<td align='left'><a href="#XV"><b>XV . MARIA BARRIENTOS</b></a></td> +<td align='left'>Be Your Own Critic</td> +<td align='right'>147</td> +</tr> +<tr> +<td align='left'><a href="#XVI"><b>XVI. CLAUDIA MUZIO</b></a></td> +<td align='left'>A Child of the Opera</td> +<td align='right'>156</td> +</tr> +<tr> +<td align='left'><a href="#XVII"><b>XVII . EDWARD JOHNSON (EDOUARDO DI GIOVANNI)</b></a></td> +<td align='left'>The Evolution of an Opera Star</td> +<td align='right'>165</td> +</tr> +<tr> +<td align='left'><a href="#XVIII"><b>XVIII. REINALD WERRENRATH</b></a></td> +<td align='left'>Achieving Success on the Concert Stage</td> +<td align='right'>175</td> +</tr> +<tr> +<td align='left'><a href="#XIX"><b>XIX. SOPHIE BRASLAU</b></a></td> +<td align='left'>Making a Career in America</td> +<td align='right'>185</td> +</tr> +<tr> +<td align='left'><a href="#XX"><b>XX. MORGAN KINGSTON</b></a></td> +<td align='left'>The Spiritual Side of the Singer's Art</td> +<td align='right'>193</td> +</tr> +<tr> +<td align='left'><a href="#XXI"><b>XXI. FRIEDA HEMPEL</b></a></td> +<td align='left'>A Lesson with a Prima Donna</td> +<td align='right'>202</td> +</tr> +<tr> +<td align='left'><br /><h4>WITH THE MASTER TEACHERS</h4></td> +<td align='right'> </td> +<td align='right'> </td> +</tr> +<tr> +<td align='left'><a href="#XXII"><b>XXII . DAVID BISPHAM</b></a></td> +<td align='left'>The Making of Artist Singers</td> +<td align='right'>213</td> +</tr> +<tr> +<td align='left'><a href="#XXIII"><b>XXIII. OSCAR SAENGER</b></a></td> +<td align='left'>Use of Records in Vocal Study</td> +<td align='right'>225</td> +</tr> +<tr> +<td align='left'><a href="#XXIV"><b>XXIV. HERBERT WITHERSPOON</b></a></td> +<td align='left'>Memory, Imagination, Analysis</td> +<td align='right'>238</td> +</tr> +<tr> +<td align='left'><a href="#XXV"><b>XXV. YEATMAN GRIFFITH</b></a></td> +<td align='left'>Causation</td> +<td align='right'>249</td> +</tr> +<tr> +<td align='left'><a href="#XXVI"><b>XXVI. J.H. DUVAL</b></a></td> +<td align='left'>Some Secrets of Beautiful Singing</td> +<td align='right'>258</td> +</tr> +<tr> +<td align='left'><a href="#XXVII"><b>XXVII. THE CODA</b></a></td> +<td align='left'>A Resumé</td> +<td align='right'>266</td> +</tr> +</table></div> + + <hr style="width: 65%;" /> + + <h2><a name="ILLUSTRATIONS" id="ILLUSTRATIONS"></a>ILLUSTRATIONS</h2> + +<div class='centered'> +<table border="0" cellpadding="0" cellspacing="0" width="50%" summary="List of Illustrations"> +<tr> +<td align='left'><a href='#Frontispiece'>Enrico Caruso</a></td> +<td align='right'><i>Frontispiece</i></td> +</tr> +<tr> +<td> </td> +<td align='right' class="smcap" style="font-size: 80%;">Facing Page</td> +</tr> +<tr> +<td align='left'><a href='#page10'>Geraldine Farrar</a></td> +<td align='right'>10</td> +</tr> +<tr> +<td align='left'><a href='#page24'>Victor Maurel</a></td> +<td align='right'>24</td> +</tr> +<tr> +<td align='left'><a href='#page48'>Amelita Galli-Curci Page</a></td> +<td align='right'>48</td> +</tr> +<tr> +<td align='left'><a href='#page60'>Giuseppe de Luca</a></td> +<td align='right'>60</td> +</tr> +<tr> +<td align='left'><a href='#page70'>Luisa Tetrazzini</a></td> +<td align='right'>70</td> +</tr> +<tr> +<td align='left'><a href='#page80'>Antonio Scotti</a></td> +<td align='right'>80</td> +</tr> +<tr> +<td align='left'><a href='#page88'>Rosa Raisa</a></td> +<td align='right'>88</td> +</tr> +<tr> +<td align='left'><a href='#page98'>Louise Homer</a></td> +<td align='right'>98</td> +</tr> +<tr> +<td align='left'><a href='#page110'>Giovanni Martinelli</a></td> +<td align='right'>110</td> +</tr> +<tr> +<td align='left'><a href='#page118'>Anna Case</a></td> +<td align='right'>118</td> +</tr> +<tr> +<td align='left'><a href='#page128'>Florence Easton</a></td> +<td align='right'>128</td> +</tr> +<tr> +<td align='left'><a href='#page140'>Marguerite d'Alvarez</a></td> +<td align='right'>140</td> +</tr> +<tr> +<td align='left'><a href='#page148'>Maria Barrientos</a></td> +<td align='right'>148</td> +</tr> +<tr> +<td align='left'><a href='#page156'>Claudia Muzio</a></td> +<td align='right'>156</td> +</tr> +<tr> +<td align='left'><a href='#page166'>Edward Johnson</a></td> +<td align='right'>166</td> +</tr> +<tr> +<td align='left'><a href='#page176'>Reinald Werrenrath</a></td> +<td align='right'>176</td> +</tr> +<tr> +<td align='left'><a href='#page186'>Sophie Braslau</a></td> +<td align='right'>186</td> +</tr> +<tr> +<td align='left'><a href='#page194'>Morgan Kingston</a></td> +<td align='right'>194</td> +</tr> +<tr> +<td align='left'><a href='#page202'>Frieda Hempel</a></td> +<td align='right'>202</td> +</tr> +</table></div> + + <br /> + <hr style="width: 65%;" /> + <h2><a name="FOREWORD" id="FOREWORD"></a>FOREWORD</h2> + <p>It has long been a cherished desire to prepare a series of Talks with famous + Singers, which should have an equal aim with Talks with Master Pianists, namely, to + obtain from the artists their personal ideas concerning their art and its mastery, + and, when possible, some inkling as to the methods by which they themselves have + arrived at the goal.</p> + <p>There have been unexpected and untold difficulties in the way of such an + undertaking. The greater the artist the more numerous the body-guard which surrounds + him—or her; the more stringent the watch over the artist's time and movements. + If one is able to penetrate this barrier and is permitted to see the artist, one + finds usually an affable gentleman, a charming woman, with simple manners and kindly + intentions.</p> + <p>However, when one is fortunate enough to come in touch with great singers, one + finds it difficult to draw from them a definite idea of the process by which they + have achieved victory. A pianist can describe his manner of tone production, methods + of touch, fingering, pedaling; the violinist can discourse on the bow arm, use of + left hand, on staccato and pizzicati; but the singer is loath to describe his own + instrument. And even if singers could analyze, the description might not fit any case + but their own. For the art of singing is an individual art, the perfecting an + instrument hidden from sight. Each artist must achieve mastery by overcoming + difficulties which beset his own personal path.</p> + <p>Despite these obstacles, every effort has been put forth to induce artists to + speak from an educational standpoint. It is hoped the various hints and precepts they + have given, may prove of benefit to singers and teachers. Limitations of space + prevent the inclusion of many other artists and teachers.</p> + <p>HARRIETTE BROWER.</p> + <p>150 West 80 Street, New York City.</p> + <hr style="width: 65%;" /> + <h1>VOCAL MASTERY</h1> + <hr style="width: 65%;" /> + <h2><a name="I" id="I"></a>I</h2> + <span class="pagenum"><a name="page1" id="page1"></a>{1}</span> + <h2>ENRICO CARUSO</h2> +<br /> +<br /> + <h5>THE VALUE OF WORK</h5> +<br /> + <p>Enrico Caruso! The very name itself calls up visions of the greatest operatic + tenor of the present generation, to those who have both heard and seen him in some of + his many rôles. Or, to those who have only listened to his records, again + visions of the wonderful voice, with its penetrating, vibrant, ringing quality, the + impassioned delivery, which stamps every note he sings with the hall mark of genius, + the tremendous, unforgettable climaxes. Not to have heard Caruso sing is to have + missed something out of life; not to have seen him act in some of his best parts is + to have missed the inspiration of great acting. As Mr. Huneker once wrote: "The + artistic career of Caruso is as well known as that of any great general or statesman; + he is a national figure. He is a great artist, and, what is rarer, a genuine + man."</p> + <p>And how we have seen his art grow and <span class="pagenum"><a name="page2" + id="page2"></a>{2}</span> ripen, since he first began to sing for us. The date of his + first appearance at the Metropolitan Opera House, New York, was November 23rd, 1903. + Then the voice was marvelous in its freshness and beauty, but histrionic development + lagged far behind. The singer seemed unable to make us visualize the characters he + endeavored to portray. It was always Caruso who sang a certain part; we could never + forget that. But constant study and experience have eliminated even this defect, so + that to-day the singer and actor are justly balanced; both are superlatively great. + Can any one who hears and sees Caruso in the rôle of Samson, listen unmoved to + the throbbing wail of that glorious voice and the unutterable woe of the blind man's + poignant impersonation?</p> +<br /> +<br /> + <h5>IN EARLY DAYS</h5> +<br /> + <p>Enrico Caruso was born in Naples, the youngest of nineteen children. His father + was an engineer and the boy was taught the trade in his father's shop, and was + expected to follow in his father's footsteps. But destiny decreed otherwise. As he + himself said, to one listener:</p> + <p>"I had always sung as far back as I can remember, for the pure love of it. My + voice <span class="pagenum"><a name="page3" id="page3"></a>{3}</span> was contralto, + and I sang in a church in Naples from fourteen till I was eighteen. Then I had to go + into the army for awhile. I had never learned how to sing, for I had never been + taught. One day a young officer of my company said to me: 'You will spoil your voice + if you keep on singing like that'—for I suppose I was fond of shouting in those + days. 'You should learn <i>how</i> to sing,' he said to me; 'you must study.' He + introduced me to a young man who at once took an interest in me and brought me to a + singing master named Vergine. I sang for him, but he was very discouraging. His + verdict was it would be hopeless to try to make a singer out of me. As it was, I + might possibly earn a few lire a night with my voice, but according to his idea I had + far better stick to my father's trade, in which I could at least earn forty cents a + day.</p> + <p>"But my young friend would not give up so easily. He begged Vergine to hear me + again. Things went a little better with me the second time and Vergine consented to + teach me.</p> +<br /> +<br /> + <h5>RIGID DISCIPLINE</h5> +<br /> + <p>"And now began a period of rigid discipline. In Vergine's idea I had been singing + too loud; I must reverse this and sing everything softly.<span class="pagenum"><a + name="page4" id="page4"></a>{4}</span> I felt as though in a strait-jacket; all my + efforts at expression were most carefully repressed; I was never allowed to let out + my voice. At last came a chance to try my wings in opera, at ten lire a night + ($2.00). In spite of the régime of repression to which I had been subjected + for the past three years, there were still a few traces of my natural feeling left. + The people were kind to me and I got a few engagements. Vergine had so long trained + me to sing softly, never permitting me to sing out, that people began to call me the + Broken Tenor.</p> +<br /> +<br /> + <h5>THE FIRST REAL CHANCE</h5> +<br /> +<p>"A better chance came before long. In 1896 the Opera House in Salerno decided to + produce <i>I Puritani</i>. At the last moment the tenor they had engaged to sing the + leading rôle became ill, and there was no one to sing the part. Lombardi, + conductor of the orchestra, told the directors there was a young singer in Naples, + about eighteen miles away, who he knew could help them out and sing the part. When + they heard the name Caruso, they laughed scornfully. 'What, the Broken Tenor?' they + asked. But Lombardi pressed my claim, assured them I could be engaged, <span + class="pagenum"><a name="page5" id="page5"></a>{5}</span> and no doubt would be glad + to sing for nothing.</p> + <p>"So I was sent for. Lombardi talked with me awhile first. He explained by means of + several illustrations, that I must not stand cold and stiff in the middle of the + stage, while I sang nice, sweet tones. No, I must let out my voice, I must throw + myself into the part, I must be alive to it—must live it and in it. In short, I + must act as well as sing.</p> +<br /> +<br /> + <h5>A REVELATION</h5> +<br /> + <p>"It was all like a revelation to me. I had never realized before how absolutely + necessary it was to act out the character I attempted. So I sang <i>I Puritani</i>, + with as much success as could have been expected of a young singer with so little + experience. Something awoke in me at that moment. From that night I was never called + a 'Broken Tenor' again. I made a regular engagement at two thousand lire a month. Out + of this I paid regularly to Vergine the twenty-five per cent which he always + demanded. He was somewhat reconciled to me when he saw that I had a real engagement + and was making a substantial sum, though he still insisted that I would lose my voice + in a few years. But time passes and I am still singing.</p> +<br /> +<br /> + <h5>RESULTS OF THE REVELATION</h5><span class="pagenum"><a name="page6" id="page6"></a>{6}</span> +<br /> + <p>"The fact that I could secure an opera engagement made me realize I had within me + the making of an artist, if I would really labor for such an end. When I became + thoroughly convinced of this, I was transformed from an amateur into a professional + in a single day. I now began to take care of myself, learn good habits, and + endeavored to cultivate my mind as well as my voice. The conviction gradually grew + upon me that if I studied and worked, I would be able one day to sing in such a way + as to satisfy myself."</p> +<br /> +<br /> + <h5>THE VALUE OF WORK TO THE SINGER</h5> +<br /> + <p>Caruso believes in the necessity for work, and sends this message to all ambitious + students: "To become a singer requires work, work, and again work! It need not be in + any special corner of the earth; there is no one spot that will do more for you than + other places. It doesn't matter so much where you are, if you have intelligence and a + good ear. Listen to yourself; your ear will tell you what kind of tones you are + making. If you will only use your own intelligence you can correct your own + faults."</p> +<br /> +<br /> + <h5>CEASELESS STUDY</h5><span class="pagenum"><a name="page7" id="page7"></a>{7}</span> +<br /> + <p>This is no idle speech, voiced to impress the reader. Caruso practices what he + preaches, for he is an incessant worker. Two or three hours in the forenoon, and + several more later in the day, whenever possible. He does not neglect daily vocal + technic, scales and exercises. There are always many rôles to keep in rehearsal + with the accompanist. He has a repertoire of seventy rôles, some of them + learned in two languages. Among the parts he has prepared but has never sung are: + <i>Othello, Fra Diavolo, Eugen Onegin, Pique Dame, Falstaff</i> and <i>Jewels of the + Madonna</i>.</p> + <p>Besides the daily review of opera rôles, Caruso examines many new songs; + every day brings a generous supply. Naturally some of these find their way into the + waste basket; some are preserved for reference, while the favored ones which are + accepted must be studied for use in recital.</p> + <p>I had the privilege, recently, of spending a good part of one forenoon in Mr. + Caruso's private quarters at his New York Hotel, examining a whole book full of + mementos of the Jubilee celebration of March, 1919, on the occasion when the great + tenor completed <span class="pagenum"><a name="page8" id="page8"></a>{8}</span> + twenty-five years of activity on the operatic stage. Here were gathered telegrams and + cablegrams from all over the world. Many letters and cards of greeting and + congratulation are preserved in this portly volume. Among them one noticed messages + from Mme. Schumann-Heink, the Flonzaley Quartet, Cleofonte Campanini and hosts of + others. Here, too, is preserved the Jubilee Programme booklet, also the libretto used + on that gala occasion. Music lovers all over the world will echo the hope that this + wonderful voice may be preserved for many years to come!</p> +<br /> +<br /> + <h5>A LAST WORD</h5> +<br /> + <p>The above article was shown to Mr. Caruso, at his request, and I was asked a few + days later to come to him. There had been the usual rehearsal at the Opera House that + day. "Ah, those rehearsals," exclaimed the secretary, stopping his typewriter for an + instant; "no one who has never been through it has any idea of what a rehearsal + means." And he lifted hands and eyes expressively. "Mr. Caruso rose at eight, went to + rehearsal at ten and did not finish till after three. He is now resting, but will see + you in a moment."</p> + <p>Presently the great tenor opened the door <span class="pagenum"><a name="page9" + id="page9"></a>{9}</span> and entered. He wore a lounging coat of oriental silk, red + bordered, and on the left hand gleamed a wonderful ring, a broad band of dull gold, + set with diamonds, rubies and sapphires. He shook hands, said he had read my story, + that it was quite correct and had his entire approval.</p> + <p>"And have you a final message to the young singers who are struggling and longing + to sing some day as wonderfully as you do?"</p> + <p>"Tell them to study, to work always,—and—to sacrifice!"</p> + <p>His eyes had a strange, inscrutable light in them, as he doubtless recalled his + own early struggles, and life of constant effort.</p> + <p>And so take his message to heart:</p> + <p>"Work, work—and—sacrifice!"</p> + <hr style="width: 65%;" /> + <h2><a name="II" id="II"></a> II</h2> + <span class="pagenum"><a name="page10" id="page10"></a>{10}</span> + <h2>GERALDINE FARRAR</h2> +<br /> +<br /> + <h5>THE WILL TO SUCCEED A COMPELLING FORCE</h5> +<br /> + <p>"To measure the importance of Geraldine Farrar (at the Metropolitan Opera House, + New York) one has only to think of the void there would have been during the last + decade, and more, if she had not been there. Try to picture the period between 1906 + and 1920 without Farrar—it is inconceivable! Farrar, more than any other + singer, has been the triumphant living symbol of the new day for the American artist + at the Metropolitan. She paved the way. Since that night, in 1906, when her Juliette + stirred the staid old house, American singers have been added year by year to the + personnel. Among these younger singers there are those who will admit at once that it + was the success of Geraldine Farrar which gave them the impetus to work hard for a + like success."</p> + <div class="figcenter" style="width: 330px;"> + <img src="images/0020-1.png" width="330" height="425" alt="GERALDINE FARRAR" + title="GERALDINE FARRAR" /> <b>GERALDINE FARRAR</b> + </div> + <p>These thoughts have been voiced by a recent<span class="pagenum"><a name="page11" + id="page11"></a>{11}</span> reviewer, and will find a quick response from young + singers all over the country, who have been inspired by the career of this + representative artist, and by the thousands who have enjoyed her singing and her many + characterizations.</p> + <p>I was present on the occasion of Miss Farrar's début at the greatest opera + house of her home land. I, too, was thrilled by the fresh young voice in the girlish + and charming impersonation of Juliette. It is a matter of history that from the + moment of her auspicious return to America she has been constantly before the public, + from the beginning to end of each operatic season. Other singers often come for part + of the season, step out and make room for others. But Miss Farrar, as well as Mr. + Caruso, can be depended on to remain.</p> + <p>Any one who gives the question a moment's thought, knows that such a career, + carried through a score of years, means constant, unremitting labor. There must be + daily work on vocal technic; repertoire must be kept up to opera pitch, and last and + perhaps most important of all, new works must be sought, studied and assimilated.</p> + <p>The singer who can accomplish these tasks <span class="pagenum"><a name="page12" + id="page12"></a>{12}</span> will have little or no time for society and the gay + world, inasmuch as her strength must be devoted to the service of her art. She must + keep healthy hours, be always ready to appear, and never disappoint her audiences. + And such, according to Miss Farrar's own words is her record in the service of + art.</p> + <p>While zealously guarding her time from interruption from the merely curious, Miss + Farrar does not entrench herself behind insurmountable barriers, as many singers seem + to do, so that no honest seeker for her views of study and achievement can find her. + While making a rule not to try voices of the throng of young singers who would like + to have her verdict on their ability and prospects, Miss Farrar is very gracious to + those who really need to see her. Again—unlike others—she will make an + appointment a couple of weeks in advance, and one can rest assured she will keep that + appointment to the day and hour, in spite of many pressing calls on her + attention.</p> + <p>To meet and talk for an hour with an artist who has so often charmed you from the + other side of the footlights, is a most interesting experience. In the present + instance it began with my being taken up to Miss Farrar's <span + class="pagenum"><a name="page13" id="page13"></a>{13}</span> private sanctum, at the top + of her New York residence. Though this is her den, where she studies and works, it is + a spacious parlor, where all is light, color, warmth and above all, <i>quiet</i>. A + thick crimson carpet hushes the footfall. A luxurious couch piled with silken + cushions, and comfortable arm chairs are all in the same warm tint; over the grand + piano is thrown a cover of red velvet, gold embroidered. Portraits of artists and + many costly trifles are scattered here and there. The young lady who acts as + secretary happened to be in the room and spoke with enthusiasm of the singer's + absorption in her work, her delight in it, her never failing energy and good spirits. + "From the day I heard Miss Farrar sing I felt drawn to her and hoped the time would + come when I could serve her in some way. I did not know then that it would be in this + way. Her example is an inspiration to all who come in touch with her."</p> + <p>In a few moments Miss Farrar herself appeared, and the young girl withdrew.</p> + <p>And was this Farrar who stood before me, in the flush of vigorous womanhood, and + who welcomed me so graciously? The first impression was one of friendliness and + sincerity, which caused the artist for the moment to be <span class="pagenum"><a + name="page14" id="page14"></a>{14}</span> forgotten in the unaffected simplicity of the + woman.</p> + <p>Miss Farrar settled herself comfortably among the red silk cushions and was ready + for our talk. The simplicity of manner was reflected in her words. She did not + imply—there is only one right way, and I have found it. "These things seem best + for my voice, and this is the way I work. But, since each voice is different, they + might not fit any one else. I have no desire to lay down rules for others; I can only + speak of my own experience."</p> +<br /> +<br /> + <h5>THE QUESTION OF HEALTH</h5> +<br /> + <p>"And you would first know how I keep strong and well and always ready? Perhaps the + answer is, I keep regular hours and habits, and love my work. I have always loved to + sing, as far back as I can remember. Music means everything to me—it is my + life. As a child and young girl, I was the despair of my playmates because I would + not join their games; I did not care to skate, play croquet or tennis, or such + things. I never wanted to exercise violently, and, to me, unnecessarily, because it + interfered with my singing; took energy which I thought might be better applied. As I + grew older I did not care to <span class="pagenum"><a name="page15" + id="page15"></a>{15}</span> keep late hours and be in an atmosphere where people + smoked and perhaps drank, for these things were bad for my voice and I could not do + my work next day. My time is always regularly laid out. I rise at half past seven, + and am ready to work at nine. I do not care to sit up late at night, either, for I + think late hours react on the voice. Occasionally, if we have a few guests for + dinner, I ask them, when ten thirty arrives, to stay as long as they wish and enjoy + themselves, but I retire.</p> +<br /> +<br /> + <h5>TECHNICAL STUDY</h5> +<br /> + <p>"There are gifted people who may be called natural born singers. Melba is one of + these. Such singers do not require much technical practice, or if they need a little + of it, half an hour a day is sufficient. I am not one of those who do not need to + practice. I give between one and two hours daily to vocalizes, scales and tone study. + But I love it! A scale is beautiful to me, if it is rightly sung. In fact it is not + merely a succession of notes; it represents color. I always translate sound into + color. It is a fascinating study to make different qualities of tonal color in the + voice. Certain rôles require an entirely different range of colors from others. + One night I must <span class="pagenum"><a name="page16" id="page16"></a>{16}</span> + sing a part with thick, heavy, rich tones; the next night my tones must be thinned + out in quite another timbre of the voice, to fit an opposite character."</p> + <p>Asked if she can hear herself, Miss Farrar answered:</p> + <p>"No, I do not actually hear my voice, except in a general way; but we learn to + know the sensations produced in muscles of throat, head, face, lips and other parts + of the anatomy, which vibrate in a certain manner to correct tone production. We + learn the <i>feeling</i> of the tone. Therefore every one, no matter how advanced, + requires expert advice as to the results.</p> +<br /> +<br /> + <h5>WITH LEHMANN</h5> +<br /> + <p>"I have studied for a long time with Lilli Lehmann in Berlin; in fact I might say + she is almost my only teacher, though I did have some instruction before going to + her, both in America and Paris. You see, I always sang, even as a very little girl. + My mother has excellent taste and knowledge in music, and finding I was in danger of + straining my voice through singing with those older than myself, she placed me with a + vocal teacher when I was twelve, as a means of preservation.</p> + <p>"Lehmann is a wonderful teacher and an <span class="pagenum"><a name="page17" + id="page17"></a>{17}</span> extraordinary woman as well. What art is there—what + knowledge and understanding! What intensity there is in everything she does. She used + to say: 'Remember, these four walls which inclose you, make a very different space to + fill compared to an opera house; you must take this fact into consideration and study + accordingly.' No one ever said a truer word. If one only studies or sings in a room + or studio, one has no idea of what it means to fill a theater. It is a distinct + branch of one's work to gain power and control and to adapt one's self to large + spaces. One can only learn this by doing it.</p> + <p>"It is sometimes remarked by listeners at the opera, that we sing too loud, or + that we scream. They surely never think of the great size of the stage, of the + distance from the proscenium arch to the footlights, or from the arch to the first + set of wings. They do not consider that within recent years the size of the orchestra + has been largely increased, so that we are obliged to sing against this great number + of instruments, which are making every possible kind of a noise except that of a + siren. It is no wonder that we must make much effort to be heard: sometimes the + effort may seem injudicious. The point we <span class="pagenum"><a name="page18" + id="page18"></a>{18}</span> must consider is to make the greatest possible effect + with the least possible exertion.</p> + <p>"Lehmann is the most painstaking, devoted teacher a young singer can have. It is + proof of her excellent method and her perfect understanding of vocal mastery, that + she is still able to sing in public, if not with her old-time power, yet with good + tone quality. It shows what an artist she really is. I always went over to her every + summer, until the war came. We would work together at her villa in Gruenewald, which + you yourself know. Or we would go for a holiday down nearer Salzburg, and would work + there. We always worked wherever we were.</p> +<br /> +<br /> + <h5>MEMORIZING</h5> +<br /> + <p>"How do I memorize? I play the song or rôle through a number of times, + concentrating on both words and music at once. I am a pianist anyway; and committing + to memory is very easy for me. I was trained to learn by heart from the very start. + When I sang my little songs at six years old, mother would never let me have any + music before me: I must know my songs by heart. And so I learned them quite + naturally. To me singing was like talking to people.</p> +<br /> +<br /> + <h5>CONTRASTING COLORATURA AND DRAMATIC SINGING</h5><span class="pagenum"><a + name="page19" id="page19"></a>{19}</span> +<br /> + <p>"You ask me to explain the difference between the coloratura and the dramatic + organ. I should say it is a difference of timbre. The coloratura voice is bright and + brilliant in its higher portion, but becomes weaker and thinner as it descends; + whereas the dramatic voice has a thicker, richer quality all through, especially in + its lower register. The coloratura voice will sing upper C, and it will sound very + high indeed. I might sing the same tone, but it would sound like A flat, because the + tone would be of such totally different timbre.</p> +<br /> +<br /> + <h5>TO THE YOUNG SINGER</h5> +<br /> + <p>"If I have any message to the young singer, it would be: Stick to your work and + study systematically, whole-heartedly. If you do not love your work enough to give it + your best thought, to make sacrifices for it, there is something wrong with you. Then + choose some other line of work, to which you can give undivided attention and + devotion. For music requires this. As for sacrifices, they really do not exist, if + they promote the thing you honestly love most.</p> + <p>"Do not fancy you can properly prepare <span class="pagenum"><a name="page20" + id="page20"></a>{20}</span> yourself in a short time to undertake a musical career, + for the path is a long and arduous one. You must never stop studying, for there is + always so much to learn. If I have sung a rôle a hundred times, I always find + places that can be improved; indeed I never sing a rôle twice exactly in the + same way. So, from whatever side you consider the singer's work and career, both are + of absorbing interest.</p> + <p>"Another thing; do not worry, for that is bad for your voice. If you have not made + this tone correctly, or sung that phrase to suit yourself, pass it over for the + moment with a wave of the hand or a smile; but don't become discouraged. Go right on! + I knew a beautiful American in Paris who possessed a lovely voice. But she had a very + sensitive nature, which could not endure hard knocks. She began to worry over little + failures and disappointments, with the result that in three years her voice was quite + gone. We must not give way to disappointments, but conquer them, and keep right along + the path we have started on.</p> +<br /> +<br /> + <h5>MODERN MUSIC</h5> +<br /> + <p>"Modern music requires quite a different handling of the voice and makes entirely + <span class="pagenum"><a name="page21" id="page21"></a>{21}</span> different demands + upon it than does the older music. The old Italian operas required little or no + action, only beautiful singing. The opera houses were smaller and so were the + orchestras. The singer could stand still in the middle of the stage and pour out + beautiful tones, with few movements of body to mar his serenity. But we, in these + days, demand action as well as song. We need singing actors and actresses. The music + is declamatory; the singer must throw his whole soul into his part, must act as well + as sing. Things are all on a larger scale. It is a far greater strain on the voice to + interpret one of the modern Italian operas than to sing one of those quietly + beautiful works of the old school.</p> + <p>"America's growth in music has been marvelous on the appreciative and interpretive + side. With such a musical awakening, we can look forward to the appearance of great + creative genius right here in this country, perhaps in the near future. Why should we + not expect it? We have not yet produced a composer who can write enduring operas or + symphonies. MacDowell is our highest type as yet; but others will come who will carry + the standard higher.</p> +<br /> +<br /> + <h5>VOICE LIMITATIONS</h5><span class="pagenum"><a name="page22" + id="page22"></a>{22}</span> +<br /> + <p>"The singer must be willing to admit limitations of voice and style and not + attempt parts which do not come within the compass of her attainments. Neither is it + wise to force the voice up or down when it seems a great effort to do so. We can all + think of singers whose natural quality is mezzo—let us say—who try to + force the voice up into a higher register. There is one artist of great dramatic + gifts, who not content with the rich quality of her natural organ, tried to add + several high notes to the upper portion. The result was disastrous. Again, some of + our young singers who possess beautiful, sweet voices, should not force them to the + utmost limit of power, simply to fill, or try to fill a great space. The life of the + voice will be impaired by such injurious practice.</p> +<br /> +<br /> + <h5>VOCAL MASTERY</h5> +<br /> + <p>"What do I understand by vocal mastery? It is something very difficult to define. + For a thing that is mastered must be really perfect. To master vocal art, the singer + must have so developed his voice that it is under complete control; then he can do + with it whatsoever he wishes. He must be able to produce all he desires of power, + pianissimo, accent, shading, <span class="pagenum"><a name="page23" + id="page23"></a>{23}</span> delicacy and variety of color. Who is equal to the + task?"</p> + <p>Miss Farrar was silent a moment; then she said, answering her own question:</p> + <p>"I can think of but two people who honestly can be said to possess vocal mastery: + they are Caruso and McCormack. Those who have only heard the latter do little Irish + tunes, have no idea of what he is capable. I have heard him sing Mozart as no one + else I know of can. These two artists have, through ceaseless application, won vocal + mastery. It is something we are all striving for!"</p> + <hr style="width: 65%;" /> + <h2><a name="III" id="III"></a>III</h2> + <span class="pagenum"><a name="page24" id="page24"></a>{24}</span> + <h2>VICTOR MAUREL</h2> +<br /> +<br /> + <h5>MIND IS EVERYTHING</h5> +<br /> + <p>Mr. James Huneker, in one of his series of articles entitled "With the Immortals," + in the New York <i>World</i>, thus, in his inimitable way characterizes Victor + Maurel:</p> + <p>"I don't suppose there is to be found in musical annals such diversity of + aptitudes as that displayed by this French baritone. Is there an actor on any stage + to-day who can portray both the grossness of Falstaff and the subtlety of Iago? + Making allowance for the different art medium that the singing actor must work in, + and despite the larger curves of operatic pose and gesture, Maurel kept astonishingly + near to the characters he assumed. He was Shakespearian; his Falstaff was the most + wonderful I ever saw."</p> + <div class="figcenter" style="width: 328px;"> + <img src="images/0036-1.png" width="328" height="459" alt="VICTOR MAUREL" + title="VICTOR MAUREL" /> <b>VICTOR MAUREL</b> + </div> + <p>And then Iago: "In the Maurel conception, Othello's Ancient was not painted black + in black—the heart of darkness, but with many nuances, many gradations. He was + <span class="pagenum"><a name="page25" id="page25"></a>{25}</span> economical of + gesture, playing on the jealous Moor as plays a skillfully handled bow upon a finely + attuned violin. His was truly an objective characterization. His Don Giovanni was + broadly designed. He was the aristocrat to the life, courtly, brave, amorous, + intriguing, cruel, superstitious and quick to take offense. In his best estate, the + drinking song was sheer virtuosity. Suffice to add that Verdi intrusted to him the + task of "originating" two such widely sundered rôles as Iago and Falstaff. An + extraordinary artist!"</p> + <p>One evening we were discussing the merits of various famous singers of the past + and present. My friend is an authority whose opinion I greatly respect. He is not + only a singer himself but is rapidly becoming a singing master of renown.</p> + <p>After we had conferred for a long time, my friend summed it all up with the + remark:</p> + <p>"You know who, in my opinion, is the greatest, the dean of them all, a past master + of the art of song—Victor Maurel."</p> + <p>Did I not know! In times gone by had we not discussed by the hour every phase of + Maurel's mastery of voice and action? Did we not together listen to that voice and + watch with breathless interest his investiture of Don<span class="pagenum"><a + name="page26" id="page26"></a>{26}</span> Giovanni, in the golden days when Lilli + Lehmann and the De Reszkes took the other parts. Was there ever a more elegant + courtly Don, a greater Falstaff, a more intriguing Iago?</p> + <p>In those youthful days, my friend's greatest ambition was to be able to sing and + act like Maurel. To this end he labored unceasingly. Second only to this aim was + another—to know the great baritone personally, to become his friend, to discuss + the finest issues of art with him, to consult him and have the benefit of his + experience. The consummation of this desire has been delayed for years, but it is one + of the "all things" which will surely come to him who waits. Maurel is now once more + on American soil, and doubtless intends remaining for a considerable period. My + friend is also established in the metropolis. The two have met, not only once but + many times—indeed they have become fast friends.</p> + <p>"I will take you to him," promised friend Jacque,—knowing my desire to meet + the "grand old man"; "but don't ask for too many of his opinions about singers, as he + does not care to be quoted."</p> + <p>Late one afternoon we arrived at his residence. At the moment he was in his music + room, where, for the last hour he had been <span class="pagenum"><a name="page27" + id="page27"></a>{27}</span> singing <i>Falstaff</i>! If we could only have been hidden + away in some quiet corner to listen! He came running down the stairway with almost + the agility of a boy, coming to meet us with simple dignity and courtesy. After the + first greetings were over we begged permission to examine the many paintings which + met the eye everywhere. There was a large panel facing us, representing a tall + transparent vase, holding a careless bunch of summer flowers, very artistically + handled. Near it hung an out-of-door sketch, a garden path leading into the green. + Other bits of landscape still-life and portraits made up the collection. They had all + been painted by the same artist—none other than Maurel himself. As we examined + the flower panel, he came and stood by us.</p> + <p>"Painting is a great art," he said; "an art which requires profound study. I have + been a close student of this art for many years and love it more and more."</p> + <p>"M. Maurel aims now to express himself through the art of color and form, as he + has always done through voice and gesture," remarked my friend.</p> + <p>"Art is the highest means of expression," went on the master, "whether through + music, painting, sculpture, architecture or the theater.<span class="pagenum"><a + name="page28" id="page28"></a>{28}</span> The effort to express myself through + another art-medium, painting, has long been a joy to me. I have studied with no + teacher but myself, but I have learned from all the great masters; they have taught + me everything."</p> + <p>He then led the way to his music room on the floor above. Here were more + paintings, many rare pieces of furniture and his piano. A fine portrait of Verdi, + with an affectionate autograph, stood on a table; one of Ambroise Thomas, likewise + inscribed, hung near. "A serious man, almost austere," said Maurel, regarding the + portrait of Verdi thoughtfully, "but one of the greatest masters of all time."</p> + <p>Praying us to be seated, he placed himself on an ottoman before us. The talk + easily drifted into the subject of the modern operatic stage, and modern operas of + the Italian school, in which one is so often tempted to shout rather than sing. The + hero of Mozart's Don Giovanni, who could sing his music as perhaps no one else has + ever done, would not be likely to have much patience with the modern style of + explosive vocal utterance.</p> + <p>"How do you preserve your voice and your repertoire?" I questioned.</p> + <p>M. Maurel gazed before him thoughtfully.</p> + <p>"It is entirely through the mind that I keep <span class="pagenum"><a + name="page29" id="page29"></a>{29}</span> both. I know so exactly how to produce tone + qualities, that if I recall those sensations which accompany tone production, I can + induce them at will. How do we make tones, sing an aria, impersonate a rôle? Is + not all done with the mind, with thought? I must think the tone before I produce + it—before I sing it; I must mentally visualize the character and determine how + I will represent it, before I attempt it. I must identify myself with the character I + am to portray before I can make it <i>live</i>. Does not then all come from + thinking—from thought?</p> + <p>"Again: I can think out the character and make a mental picture of it for myself, + but how shall I project it for others to see? I have to convince myself first that I + am that character—I must identify myself with it; then I must convince those + who hear me that I am really that character." Maurel rose and moved to the center of + the room.</p> + <p>"I am to represent some character—Amonasro, let us say. I must present the + captive King, bound with chains and brought before his captors. I must feel with him, + if I am really going to represent him. I must believe myself bound and a prisoner; + then I must, through pose and action, through expression of <span class="pagenum"><a + name="page30" id="page30"></a>{30}</span> face, gesture, voice, everything—I + must make this character real to the audience."</p> + <p>And as we looked, he assumed the pose of the man in chains, his hands seemed tied, + his body bent, his expression one in which anger and revenge mingled; in effect, he + was for the moment Amonasro.</p> + <p>"I have only made you see my mental concept of Amonasro. If I have once thoroughly + worked out a conception, made it my own, then it is mine. I can create it at any + moment. If I feel well and strong I can sing the part now in the same way as I have + always sung it, because my thought is the same and thought produces. Whether I have a + little more voice, or less voice, what does it matter? I can never lose my conception + of a character, for it is in my mind, and mind projects it. So there is no reason to + lose the voice, for that also is in mind and can be thought out at will.</p> + <p>"Suppose I have an opposite character to portray,—the elegant Don Giovanni, + for example"; and drawing himself up and wrapping an imaginary cloak about him, with + the old well-remembered courtly gesture, his face and manner were instantly + transformed at the thought of his favorite character. He turned and smiled on us, his + strong features lighted, <span class="pagenum"><a name="page31" + id="page31"></a>{31}</span> and his whole appearance expressed the embodiment of + Mozart's hero.</p> + <p>"You see I must have lived, so to say, in these characters and made them my own, + or I could not recall them at a moment's notice. All impersonation, to be artistic, + to be vital, must be a part of one's self; one must get into the character. When I + sing Iago I am no longer myself—I am another person altogether; self is quite + forgotten; I am Iago, for the time being.</p> + <p>"In Paris, at the Sorbonne, I gave a series of lectures; the first was on this + very subject, the identification of one's self with the character to be portrayed. + The large audience of about fifteen hundred, contained some of the most famous among + artists and men of letters"; and Maurel, with hands clasped about his knee, gazed + before him into space, and we knew he was picturing in mental vision, the scene at + the Sorbonne, which he had just recalled.</p> + <p>After a moment, he resumed. "The singer, though trying to act out the character he + assumes, must not forget to <i>sing</i>. The combination of fine singing and fine + acting is rare. Nowadays people think if they can act, that atones for inartistic + singing; then they yield to <span class="pagenum"><a name="page32" + id="page32"></a>{32}</span> the temptation to shout, to make harsh tones, simply for + effect." And the famous baritone caricatured some of the sounds he had recently heard + at an operatic performance with such gusto, that a member of the household came + running in from an adjoining room, thinking there must have been an accident and the + master of the house was calling for help. He hastily assured her all was + well—no one was hurt; then we all had a hearty laugh over the little + incident.</p> + <p>And now we begged to be allowed to visit the atelier, where the versatile artist + worked out his pictures. He protested that it was in disorder, that he would not dare + to take us up, and so on. After a little he yielded to persuasion, saying, however, + he would go up first and arrange the room a little. As soon as he had left us my + friend turned to me:</p> + <p>"What a remarkable man! So strong and vigorous, in spite of his advanced age. No + doubt he travels those stairs twenty times a day. He is as alert as a young man; + doubtless he still has his voice, as he says. And what a career he has had. You know + he was a friend of Edward the Seventh; they once lived together. Then he and Verdi + were close friends; he helped coach singers for Verdi's operas.<span + class="pagenum"><a name="page33" id="page33"></a>{33}</span> He says it was a + wonderful experience, when the composer sat down at the piano, put his hands on the + keys and showed the singers how he wanted his music sung!</p> + <p>"Early in his career Maurel sang in Verdi's opera, <i>Simone Boccanegra</i>, which + one never hears now, but it has a fine baritone part, and a couple of very dramatic + scenes, especially the final scene at the close. This is the death scene. Maurel had + sung and acted so wonderfully on a certain occasion that all the singers about him + were in tears. Verdi was present at this performance and was deeply moved by Maurel's + singing and acting. He came upon the stage when all was over, and exclaimed, in a + voice trembling with emotion: 'You have created the rôle just as I would have + it; I shall write an opera especially <i>for you</i>!' This he did; it was + <i>Othello</i>, and the Iago was composed for Maurel. In his later years, when he + seldom left his home, the aged composer several times expressed the wish that he + might go to Paris, just to hear Maurel sing once more.</p> + <p>"It is very interesting that he was led to speak to us as he did just now, about + mental control, and the part played by mind in the singer's study, equipment and + career. It is <span class="pagenum"><a name="page34" id="page34"></a>{34}</span> a + side of the question which every young singer must seriously consider, first, last + and always. But here he comes."</p> + <p>Again protesting about the appearance of his simple studio, the master led the way + up the stairways till we reached the top of the house, where a north-lighted room had + been turned into a painter's atelier. With mingled feelings we stepped within this + modest den of a great artist, which held his treasures. These were never shown to the + casual observer, nor to the merely curious; they were reserved for the trusted + few.</p> + <p>The walls were lined with sketches; heads, still life, landscapes, all subjects + alike interested the painter. A rugged bust of Verdi, over life size, modeled in + plaster, stood in one corner. On an easel rested a spirited portrait of Maurel, done + by himself.</p> + <p>"My friends tell me I should have a larger studio, with better light; but I am + content with this, for here is quiet and here I can be alone, free to commune with + myself. Here I can study my art undisturbed,—for Art is my religion. If people + ask if I go to church, I say No, but I worship the immortality which is within, which + I feel in my soul, the reflection of the Almighty!"</p> + <p><span class="pagenum"><a name="page35" id="page35"></a>{35}</span> In quiet mood a + little later we descended the white stairway and passed along the corridors of this + house, which looks so foreign to American eyes, and has the atmosphere of a Paris + home.</p> + <p>The artist accompanied us to the street door and bade us farewell, in his kindly + dignified manner.</p> + <p>As the door closed and we were in the street, my friend said:</p> + <p>"A wonderful man and a rare artist. Where shall we find his like to-day?"</p> + <hr style="width: 65%;" /> + <h2><a name="IV" id="IV"></a>IV</h2> +<br /> + <span class="pagenum"><a name="page36" id="page36"></a>{36}</span> + <h2>A VISIT TO MME. LILLI LEHMANN</h2> +<br /> + <p>A number of years before the great war, a party of us were spending a few weeks in + Berlin. It was midsummer; the city, filled as it was for one of us at least, with + dear memories of student days, was in most alluring mood. Flowers bloomed along every + balcony, vines festooned themselves from windows and doorways, as well as from many + unexpected corners. The parks, large and small, which are the delight of a great + city, were at their best and greenest—gay with color. Many profitable hours + were spent wandering through the galleries and museums, hearing concerts and opera, + and visiting the old quarters of the city, so picturesque and full of memories.</p> + <p>Two of us, who were musicians, were anxious to meet the famous dramatic soprano, + Lilli Lehmann, who was living quietly in one of the suburbs of the city. Notes were + exchanged, and on a certain day we were bidden to come, out of the regular hours for + visitors, by "special exception."</p> + <p><span class="pagenum"><a name="page37" id="page37"></a>{37}</span> How well I + remember the drive through the newer residential section of Berlin. The path before + long led us through country estates, past beautifully kept gardens and orchards. Our + destination was the little suburb of Gruenewald, itself like a big garden, with + villas nestling close to each other, usually set back from the quiet, shaded streets. + Some of the villas had iron gratings along the pathway, through which one saw gay + flowers and garden walks, often statuary and fountains. Other homes were secluded + from the street by high brick walls, frequently decorated on top by urns holding + flowers and drooping vines.</p> + <p>Behind such a picturesque barrier, we found the gateway which led to Mme. + Lehmann's cottage. We rang and soon a trim maid came to undo the iron gate. The few + steps leading to the house door did not face us as we entered the inclosure, but led + up from the side. We wanted to linger and admire the shrubs and flowering plants, but + the maid hastened before us so we had to follow.</p> + <p>From the wide entrance hall doors led into rooms on either hand. We were shown + into a salon on the left, and bidden to await Madame's coming.</p> + <p>In the few moments of restful quiet before <span class="pagenum"><a name="page38" + id="page38"></a>{38}</span> she entered, we had time to glance over this sanctum of a + great artist. To say it was filled with mementos and <i>objets d'art</i> hardly + expresses the sense of repleteness. Every square foot was occupied by some treasure. + Let the eye travel around the room. At the left, as one entered the doorway, stood a + fine bust of the artist, chiseled in pure white marble, supported on a pedestal of + black marble. Then came three long, French windows, opening into a green garden. + Across the farther window stood a grand piano, loaded with music. At the further end + of the room, if memory serves, hung a large, full length portrait of the artist + herself. A writing desk, laden with souvenirs, stood near. On the opposite side a + divan covered with rich brocade; more paintings on the walls, one very large + landscape by a celebrated German painter.</p> + <p>Before we could note further details, Mme. Lehmann stood in the doorway, then came + forward and greeted us cordially.</p> + <p>How often I had seen her impersonate her great rôles, both in Germany and + America. They were always of some queenly character. Could it be possible this was + the famous Lehmann, this simple housewife, in black skirt and white blouse, with a + little apron as badge of <span class="pagenum"><a name="page39" + id="page39"></a>{39}</span> home keeping. But there was the stately tread, the grand + manner, the graceful movement. What mattered if the silver hair were drawn back + severely from the face; there was the dignity of expression, classic features, + penetrating glance and mobile mouth I remembered.</p> + <p>After chatting a short time and asking many questions about America, where her + experiences had been so pleasant, our talk was interrupted, for a little, by a voice + trial, which Madame had agreed to give. Many young singers, from everywhere, were + anxious to have expert judgment on their progress or attainments, so Lehmann was + often appealed to and gave frequent auditions of this kind. The fee was considerable, + but she never kept a penny of it for herself; it all went to one of her favorite + charities. The young girl who on this day presented herself for the ordeal was an + American, who, it seemed, had not carried her studies very far.</p> +<br /> +<br /> + <h5>EXAMINING A PUPIL</h5> +<br /> + <p>Mme. Lehmann seated herself at the piano and asked for scales and vocalizes. The + young girl, either from fright or poor training, did not make a very fortunate + impression. She could not seem to bring out a single pure <span class="pagenum"><a + name="page40" id="page40"></a>{40}</span> steady tone, much less sing scales + acceptably.</p> + <p>Madame with a resigned look finally asked for a song, which was given. It was a + little song of Franz, I remember. Then Lehmann wheeled around on the stool and said + to us, in German:</p> + <p>"The girl cannot sing—she has little or no voice to begin with, and has not + been rightly trained." Then to the young girl she said, kindly, in English:</p> + <p>"My dear young lady, you have almost everything to learn about singing, for as yet + you cannot even sing one tone correctly; you cannot even speak correctly. First of + all you need physical development; you must broaden your chest through breathing + exercises; you are too thin chested. You must become physically stronger if you ever + hope to sing acceptably. Then you must study diction and languages. This is + absolutely necessary for the singer. Above all you must know how to pronounce and + sing in your own language. So many do not think it necessary to study their own + language; they think they know that already; but one's mother tongue requires study + as well as any other language.</p> + <p>"The trouble with American girls is they are always in a hurry. They are not + content to sit <span class="pagenum"><a name="page41" id="page41"></a>{41}</span> + down quietly and study till they have developed themselves into something before they + ever think of coming to Europe. They think if they can just come over here and sing + for an artist, that fact alone will give them prestige in America. But that gives + them quite the opposite reputation over here. American girls are too often looked + upon as superficial, because they come over here quite unprepared. I say to all of + them, as I say to you: Go home and study; there are plenty of good teachers of voice + and piano in your own land. Then, when you can <i>sing</i>, come over here, if you + wish; but do not come until you are prepared."</p> + <p>After this little episode, we continued our talk for a while longer. Then, fearing + to trespass on her time, we rose to leave. She came to the door with us, followed us + down the steps into the front garden, and held the gate open for us, when we finally + left. We had already expressed the hope that she might be able to return to America, + at no very distant day, and repeat her former triumphs there. Her fine face lighted + at the thought, and her last words to us were, as she held open the little iron + wicket. "I have a great desire to go to your country again; perhaps, in a year or + two—who knows—I may be able to do it."</p> + <p><span class="pagenum"><a name="page42" id="page42"></a>{42}</span> She stood + there, a noble, commanding figure, framed in the green of her garden, and waved her + handkerchief, till our cab turned a corner, and she was lost to our view.</p> +<br /> +<br /> + <h5>THE MOZART FESTIVAL</h5> +<br /> + <p>Several years later, a year before the world war started, to be exact, we had the + pleasure of meeting the artist again, and this time, of hearing her sing.</p> + <p>It was the occasion of the Mozart Festival in Salzburg. It is well known that + Lehmann, devoted as she has always been to the genius of Mozart, and one of the + greatest interpreters of his music, had thrown her whole energy into the founding of + a suitable memorial to the master in his native city. This memorial was to consist of + a large music school, a concert hall and home for opera. The Mozarteum was not yet + completed, but a Festival was held each year in Salzburg, to aid the project. Madame + Lehmann was always present and sang on these occasions.</p> + <p>We timed our visit to Mozart's birthplace, so that we should be able to attend the + Festival, which lasted as usual five days. The concerts were held in the Aula + Academica, a fine Saal in the old picturesque quarter of the city.</p> + <p><span class="pagenum"><a name="page43" id="page43"></a>{43}</span> At the opening + concert, Lehmann sang a long, difficult Concert Aria of Mozart. We could not help + wondering, before she began, how time had treated this great organ; whether we should + be able to recognize the famous Lehmann who had formerly taken such high rank as + singer and interpreter in America. We need not have feared that the voice had become + impaired. Or, if it had been, it had become rejuvenated on this occasion. Mme. + Lehmann sang with all her well-remembered power and fervor, all her exaltation of + spirit, and of course she had a great ovation at the close. She looked like a queen + in ivory satin and rare old lace, with jewels on neck, arms and in her silver hair. + In the auditorium, three arm chairs had been placed in front of the platform. The + Arch-duke, Prince Eugen, the royal patron of the Festival, occupied one. When Madame + Lehmann had finished her Aria, she stepped down from the platform. The Prince rose at + once and went to meet her. She gave him her hand with a graceful curtesy and he led + her to the armchair next his own, which had evidently been placed in position for her + special use.</p> + <p>At the close of the concert we had a brief chat with her. The next day she was + present <span class="pagenum"><a name="page44" id="page44"></a>{44}</span> at the + morning concert. This time she was gowned in black, with an ermine cape thrown over + her shoulders. The Arch-duke sat beside her in the arm chair, as he had done the + evening before. We had a bow and smile as she passed down the aisle.</p> + <p>We trust the Mozarteum in Salzburg, for which Mme. Lehmann has labored with such + devotion, will one day fulfill its noble mission.</p> +<br /> +<br /> + <h5>LEHMANN THE TEACHER</h5> +<br /> + <p>As a teacher of the art of singing Madame Lehmann has long been a recognized + authority, and many artists now actively before the public, have come from under her + capable hands. Her book, "How to Sing,"—rendered in English by Richard + Aldrich—(Macmillan) has illumined the path, for many a serious student who + seeks light on that strange, wonderful, hidden instrument—the voice. Madame + Lehmann, by means of many explanations and numerous plates, endeavors to make clear + to the young student how to begin and how to proceed in her vocal studies.</p> +<br /> +<br /> + <h5>BREATHING</h5> +<br /> + <p>On the important subject of breathing she says:<span class="pagenum"><a + name="page45" id="page45"></a>{45}</span> "No one can sing without preparing for it + mentally and physically. It is not enough to sing well, one must know how one does + it. I practice many breathing exercises without using tone. Breath becomes voice + through effort of will and by use of vocal organs. When singing emit the smallest + quantity of breath. Vocal chords are breath regulators; relieve them of all + overwork.</p> + <p>"At the start a young voice should be taught to begin in the middle and work both + ways—that is, up and down. A tone should never be forced. Begin piano, make a + long crescendo and return to piano. Another exercise employs two connecting half + tones, using one or two vowels. During practice stand before a mirror, that one may + see what one is doing. Practice about one hour daily. Better that amount each day + than ten hours one day and none the next. The test will be; do you feel rested and + ready for work each morning? If not you have done too much the day before."</p> +<br /> +<br /> + <h5>REGISTERS</h5> +<br /> + <p>In regard to registers Madame Lehmann has this to say: "In the formation of the + voice no registers should exist or be created.<span class="pagenum"><a name="page46" + id="page46"></a>{46}</span> As long as the word is kept in use, registers will not + disappear."</p> +<br /> +<br /> + <h5>PHYSIOLOGY</h5> +<br /> + <p>In spite of the fact there are many drawings and plates illustrating the various + organs of head and throat which are used in singing, Madame Lehmann says:</p> + <p>"The singer is often worried about questions of physiology, whereas she + need—must—know little about it.</p> +<br /> +<br /> + <h5>THE NASAL QUALITY</h5> +<br /> + <p>"The singer must have some nasal quality, otherwise the voice sounds colorless and + expressionless. We must sing toward the nose: (not necessarily through the nose).</p> + <p>"For many ills of the voice and tone production, I use long, slow scales. They are + an infallible cure.</p> +<br /> +<br /> + <h5>USE OF THE LIPS</h5> +<br /> + <p>"The lips play a large part in producing variety of tone quality. Each vowel, + every word can be colored, as by magic, by well controlled play of the lips. When + lips are stiff and unresponsive, the singing is colorless.<span class="pagenum"><a + name="page47" id="page47"></a>{47}</span> Lips are final resonators, through which + tones must pass, and lip movements can be varied in every conceivable manner."</p> +<br /> +<br /> + <h5>POWER AND VELOCITY</h5> +<br /> + <p>She humorously writes: "Singers without power and velocity are like horses without + tails. For velocity, practice figures of five, six, seven and eight notes, first + slowly, then faster and faster, up and down."</p> + <hr style="width: 65%;" /> + <h2><a name="V" id="V"></a>V</h2> + <span class="pagenum"><a name="page48" id="page48"></a>{48}</span> + <h2>AMELITA GALLI-CURCI</h2> +<br /> +<br /> + <h5>SELF-TEACHING THE GREAT ESSENTIAL</h5> +<br /> + <p>No singer can rise to any distinction without the severest kind of self-discipline + and hard work. This is the testimony of all the great vocalists of our time—of + any time. This is the message they send back from the mountain top of victory to the + younger ones who are striving to acquire the mastery they have achieved. Work, work + and again—work! And if you have gained even a slight foothold on the hill of + fame, then work to keep your place. Above all, be not satisfied with your present + progress,—strive for more perfection. There are heights you have not + gained—higher up! There are joys for you—higher up, if you will but labor + to reach them.</p> + <div class="figcenter" style="width: 325px;"> + <img src="images/0062-1.png" width="325" height="475" + alt="Photo by De Strelecki, N.Y. AMELITA GALLI-CURCI" + title="AMELITA GALLI-CURCI" /> <span style="font-size: 75%;"><i>Photo by De Strelecki, N.Y.</i></span> + <br /> <b>AMELITA GALLI-CURCI</b> + </div> + <p>Perhaps there is no singer who more thoroughly believes in the gospel of work, and + surely not one who more consistently practices what she preaches, than Amelita + Galli-Curci. She knows the value of work, and she loves <span class="pagenum"><a + name="page49" id="page49"></a>{49}</span> it for its own sake. There is no long + cessation for her, during summer months, "to rest her voice." There is no half-day + seclusion after a performance, to recover from the fatigue of singing a rôle + the night before. No, for her this event does not spell exhaustion but happiness, + exhilaration. It is a pleasure to sing because it is not wearisome—it is a part + of herself. And she enjoys the doing! Thus it happens that the morning after a + performance, she is up and abroad betimes, ready to attend personally to the many + calls upon her time and attention. She can use her speaking voice without fear, + because she has never done anything to strain it; she is usually strong and well, + buoyant and bright. Those soft, dark eyes are wells of intelligent thinking; the + mouth smiles engagingly as she speaks; the slight figure is full of life and energy. + Yet there is a deep sense of calm in her presence. A brave, bright spirit; a great, + wonderful artist!</p> + <p>These thoughts faintly glimpse my first impression of Mme. Galli-Curci, as she + entered her big, sunny parlor, where I was waiting to see her. Her delicate, oval + face was aglow with the flush of healthful exercise, for she had just come in from a + shopping expedition and <span class="pagenum"><a name="page50" + id="page50"></a>{50}</span> the wintry air was keen. "I love to go shopping," she + explained, "so I always do it myself."</p> + <p>She bade me sit beside her on a comfortable divan, and at once began to speak of + the things I most wished to hear.</p> + <p>"I am often asked," she began, "to describe how I create this or that effect, how + I produce such and such tones, how I make the voice float to the farthest corner, and + so on. I answer, that is my secret. In reality it is no secret at all, at least not + to any one who has solved the problem. Any one possessing a voice and intelligence, + can acquire these things, who knows how to go to work to get them. But if one has no + notion of the process, no amount of mere talking will make it plain. Singing an opera + rôle seems such an easy thing from the other side of the footlights. People + seem to think, if you only know how to sing, it is perfectly natural and easy for you + to impersonate a great lyric rôle. And the more mastery you have, the easier + they think it is to do it. The real truth of the matter is that it requires years and + years of study—constant study, to learn how to sing, before attempting a big + part in opera.</p> + <p>"There are so many organs of the body that are concerned in the process of + breathing and <span class="pagenum"><a name="page51" id="page51"></a>{51}</span> tone + production; and most of these organs must be, if not always, yet much of the time, + relaxed and in an easy pliable condition when you sing. There is the + diaphragm—then the throat, larynx, the lungs, nose, lips—all of them help + to make the tone. Perhaps I might say the larynx is the most important factor of all. + If you can manage that, you have the secret. But no human being can tell you exactly + how to do it. Some singers before the public to-day have no notion of how to manage + this portion of their anatomy. Others may do so occasionally, but it may only be by + accident. They sometimes stumble upon the principle, but not understanding how they + did so, they cannot reproduce the desired effects at will. The singer who understands + her business must know just how she produces tones and vocal effects. She can then do + them at all times, under adverse circumstances, even when nervous, or not in the + mood, or indisposed.</p> +<br /> +<br /> + <h5>SELF-STUDY</h5> +<br /> + <p>"How did I learn to know these things? By constant study, by constant + listening—for I have very keen ears—by learning the sensations produced + in throat and larynx when I made tones that were correctly placed, were <span + class="pagenum"><a name="page52" id="page52"></a>{52}</span> pleasing and at the same + time made the effects I was seeking.</p> + <p>"Milan is my home city—beautiful Milano under the blue Italian skies, the + bluest in the world. As a young girl, the daughter of well-to-do parents, I studied + piano at the Royal Conservatory there, and also musical theory and counterpoint. I + shall ever be grateful I started in this way, with a thorough musical foundation, for + it has always been of great advantage to me in further study. When my father met with + reverses, I made good use of my pianistic training by giving piano lessons and making + a very fair income for a young girl.</p> + <p>"But I longed to sing! Is it not the birthright of every Italian to have a voice? + I began to realize I had a voice which might be cultivated. I had always sung a + little—every one does; song is the natural, spontaneous expression of our + people. But I wished to do more—to express myself in song. So I began to teach + myself by singing scales and vocalizes between my piano lessons. Meanwhile I studied + all the books on singing I could lay hands on, and then tried to put the principles I + learned in this way in practice. In trying to do this I had to find out everything + for myself. And that is why I know them! I know exactly what I am <span + class="pagenum"><a name="page53" id="page53"></a>{53}</span> about when I sing, I + know what muscles are being used, and in what condition they ought to be; what parts + of the anatomy are called into action and why. Nature has given me two great gifts, a + voice and good health; for both these gifts I am deeply grateful. The first I have + developed through arduous toil; the second I endeavor to preserve through careful + living, regular hours and plenty of exercise in the fresh air. I have developed the + voice and trained it in the way that seemed to me best for it. There are as many + kinds of voices as there are persons; it seems to me each voice should be treated in + the way best suited to its possessor. How can any other person tell you how that + should be done?" And the singer gave me a bright look, and made a pretty deprecating + gesture. "You yourself must have the intelligence to understand your own case and + learn how to treat it.</p> +<br /> +<br /> + <h5>NEVER STRAIN THE VOICE</h5> +<br /> + <p>"A singer who would keep her voice in the best condition, should constantly and + reasonably exercise it. I always do a half hour or so of exercises, vocalizes and + scales every morning; these are never neglected. But I never do anything to strain + the voice in any way.<span class="pagenum"><a name="page54" + id="page54"></a>{54}</span> We are told many fallacies by vocal teachers. One is that + the diaphragm must be held firmly in order to give support to the tone. It seems to + me this is a serious mistake. I keep the diaphragm relaxed. Thus tone production, in + my case, is made at all times with ease; there is never any strain. You ask if it is + not very fatiguing to sing against a large orchestra, as we have to, and with a + temperamental conductor, like Marinuzzi, for instance, I do not find it so; there is + a pure, clear tone, which by its quality, placement and ease of production, will + carry farther than mere power ever can. It can be heard above a great orchestra, and + it <i>gets over</i>.</p> +<br /> +<br /> + <h5>USE OF THE VOWELS</h5> +<br /> + <p>"Young singers ask me what vowels to use in vocal practice. In my own study I use + them all. Of course some are more valuable than others. The O is good, the E needs + great care; the Ah is the most difficult of all. I am aware this is contrary to the + general idea. But I maintain that the Ah is most difficult; for if you overdo it and + the lips are too wide apart, the result is a white tone. And on the other hand, if + the lips are nearer—or too near together, or are not managed rightly, stiffness + <span class="pagenum"><a name="page55" id="page55"></a>{55}</span> or a throaty + quality is apt to result; then the tone cannot 'float.' I have found the best way is + to use the mixed vowels, one melting into the other. The tone can be started with + each vowel in turn, and then mingled with the rest of the vowels. Do you know, the + feathered songster I love best—the nightingale—uses the mixed vowels too. + Ah, how much I have learned from him and from other birds also! Some of them have + harsh tones—real quacks—because they open their bills too far, or in a + special way. But the nightingale has such a lovely dark tone, a 'covered tone,' which + goes to the heart. It has the most exquisite quality in the world. I have learned + much from the birds, about what not to do and what to do.</p> +<br /> +<br /> + <h5>MEMORIZING</h5> +<br /> + <p>"In taking up a new rôle I begin with the story, the libretto, so I may + first learn what it is about, its meaning and psychology. I take it to bed with me, + or have it by me if lying down, because I understand musical composition and can get + a clear idea of the composer's meaning without going to the instrument. After a short + time I begin to work it out at the piano, in detail, words and music together. For a + great rôle like the <i>Somnambula</i> or<span class="pagenum"><a name="page56" + id="page56"></a>{56}</span> <i>Traviata</i>, I must spend three or four years, + perhaps more, in preparation, before bringing it to public performance. It takes a + long time to master thoroughly an operatic rôle, to work it out from all sides, + the singing, the acting, the characterization. To the lay mind, if you can sing, you + can easily act a part and also memorize it. They little know the labor which must be + bestowed on that same rôle before it can be presented in such a shape as to be + adequate, in a way that will get it across. It does not go in a few weeks or even + months; it is the work of years. And even then it is never really finished, for it + can always be improved with more study, with more care and thought.</p> +<br /> +<br /> + <h5>THE NECESSITY FOR LANGUAGES</h5> +<br /> + <p>"We hear much about need for study of languages by the singer, and indeed too much + stress cannot be placed on this branch of the work. I realize that in America it is + perhaps more difficult to impress people with this necessity, as they have not the + same need to use other languages in every day life. The singer can always be + considered fortunate who has been brought up from earliest years to more than one + language. My mother was Spanish, <span class="pagenum"><a name="page57" + id="page57"></a>{57}</span> my father Italian, so this gave me both languages at + home. Then in school I learned French, German and English, not only a little + smattering of each, but how to write and speak them."</p> + <p>"You certainly have mastered English remarkably well," I could not help remarking, + for she was speaking with great fluency, and with hardly any accent. This seemed to + please her, for she gave me one of those flashing smiles.</p> +<br /> +<br /> + <h5>COLORATURA AND DRAMATIC</h5> +<br /> + <p>"Would you be pleased," I asked, "if later on your voice should develop into a + dramatic soprano?"</p> + <p>Mme. Galli-Curci thought an instant.</p> + <p>"No," she said, "I think I would rather keep the voice I have. I heartily admire + the dramatic voice and the rôles it can sing. Raisa's voice is for me the most + beautiful I know. But after all I think, for myself, I prefer the lyric and + coloratura parts, they are so beautiful. The old Italian composers knew well how to + write for the voice. Their music has beauty, it has melody, and melodic beauty will + always make its appeal. And the older Italian music is built up not only of melody and + <span class="pagenum"><a name="page58" id="page58"></a>{58}</span> fioriture, but is + also dramatic. For these qualities can combine, and do so in the last act of + <i>Traviata</i>, which is so full of deep feeling and pathos.</p> +<br /> +<br /> + <h5>BREATH CONTROL</h5> +<br /> + <p>"Perhaps, in Vocal Mastery, the greatest factor of all is the breathing. To + control the breath is what each student is striving to learn, what every singer + endeavors to perfect, what every artist should master. It is an almost endless study + and an individual one, because each organism and mentality is different. Here, as in + everything else, perfect ease and naturalness are to be maintained, if the divine + song which is the singer's concept of beauty, is to be 'floated on the breath,' and + its merest whisper heard to the farthest corner of the gallery.</p> +<br /> +<br /> + <h5>THE MATTER IN A NUTSHELL</h5> +<br /> + <p>"To sum up then, the three requirements of vocal mastery are: a, Management of the + Larynx; b, Relaxation of the Diaphragm; c, Control of the Breath. To these might be + added a fourth; Mixed Vowels.</p> + <p>"But when all these are mastered, what then? Ah, so much more it can never be put + into <span class="pagenum"><a name="page59" id="page59"></a>{59}</span> words. It is + self-expression through the medium of tone, for tone must always be a vital part of + the singer's individuality, colored by feeling and emotion. Tone is the outlet, the + expression of all one has felt, suffered and enjoyed. To perfect one's own + instrument, one's medium of expression, must always be the singer's joy and + satisfaction."</p> + <p>"And you will surely rest when the arduous season is over?"</p> + <p>"Yes, I will rest when the summer comes, and will return to Italy this year. But + even though I seem to rest, I never neglect my vocal practice; that duty and pleasure + is always performed."</p> + <p>And with a charming smile and clasp of the hand, she said adieu.</p> + <hr style="width: 65%;" /> + <h2><a name="VI" id="VI"></a>VI</h2> + <span class="pagenum"><a name="page60" id="page60"></a>{60}</span> + <h2>GIUSEPPE DE LUCA</h2> +<br /> +<br /> + <h5>CEASELESS EFFORT NECESSARY FOR ARTISTIC PERFECTION</h5> +<br /> + <p>"A Roman of Rome" is what Mr. Giuseppe De Luca has been named. The very words + themselves call up all kinds of enchanting pictures. Sunny Italy is the natural home + of beautiful voices: they are her birthright. Her blue sky, flowers and olive + trees—her old palaces, hoary with age and romantic story, her fountains and + marbles, her wonderful treasures of art, set her in a world apart, in the popular + mind. Everything coming from Italy has the right to be romantic and artistic. If it + happens to be a voice, it should of necessity be beautiful in quality, rich, smooth, + and well trained.</p> + <div class="figcenter" style="width: 332px;"> + <img src="images/0076-1.png" width="332" height="502" + alt="To Mrs. Harriette Brower cordially Guiseppe De Luca" + title="Guiseppe De Luca" /> <b>Guiseppe De Luca</b> + </div> + <div class="figcenter" style="width: 322px;"> + <img src="images/0076-2.png" width="322" height="82" + alt="Letter from Guiseppe De Luca" title="Letter from Guiseppe De Luca" /> + </div> + <p>While all singers who come from the sunny land cannot boast all these + qualifications, Mr. De Luca, baritone of the Metropolitan Opera House, New York, can + do so. Gifted with a naturally fine organ, he has cultivated it arduously and to + excellent purpose. He began to <span class="pagenum"><a name="page61" + id="page61"></a>{61}</span> study in early youth, became a student of Saint Cecilia + in Rome when fifteen years of age, and made his début at about twenty. He has + sung in opera ever since.</p> + <p>In 1915,—November 25th to be exact—De Luca came to the Metropolitan, + and won instant recognition from critics and public alike. It is said of him that he + earned "this success by earnest and intelligent work. Painstaking to a degree, there + is no detail of his art that he neglects or slights—so that one hesitates to + decide whether he is greater as a singer or as an actor." Perhaps, however, his most + important quality is his mastery of "<i>bel canto</i>"—pure singing—that + art which seems to become constantly rarer on the operatic and concert stage.</p> + <p>"De Luca does such beautiful, finished work; every detail is carefully thought out + until it is as perfect as can be." So remarked a member of the Metropolitan, and a + fellow artist.</p> + <p>Those who have listened to the Roman baritone in the various rôles he has + assumed, have enjoyed his fine voice, his true <i>bel canto</i> style, and his + versatile dramatic skill. He has never disappointed his public, and more than this, + is ever ready to step into the breach should necessity arise.</p> + <p><span class="pagenum"><a name="page62" id="page62"></a>{62}</span> A man who has + at least a hundred and twenty operas at his tongue's end, who has been singing in the + greatest opera houses of the world for more than twenty years, will surely have much + to tell which can help those who are farther down the line. If he is willing to do + so, can speak the vernacular, and can spare a brief hour from the rush of constant + study and engagement, a conference will be possible. It was possible, for time was + made for it.</p> +<br /> +<br /> + <h5>THE MUSICAL GIFT</h5> +<br /> + <p>Mr. De Luca, who speaks the English language remarkably well, greeted the writer + with easy courtesy. His genial manner makes one feel at home immediately. Although he + had just come from the Opera House, where he had sung an important rôle, he + seemed as fresh and rested as though nothing had happened.</p> + <p>"I think the ability to act, and also, in a measure, to sing, is a gift," began + the artist. "I remember, even as a little child, I was always acting out in pantomime + or mimicry what I had seen and felt. If I was taken to the theater, I would come + home, place a chair for audience, and act out the whole story I had just <span + class="pagenum"><a name="page63" id="page63"></a>{63}</span> seen before it. From my + youngest years I always wanted to sing and act.</p> +<br /> +<br /> + <h5>A REMARKABLE TEACHER</h5> +<br /> + <p>"As early as I could, at about the age of fifteen, I began to study singing, with + a most excellent teacher; who was none other than Signor Wenceslao Persischini, who + is now no longer living. He trained no fewer than seventy-four artists, of which I + was the last. Battestini, that wonderful singer, whose voice to-day, at the age of + sixty-five, is as remarkable as ever, is one of his pupils. We know that if a vocal + teacher sings himself, and has faults, his pupils are bound to copy those faults + instinctively and unconsciously. With Persischini this could not be the case; for, + owing to some throat trouble, he was not able to sing at all. He could only whisper + the tones he wanted, accompanying them with signs and facial grimaces." And Mr. De + Luca illustrated these points in most amusing fashion. Then he continued:</p> + <p>"But he had unerring judgment, together with the finest ear. He knew perfectly how + the tone should be sung and the student was obliged to do it exactly right and must + keep at it till it was right. He would let nothing <span class="pagenum"><a + name="page64" id="page64"></a>{64}</span> faulty pass without correction. I also had + lessons in acting from Madame Marini, a very good teacher of the art.</p> +<br /> +<br /> + <h5>THE ARTIST LIFE</h5> +<br /> + <p>"After five years of hard study I made my début at Piacenza, as Valentine, + in <i>Faust</i>, November 6th, 1897. Then, you may remember, I came to the + Metropolitan in the season of 1915-1916, where I have been singing continually ever + since.</p> + <p>"The artist should have good health, that he may be always able to sing. He owes + this to his public, to be always ready, never to disappoint. I think I have never + disappointed an audience and have always been in good voice. It seems to me when one + is no longer able to do one's best it is time to stop singing."</p> + <p>"It is because you study constantly and systematically that you are always in good + voice."</p> + <p>"Yes, I am always at work. I rise at eight in the morning, not later. Vocalizes + are never neglected. I often sing them as I take my bath. Some singers do not see the + necessity of doing exercises every day; I am not one of those. I always sing my + scales, first with full power, then taking each tone softly, swelling to <span + class="pagenum"><a name="page65" id="page65"></a>{65}</span> full strength, then + dying away—in mezza voce. I use many other exercises also—employing full + power. English is also one of the daily studies, with lessons three times a week.</p> +<br /> +<br /> + <h5>CONSTANTLY ON THE WATCH</h5> +<br /> + <p>"When singing a rôle, I am always listening—watching—to be + conscious of just what I am doing. I am always criticizing myself. If a tone or a + phrase does not sound quite correct to me as to placement, or production, I try to + correct the fault at once. I can tell just how I am singing a tone or phrase by the + feeling and sensation. Of course I cannot hear the full effect; no singer ever can + actually hear the effect of his work, except on the records. There he can learn, for + the first time, just how his voice sounds.</p> +<br /> +<br /> + <h5>LEARNING A NEW RÔLE</h5> +<br /> + <p>"How do I begin a new part? I first read over the words and try to get a general + idea of their meaning, and how I would express the ideas. I try over the arias and + get an idea of those. Then comes the real work—the memorizing and working out + the conception. I first commit the words, and know them so well I can write them out. + Next I join them <span class="pagenum"><a name="page66" id="page66"></a>{66}</span> + to the music. So far I have worked by myself. After this much has been done, I call + in the accompanist, as I do not play the piano very well; that is to say, my right + hand will go but the left lags behind!</p> +<br /> +<br /> + <h5>ALWAYS BEING SURE OF THE WORDS</h5> +<br /> + <p>"Yes, as you say, it requires constant study to keep the various rôles in + review, especially at the Metropolitan, where the operas are changed from day to day. + Of course at performance the prompter is always there to give the cue—yet the + words must always be in mind. I have never yet forgotten a word or phrase. On one + occasion—it was in the <i>Damnation of Faust</i>, a part I had already sung a + number of times—I thought of a word that was coming, and seemed utterly unable + to remember it. I grew quite cold with fear—I am inclined to be a little + nervous anyway—but it was quite impossible to think of the word. Luckily at the + moment when I needed the word I was so fearful about, it suddenly came to me.</p> +<br /> +<br /> + <h5>NATURAL ANXIETY</h5> +<br /> + <p>"Of course there is always anxiety for the artist with every public appearance. + There <span class="pagenum"><a name="page67" id="page67"></a>{67}</span> is so much + responsibility—one must always be at one's best; and the responsibility + increases as one advances, and begins to realize more and more keenly how much is + expected and what depends on one's efforts. I can assure you we all feel this, from + the least to the greatest. The most famous singers perhaps suffer most keenly.</p> + <p>"I have always sung in Italian opera, in which the language is easy for me. + Latterly I have added French operas to my list. <i>Samson and Delilah</i>, which I + had always done in Italian, I had to relearn in French; this for me was very + difficult. I worked a long time on it, but mastered it at last.</p> + <p>"This is my twenty-second season in opera. I have a repertoire of about one + hundred and twenty rôles, in most of which I have sung many times in Italy. + Some I wish might be brought out at the Metropolitan. Verdi's <i>Don Carlos</i>, for + instance, has a beautiful baritone part; it is really one of the fine operas, though + it might be considered a bit old-fashioned to-day. Still I think it would be a + success here. I am preparing several new parts for this season; one of them is the + Tschaikowsky work—<i>Eugene Onegin</i>. So you see I am constantly at + work.</p> + <p><span class="pagenum"><a name="page68" id="page68"></a>{68}</span> + "My favorite operas? I think they are these"; and Mr. De Luca hastily jotted down + the following: <i>Don Carlos, Don Giovanni, Hamlet, Rigoletto, Barbier, Damnation of + Faust</i>, and last, but not least, <i>Tannhauser</i>.</p> +<br /> +<br /> + <h5>GROWTH OF MUSICAL APPRECIATION IN AMERICA</h5> +<br /> + <p>Asked if he considered appreciation for music had advanced during his residence in + America, his answer was emphatically in the affirmative.</p> + <p>"The other evening I attended a reception of representative American society, + among whom were many frequenters of the Metropolitan. Many of them spoke to me of the + opera <i>Marouf</i>. I was surprised, for this modern French opera belongs to the new + idiom, and is difficult to understand. 'Do you really like the music of + <i>Marouf</i>?' I asked. 'Oh, yes indeed,' every one said. It is one of my longest + parts, but not one of my special favorites.</p> + <p>"In the summer! Ah, I go back to my beloved Italy almost as soon as the + Metropolitan season closes. I could sing in Buenos Aires, as the season there follows + the one here. But I prefer to rest the whole time until I return. I feel the singer + needs a period of rest each <span class="pagenum"><a name="page69" + id="page69"></a>{69}</span> year. To show you how necessary it is for the singer to + do daily work on the voice, I almost feel I cannot sing at all during the summer, as + I do no practicing, and without vocalizes one cannot keep in trim. If I am asked to + sing during vacation, I generally refuse. I tell them I cannot sing, for I do not + practice. It takes me a little while after I return, to get the vocal apparatus in + shape again.</p> + <p>"Thus it means constant study, eternal vigilance to attain the goal, then to hold + what you have attained and advance beyond it if possible."</p> + <hr style="width: 65%;" /> + <h2><a name="VII" id="VII"></a> VII</h2> + <span class="pagenum"><a name="page70" id="page70"></a>{70}</span> + <h2>LUISA TETRAZZINI</h2> +<br /> +<br /> + <h5>THE COLORATURA VOICE</h5> +<br /> + <p>Luisa Tetrazzini has been called the greatest exponent of coloratura singing that + we have at the present time. Her phenomenal successes in various quarters of the + globe, where she has been heard in both opera and concert, are well known, and form + pages of musical history, full of interest. This remarkable voice, of exquisite + quality and development, is another proof that we have as beautiful voices to-day, if + we will but realize the fact, as were ever known or heard of in the days of famous + Italian songsters.</p> + <div class="figcenter" style="width: 332px;"> + <img src="images/0088-1.png" width="332" height="473" alt="LOUISA TETRAZZINI" + title="LOUISA TETRAZZINI" /> <b>LOUISA TETRAZZINI</b> + </div> + <p>Portraits often belie the artist, by accentuating, unduly, some individuality of + face or figure, and Tetrazzini is no exception. From her pictures one would expect to + find one of the imperious, dominating order of prima donnas of the old school. When I + met the diva, I was at once struck by the simplicity of her appearance and attire. + There was nothing pompous about her; she did not carry herself <span + class="pagenum"><a name="page71" id="page71"></a>{71}</span> with the air of one + conscious of possessing something admired and sought after by all the world, + something which set her on a high pedestal apart from other singers. Not at all. I + saw a little lady of plump, comfortable figure, a face which beamed with kindliness + and good humor, a mouth wreathed with smiles. Her manner and speech were equally + simple and cordial, so that the visitor was put at ease at once, and felt she had + known the great singer for years.</p> + <p>Before the conference could begin a pretty episode happened, which showed the + human side of the singer's character, and gave a glimpse into her every day life. + Mme. Tetrazzini was a little late for her appointment, as she had been out on a + shopping expedition, an occupation which she greatly enjoys. Awaiting her return was + a group of photographers, who had arranged their apparatus, mirrors and flash-light + screen, even to the piano stool on which the singer was to be placed. She took in the + situation at a glance, as she entered, and obediently gave herself into the hands of + the picture makers.</p> + <p>"Ah, you wish to make me beautiful," she exclaimed, with her pretty accent; "I am + not beautiful, but you may try to make me look <span class="pagenum"><a name="page72" + id="page72"></a>{72}</span> so." With patience she assumed the required poses, put + her head on this side or that, drew her furs closer about her or allowed them to fall + away from the white throat, with its single string of pearls. The onlooker suggested + she be snapped with a little black "Pom," who had found his way into the room and was + now an interested spectator, on his vantage ground, a big sofa. So little "Joy" was + gathered up and held in affectionate, motherly arms, close against his mistress' + face. It was all very human and natural, and gave another side to the singer's + character from the side she shows to the public.</p> + <p>At last the ordeal was over, and Madame was free to leave her post and sit in one + of the arm chairs, where she could be a little more comfortable. The secretary was + also near, to be appealed to when she could not make herself intelligible in English. + "My English is very bad," she protested; "I have not the time now to learn it + properly; that is why I speak it so very bad. In the summer, or next year, I will + really learn it. Now, what is it I can tell you? I am ready."</p> +<br /> +<br /> + <h5>FOR THE DÉBUTANTE</h5><span class="pagenum"><a + name="page73" id="page73"></a>{73}</span> +<br /> + <p>To ask such a natural born singer how she studies and works, is like asking the + fish swimming about in the ocean, to tell you where is the sea! She could not tell + you how she does it. Singing is as the breath of life to Tetrazzini—as natural + as the air she breathes. Realizing this, I began at the other end.</p> + <p>"What message have you, Madame, for the young singer, who desires to make a + career?"</p> + <p>"Ah, yes, the débutante. Tell her she must practice much—very + much—" and Madame spread out her hands to indicate it was a large subject; "she + must practice several hours every day. I had to practice very much when I began my + study—when I was sixteen; but now I do not have to spend much time on scales + and exercises; they pretty well go of themselves"; and she smiled sweetly.</p> + <p>"You say," she continued, "the débutante—the young singer—does + not know—in America—how much she needs the foreign languages. But she + should learn them. She should study French, Italian and Spanish, and know how to + speak them. Because, if she should travel to those countries, she must make herself + understood, and she must be able to sing in those languages, too.</p> + <p><span class="pagenum"><a name="page74" id="page74"></a>{74}</span>"Besides the + languages, it is very good for her to study piano also; she need not know it so well + as if she would be a pianist, but she should know it a little; yet it is better to + know more of the piano—it will make her a better musician."</p> +<br /> +<br /> + <h5>THE COLORATURA VOICE</h5> +<br /> + <p>"You love the coloratura music, do you not, Madame?"</p> + <p>"Ah, yes, I love the coloratura,—it suits me; I have always studied for + that—I know all the old Italian operas. For the coloratura music you must make + the voice sound high and sweet—like a bird—singing and soaring. You think + my voice sounds something like Patti's? Maybe. She said so herself. Ah, Patti was my + dear friend—my very dear friend—I loved her dearly. She only sang the + coloratura music, though she loved Wagner and dramatic music. Not long before she + died she said to me: 'Luisa, always keep to the coloratura music, and the beautiful + <i>bel canto</i> singing; do nothing to strain your voice; preserve its velvety + quality.' Patti's voice went to C sharp, in later years; mine has several tones + higher. In the great aria in Lucia, she used to substitute a trill at the end instead + of the top <span class="pagenum"><a name="page75" id="page75"></a>{75}</span> notes; + but she said to me—'Luisa, <i>you</i> can sing the high notes!'"</p> + <p>"Then the breathing, Madame, what would you say of that?"</p> + <p>"Ah, the breathing, that is very important indeed. You must breathe from here, you + know—what you call it—from the diaphragm, and from both sides; it is like + a bellows, going in and out," and she touched the portions referred to. "One does not + sing from the chest,—that would make queer, harsh tones." She sang a few tones + just to show how harsh they would be.</p> + <p>"You have shown such wonderful breath control in the way you sustain high tones, + beginning them softly, swelling then diminishing them."</p> + <p>"Ah, yes, the coloratura voice must always be able to do those things," was the + answer.</p> + <p>"Should you ever care to become a dramatic singer?" she was asked.</p> + <p>Tetrazzini grew thoughtful; "No, I do not think so," she said, after a pause; "I + love my coloratura music, and I think my audience likes it too; it goes to the + heart—it is all melody, and that is what people like. I sing lyric music + also—I am fond of that."</p> + <p>"Yes, and you sing songs in English, with <span class="pagenum"><a name="page76" + id="page76"></a>{76}</span> such good diction, that we can all understand + you—almost every word."</p> + <p>Madame beamed.</p> + <p>"I promise you I will learn English better next year; for I shall come back to my + friends in America next autumn. I shall be in Italy in the summer. I have two homes + over there, one in Italy and one in Switzerland.</p> + <p>"Do I prefer to sing in opera or concert, you ask? I believe I like concert much + better, for many reasons. I get nearer to the audience; I am freer—much freer, + and can be myself and not some other person. There is no change of costume, either; I + wear one gown, so it is easier; yes, I like it much more.</p> + <p>"In traveling over your big country—you see I have just been out to + California and back—I find your people have advanced so very much in + appreciation of music; you know so much more than when I was here before; that was + indeed a long time ago—about twelve years,—" and Madame made a pretty + little gesture.</p> + <p>"But in one way your great big country has scarcely advanced any if at all; you + have not advanced in providing opera for your music lovers. You need permanent opera + companies in all the larger cities. The opera companies <span class="pagenum"><a + name="page77" id="page77"></a>{77}</span> of New York and Chicago are fine, oh + yes,—but they cannot give opera to the whole country. There are a few traveling + companies too, which are good. But what are they in your big country? You should have + opera stock companies all over, which would give opera for the people. Then your fine + American girls would have the chance to gain operatic experience in their own + country, which they cannot get now. That is why the foreign singer has such a chance + here, and that is why the native singer can hardly get a chance. All the American + girls' eyes turn with longing to the Metropolitan Opera House; and with the best + intentions in the world the Director can only engage a small number of those he would + like to have, because he has no room for them. He can not help it. So I say, that + while your people have grown so much in the liking and in the understanding of music, + you do not grow on this side, because your young singers are obliged to travel to a + foreign land to get the practice in opera they are unable to get at home. You need to + do more for the permanent establishing of opera in the large and small cities of your + country."</p> + <p>Madame did not express her thoughts quite as consecutively as I have set them + down, but<span class="pagenum"><a name="page78" id="page78"></a>{78}</span> I am sure + she will approve, as these are her ideas of the musical situation in this + country.</p> + <p>As I listened to the words of this "second Patti," as she is called, and learned + of her kindly deeds, I was as much impressed by her kindness of heart as I had been + by her beautiful art of song. She does much to relieve poverty and suffering wherever + she finds it. As a result of her "vocal mastery," she has been able to found a + hospital in Italy for victims of tuberculosis, which accommodates between three and + four hundred patients. The whole institution is maintained from her own private + income. During the war she generously gave of her time and art to sing for the + soldiers and aided the cause of the Allies and the Red Cross whenever possible. For + her labors of love in this direction, she has the distinction of being decorated by a + special gold medal of honor, by both the French and Italian Governments; a + distinction only conferred on two others beside herself.</p> + <p>After our conference, I thanked her for giving me an hour from her crowded day. + She took my hand and pressed it warmly in both hers.</p> + <p>"Please do not quite forget me, Madame."</p> + <p>"Indeed not, will you forget me?"</p> + <p><span class="pagenum"><a name="page79" id="page79"></a>{79}</span>"No, I shall + always remember this delightful hour."</p> + <p>"Then, you see, I cannot forget you!" and she gave my hand a parting squeeze.</p> + <hr style="width: 65%;" /> + <h2><a name="VIII" id="VIII"></a>VIII</h2> + <span class="pagenum"><a name="page80" id="page80"></a>{80}</span> + <h2>ANTONIO SCOTTI</h2> +<br /> +<br /> + <h5>TRAINING AMERICAN SINGERS FOR OPERA</h5> +<br /> + <p>A singer of finished art and ripe experience is Antonio Scotti. His operatic + career has been rich in development, and he stands to-day at the top of the ladder, + as one of the most admired dramatic baritones of our time.</p> + <p>One of Naples' sons, he made a first appearance on the stage at Malta, in 1889. + Successful engagements in Milan, Rome, Madrid, Russia and Buenos Aires followed. In + 1899 he came to London, singing <i>Don Giovanni</i> at Covent Garden. A few months + thereafter, he came to New York and began his first season at the Metropolitan. His + vocal and histrionic gifts won instant recognition here and for the past twenty years + he has been one of the most dependable artists of each regular season.</p> + + <div class="figcenter" style="width: 328px;"> + <img src="images/0100-1.png" width="328" height="483" alt="Antonio Scotti" + title="Antonio Scotti" /> <b>Antonio Scotti</b> + </div> + <div class="figcenter" style="width: 178px;"> + <img src="images/0100-2.png" width="178" height="147" alt="Note from A Scotti" + title="Note from A Scotti" /> + </div> +<br /> +<br /> + <h5>CHARACTERIZATION</h5> +<br /> + <p>With all his varied endowments, it seldom or never falls to the lot of a baritone + to impersonate the lover; on the contrary it seems <span class="pagenum"><a + name="page81" id="page81"></a>{81}</span> to be his métier to portray the + villain. Scotti has been forced to hide his true personality behind the mask of a + Scarpia, a Tonio, an Iago, and last but not least, the most repulsive yet subtle of + all his villains—Chim-Fang, in <i>L'Oracolo</i>. Perhaps the most famous of + them all is Scarpia. But what a Scarpia, the quintessence of the polished, elegant + knave! The refinement of Mr. Scotti's art gives to each rôle distinct + characteristics which separate it from all the others.</p> +<br /> +<br /> + <h5>OPPORTUNITY FOR THE AMERICAN SINGER</h5> +<br /> + <p>Mr. Scotti has done and is doing much for the young American singer, by not only + drilling the inexperienced ones, but also by giving them opportunity to appear in + opera on tour. To begin this enterprise, the great baritone turned impresario, + engaged a company of young singers, most of them Americans, and, when his season at + the Metropolitan was at an end, took this company, at his own expense, on a southern + trip, giving opera in many cities.</p> + <p>Discussing his venture on one occasion, Mr. Scotti said:</p> + <p>"It was an experiment in several ways. First, I had an all-American company, which + <span class="pagenum"><a name="page82" id="page82"></a>{82}</span> was indeed an + experiment. I had some fine artists in the principal rôles, with lesser known + ones in smaller parts. With these I worked personally, teaching them how to act, thus + preparing them for further career in the field of opera. I like to work with the + younger and less experienced ones, for it gives me real pleasure to watch how they + improve, when they have the opportunity.</p> + <p>"Of course I am obliged to choose my material carefully, for many more apply for + places than I can ever accept.</p> +<br /> +<br /> + <h5>ITALIAN OPERA IN AMERICA</h5> +<br /> + <p>"So closely is Italy identified with all that pertains to opera," he continued, + "that the question of the future of Italian opera in America interests me immensely. + It has been my privilege to devote some of the best years of my life to singing in + Italian opera in this wonderful country of yours. One is continually impressed with + the great advance America has made and is making along all musical lines. It is + marvelous, though you who live here may not be awake to the fact. Musicians in Europe + and other parts of the world, who have never been here, can form no conception of the + musical activities here.</p> + <p><span class="pagenum"><a name="page83" + id="page83"></a>{83}</span>"It is very gratifying to me, as an Italian, to realize that the operatic + compositions of my country must play an important part in the future of American + musical art. It seems to me there is more intrinsic value—more variety in the + works of modern Italian composers than in those of other nations. We know the operas + of Mozart are largely founded on Italian models.</p> + <p>"Of the great modern Italian composers, I feel that Puccini is the most important, + because he has a more intimate appreciation of theatrical values. He seems to know + just what kind of music will fit a series of words or a scene, which will best bring + out the dramatic sense. Montemezzi is also very great in this respect. This in no way + detracts from what Mascagni, Leoncavallo and others have accomplished. It is only my + personal estimate of Puccini as a composer. The two most popular operas to-day are + <i>Aida</i> and <i>Madame Butterfly</i>, and they will always draw large audiences, + although American people are prone to attend the opera for the purpose of hearing + some particular singer and not for the sake of the work of the composer. In other + countries this is not so often the case. We must hope this condition will be overcome + in due time, for the reason <span class="pagenum"><a name="page84" + id="page84"></a>{84}</span> that it now often happens that good performances are + missed by the public who are only attracted when some much heralded celebrity + sings."</p> +<br /> +<br /> + <h5>AMERICAN COMPOSERS</h5> +<br /> + <p>Asked for his views regarding American operatic composers, Mr. Scotti said:</p> + <p>"American composers often spoil their chances of success by selecting + uninteresting and uninspired stories, which either describe some doleful historic + incident or illustrate some Indian legend, in which no one of to-day is interested, + and which is so far removed from actual life that it becomes at once artificial, + academic and preposterous. Puccini spends years searching for suitable librettos, as + great composers have always done. When he finds a story that is worthy he turns it + into an opera. But he will wait till he discovers the right kind of a plot. No wonder + he has success. In writing modern music dramas, as all young Americans endeavor to + do, they will never be successful unless they are careful to pick out really dramatic + stories to set to music."</p> +<br /> +<br /> + <h5>OPERATIC TRAINING</h5> +<br /> + <p>On a certain occasion I had an opportunity to confer with this popular baritone, + and learn <span class="pagenum"><a name="page85" id="page85"></a>{85}</span> more in + regard to his experiences as impresario. This meeting was held in the little back + office of the Metropolitan, a tiny spot, which should be—and doubtless + is—dear to every member of the company. Those four walls, if they would speak, + could tell many interesting stories of singers and musicians, famed in the world of + art and letters, who daily pass through its doors, or sit chatting on its worn + leather-covered benches, exchanging views on this performance or that, or on the + desirability or difficulty of certain rôles. Even while we were in earnest + conference, Director Gatti-Casazza passed through the room, stopping long enough to + say a pleasant word and offer a clasp of the hand. Mr. Guard, too, flitted by in + haste, but had time to give a friendly greeting.</p> + <p>Mr. Scotti was in genial mood and spoke with enthusiasm of his activities with a + favorite project—his own opera company. To the question as to whether he found + young American singers in too great haste to come before the public, before they were + sufficiently prepared, thus proving they were superficial in their studies, he + replied:</p> + <p>"No, I do not find this to be the case. As a general rule, young American singers + have a good foundation to build upon. They have <span class="pagenum"><a + name="page86" id="page86"></a>{86}</span> good voices to start with; they are eager + to learn and they study carefully. What they lack most—those who go in for + opera I mean—is stage routine and a knowledge of acting. This, as I have said + before, I try to give them. I do not give lessons in singing to these young + aspirants, as I might in this way gain the enmity of vocal teachers; but I help the + untried singers to act their parts. Of course all depends on the mentality—how + long a process of training the singer needs. The coloratura requires more time to + perfect this manner of singing than others need; but some are much quicker at it than + others.</p> + <p>"It is well I am blessed with good health, as my task is extremely arduous. When + on tour, I sing every night, besides constantly rehearsing my company. We are ninety + in all, including our orchestra. It is indeed a great undertaking. I do not do it for + money, for I make nothing personally out of it, and you can imagine how heavy the + expenses are; four thousand dollars a week, merely for transportation. But I do it + for the sake of art, and to spread the love of modern Italian opera over this great, + wonderful country, the greatest country for music that exists to-day. And the plan + succeeds far beyond my hopes; for <span class="pagenum"><a name="page87" + id="page87"></a>{87}</span> where we gave one performance in a place, we now, on our + second visit, can give three—four. Next year we shall go to California.</p> + <p>"So we are doing our part, both to aid the young singer who sorely needs + experience and to educate the masses and general public to love what is best in + modern Italian opera!"</p> + <hr style="width: 65%;" /> + <h2><a name="IX" id="IX"></a>IX</h2> + <span class="pagenum"><a name="page88" id="page88"></a>{88}</span> + <h2>ROSA RAISA</h2> +<br /> +<br /> + <h5>PATIENCE AND PERSEVERANCE WIN RESULTS</h5> +<br /> + <p>To the present day opera goers the name of Rosa Raisa stands for a compelling + force. In whatever rôle she appears, she is always a commanding figure, both + physically, dramatically and musically. Her feeling for dramatic climax, the + intensity with which she projects each character assumed, the sincerity and self + forgetfulness of her naturalistic interpretation, make every rôle notable. Her + voice is a rich, powerful soprano, vibrantly sweet when at its softest—like a + rushing torrent of passion in intense moments. At such moments the listener is + impressed with the belief that power and depth of tone are limitless; that the singer + can never come to the end of her resources, no matter how deeply she may draw on + them. There are such moments of tragic intensity, in her impersonation of the heroine + in <i>Jewels of the Madonna</i>, in <i>Sister Angelica</i>, in <i>Norma</i>, as the + avenging priestess, in which <span class="pagenum"><a name="page89" + id="page89"></a>{89}</span> rôle she has recently created such a remarkable + impression.</p> + <div class="figcenter" style="width: 328px;"> + <img src="images/0110-1.png" width="328" height="467" alt="Rosa Raisa" + title="Rosa Raisa" /> <b>Rosa Raisa</b> + </div> +<br /> +<br /> + <h5>A PRIMA DONNA AT HOME</h5> +<br /> + <p>If one has pictured to one's self that because the Russian prima donna can show + herself a whirlwind of dynamic passion on the stage, therefore she must show some of + these qualities in private life, one would quickly become disabused of such an + impression when face to face with the artist. One would then meet a slender, graceful + young woman, of gentle presence and with the simplest manners in the world. The dark, + liquid eyes look at one with frankness and sincerity; the wide, low brow, from which + the dark hair is softly drawn away, is the brow of a madonna. In repose the features + might easily belong to one of Raphael's saints. However, they light up genially when + their owner speaks.</p> + <p>Mme. Raisa stood in the doorway of her New York apartment, ready to greet us as we + were shown the way to her. Her figure, clad in close-fitting black velvet, looked + especially slender; her manner was kind and gracious, and we were soon seated in her + large, comfortable salon, deep in conference. Before we had really begun, the + singer's pet dog came <span class="pagenum"><a name="page90" + id="page90"></a>{90}</span> bounding to greet us from another room. The tiny + creature, a Mexican terrier, was most affectionate, yet very gentle withal, and + content to quietly cuddle down and listen to the conversation.</p> + <p>"I will speak somewhat softly," began Mme. Raisa, "since speaking seems to tire me + much more than singing, for what reason I do not know. We singers must think a little + of our physical well being, you see. This means keeping regular hours, living very + simply and taking a moderate amount of exercise.</p> + <p>"Yes, I always loved to sing; even as a little child I was constantly singing. And + so I began to have singing lessons when I was eight years old. Later on I went to + Italy and lived there for a number of years, until I began to travel. I now make my + home in Naples. My teacher there was Madame Marchesio, who was a remarkable singer, + musician and teacher—all three. Even when she reached the advanced age of + eighty, she could still sing wonderfully well. She had the real <i>bel canto</i>, + understood the voice, how to use it and the best way to preserve it. I owe so much to + her careful, artistic training; almost everything, I may say.</p> +<br /> +<br /> + <h5>THE SINGER'S LIFE</h5><span class="pagenum"><a + name="page91" id="page91"></a>{91}</span> +<br /> + <p>"One cannot expect to succeed in the profession of music without giving one's best + time and thought to the work of vocal training and all the other subjects that go + with it. A man in business gives his day, or the most of it, to his office. My time + is devoted to my art, and indeed I have not any too much time to study all the + necessary sides of it.</p> + <p>"During the season, I do regular vocal practice each day and keep the various + rôles in review. During the summer I study new parts, for then I have the time + and the quiet. That is what the singer needs—quiet. I always return to Naples + for the vacation, unless I go to South America and sing there. Then I must have a + little rest too, that I may be ready for the labors of the following season.</p> +<br /> +<br /> + <h5>VOCAL TRAINING</h5> +<br /> + <p>"Even during the busiest days technic practice is never neglected. Vocalizes, + scales, terzetta—what you call them—broken thirds, yes, and long, slow + tones in <i>mezza di voce</i>, that is, beginning softly, swelling to loud then + gradually diminishing to soft, are part of the daily régime. One cannot omit + these things if one <span class="pagenum"><a name="page92" + id="page92"></a>{92}</span> would always keep in condition and readiness. When at + work in daily study, I sing softly, or with medium tone quality; I do not use full + voice except occasionally, when I am going through a part and wish to try out certain + effects.</p> +<br /> +<br /> + <h5>"ONE VOICE"</h5> +<br /> + <p>"I was trained first as a coloratura and taught to do all the old Italian operas + of Bellini, Rosini, Donizetti and the rest of the florid Italian school. This gives + the singer a thorough, solid training—the sort of training that requires eight + or ten years to accomplish. But this is not too much time to give, if one wishes to + be thoroughly prepared to sing all styles of music. In former days, when singers + realized the necessity of being prepared in this way, there existed I might + say—<i>one voice;</i> for the soprano voice was trained to sing both florid and + dramatic music. But in these days sopranos are divided into High, Lyric, Coloratura + and Dramatic; singers choose which of these lines seems to suit best their voice and + temperament.</p> +<br /> +<br /> + <h5>COLORATURA AND DRAMATIC</h5> +<br /> + <p>"It is of advantage to the singer to be trained in both these arts. In the smaller + opera <span class="pagenum"><a name="page93" id="page93"></a>{93}</span> houses of + Italy, a soprano, if thus trained, can sing <i>Lucia</i> one night and <i>Norma</i> + the next; <i>Traviata</i> one night and <i>Trovatore</i> the next.</p> + <p>"Modern Italian opera calls for the dramatic soprano. She must be an actress just + as well as a singer. She must be able to express in both voice and gesture intense + passion and emotion. It is the period of storm and stress. Coloratura voices have not + so much opportunity at the present time, unless they are quite out of the ordinary. + And yet, for me, a singer who has mastery of the beautiful art of <i>bel canto,</i> + is a great joy. Galli-Curci's art is the highest I know of. For me she is the + greatest singer. Melba also is wonderful. I have heard her often—she has been + very kind to me. When I hear her sing an old Italian air, with those pure, bell-like + tones of hers, I am lifted far up; I feel myself above the sky.</p> + <br /> +<br /> + <h5>DO NOT YIELD TO DISCOURAGEMENT</h5> +<br /> + <p>"The younger singer need not yield to discouragement, for she must know from the + start, that the mastery of a great art like singing is a long and arduous task. If + the work seems too difficult at times, do not give up or say 'I cannot.' If I had + done that, I should have <span class="pagenum"><a name="page94" + id="page94"></a>{94}</span> really given up many times. Instead I say; 'I can do it, + and not only I can but I will!'</p> +<br /> +<br /> + <h5>MUSICIANSHIP</h5> +<br /> + <p>"There are so many sides to the singer's equipment, besides singing itself"; and + Mme. Raisa lifted dark eyes and spread out her graceful hands as though to indicate + the bigness of the subject. "Yes, there is the piano, for instance; the singer is + much handicapped without a knowledge of that instrument, for it not only provides + accompaniment but cultivates the musical sense. Of course I have learned the piano + and I consider it necessary for the singer.</p> + <p>"Then there are languages. Be not content with your own, though that language must + be perfectly learned and expressed, but learn others."</p> + <p>"You of course speak several languages?" questioned the listener.</p> + <p>"Yes, I speak eight," she answered modestly. "Russian, of course, for I am + Russian; then French, Italian, German, Spanish, Polish, Roumanian and English. + Besides these I am familiar with a few dialects.</p> +<br /> +<br /> + <h5>HAVE PATIENCE</h5><span class="pagenum"><a + name="page95" id="page95"></a>{95}</span> +<br /> + <p>"So many young singers are so impatient; they want to prepare themselves in three + or four years for a career," and Madame frowned her disapproval. "Perhaps they may + come before the public after that length of time spent in study; but they will only + know a part—a little of all they ought to know. With a longer time, + conscientiously used, they would be far better equipped. The singer who spends nine + or ten years in preparation, who is trained to sing florid parts as well as those + which are dramatic—she indeed can sing anything, the music of the old school as + well as of the new. In Rome I gave a recital of old music, assisted by members of the + Sistine Chapel choir. We gave much old music, some of it dating from the sixth + century.</p> + <p>"Do I always feel the emotions I express when singing a rôle? Yes, I can say + that I endeavor to throw myself absolutely into the part I am portraying; but that I + always do so with equal success cannot be expected. So many unforeseen occurrences + may interfere, which the audience can never know or consider. One may not be exactly + in the mood, or in the best of voice; the house may not be a congenial <span + class="pagenum"><a name="page96" id="page96"></a>{96}</span> space, or the audience + is unsympathetic. But if all is propitious and the audience with you—then you + are lifted up and carry every one with you. Then you are inspired and petty + annoyances are quite forgotten.</p> +<br /> +<br /> + <h5>VOCAL MASTERY</h5> +<br /> + <p>"You ask a very difficult question when you ask of what vocal mastery consists. If + I have developed perfect control throughout the two and a half octaves of my voice, + can make each tone with pure quality and perfect evenness in the different degrees of + loud and soft, and if I have perfect breath control as well, I then have an equipment + that may serve all purposes of interpretation.</p> + <p>"Together with vocal mastery must go the art of interpretation, in which all the + mastery of the vocal equipment may find expression. In order to interpret adequately + one ought to possess a perfect instrument, perfectly trained. When this is the case + one can forget mechanism, because confident of the ability to express whatever + emotion is desired."</p> + <p>"Have you a message which may be carried to the young singers?" she was asked.</p> + <p>"Tell them to have patience—patience to work and patience to wait for + results. Vocal <span class="pagenum"><a name="page97" id="page97"></a>{97}</span> + mastery is not a thing that can be quickly accomplished; it is not the work of weeks + and months, but of years of consistent, constant effort. It cannot be hurried, but + must grow with one's growth, both mentally and physically. But the reward of earnest + effort is sure to come!"</p> + <hr style="width: 65%;" /> + <h2><a name="X" id="X"></a>X</h2> + <span class="pagenum"><a name="page98" id="page98"></a>{98}</span> + <h2>LOUISE HOMER</h2> +<br /> +<br /> + <h5>THE REQUIREMENTS OF A MUSICAL CAREER</h5> +<br /> + <p>Madame Louise Homer is a native artist to whom every loyal American can point with + pardonable pride. Her career has been a constant, steady ascent, from the start; it + is a career so well known in America that there is hardly any need to review it, + except as she herself refers to it on the rare occasions when she is induced to speak + of herself. For Mme. Homer is one of the most modest artists in the world; nothing is + more distasteful to her than to seek for publicity through ordinary channels. So + averse is she to any self-seeking that it was with considerable hesitation that she + consented to express her views to the writer, on the singer's art. As Mr. Sidney + Homer, the well known composer and husband of Mme. Homer, remarked, the writer should + prize this intimate talk, as it was the first Mme. Homer had granted in a very long + time.</p> + <div class="figcenter" style="width: 333px;"> + <img src="images/0122-1.png" width="333" height="450" alt="LOUISE HOMER" + title="LOUISE HOMER" /> <b>LOUISE HOMER</b> + </div> + <p>The artist had lately returned from a long <span class="pagenum"><a name="page99" + id="page99"></a>{99}</span> trip, crowded with many concerts, when I called at the + New York residence of this ideal musical pair and their charming family. Mme. Homer + was at home and sent down word she would see me shortly. In the few moments of + waiting, I seemed to feel the genial atmosphere of this home, its quiet and cheer. A + distant tinkle of girlish laughter was borne to me once or twice; then a phrase or + two sung by a rich, vibrant voice above; then in a moment after, the artist herself + descended and greeted me cordially.</p> + <p>"We will have a cup of tea before we start in to talk," she said, and, as if by + magic, the tea tray and dainty muffins appeared.</p> + <p>How wholesome and fresh she looked, with the ruddy color in her cheeks and the + firm whiteness of neck and arms. The Japanese robe of "midnight blue," embroidered in + yellows, heightened the impression of vigorous health by its becomingness.</p> +<br /> +<br /> + <h5>FOR THE GIRL WHO WANTS TO MAKE A CAREER</h5> +<br /> + <p>"There is so much to consider for the girl who desires to enter the profession," + began Mme. Homer, in response to my first query. "First, she must have a voice, there + is no use <span class="pagenum"><a name="page100" id="page100"></a>{100}</span> + attempting a career without the voice; there must be something to develop, something + worth while to build upon. And if she has the voice and the means to study, she must + make up her mind to devote herself exclusively to her art; there is no other way to + succeed. She cannot enter society, go to luncheons, dinners and out in the evening, + and at the same time accomplish much in the way of musical development. Many girls + think, if they attend two or three voice lessons a week and learn some songs and a + few operatic arias, that is all there is to it. But there is far more. They must know + many other things. The vocal student should study piano and languages; these are + really essential. Not that she should strive to become a pianist; that would not be + possible if she is destined to become a singer; but the more she knows of the piano + and its literature, the more this will cultivate her musical sense and develop her + taste.</p> +<br /> +<br /> + <h5>HOW AN ARTIST WORKS</h5> +<br /> + <p>"I am always studying, always striving to improve what I have already learned and + trying to acquire the things I find difficult, or that I have not yet attained to. I + do vocal technic every day; this is absolutely essential, <span class="pagenum"><a + name="page101" id="page101"></a>{101}</span> while one is in the harness. It is + during the winter that I work so industriously, both on technic and repertoire, + between tours. This is when I study. I believe in resting the voice part of the year, + and I take this rest in the summer. Then, for a time, I do not sing at all. I try to + forget there is such a thing as music in the world, so far as studying it is + concerned. Of course I try over Mr. Homer's new songs, when they are finished, for + summer is his time for composition.</p> + <p>"Since the voice is such an intangible instrument, the singer needs regular + guidance and criticism, no matter how advanced she may be. As you say, it is + difficult for the singer to determine the full effect of her work; she often thinks + it much better than it really is. That is human nature, isn't it?" she added with one + of her charming smiles.</p> +<br /> +<br /> + <h5>THE START IN OPERA</h5> +<br /> + <p>"How did you start upon an operatic career?" the singer was asked.</p> + <p>Just here Mr. Homer entered and joined in the conference.</p> + <p>"I do not desire to go into my life-history, as that would take too long. In a few + words, this is how it happened—years ago.</p> + <p><span class="pagenum"><a name="page102" id="page102"></a>{102}</span>"We + were living in Boston; I had a church position, so we were each busy with our + musical work. My voice was said to be 'glorious,' but it was a cumbersome, unwieldy + organ. I could only sing up to F; there were so many things I wanted to do with my + voice that seemed impossible, that I realized I needed more training. I could have + remained where I was; the church people were quite satisfied, and I sang in concert + whenever opportunity offered. But something within urged me on. We decided to take a + year off and spend it in study abroad. Paris was then the Mecca for singers and to + Paris we went. I plunged at once into absorbing study; daily lessons in voice + training and repertoire; languages, and French diction, several times a week, and + soon acting was added, for every one said my voice was for the theater. I had no + idea, when I started out, that I should go into opera. I had always loved to sing, as + far back as I can remember. My father was a Presbyterian clergyman, and when we + needed new hymn books for church or Sunday School, they used to come to our house. I + would get hold of every hymn book I could find and learn the music. So I was always + singing; but an operatic career never entered my thought, <span class="pagenum"><a + name="page103" id="page103"></a>{103}</span> until the prospect seemed to unfold before + me, as a result of my arduous study in Paris. Of course I began to learn important + arias from the operas. Every contralto aspires to sing the grand air from the last + act of <i>Le Prophete;</i> you know it of course. I told my teacher I could never do + it, as it demanded higher tones than I had acquired, going up to C. He assured me it + would be perfectly easy in a little while, if I would spend a few moments daily on + those high notes. His prediction was correct, for in a few months I had no trouble + with the top notes.</p> + <p>"I studied stage deportment and acting from one of the greatest singing actors of + the French stage, Paul Lherie. What an artist he was! So subtle, so penetrating, so + comprehensive. The principles he taught are a constant help to me now, and his + remarks often come back to me as I study a new rôle.</p> + <p>"As I say, I studied this line of work, not knowing what would grow out of it; I + did it on faith, hoping that it might prove useful."</p> + <p>"It seems to me," remarked the composer, "that young singers would do well to make + a study of acting, along with languages and piano. Then, if the voice developed and + an operatic career opened to them, they would be <span class="pagenum"><a + name="page104" id="page104"></a>{104}</span> so much better prepared; they would have + made a start in the right direction; there would not be so much to learn all at once, + later on."</p> + <p>"If the girl could only be sure she was destined for a stage career," said Mme. + Homer, thoughtfully, "she might do many things from the start that she doesn't think + of doing before she knows.</p> + <p>"To go on with my Paris story. I kept faithfully at work for a year, preparing + myself for I knew not just what; I could not guess what was in store. Then I got my + first opera engagement, quite unexpectedly. I was singing for some professional + friends in a large <i>saale</i>. I noticed a man standing with his back to me, + looking out of one of the long windows. When I finished, he came forward and offered + me an engagement at Vichy, for the summer season. The name Vichy only suggested to my + mind a kind of beverage. Now I learned the town had a flourishing Opera House, and I + was expected to sing eight rôles. Thus my stage career began."</p> +<br /> +<br /> + <h5>WHAT ARE THE ASSETS FOR A CAREER?</h5> +<br /> + <p>"And what must the girl possess, who wishes to make a success with her singing?" + was asked.</p> + <p>"First of all, as I have already said, she <span class="pagenum"><a name="page105" + id="page105"></a>{105}</span> must have a voice; she can never expect to get very far + without that. Voice is a necessity for a singer, but it rests with her what she will + do with it, how she will develop it.</p> + <p>"The next asset is intelligence; that is as great a necessity as a voice. For + through the voice we express what we feel, what we are; intelligence controls, + directs, shines through and illumines everything. Indeed what can be done without + intelligence? I could mention a young singer with a good natural voice, who takes her + tones correctly, who studies well; indeed one can find no fault with the technical + side of her work; but her singing has no meaning—it says absolutely nothing; it + only represents just so many notes."</p> + <p>"That is because she has not a musical nature," put in Mr. Homer. "To my mind that + is the greatest asset any one can have who wishes to become a musician in any branch + of the art. What can be done without a musical nature? Of course I speak of the young + singer who wishes to make a career. There are many young people who take up singing + for their own pleasure, never expecting to do much with it. And it is a good thing to + do so. It gives pleasure to their family and friends—is a healthful exercise, + and last but not least, <span class="pagenum"><a name="page106" + id="page106"></a>{106}</span> is financially good for the teacher they employ.</p> + <p>"But the trouble comes when these superficial students aspire to become opera + singers, after a couple of seasons' study. Of course they all cast eyes at the + Metropolitan, as the end and aim of all striving.</p> + <p>"Just as if, when a young man enters a law office, it is going to lead him to the + White House, or that he expects it will," said Mr. Homer.</p> + <p>"Then," resumed the artist, "we have already three requirements for a vocal + career; Voice, Intelligence and a Musical Nature. I think the Fourth should be a + Capacity for Work. Without application, the gifts of voice, intelligence and a + musical nature will not make an artist. To accomplish this task requires ceaseless + labor, without yielding to discouragement. Perhaps the Fifth asset would be a + cheerful optimism as proof against discouragement.</p> + <p>"That is the last thing the student should yield to—discouragement, for this + has stunted or impaired the growth of many singers possessed of natural talent. The + young singer must never be down-hearted. Suppose things do not go as she would like + to have them; she must learn to overcome obstacles, not be <span + class="pagenum"><a name="page107" id="page107"></a>{107}</span> overcome by them. She + must have backbone enough to stand up under disappointments; they are the test of her + mettle, of her worthiness to enter the circle with those who have overcome. For she + can be sure that none of us have risen to a place in art without the hardest kind of + work, struggle and the conquering of all sorts of difficulties.</p> + <p>"The sixth asset ought to be Patience, for she will need that in large measure. It + is only with patient striving, doing the daily vocal task, and trying to do it each + day a little better than the day before, that anything worth while is accomplished. + It is a work that cannot be hurried. I repeat it; the student must have unlimited + patience to labor and wait for results.</p> +<br /> +<br /> + <h5>COLORATURA AND DRAMATIC</h5> +<br /> + <p>"I would advise every student to study coloratura first. Then, as the voice + broadens, deepens and takes on a richer timbre, it will turn naturally to the more + dramatic expression. The voice needs this background, or foundation in the old + Italian music, in order to acquire flexibility and freedom. I was not trained to + follow this plan myself, but my daughter Louise, who is just starting out in <span + class="pagenum"><a name="page108" id="page108"></a>{108}</span> her public career, + has been brought up to this idea, which seems to me the best.</p> +<br /> +<br /> + <h5>MEMORIZING</h5> +<br /> + <p>"I memorize very easily, learning both words and music at the same time. In taking + up a new rôle, my accompanist plays it for me and we go over it carefully + noting all there is in language and notes. When I can take it to bed with me, and go + over it mentally; when I can go through it as I walk along the street, then it has + become a part of me; then I can feel I know it."</p> + <p>"Mme. Homer holds the banner at the Metropolitan, for rapid memorizing," said her + husband. "On one occasion, when <i>Das Rheingold</i> was announced for an evening + performance, the Fricka was suddenly indisposed and unable to appear. Early in the + afternoon, the Director came to Mme. Homer, begging her to do the part, as otherwise + he would be forced to close the house that night. A singer had tried all forenoon to + learn the rôle, but had now given it up as impossible. Mme. Homer consented. + She started in at three o'clock and worked till six, went on in the evening, sang the + part without rehearsal, and acquitted herself with credit. This record has <span + class="pagenum"><a name="page109" id="page109"></a>{109}</span> never been surpassed + at the Metropolitan." "I knew the other Frickas of the Ring," said Madame, "but had + never learned the one in the <i>Rheingold</i>; it is full of short phrases and + difficult to remember, but I came through all right. I may add, as you ask, that + perhaps <i>Orfeo</i> is my favorite rôle, one of the most beautiful works we + have."</p> + <br /> +<br /> + <h5>VOCAL MASTERY</h5> +<br /> + <p>"What do I understand by Vocal Mastery? The words explain themselves. The singer + must master all difficulties of technic, of tone production, so as to be able to + express the thought of the composer, and the meaning of the music."</p> + <p>"Don't forget that the singer must have a musical nature," added Mr. Homer, "for + without this true vocal mastery is impossible."</p> + <hr style="width: 65%;" /> + <h2><a name="XI" id="XI"></a>XI</h2> + <span class="pagenum"><a name="page110" id="page110"></a>{110}</span> + <h2>GIOVANNI MARTINELLI</h2> +<br /> +<br /> + <h5>"LET US HAVE PLENTY OF OPERA IN AMERICA"</h5> +<br /> + <p>Said the Professor: "How well I remember the first time I heard Martinelli. We + were traveling in Italy that summer, and had arrived in Verona rather late in the + afternoon. The city seemed full of people, with many strangers, and we could not at + first secure accommodations at the hotel. Inquiring the cause, the answer was: 'Does + not the signer know that to-day is one holiday, and to-night, in the Amphitheater, + <i>Aïda</i> will be sung, under the stars.' We finally secured rooms, and of + course heard the opera that night. Young Martinelli was the Rhadames, and I shall + never forget how splendidly his voice rang out over those vast spaces of the Arena. + It was a most unusual experience to hear that music sung in the open—'under the + stars,' and it was unforgettable."</p> + + <div class="figcenter" style="width: 334px;"> + <img src="images/0136-1.png" width="334" height="468" alt="GIOVANNI MARTINELLI" + title="GIOVANNI MARTINELLI" /> <b>GIOVANNI MARTINELLI</b> + </div> + + <p>Giovanni Martinelli, who has been for <span class="pagenum"><a name="page111" + id="page111"></a>{111}</span>several years one of the leading tenors at the + Metropolitan Opera House, New York, has warmly entrenched himself in the hearts of + music lovers in America. To be a great singer, as some one has said, requires, first, + voice; second, voice; third, voice. However, at the present hour a great singer must + have more than voice; we demand histrionic ability also. We want singing actors as + well as great singers.</p> + <p>Mr. Martinelli is the possessor of a beautiful voice and, moreover, is a fine + actor and an excellent musician. He was, first of all, a clarinetist before he became + a singer, and so well did he play his chosen instrument that his services were in + great demand in his home town in Italy. Then it was discovered he had a voice and he + was told he could make a far greater success with that voice than he ever could + playing the clarinet. He set to work at once to cultivate the voice in serious + earnest and under good instruction. After a considerable time devoted to study, he + made his début in Milan, in Verdi's <i>Ernani</i>. His success won an + engagement at Covent Garden and for Monte Carlo.</p> + <p>A visit to the singer's New York home is a most interesting experience. He has + chosen <span class="pagenum"><a name="page112" id="page112"></a>{112}</span> + apartments perched high above the great artery of the city's life—Broadway. + From the many sun-flooded windows magnificent views of avenue, river and sky are + visible, while at night the electrical glamour that meets the eye is fairy-like. It + is a sightly spot and must remind the singer of his own sun lighted atmosphere at + home.</p> + <p>The visitor was welcomed with simple courtesy by a kindly, unaffected gentleman, + who insists he cannot speak "your English," but who, in spite of this assertion, + succeeds in making himself excellently well understood. One feels his is a mentality + that will labor for an object and will attain it through force of effort. There is + determination in the firm mouth, which smiles so pleasantly when speaking; the + thoughtful brow and serious eyes add their share to the forceful personality. The + Titian-tinted hair indicates, it is said, a birthplace in northern Italy. This is + quite true in the case of Mr. Martinelli, as he comes from a village not far from + Padua and but fifty miles from Venice—the little town of Montagnana.</p> +<br /> +<br /> + <h5>DAILY STUDY</h5> +<br /> + <p>"You ask about my daily routine of study. In the morning I practice exercises and + <span class="pagenum"><a name="page113" id="page113"></a>{113}</span> vocalizes for + one hour. These put the voice in good condition, tune up the vocal chords and oil up + the mechanism, so to speak. After this I work on repertoire for another hour. I + always practice with full voice, as with half voice I would not derive the benefit I + need. At rehearsals I use half voice, but not when I study. In the afternoon I work + another hour, this time with my accompanist; for I do not play the piano myself, only + just enough to assist the voice with a few chords. This régime gives me three + hours' regular study, which seems to me quite sufficient. The voice is not like the + fingers of a pianist, for they can be used without limit. If we would keep the voice + at its best, we must take care not to overwork it.</p> +<br /> +<br /> + <h5>TREATMENT OF THE VOICE</h5> +<br /> + <p>"In regard to the treatment of the voice, each singer must work out his own + salvation. A great teacher—one who understands his own voice and can sing as + well as teach—may tell how he does things, may explain how he treats the voice, + may demonstrate to the student his manner of executing a certain phrase or passage, + or of interpreting a song. But when this is done he can do little more for the + student, for each person has a different mentality and a <span class="pagenum"><a + name="page114" id="page114"></a>{114}</span> different quality of voice—indeed + there are as many qualities of voice as there are people. After general principles + are thoroughly understood, a singer must work them out according to his own ability. + This does not mean that he cannot be guided and helped by the greater experience of a + master higher up, who can always criticize the <i>result</i> of what the student is + trying to do. The voice is a hidden instrument, and eventually its fate must rest + with its possessor.</p> +<br /> +<br /> + <h5>A NEW RÔLE</h5> +<br /> + <p>"When I take up a new part I read the book very carefully to get a thorough idea + of the story, the plot and the characters. Then comes the study of my own part, of + which I memorize the words first of all. As soon as the words are committed I begin + on the music. When these are both well in hand, work with the accompanist + follows.</p> + <p>"I have many tenor rôles in my repertoire and am working on others. If you + ask for my favorite opera, or operas, I would answer, as most Italians would do, that + I enjoy singing the music of Verdi more than that of any composer. I love his + <i>Aïda</i> perhaps best of all. <i>Ernani</i> is a beautiful opera, but <span + class="pagenum"><a name="page115" id="page115"></a>{115}</span> maybe would be + thought too old-fashioned for New York. I sing various rôles in French as well + as Italian—<i>Faust, Sans Gene</i>, and many more. In Italy we know Wagner very + well—<i>Lohengrin, Tannhauser, Tristan</i> and <i>Meistersinger</i>,—but + of course they are always sung in Italian.</p> +<br /> +<br /> + <h5>OPERA IN EVERY CITY</h5> +<br /> + <p>"The Metropolitan is one of the greatest opera houses in the world—but it is + only <i>one</i>. You have a wonderful country, yet most of its cities must do without + opera. Do not forget that in Italy every city and town has its opera house and its + season of opera, lasting ten weeks or more. Of course the works are not elaborately + produced, the singers may not be so great or high-salaried, but the people are being + educated to know and love the best opera music. Performances are given Wednesdays and + Thursdays, Saturdays and Sundays; the singers resting the days between. They need to + as they are obliged to sing at every performance.</p> + <p>"Ah, if you would follow some such plan in America! It would create a great love + for good music in the smaller cities and towns where people hear so little, and so + seldom this <span class="pagenum"><a name="page116" id="page116"></a>{116}</span> + kind of music. You do so much for music in every other style, but not for opera. Of + course I must except the half dozen cities large enough and rich enough to be favored + with a season of extended operatic performances; these are the real music centers of + your country.</p> + <p>"I will show you what we do for opera in Italy. Here is an Italian musical + journal, which I have just received." Mr. Martinelli took up a single-sheet newspaper + which lay upon his desk. "You will find all the large cities and most of the small + ones reported here. Accordingly, accounts are given of what works are being + performed, what artists are singing and where, and how long each season will last. + Thus we can glance over the whole field and keep in touch with every singer. + Naturally, the time and length of the seasons of performance differ widely in the + different places. Thus a singer of reputation can make engagements in various places, + then go from one town to another in a complete tour, without conflicting.</p> + <p>"I have had the pleasure of singing a number of seasons at the Metropolitan. + During the summer I do not always go back to Italy when the season is over here; last + year I <span class="pagenum"><a name="page117" id="page117"></a>{117}</span> sang in + Buenos Aires. This keeps me at work the whole year. Buenos Aires is a beautiful city, + and reminds one of Milan. Yes, I like New York. It is more commercial, of course, but + I have grown accustomed to that side of it."</p> + <p>As the visitor was leaving, courteously conducted through the corridor by Mr. + Martinelli, a small chariot was encountered, crammed with dolls and toys, the whole + belonging to little Miss Martinelli, aged eleven months.</p> + <p>"Shall you make a singer of the little lady?" the artist was asked.</p> + <p>"Ah, no; one singer in a family is enough," was the quick response. "But who can + tell? It may so happen, after all."</p> + <hr style="width: 65%;" /> + <h2><a name="XII" id="XII"></a>XII</h2> + <span class="pagenum"><a name="page118" id="page118"></a>{118}</span> + <h2>ANNA CASE</h2> +<br /> +<br /> + <h5>INSPIRED INTERPRETATION</h5> +<br /> + <p>Anna Case, known from one end of our land to the other, in song recital, is surely + one hundred per cent. American. She was born in the little State of New Jersey, and + received her entire vocal training right here in New York City, of a single teacher. + No running about from one instructor to another, "getting points" from each, for this + singer. She knew from the first moment that she had found the right teacher, one who + understood her, what she wanted to do, and could bring her to the goal.</p> + <p>And when one has discovered just the right person to develop talent, one should + have the good sense and loyalty to stick to that person. This is exactly what Miss + Case has done, for along with other gifts she has the best gift of all—common + sense. "Mme. Ostrom-Renard has been my only teacher," she says; "whatever I am or + have accomplished I owe entirely to her. She has done everything for me; I feel she + is the most wonderful teacher in the world."</p> + + <div class="figcenter" style="width: 331px;"> + <img src="images/0146-1.png" width="331" height="500" alt="ANNA CASE" + title="ANNA CASE" /> <b>ANNA CASE</b> + </div> + + + <p><span class="pagenum"><a name="page119" id="page119"></a>{119}</span> + A life of constant travel and almost daily concerts and recitals, lies before Miss + Case from early in the Autumn to the end of Spring, with but a few breathing places + here and there, between the tours, when she returns home to rest up.</p> + <p>During one of these oases it was a pleasant experience to meet and talk with the + charming young singer, in her cozy New York apartment. She had just come in from a + six weeks' trip, which had included concerts in Texas and Mexico, where the usual + success had attended her everywhere.</p> + <p>It must surely give a sense of relief to know that the quiet home is awaiting + one's return; that there are to be found one's favorite books, music, piano, the + silken divan, soft lights, pictures,—all the familiar comforts one is deprived + of on the road.</p> + <p>The visitor, coming in from the biting winds without, was impressed with the + comfort and warmth of the small salon, as the mistress of it entered. Clad in soft + draperies of dull blue, which but thinly veiled the white arms and fell away from the + rounded throat, Miss Case was just as beautiful to look upon as when she stands in + bewildering evening gown before a rapt audience. And, what is much more to the <span + class="pagenum"><a name="page120" id="page120"></a>{120}</span> point, she is a + thoroughly sensible, sincere American girl, with no frills and no nonsense about + her.</p> + <p>After greetings were over, the singer settled herself among the silken cushions of + her divan ready for our talk.</p> + <p>"I believe I always wanted to sing, rather than do anything else in the way of + music. I studied the piano a little at first, but that did not exactly appeal to me. + I also began the violin, because my father is fond of that instrument and wanted me + to play it. But the violin was not just what I wanted either, for all the time I + longed to sing. Singing is such a part of one's very self; I wanted to express myself + through it. I had no idea, when I started, that I should ever make a specialty of it, + or that, in a comparatively few years I should be singing all over the country. I did + not know what was before me, I only wanted to learn to sing.</p> + <p>"Now I cannot tell just how I do the different things one must do to sing + correctly. I know that, if I have to master some subject, I just sit down and work at + that thing till I can do it—till it is done. My teacher knows every organ in + the anatomy, and can describe the muscles, bones and ligaments found in the head, + face and throat. She can make a<span class="pagenum"><a name="page121" + id="page121"></a>{121}</span> diagram of the whole or any part. Not that such knowledge + is going to make a singer, but it may help in directing one's efforts."</p> +<br /> +<br /> + <h5>TONE PLACEMENT</h5> +<br /> + <p>"Can you describe tone placement?" she was asked.</p> + <p>"For the deeper tones—as one makes them—they seem to come from lower + down: for the middle and higher tones, you feel the vibrations in facial muscles and + about the eyes, always focused forward, just at the base of the forehead, between the + eyes. It is something very difficult to put into words; the sensations have to be + experienced, when making the tones. The singer must judge so much from sensation, for + she cannot very well hear herself. I do not really hear myself; I mean by this I + cannot tell the full effect of what I am doing."</p> +<br /> +<br /> + <h5>WHEN TO PRACTICE</h5> +<br /> + <p>"No doubt you do much practice—or is that now necessary?"</p> + <p>Miss Case considered this thoughtfully.</p> + <p>"I never practice when I am tired, for then it does more harm than good. It is + much better for the voice to rest and not use it at all, than to sing when not + physically fit. One <span class="pagenum"><a name="page122" + id="page122"></a>{122}</span> must be in good condition to make good tones; they will + not be clear and perfect if one is not strong and in good health. I can really study, + yet not sing at all. For the whole work is mental anyway.</p> +<br /> +<br /> + <h5>USING FULL, VOICE</h5> +<br /> + <p>"When I work on the interpretation of a song, in the quiet of my music room here, + I try to sing it just as I would before an audience; I have not two ways of doing it, + one way for a small room and another for a large one. If your tone placement is + correct, and you are making the right effects, they will carry equally in a large + space. At least this is my experience. But," she added, smiling, "you may find other + artists who would not agree to this, who would think quite differently. Each one must + see things her own way; and singing is such an individual thing after all.</p> +<br /> +<br /> + <h5>THE SUBJECT OF INTERPRETATION</h5> +<br /> + <p>"The interpretation of a rôle, or song, is everything—of course. What + are mere notes and signs compared to the thoughts expressed through them? Yet it is + evident there are people who don't agree to this, for one hears many singers who + never seem to look deeper than the printed page. They stand up and go through <span + class="pagenum"><a name="page123" id="page123"></a>{123}</span> their songs, but the + audiences remain cold; they are not touched. The audiences are blamed for their + apathy or indifference, but how can they be warmed when the singer does not kindle + them into life?</p> + <p>"To me there is a wonderful bond of sympathy between the audience and myself. I + feel the people, in a sense, belong to me—are part of my family. To them I pour + out all my feelings—my whole soul. All the sorrow of the sad songs, all the joy + of the gay ones, they share with me. In this spirit I come before them; they feel + this, I am sure. It awakens a response at once, and this always inspires me. I put + myself in a receptive mood; it has the desired effect; my interpretation becomes + inspired through their sympathy and my desire to give out to them.</p> +<br /> +<br /> + <h5>THE WORDS OF A SONG PARAMOUNT</h5> +<br /> + <p>"I feel the greatest thing about a song is the words. They inspired the music, + they were the cause of its being. I cannot imagine, when once words have been joined + to music, how other words can be put to the same music, without destroying the whole + idea. The words must be made plain to the audience. Every syllable should be + intelligible, and understood <span class="pagenum"><a name="page124" + id="page124"></a>{124}</span> by the listener. I feel diction is so absolutely + essential. How can a singer expect the audience will take an interest in what she is + doing, if they have no idea what it is all about? And this applies not only to + English songs but to those in French as well. In an audience there will be many who + understand French. Shall the singer imagine she can pronounce a foreign tongue in any + old way, and it will go—in these days? No, she must be equally careful about + all diction and see that it is as nearly perfect as she can make it; that it is so + correct that anybody can understand every word. When she can do this, she has gone a + long way toward carrying her audience with her when she sings. "When the diction is + satisfactory, there is yet something much deeper; it is the giving out of one's best + thought, one's best self, which must animate the song and carry it home to the + listener. It touches the heart, because it comes from one's very inmost being. I am a + creature of mood. I cannot sing unless I feel like it. I must be inspired in order to + give an interpretation that shall be worth anything.</p> +<br /> +<br /> + <h5>GROWTH OF APPRECIATION</h5> +<br /> + <p>"In traveling over the country, I have found such wonderful musical growth, and it + seems <span class="pagenum"><a name="page125" id="page125"></a>{125}</span> to + increase each year. Even in little places the people show such appreciation for what + is good. And I only give them good music—the best songs, both classical and + modern. Nothing but the best would interest me. In my recent trip, down in Mexico and + Oklahoma, there are everywhere large halls, and people come from all the country + round to attend a concert. Men who look as though they had driven a grocery wagon, or + like occupation, sit and listen so attentively and with such evident enjoyment. I am + sure the circulation of the phonograph records has much to do with America's present + wonderful advancement in musical understanding."</p> + <p>Just here a large cat slipped through the doorway; such a beautiful creature, with + long gray and white fur and big blue eyes.</p> + <p>"It is a real chinchilla, of high degree," said Miss Case, caressing her pet. "I + call her Fochette. I am so fond of all animals, especially dogs and cats."</p> + <p>"You must know the country well, having been over it so much."</p> + <p>"Yes, but oh, the long distances! It often takes so many hours to go from one + place to another. I think there is a reason why foreign singers are apt to be rather + stout; they are not <span class="pagenum"><a name="page126" + id="page126"></a>{126}</span> worn out by traveling great distances, as cities are so + much nearer together than over here!" And Miss Case smiled in amusement. "But, in + spite of all discomforts of transportation and so on, the joy of bringing a message + to a waiting audience is worth all it costs. I often think, if one could just fly to + Chicago or Philadelphia, for instance, sing one's program and return just as quickly, + without all these hours of surface travel, how delightful it would be! I had a + wonderful experience in an airplane last summer. Flying has the most salutary effect + on the voice. After sailing through the air for awhile, you feel as though you could + sing anything and everything, the exhilaration is so great. One takes in such a + quantity of pure air that the lungs feel perfectly clear and free. One can learn a + lesson about breathing from such an experience."</p> + <p>Before parting a final question was asked:</p> + <p>"What, in your opinion, are the vital requisites necessary to become a + singer?"</p> + <p>Almost instantly came the reply:</p> + <p>"Brains, Personality, Voice."</p> + <p>With this cryptic answer we took leave of the fair artist.</p> + + <hr style="width: 65%;" /> + + <h2><a name="XIII" id="XIII"></a>XIII</h2> + <span class="pagenum"><a name="page127" id="page127"></a>{127}</span> + <h2>FLORENCE EASTON</h2> +<br /> +<br /> + <h5>PROBLEMS CONFRONTING THE YOUNG SINGER</h5> +<br /> + <p>English by birth, American by marriage, beloved in every country where her art is + known, Florence Easton, after ten years of activity in the music centers of Europe, + is now making her home in America. Mme. Easton is a singer whose attitude towards + music is one of deepest sincerity. No one could witness her beautiful, sympathetic + investiture of the Saint Elizabeth, of Liszt, or some of her other important + rôles, without being impressed with this complete, earnest sincerity. It shines + out of her earnest eyes and frank smile, as she greets the visitor; it vibrates in + the tones of her voice as she speaks. What can even a whole hour's talk reveal of the + deep undercurrents of an artist's thought? Yet in sixty minutes many helpful things + may be said, and Mme. Easton, always serious in every artistic thing she undertakes, + will wish the educational side of our talk to be uppermost.</p> +<br /> +<br /> + <h5>THE YOUNG SINGER</h5><span class="pagenum"><a + name="page128" id="page128"></a>{128}</span> +<br /> + <p>"I have a deep sympathy for the American girl who honestly wishes to cultivate her + voice. Of course, in the first place, she must have a voice to start with; there is + no use trying to train something which doesn't exist. Given the voice and a love for + music, it is still difficult to tell another how to begin. Each singer who has risen, + who has found herself, knows by what path she climbed, but the path she found might + not do for another.</p> + <p>"There are quantities of girls in America with good voices, good looks and a love + for music. And there are plenty of good vocal teachers, too, not only in New York, + but in other large cities of this great country. There is always the problem, + however, of securing just the right kind of a teacher. For a teacher may be excellent + for one voice but not for another.</p> + + <div class="figcenter" style="width: 329px;"> + <img src="images/0158-1.png" width="329" height="496" alt="FLORENCE EASTON" + title="FLORENCE EASTON" /> <b>FLORENCE EASTON</b> + </div> + + +<br /> +<br /> + <h5>THE STUDIO VERSUS THE CONCERT ROOM</h5> +<br /> + <p>"The American girl, trained in the studio, has little idea of what it means to + sing in a large hall or opera house. In the small room her voice sounds very pretty, + and she can make a number of nice effects; she may also have a <span + class="pagenum"><a name="page129" id="page129"></a>{129}</span> delicate pianissimo. + These things are mostly lost when she tries them in a large space. It is like + beginning all over again. She has never been taught any other way but the studio way. + If young singers could only have a chance to try their wings frequently in large + halls, it would be of the greatest benefit. If they could sing to a public who only + paid a nominal sum and did not expect great things; a public who would come for the + sake of the music they were to hear, because they wanted the enjoyment and + refreshment of it, not for the sake of some singers with big names, they would judge + the young aspirant impersonally, which would be one of the best things for her.</p> +<br /> +<br /> + <h5>VALUE OF HONEST CRITICISM</h5> +<br /> + <p>"Frequently the trouble with the young singer is that her friends too often tell + her how wonderful she is. This is a hindrance instead of a help. She should always + have some one who will criticize her honestly. The singer cannot really hear herself, + that is, not until she is well advanced in her work. Therefore she should always have + the guidance of a teacher. I never think of giving a program without going through it + for criticism. The office of critic is a very difficult one, especially if you <span + class="pagenum"><a name="page130" id="page130"></a>{130}</span> are to criticize some + one you are fond of. Mr. Maclennan and I try to do it for each other. I assure you it + is no easy task to sing a program knowing some one is listening who will not spare + you, and will tell you all your faults. I know this is all very salutary, but it is + human nature to wish to hear one's good points rather than the poor ones. I sometimes + say: 'Do tell me the good things I did.' But he says he does not need to speak of + those; I only need to know my faults in order that they may be corrected.</p> + <p>"It is so easy to overdo a little, one way or the other. For instance, you make a + certain effect,—it goes well. You think you will make it a little more + pronounced next time. And so it goes on, until before you know it you have acquired a + definite habit, which the critics will call a mannerism and advise you to get rid of. + So the artist has to be constantly on the watch, to guard against these incipient + faults."</p> +<br /> +<br /> + <h5>BREATHING EXERCISES</h5> +<br /> + <p>Asked what kind of breathing exercises she used, Mme. Easton continued: "No doubt + each one has her own exercises for the practice and teaching of breath control. For + myself, I stand at the open window, for one <span class="pagenum"><a name="page131" + id="page131"></a>{131}</span> should always breathe pure air, and I inhale and exhale + slowly, a number of times, till I feel my lungs are thoroughly clear and filled with + fresh air. Then I frequently sing tones directly after these long inhalations. A + one-octave scale, sung slowly in one breath, or at most in two, is an excellent + exercise. You remember Lilli Lehmann's talks about the 'long scale'? But the way in + which she uses it perhaps no one but a Lehmann could imitate. What a wonderful woman + she was—and is! She has such a remarkable physique, and can endure any amount + of effort and fatigue. Every singer who hopes to make a success in any branch of the + musical profession, should look after the physical side, and see that it is cared for + and developed.</p> +<br /> +<br /> + <h5>"STUDY THE PIANO!"</h5> +<br /> + <p>"If a girl is fond of music, let her first of all study the piano, for a knowledge + of the piano and its music is really at the bottom of everything. If I have a word of + advice to mothers, it should be: 'Let your child study the piano.' All children + should have this opportunity, whether they greatly desire it or not. The child who + early begins to study the piano, will often—almost unconsciously—follow + the <span class="pagenum"><a name="page132" id="page132"></a>{132}</span> melody she + plays with her voice. Thus the love of song is awakened in her, and a little later it + is discovered she has a voice that is worth cultivating. How many of our great + singers began their musical studies first at the piano.</p> + <p>"On the other hand, the girl with a voice, who has never worked at the piano, is + greatly handicapped from the start, when she begins her vocal studies. As she knows + nothing of the piano, everything has to be played for her,—she can never be + independent of the accompanist; she loses half the pleasure of knowing and doing + things herself."</p> +<br /> +<br /> + <h5>FULL OR HALF VOICE</h5> +<br /> + <p>Asked if she used full or half voice for practice, Mme. Easton replied:</p> + <p>"I do not, as a rule, use full voice when at work. But this admission, if + followed, might prove injurious to the young singer. In the earlier stages of study, + one should use full voice, for half voice might result in very faulty tone + production. The advanced singer, who has passed the experimental stage can do many + things the novice may not attempt, and this is one of them.</p> +<br /> +<br /> + <h5>IN REGARD TO MEMORIZING</h5><span class="pagenum"><a + name="page133" id="page133"></a>{133}</span> +<br /> + <p>"Here again my particular method of work can hardly be of value to others, as I + memorize with great rapidity. It is no effort for me; I seem to be able to visualize + the whole part. Music has always been very easy to remember and with sufficient + concentration I can soon make the words my own. I always concentrate deeply on what I + am doing. Lately I was asked to prepare a leading rôle in one of the season's + new operas, to replace a singer at short notice, should this be necessary. I did so + and accomplished the task in four days. Mr. Caruso laughingly remarked I must have a + camera in my head. I know my own parts, both voice and accompaniment. In learning a + song, I commit both voice and words at the same time.</p> +<br /> +<br /> + <h5>FEELING DEEPLY DURING PERFORMANCE</h5> +<br /> + <p>"I feel the meaning of the music, the tragedy or comedy, the sadness or gayety of + it each time I perform it, but not, as a rule, to the extent of being entirely worn + out with emotion. It depends, however, on the occasion. If you are singing in a + foreign language, which the audience does not understand, you make <span + class="pagenum"><a name="page134" id="page134"></a>{134}</span> every effort to 'put + it over,' to make them see what you are trying to tell them. You strive to make the + song intelligible in some way. You may add facial expression and gesture, more than + you would otherwise do. All this is more wearing because of the effort involved.</p> +<br /> +<br /> + <h5>LANGUAGE</h5> +<br /> + <p>"This brings us to another point, the study of languages. The Italian sings nearly + all his rôles in his own tongue, with a few learned in French. With the + Frenchman, it is the same: he sings in his own tongue and learns some parts in + Italian. But we poor Americans are forced to learn our parts in all three languages. + This, of itself, greatly adds to our difficulties. We complain that the American + sings his own language so carelessly. An Italian, singing his own language for his + own people, may not be any more careful than we are, but he will make English, if he + attempts it, more intelligible than we do, because he takes extra care to do so. The + duty is laid upon Americans to study other languages, if they expect to sing. I know + how often this study is neglected by the student. It is another phase of that haste + to make one's way which is characteristic of the young student and singer.</p> + <p><span class="pagenum"><a name="page135" id="page135"></a>{135}</span>"Take, for + example, the girl in the small town, who is trying to do something with her voice. + She believes if she can get to New York, or some other music center, and have six + months' lessons with some well known teacher, she will emerge a singer. She comes and + finds living expenses so great that only one lesson a week with the professor is + possible. There is no chance for language or diction study, or piano lessons; yet all + these she ought to have. And one vocal lesson a week is entirely inadequate. The old + way of having daily lessons was far more successful. The present way vocal teachers + give lessons is not conducive to the best development. The pupils come in a hurry, + one after another, to get their fifteen or twenty minutes of instruction. Yet one + cannot blame the teacher for he must live.</p> +<br /> +<br /> + <h5>THE IDEAL WAY</h5> +<br /> + <p>"The ideal way is to have several lessons a week, and not to take them in such + haste. If the pupil arrives, and finds, on first essay, that her voice is not in the + best of trim, how much better to be able to wait a bit, and try again; it might then + be all right. But, as I said, under modern conditions, this course seems not to be + possible, for the teacher must live. If <span class="pagenum"><a name="page136" + id="page136"></a>{136}</span> only vocal lessons could be free, at least to the + talented ones! It seems sad that a gifted girl must pay to learn to sing, when it is + a very part of her, as much as the song of the bird. Ah, if I had plenty of money, I + would see that many of them should have this privilege, without always looking at the + money end of it.</p> +<br /> +<br /> + <h5>AMOUNT OF DAILY PRACTICE</h5> +<br /> + <p>"It seems to me the young singer should not practice more than two periods of + fifteen or twenty minutes each. At most one should not use the voice more than an + hour a day. We hear of people practicing hours and hours daily, but that is probably + in books. The voice cannot be treated as the pianist or violinist does his fingers. + One must handle the voice with much more care.</p> +<br /> +<br /> + <h5>OPPORTUNITIES FOR THE YOUNG SINGER IN AMERICA</h5> +<br /> + <p>"The chances for the American singer to make a career in concert and recital are + abundant. In no other country in the world do such opportunities exist. If she can + meet the requirements, she can win both fame and fortune on the concert stage.</p> + <p>"In opera, on the other hand, opportunities <span class="pagenum"><a + name="page137" id="page137"></a>{137}</span> are few and the outlook anything but + hopeful. Every young singer casts longing eyes at the Metropolitan, or Chicago Opera, + as the goal of all ambition. But that is the most hopeless notion of all. No matter + how beautiful the voice, it is drill, routine, experience one needs. Without these, + plus musical reputation, how is one to succeed in one of the two opera houses of the + land? And even if one is accepted 'for small parts,' what hope is there of rising, + when some of the greatest artists of the world hold the leading rôles? What the + American singer needs is opportunity to gain experience and reputation in smaller + places. Several years' drill and routine would fit the aspirant for a much broader + field. This would give her command over her resources and herself, and perfect her + voice and impersonations, if she has the gifts and constantly studies to improve + them. Even England, so small compared to America, has seven opera companies that + travel up and down the land, giving opera; they have done this during all the years + of the war.</p> + <p>"This question of providing opportunity for operatic experience in America, is one + which has long been discussed and many experiments have been tried, without arriving + at <span class="pagenum"><a name="page138" id="page138"></a>{138}</span> satisfactory + results. What is needed is to awaken interest in opera in small places—just + little out-of-the-way towns. My idea would be to have a regular stock local opera + company, and have the standard operas studied. Have a little orchestra of about + twenty and a small chorus. The small parts to be learned by the most competent + singers in the place. Then have the few principal rôles taken by 'guest + artists,' who might make these engagements in regular route and succession. It seems + to me such a plan could be carried out, and what a joy it would be to any small + community! But people must gradually awake to this need: it will take time."</p> + <hr style="width: 65%;" /> + <h2><a name="XIV" id="XIV"></a>XIV</h2> + <span class="pagenum"><a name="page139" id="page139"></a>{139}</span> + <h2>MARGUERITE D'ALVAREZ</h2> +<br /> +<br /> + <h5>THE MESSAGE OF THE SINGER</h5> +<br /> + <p>A great podium backed with green, reminding one of a forest of palms; dim lights + through the vast auditorium; a majestic, black-robed figure standing alone among the + palms, pouring out her voice in song; a voice at once vibrant, appealing, powerful, + filled now with sweeping passion, again with melting tenderness; such was the stage + setting for my first impression of Mme. Marguerite d'Alvarez, and such were some of + the emotions she conveyed.</p> + <p>Soon after this experience, I asked if I might have a personal talk with the + artist whose singing had made such a deep impression upon me. It was most graciously + granted, and at the appointed hour I found myself in a charmingly appointed yet very + home-like salon, chatting with this Spanish lady from Peru, who speaks such beautiful + English and is courtesy itself.</p> + <p>This time it was not a somber, black-robed figure who came forward so graciously + to greet <span class="pagenum"><a name="page140" id="page140"></a>{140}</span> me, + for above a black satin walking skirt, Madame had added a blouse of soft creamy lace, + which revealed the rounded curves of neck and arms; the only ornament being a string + of pearls about the full throat. Later in our talk I ventured to express my + preference for creamy draperies instead of black, for the concert room; but the + singer thought otherwise. "No," she said; "my gown must be absolutely + unobtrusive—negative. I must not use it to heighten effect, or to attract the + audience to me personally. People must be drawn to me by what I express, by my art, + by what I have to give them."</p> + <p>But to begin at the beginning. In answer to my first question, "What must one do + to become a singer?" Madame said:</p> + <div class="figcenter" style="width: 331px;"> + <img src="images/0172-1.png" width="331" height="442" alt="MARGUERITE D'ALVAREZ" + title="MARGUERITE D'ALVAREZ" /> <b>MARGUERITE D'ALVAREZ</b> + </div> + <p>"To become a singer, one must have a voice; that is of the first importance. In + handling and training that voice, breathing is perhaps the most vital thing to be + considered. To some breath control seems to be second nature; others must toil for + it. With me it is intuition; it has always been natural. Breathing is such an + individual thing. With each person it is different, for no two people breathe in just + the same way, whether natural or acquired. Just as one pianist touches the keys of + the <span class="pagenum"><a name="page141" id="page141"></a>{141}</span> instrument + in his own peculiar way, unlike the ways of all other pianists. For instance, no two + singers will deliver the opening phrase of 'My heart at thy sweet voice,' from + <i>Samson</i>, in exactly the same way. One will expend a little more breath on some + tones than on others; one may sing it softer, another louder. Indeed how can two + people ever give out a phrase in the same way, when they each feel it differently? + The great thing is to control the management of the breath through intelligent study. + But alas,"—with a pretty little deprecating gesture,—"many singers do not + seem to use their intelligence in the right way. They need to study so many things + besides vocalizes and a few songs. They ought to broaden themselves in every way. + They should know books, pictures, sculpture, acting, architecture,—in short + everything possible in the line of art, and of life. For all these things will help + them to sing more intelligently. They should cultivate all these means of + self-expression. For myself, I have had a liberal education in music—piano, + harmony, theory, composition and kindred subjects. And then I love and study art in + all its forms and manifestations."</p> + <p>"Your first recital in New York was a rich and varied feast," I remarked.</p> + <p><span class="pagenum"><a name="page142" id="page142"></a>{142}</span> + "Indeed I feel I gave the audience too much; there was such a weight of meaning to + each song, and so many! I cannot sing indifferent or superficial songs. I must sing + those which mean much, either of sadness or mirth, passion or exaltation. No one + knows (who has not been through it) what it means to face a great audience of + strangers, knowing that something in you must awake those people and draw them toward + you: you must bare your very soul to them and bring theirs to you, in answering + response, just by your voice. It is a wonderful thing, to bring to masses of people a + message in this way. I feel this strongly, whenever I stand before a large audience, + that with every note I sing I am delivering something of the God-given gift which has + been granted to me—that I can do some good to each one who hears. If they do + not care for me, or if they misunderstand my message, they may hate me—at + first. When they do understand, then they adore me.</p> +<br /> +<br /> + <h5>SENTIMENT VERSUS TEMPERAMENT</h5> +<br /> + <p>"You can well believe it is far more difficult to sing a recital program than to + do an operatic rôle. In the recital you are absolutely alone, and entirely + responsible for your effect on the <span class="pagenum"><a name="page143" + id="page143"></a>{143}</span> audience. You must be able to express every variety of + emotion and feeling, must make them realize the difference between sorrow and + happiness, revenge or disdain; in short, make them, for the moment, experience these + things. The artist who can best vivify these varying emotions must have temperament. + On the piano, you may hear players who express sentiment, feeling, fine + discrimination in tone color and shading; but comparatively few possess real + temperament. There is great difference between that quality and sentiment. The one + can be learned, to a certain extent; but temperament is one's very life and soul, and + is bound to sweep everything before it. Of this one thing I am very sure; the singer + cannot express all these emotions without feeling them to the full during + performance. I always feel every phrase I sing—live it. That is why, after a + long and exhausting program, I am perfectly limp and spent. For I have given all that + was in me. Friends of Sara Bernhardt say that after a performance, they would find + her stretched prone on a couch in her dressing room, scarcely able to move or speak. + The strain of a public appearance, when one gives one's heart's blood, <span + class="pagenum"><a name="page144" id="page144"></a>{144}</span> is beyond words"; and + Madame's upturned face and expressive gesture denoted how keenly alive she was to + this experience.</p> + <p>After a little pause, I said: "Let us come down to earth, while you tell me just + how you study. No doubt you do some daily technical practice."</p> +<br /> +<br /> + <h5>MASSAGE THE VOICE</h5> +<br /> + <p>"Oh, yes, technic is most important; one can do nothing without it. When I begin + to study in the morning, I give the voice what I call a massage. One's voice cannot + be driven, it must be coaxed, enticed. This massage consists of humming exercises, + with closed lips. Humming is the sunshine of the voice." The singer illustrated the + idea with a short musical figure, consisting of three consecutive tones of the + diatonic scale, ascending and descending several times; on each repetition the phrase + began on the next higher note of the scale. "You see," she continued, "this little + exercise brings the tone fully forward. As you feel the vibration, it should be + directly between the eyes.</p> + <p>"Now, after you have coaxed the voice forward in this way, and then opened your + lips to sing a full tone, this tone should, indeed <span class="pagenum"><a + name="page145" id="page145"></a>{145}</span> must, be right in the same place where + the humming tones were,—it cannot be anywhere else." Madame illustrated again, + first humming on one tone, then letting it out with full resonance, using the vowel + Ah, which melted into O, and later changed into U, as the tone died away. "This + vibration in the voice should not be confounded with a tremolo, which is, of course, + very undesirable. A voice without vibrato, would be cold and dead, expressionless. + There must be this pulsing quality in the tone, which carries waves of feeling on + it.</p> + <p>"Thus the singer entices the voice to come forward and out, never treating it + roughly or harshly, never forcing or straining it. Take pleasure in every tone you + make; with patience and pleasure much is accomplished. I could not give you a more + useful tip than this."</p> + <p>"Will you tell me how you learn a song?" she was asked.</p> + <p>"I first read over the text and get a good idea of its meaning. When I begin to + study the song, I never separate the music from the words, but learn both together. I + play the piano of course, and thus can get a good idea of the accompaniment, and of + the whole <i>ensemble</i>.</p> + <p>"I feel so strongly that real art, the highest <span class="pagenum"><a + name="page146" id="page146"></a>{146}</span> art, is for those who truly understand + it and its mission. A dream of mine is one day to found a school of true art. + Everything in this school shall be on a high plane of thought. The instructors shall + be gifted themselves and have only lofty ideals. And it will be such a happiness to + watch the development of talent which may blossom into genius through having the + right nurture. I shall watch this work from a distance, for I might be too anxious if + I allowed myself to be in the midst of the work. But this is my dream, and I hope it + will one day come true."</p> + <hr style="width: 65%;" /> + <h2><a name="XV" id="XV"></a>XV</h2> + <span class="pagenum"><a name="page147" id="page147"></a>{147}</span> + <h2>MARIA BARRIENTOS</h2> + <br /> +<br /> + <h5>BE YOUR OWN CRITIC</h5> +<br /> + <p>It is often remarked that the world has grown far away from coloratura singing; + that what we want to-day is the singing actor, the dramatic singer, who can portray + passion—tear it to tatters if need be—but at least throw into voice + gesture and action all the conflicting emotions which arise when depicting a modern + dramatic character. It is said, with much truth, composers do not write coloratura + parts in these days, since audiences do not care to listen to singers who stand in + the middle of the stage, merely to sing beautiful arias and tonal embroideries. + Therefore there are very few coloratura singers at present, since their opportunities + are so limited.</p> + <p>To the last objection it can be answered that audiences do still flock to hear a + great coloratura artist, for they know they will hear pure, beautiful melodies when + they listen to the old Italian operas. And melody proves to be a magnet every time; + it always touches the heart.</p> + <p><span class="pagenum"><a name="page148" id="page148"></a>{148}</span> + Again, the coloratura singer is not obliged to stand in the middle of the stage, + while she warbles beautiful tones, with seemingly little regard for the rôle + she is enacting. The coloratura singer, who is an artist, can act as well as sing. + Tetrazzini, as she moves about the room, greeting her guests, as she does in + <i>Traviata</i> or <i>Lucia</i>, can at the same time keep right on with her florid + song, proving she can think of both arts at once.</p> + <p>It is quite true there are not many coloratura singers of the first rank to-day. + When you have mentioned Galli-Curci, Tetrazzini, Barrientos, and Frieda + Hempel—the last is both lyric and coloratura—you have named all the great + ones who are known to us here in America. There are a couple of younger artists, + Garrison and Macbeth, who are rapidly gaining the experience which will one day place + them in the charmed circle.</p> + <div class="figcenter" style="width: 332px;"> + <img src="images/0182-1.png" width="332" height="463" alt="MARIA BARRIENTOS" + title="MARIA BARRIENTOS" /> <b>MARIA BARRIENTOS</b> + </div> + <p>Consider for an instant the three first named singers. They stand at the very top + of their profession; they are each and all great in their chosen line, to which they + are fitted by reason of their special vocal gifts. Yet how absolutely different is + each from the other! They cannot even be compared. They all sing the great florid + arias, but each with her own <span class="pagenum"><a name="page149" + id="page149"></a>{149}</span> peculiar timbre of voice, her individual nuance and + manner of expression. And it is well this should be so. We would not have all + coloratura singing of the same pattern of sameness or quality, for we find uniformity + is monotonous. There is one peculiar mode of mastery for Galli-Curci, another for + Tetrazzini, still another for Barrientos; each in her particular <i>genre</i> is + unique, apart.</p> + <p>Perhaps this is especially the case with the Spanish prima donna, Barrientos, who + has for several years past come to the Metropolitan for part of the season. She lives + very quietly—almost in seclusion—in the great city, keeping very much to + herself, with her mother and the members of her household, and does not care to have + the simple routine she plans for herself interrupted by any outside demands on her + crowded days.</p> + <p>Thus it happens that very few come face to face with the Spanish artist except her + personal friends. But once in a while she breaks the strict rule, and will consent to + speak with a serious questioner about her manner of study, how she happened to take + up a musical career, also some of the characteristics of her country, its people and + its musical art.</p> + <p>As her own art of song is most delicate and <span class="pagenum"><a + name="page150" id="page150"></a>{150}</span> pure, as her instrument is the most + fragile and ethereal of any of the voices of her class, so the singer herself is of + slight and delicate physique. Her oval face, with its large luminous eyes, has a + charm more pronounced than when seen on the other side of the footlights. Her manner + is simple and sincere, in common with that of all great artists.</p> + <p>"Although I always loved singing, I never expected to become a singer," began Mme. + Barrientos, as we were seated on a comfortable divan in her artistic music room. "As + a very young girl, hardly more than a child, my health became delicate. I had been + working very hard at the Royal Conservatory of Music, in Barcelona, my native city, + studying piano, violin and theory, also composition. I was always a delicate child, + and the close application required for these studies was too much for me. Singing was + prescribed in order to develop my chest and physique; I took it up as a means of + health and personal pleasure, without the slightest idea to what it might lead.</p> + <p>"You speak of the responsibility of choosing a good and reliable vocal instructor. + This is indeed a difficult task, because each teacher is fully persuaded that his + method is the only correct one. But there are so <i>many teachers</i>, and <span + class="pagenum"><a name="page151" id="page151"></a>{151}</span> some of them do not + even sing themselves at all. Can you imagine a vocal teacher who cannot sing himself, + who is so to say voiceless, unable to demonstrate what he teaches? A piano or violin + teacher must play his instrument, or he will not be able to show the pupils how it + ought to be done. But the vocal teacher thinks to instruct without demonstrating what + he is trying to impart.</p> +<br /> +<br /> + <h5>BEGINNING VOCAL STUDY WITH OPERA</h5> +<br /> + <p>"So I did not begin my studies with a regular vocal teacher, but with a + dilettante—I do not know just how you say that in English. This gentleman was + not a professional; he was a business man who at the same time was a good musician. + Instead of starting me with a lot of scales and exercises, we began at once with the + operas. I was twelve years old when I began, and after one year of this kind of + study, made my début in the rôle of Inez, in <i>L'Africaine</i>. About + this time I lost my kind instructor, who passed away. I then worked by myself until I + was sixteen, when I began to study technic systematically. As you see, then, I am + practically self-taught. It seems to me, if one has voice and intelligence, one can + and should be one's own teacher. No one else can do as <span class="pagenum"><a + name="page152" id="page152"></a>{152}</span> much for you as you can do for yourself. + You can tell what the sensations are, what parts are relaxed and what parts are firm, + better than any one else. You can listen and work on tone quality until it reaches + the effect you desire. I do not neglect vocal technic now, for I know its value. I do + about three quarters of an hour technical practice every day—scales and + exercises.</p> + <br /> +<br /> + <h5>MEMORIZING</h5> +<br /> + <p>"I memorize very easily; it only takes a few weeks to learn an operatic + rôle. I spent three weeks on <i>Coq d'Or</i>, and that is a difficult part, so + many half tones and accidentals. But I love that music, it is so beautiful; it is one + of my favorite rôles. Some parts are longer and more difficult than others. Of + course I know most of the Italian operas and many French ones. I should like to sing + <i>Mireille</i> and <i>Lakmé</i> here, but the Director may wish to put on + other works instead.</p> +<br /> +<br /> + <h5>SPANISH OPERA</h5> +<br /> + <p>"Yes, we have native opera in Spain, but the works of our operatic composers are + little known in other lands. The Spanish people are clannish, you see, and seem to + lack the <span class="pagenum"><a name="page153" id="page153"></a>{153}</span> + ambition to travel abroad to make their art known to others; they are satisfied to + make it known to their own people. Casals and I—we are perhaps the ones who + regularly visit you, though you have several Spanish singers in the opera who reside + here permanently.</p> + <p>"As for Spanish composers of instrumental music, you are here somewhat familiar + with the names of Grovelez and Albeniz; Granados you know also, both his opera, + <i>Goyescas</i>, which was performed at the Metropolitan, and his personality. He + came to America to witness the premier of his opera, and while here proved he was a + most excellent pianist as well as a composer of high merit, which fact was revealed + in his piano and vocal compositions. The American people were most kind and + appreciative to him. When the disaster came and he was lost at sea, the testimonial + they sent his orphaned children was a goodly sum, though I hardly think the children + appreciated your goodness.</p> + <p>"Among the composers in Spain who have turned their gifts toward operatic channels + I can mention Pedrell, Morea, Falla, Vives and Breton. Vives is now writing an opera + for me, entitled <i>Abanico</i>. Gradually, no doubt, the music of our country, + especially its opera, <span class="pagenum"><a name="page154" + id="page154"></a>{154}</span> will find its way to other lands. Even in England, I am + told, Spanish music is very little known; our many distinguished modern musicians are + hardly even names. Of course the world knows our Toreador songs, our castanet dances, + and the like; perhaps they think we have little or no serious music, because it is + still unknown. Spanish music is peculiar to the country; it is permeated with the + national spirit and feeling."</p> + <p>Asked if she would sing in South America during the vacation, the singer + answered:</p> + <p>"I have sung there with great success. But I shall not be able to go there this + summer. My little boy has been placed in a school in France; it is the first time we + have been separated, and it has been very hard for me to have the ocean between us. I + shall sing at Atlanta, the first week of May, and then sail the middle of the month + for France. Yes, indeed, I hope to return to America next season.</p> + <p>"I trust you have been able to understand my poor English," she said smiling, as + she parted with her visitor; "we speak several languages here in my + home—Spanish with my mother and friends, French and Italian with others in the + household. But there seems little necessity for using English, even though I am <span + class="pagenum"><a name="page155" id="page155"></a>{155}</span> living in the heart + of the metropolis. Perhaps next year, I shall master your language better."</p> + <p>And the picture of her, as she stood in her artistic, home-like salon, with its + lights, its pictures and flowers, is even more lasting than any to be remembered on + the operatic stage.</p> + <hr style="width: 65%;" /> + <h2><a name="XVI" id="XVI"></a>XVI</h2> + <span class="pagenum"><a name="page156" id="page156"></a>{156}</span> + <h2>CLAUDIA MUZIO</h2> +<br /> +<br /> + <h5>A CHILD OF THE OPERA</h5> +<br /> + <p>In tales of romance one reads sometimes of a gifted girl who lives in a musical + atmosphere all her life, imbibing artistic influences as naturally and almost as + unconsciously as the air she breathes. At the right moment, she suddenly comes out + into the light and blossoms into a full fledged singer, to the surprise and wonder of + all her friends. Or she is brought up behind the scenes in some great Opera House of + the world, where, all unnoticed by her elders, she lives in a dream world of her own, + peopled by the various characters in the operas to which she daily listens. She + watches the stage so closely and constantly that she unconsciously commits the + rôles of the heroines she most admires, to memory. She knows what they sing, + how they act the various parts, how they impersonate the characters. Again, at the + right moment, the leading prima donna is indisposed, there is no one to take her + place; <span class="pagenum"><a name="page157" id="page157"></a>{157}</span> manager + is in despair, when the slip of a girl, who is known to have a voice, but has never + sung in opera, offers to go on in place of the absent one. She is finally permitted + to do so; result, a popular success.</p> + + <div class="figcenter" style="width: 320px;"> + <img src="images/0192-1.png" width="320" height="476" alt="CLAUDIA MUZIO" + title="CLAUDIA MUZIO" /> <b>CLAUDIA MUZIO</b> + </div> + + <p>Some pages of Claudia Muzio's musical story read like the romantic experiences of + a novel-heroine. She, too, was brought up in great opera houses, and it seemed + natural, that in due course of time, she should come into her own, in the greatest + lyric theater of the land of her adoption.</p> + + <p>When she returned to America, a couple of years ago, after gaining experience in + Europe, she arrived toward the end of the season preceding her scheduled début + here, to prepare herself more fully for the coming appearance awaiting her.</p> + <p>I was asked to meet and talk with the young singer, to ascertain her manner of + study, and some of her ideas regarding the work which lay before her.</p> + <br /><br /> + <p>"It was always my dream to sing at the Metropolitan, and my dream has come + true."</p> + <p>Claudia Muzio said the words with her brilliant smile, as her great soft dark eyes + gazed luminously at the visitor.</p> + <p><span class="pagenum"><a name="page158" id="page158"></a>{158}</span> + The day was cold and dreary without, but the singer's apartment was of tropical + warmth. A great bowl of violets on the piano exhaled delicious fragrance; the young + Italian in the bloom of her oriental beauty, seemed like some luxuriant tropical + blossom herself.</p> + <p>Claudia Muzio, who was just about to take her place among the personnel of the + Metropolitan, is truly to the manner born,—a real child of the opera. She has + lived in opera all her life, has imbibed the operatic atmosphere from her earliest + remembrance. It must be as necessary for a singer who aspires to fill a high place in + this field of artistic endeavor, to live amid congenial surroundings, as for a + pianist, violinist or composer to be environed by musical influences.</p> + <p>"Yes, I am an Italian," she began, "for I was born in Italy; but when I was two + years old I was taken to London, and my childhood was passed in that great city. My + father was stage manager at Covent Garden, and has also held the same post at the + Manhattan and Metropolitan Opera Houses in New York. So I have grown up in the + theater. I have always listened to opera—daily, and my childish imagination was + fired by seeing the art of the great singers. I always hoped I should one <span + class="pagenum"><a name="page159" id="page159"></a>{159}</span> day become a singer, + so I always watched the artists in action, noting how they did everything. As a + result, I do not now have to study acting as a separate branch of the work, for + acting comes to me naturally. I am very temperamental; I feel intuitively how the + rôle should be enacted.</p> + <p>"All tiny children learn to sing little songs, and I was no exception. I acquired + quite a number, and at the age of six, exhibited my accomplishments at a little + recital. But I never had singing lessons until I began to study seriously at about + the age of sixteen. Although I did not study the voice till I reached that age, I was + always occupied with music, for I learned as a little girl to play both harp and + piano.</p> + <p>"We lived in London, of which city I am very fond, from the time I was two, till I + was fourteen, then we came to America. After residing here a couple of years, it was + decided I should make a career, and we went to Italy. I was taken to Madame Anna + Casaloni at Turino. She was quite elderly at that time, but she had been a great + singer. When she tried my voice, she told me it was quite properly placed—so I + had none of that drudgery to go through.</p> + <p><span class="pagenum"><a name="page160" id="page160"></a>{160}</span> + "At first my voice was a very light soprano, hardly yet a coloratura. It became so + a little later, however, and then gradually developed into a dramatic soprano. I am + very happy about this fact, for I love to portray tears as well as + laughter—sorrow and tragedy as well as lightness and gayety. The coloratura + manner of singing is all delicacy and lightness, and one cannot express deep emotion + in this way.</p> + <p>"We subsequently went to Milano, where I studied with Madame Viviani, a soprano + who had enjoyed great success on the operatic stage.</p> + <p>"After several years of serious study I was ready to begin my career. So I sang in + Milan and other Italian cities, then at Covent Garden, and now I am in the + Metropolitan. In Italy I created the rôle of Fiora in <i>Amore del tre Re</i>, + and sang with Ferrari-Fontana. I also created Francesca in <i>Francesca da + Rimini</i>, under its composer, Zandonai. I have a repertoire of about thirty operas, + and am of course adding to it constantly, as one must know many more than thirty + rôles. Since coming to New York, I have learned <i>Aïda</i>, which I did + not know before, and have already appeared in it. It was learned thoroughly in eight + days. Now I am at work on <i>Madame Butterfly</i>.</p> +<br /> +<br /> + <h5>TECHNICAL PRACTICE</h5><span class="pagenum"><a + name="page161" id="page161"></a>{161}</span> +<br /> + <p>"I work regularly every morning on vocal technic. Not necessarily a whole hour at + a stretch, as some do; but as much time as I feel I need. I give practically my whole + day to study, so that I can make frequent short pauses in technical practice. If + technic is studied with complete concentration and vigor, as it always should be, it + is much more fatiguing than singing an opera rôle.</p> + <p>"You ask about the special forms of exercises I use. I sing all the scales, one + octave each—once slow and once fast—all in one breath. Then I sing + triplets on each tone, as many as I can in one breath. I can sing about fifteen now, + but I shall doubtless increase the number. For all these I use full power of tone. + Another form of exercise is to take one tone softly, then go to the octave above, + which tone is also sung softly, but there is a large crescendo made between the two + soft tones. My compass is three octaves—from C below middle C, to two octaves + above that point. I also have C sharp, but I do not practice it, for I know I can + reach it if I need it, and I save my voice. Neither do I work on the final tones of + the lowest octave, for the same reason—to preserve the voice.</p> +<br /> +<br /> + <h5>BREATH CONTROL</h5><span + class="pagenum"><a name="page162" id="page162"></a>{162}</span> +<br /> + <p>"Every singer knows how important is the management of the breath. I always hold + the chest up, taking as long breaths as I can conveniently do. The power to hold the + breath, and sing more and more tones with one breath, grows with careful, intelligent + practice. There are no rules about the number of phrases you can sing with a single + breath. A teacher will tell you; if you can sing two phrases with one breath, do so; + if not, take breath between. It all rests with the singer.</p> +<br /> +<br /> + <h5>MEMORIZING</h5> +<br /> + <p>"I learn words and music of a rôle at the same time, for one helps the + other. When I have mastered a rôle, I know it absolutely, words, music and + accompaniment. I can always play my accompaniments, for I understand the piano. I am + always at work on repertoire, even at night. I don't seem to need very much sleep, I + think, and I often memorize during the night; that is such a good time to work, for + all is so quiet and still. I lie awake thinking of the music, and in this way I learn + it. Or, perhaps it learns itself. For when I retire the music is not yet mastered, + not yet <span class="pagenum"><a name="page163" id="page163"></a>{163}</span> my own, + but when morning comes I really know it.</p> + <p>"Of course I must know the words with great exactness, especially in songs. I + shall do English songs in my coming song recital work, and the words and diction must + be perfect, or people will criticize my English. I always write out the words of my + rôles, so as to be sure I understand them and have them correctly + memorized.</p> +<br /> +<br /> + <h5>KEEPING UP REPERTOIRE</h5> +<br /> + <p>"Most singers, I believe, need a couple of days—sometimes longer—in + which to review a rôle. I never use the notes or score when going over a part + in which I have appeared, for I know them absolutely, so there is no occasion to use + the notes. Other singers appear frequently at rehearsal with their books, but I never + take mine. My intimate knowledge of score, when I assisted my father in taking charge + of operatic scores, is always a great help to me. I used to take charge of all the + scores for him, and knew all the cuts, changes and just how they were to be used. The + singers themselves often came to me for stage directions about their parts, knowing I + had this experience.</p> + <p><span class="pagenum"><a name="page164" id="page164"></a>{164}</span> + "Yes, as you suggest, I could sing here in winter, then in South America in + summer." (Miss Muzio accomplished this recently, with distinguished success and had + many thrilling adventures incident to travel.) "This would mean I would have no + summer at all, for that season with them is colder than we have it here. No, I want + my summer for rest and study. During the season at the Metropolitan I give up + everything for my art. I refuse all society and the many invitations I receive to be + guest of honor here and there. I remain quietly at home, steadfastly at work. My art + means everything to me, and I must keep myself in the best condition possible, to be + ready when the call comes to sing. One cannot do both, you know; art and society do + not mix well. I have never disappointed an audience; it would be a great calamity to + be obliged to do so."</p> + <hr style="width: 65%;" /> + <h2><a name="XVII" id="XVII"></a>XVII</h2> + <span class="pagenum"><a name="page165" id="page165"></a>{165}</span> + <h2>EDWARD JOHNSON</h2> + <h3>(EDOUARDO DI GIOVANNI)</h3> +<br /> +<br /> +<h5>THE EVOLUTON OF AN OPERA</h5> +<br /> + <p>The story of Edward Johnson's musical development should prove an incentive, nay + more, a beacon light along the path of consistent progress toward the goal of vocal + and operatic achievement. Indeed as a tiny child he must have had the desire to + become a singer. A friend speaks of musical proclivities which began to show + themselves at an early age, and describes visits of the child to their home, where, + in a little Lord Fauntleroy suit, he would stand up before them all and sing a whole + recital of little songs, to the delight of all his relatives. The singer's progress, + from the musical child on and up to that of an operatic artist, has been rational and + healthy, with nothing hectic or overwrought about it; a constant, gradual ascent of + the mountain. And while an enviable vantage ground has been reached, such an artist + must feel there are yet other heights to conquer. For even excellence, <span + class="pagenum"><a name="page166" id="page166"></a>{166}</span> already achieved, + requires constant effort to be held at high water mark. And the desire for greater + perfection, which every true artist must feel, is a never-ending urge to continued + struggle.</p> + <p>In a recent conversation with the tenor, Mr. Johnson spoke of early days, when he + desired above everything else to become a musician and follow a musical career, + though his family expected him to enter the business world. He came to New York to + look the ground over, hoping there might be opportunity to continue his studies and + make his way at the same time. He was fortunate enough to secure a church position, + and sang subsequently in some of the best New York and Brooklyn churches. After this + period he did much concert work, touring through the Middle West with the Chicago + Symphony Orchestra and singing in many Music Festivals throughout the country.</p> + + <div class="figcenter" style="width: 331px;"> + <img src="images/0204-1.png" width="331" height="492" alt="Edward Johnson" + title="Edward Johnson" /> <b>Edward Johnson</b> + </div> + + <p>But church and concert singing did not entirely satisfy; he longed to try his hand + at opera,—in short to make an operatic career. He was well aware that he would + not find this field nor gain the necessary experience in America; he must go to + Italy, the land of song, to gain the required training and <span class="pagenum"><a + name="page167" id="page167"></a>{167}</span>experience. He was also fully aware of the + fact that there was plenty of hard work, and probably many disappointments before + him, but he did not shrink from either.</p> + <p>"Fortunately, I have a fund of humor," he said, and there was a twinkle in his eye + as he spoke. "It is a saving grace, as you say; without it I believe I should have + many times given up in sheer despair."</p> + <p>Mr. Johnson went to Italy in 1909, beginning at once his studies with Lombardi, in + Florence. In the ten years of his absence from his home land he has built up a + reputation and made a career in the great operatic centers of Italy, Spain and South + America. After his début in Padua, he became leading tenor at La Scala, Milan, + for five consecutive seasons. In Rome he spent four seasons at the Costanzi Theater, + in the meantime making two visits to the Colon Theater, Buenos Aires, and filling + engagements in Madrid, Bologna, Florence and Genoa.</p> + <p>"How could I stay away from America for such a length of time? you ask. For + various reasons. I was getting what I had come to Italy for, experience and + reputation. I was comfortable and happy in my work. I loved the beautiful country, + and the life suited me.<span class="pagenum"><a name="page168" + id="page168"></a>{168}</span> The people were kind. I had my own home in Florence, + which is still there and to which I can return when my season is over here. Best of + all I had the opportunity of creating all the new tenor rôles in the recent + operas of Puccini, Montemezzi, Pizzetti and Gratico. I also created the rôle of + <i>Parsifal</i> in Italian, and the first season at La Scala, it was performed + twenty-seven times."</p> + <p>"With your permission let us go a little into detail in regard to the needs of the + young singer and his method of study, so that he may acquire vocal mastery. What do + you consider the most important and necessary subject for the young singer, or any + one who wishes to enter the profession, to consider?"</p> + <p>"A musical education," was the prompt, unhesitating reply. "So many think if they + have a good natural voice and take singing lessons, that is quite sufficient; they + will soon become singers. But a singer should also be a musician. He should learn the + piano by all means and have some knowledge of theory and harmony. These subjects will + be of the greatest benefit in developing his musicianship; indeed he cannot well get + on without them. A beautiful voice with little musical education, is not of as much + value to its possessor as one not so <span class="pagenum"><a name="page169" + id="page169"></a>{169}</span> beautiful, which has been well trained and is coupled + with solid musical attainments.</p> + <br /> +<br /> +<h5>A MUSICAL CAREER</h5> +<br /> + <p>"If one goes in for a musical career, one should realize at the start, something + of what it means, what is involved, and what must go with it. Singing itself is only + a part, perhaps even the smaller part, of one's equipment. If opera be the goal, + there are languages, acting, make up, impersonation, interpretation, how to walk, how + to carry oneself, all to be added to the piano and harmony we have already spoken of. + The art of the singer is a profession—yes, and a business too. You prepare + yourself to fill a public demand; you must prove yourself worthy, you must come up to + the standard, or there will not be a demand for what you have to offer. And it is + right this should be so. We should be willing to look the situation fairly in the + eye, divesting it of all those rose colored dreams and fancies; then we should get + right down to work.</p> + <br /> +<br /> +<h5>NOT MANY RULES</h5> +<br /> + <p>"If you get right down to the bottom, there are in reality not so many singing + rules to learn. You sing on the five vowels, and when <span class="pagenum"><a + name="page170" id="page170"></a>{170}</span> you can do them loudly, softly, and with + mezzo voce, you have a foundation upon which to build vocal mastery. And yet some + people study eight, ten years without really laying the foundation. Why should it + take the singer such a long time to master the material of his equipment? A lawyer or + doctor, after leaving college, devotes three or four years only to preparing himself + for his profession, receives his diploma, then sets up in business. It ought not to + be so much more difficult to learn to sing than to learn these other professions.</p> + <br /> +<br /> +<h5>THE EAR</h5> +<br /> + <p>"Of course the ear is the most important factor, our greatest ally. It helps us + imitate. Imitation forms a large part of our study. We hear a beautiful tone; we try + to imitate it; we try in various ways, with various placements, until we succeed in + producing the sound we have been seeking. Then we endeavor to remember the sensations + experienced in order that we may repeat the tone at will. So you see Listening, + Imitation and Memory are very important factors in the student's development.</p> + <br /> +<br /> +<h5>BEL CANTO</h5><span class="pagenum"><a name="page171" id="page171"></a>{171}</span> +<br /> + <p>"I have just spoken of a beautiful tone. The old Italian operas cultivate the + <i>bel canto</i>, that is—beautiful singing. Of course it is well for the + singer to cultivate this first of all, for it is excellent, and necessary for the + voice. But modern Italian opera portrays the real men and women of to-day, who live, + enjoy, suffer, are angry and repentant. <i>Bel canto</i> will not express these + emotions. When a man is jealous or in a rage, he will not stand quietly in the middle + of the stage and sing beautiful tones. He does not think of beautiful tones at all. + Hatred and jealousy should be expressed in the voice as well as in action and + gesture; they are far from lovely in themselves, and to be natural and true to life, + they will not make lovely tones in the voice. We want singing actors to-day, men and + women who can adequately portray the characters they impersonate through both voice + and action.</p> +<br /> +<br /> +<h5>LEARNING A RÔLE</h5> +<br /> + <p>"In taking up a new part I vocalize the theme first, to get an idea of the music; + then I learn the words. After this I work with the accompanist who comes to me every + morning. Of course, besides this, I do daily vocalizes <span class="pagenum"><a + name="page172" id="page172"></a>{172}</span> and vocal exercises; one must always + keep up one's vocal technic.</p> + <p>"But learning words and music is only a part of the work to be done on a + rôle. It must then be interpreted; more than this it must be visualized. This + part of the work rests largely with the singer, and gives opportunity for his + individuality to assert itself. Of course the general idea of the characterization is + given us, the make-up, posturing and so on. To work out these ideas, to make the part + our own, to feel at home in it, so that it shall not seem like acting, but appear + perfectly natural—all this takes a great deal of thought, time and study. It is + all a mental process, as every one knows; we must project our thought out to the + audience, we must 'get it over,' or it will never strike fire!"</p> + <br /> +<br /> +<h5>INTERPRETATION</h5> +<br /> + <p>On the subject of individuality in interpretation, Mr. Johnson was convincing. "I + feel that if I have worked out a characterization, I must stick to my idea, in spite + of what others say. It is my own conception, and I must either stand or fall by it. + At times I have tried to follow the suggestions of this or that <span + class="pagenum"><a name="page173" id="page173"></a>{173}</span> critic and have + changed my interpretation to suit their taste. But it always rendered me self + conscious, made my work unnatural and caused me speedily to return to my own + conception.</p> + <br /> +<br /> +<h5>LEARNING BY DOING</h5> +<br /> + <p>"The singer finds the stage a great teacher. Before the footlights he has constant + opportunity to try out this or that effect, to note which placement of the voice best + fits the tones he wishes to produce. Then, too, he soon learns to feel whether he has + made the impression he had hoped, whether he has the audience with him. If he cannot + win the audience, he takes careful thought to see why. In order to win his hearers, + to get his work across the footlights, there are certain things he must have, virtues + he must possess. For instance,"—and the artist counted them off on his finger + tips,—"he must have Accent, Diction, Characterization, and above all, + Sincerity. No matter what other good qualities he may possess, he must be sincere + before anything else. If he lack this the audience soon finds it out. There's nothing + that wins its way like the grace of sincerity. You see I give prominent place to + accent and diction. Whatever <span class="pagenum"><a name="page174" + id="page174"></a>{174}</span> fault the critics found with me, they have always + conceded to me both these virtues.</p> + <p>"But time passes and soon the work of the night will begin. I trust that our + informal conference may contain a few points of personal experience which may be + helpful to those who are striving to enter the field of opera." And with his pleasant + smile and genial greeting, Mr. Johnson closed the conference.</p> + <hr style="width: 65%;" /> + <h2><a name="XVIII" id="XVIII"></a>XVIII</h2> + <span class="pagenum"><a name="page175" id="page175"></a>{175}</span> + <h2>REINALD WERRENRATH</h2> +<br /> +<br /> +<h5>ACHIEVING SUCCESS ON THE CONCERT STAGE</h5> +<br /> + <p>At the close of a recital by Reinald Werrenrath, the listener feels he has + something to carry away, a tangible impression, a real message. What is the + impression—can it be defined? Perhaps it is more the complete effect as a whole + that makes the deepest impression. The voice is always agreeable, the diction so + clear and distinct that every syllable can be followed from the topmost corner of + Carnegie Hall, so there is no need to print a program book for this singer. Different + qualities of voice render the picture or mood more vivid, and all is accomplished + with perfect ease, in itself a charm. People settle in their seats as if certain that + a song recital by Werrenrath is sure to bring enjoyment and satisfaction.</p> + <p>And Mr. Werrenrath has proven, through season after season of concert giving in + America, that he is filling his own special niche in the scheme of the country's + musical life; that <span class="pagenum"><a name="page176" + id="page176"></a>{176}</span> he has his own message of the beautiful—the + natural—in vocal art to deliver to the people all over the land, and he is + accomplishing this with ever increasing ability and success.</p> + <p>To go through a season filled with concert tours, such as a popular singer has + laid out for him, means so many weeks and months of strenuous toil and travel. There + may be a few brief hours or days here and there, when he can be at home among family + and friends; but soon he is off again—"on the road."</p> + <p>Mr. Werrenrath is the sort of singer who is generally on the wing, or if not + exactly that, is so rushed with work, record making and rehearsing for occasional + opera appearances, that it is very difficult to get a word with him. I was + exceedingly fortunate however, one day recently, to catch a glimpse of him between a + Metropolitan rehearsal on the one hand, and some concert business on the other. He + entered the room where I waited, tall, vigorous, his fine face lighted by a rapid + walk in the fresh air; he seemed the embodiment of mental vigor and alertness.</p> + <div class="figcenter" style="width: 333px;"> + <img src="images/0216-1.png" width="333" height="420" alt="REINALD WERRENRATH" + title="REINALD WERRENRATH" /> <b>REINALD WERRENRATH</b> + </div> +<br /> +<br /> +<h5>VOCAL CONTROL</h5> +<br /> + <p>I plunged at once into the subject I had come for, telling him I wanted to know + how he <span class="pagenum"><a name="page177" id="page177"></a>{177}</span> had + worked to bring about such results as were noted in his recent recital in Carnegie + Hall; in what way he had studied, and what, in his opinion, were the most important + factors, from an educational point of view, for the young singer to consider.</p> + <p>"That is entirely too difficult a question to be answered briefly, even in a half + hour, or in an hour's talk. There are too many angles;" his clear gray eyes looked at + me frankly as he spoke. "Voice culture, voice mastery, what is it? It is having + control of your instrument to such an extent that you put it out of your thought + completely when you sing. The voice is your servant and must do your bidding. This + control is arrived at through a variety of means, and can be considered from a + thousand angles, any one of which would be interesting to follow up. I have been on + the concert stage for nearly a score of years, and ought to know whereof I speak; yet + I can say I have not learned it all even now, not by any means. Vocal technic is + something on which you are always working, something which is never completed, + something which is constantly improving with your mental growth and + experience—if you are working along the right lines. People talk of finishing + their <span class="pagenum"><a name="page178" id="page178"></a>{178}</span> vocal + technic; how can that ever be done? You are always learning how to do better. If you + don't make the effect you expected to, in a certain place, when singing in public, + you take thought of it afterward, consider what was the matter, <i>why</i> you + couldn't put it over—why it had no effect on the audience. Then you work on it, + learn how to correct and improve it.</p> + <br /> +<br /> +<h5>EARLY EXPERIENCES</h5> +<br /> + <p>"As you may know, my father was a great singer; he was my first teacher. After I + lost him I studied for several years with Dr. Carl Duft and later with Arthur Mees. + In all this time I had learned a great deal about music from the intellectual and + emotional sides, music in the abstract and so on. In fact, I thought I knew about all + there was to be learned about the art of song; I settled back on my oars and let the + matter go at that. At last, however, I awoke to see that I didn't know it all yet; I + discovered I couldn't put the feeling and emotion which surged within me across to + others in the way I wanted to—in the way which could move and impress them; I + could not make the effects I wanted; I was getting into a rut. This was seven years + ago. At that time I went to Percy Rector Stevens, who has done <span + class="pagenum"><a name="page179" id="page179"></a>{179}</span> me an immense amount + of good, and with whom I constantly keep in touch, in case there should be anything + wrong with my instrument anywhere. Mr. Stevens understands the mechanics of the voice + perhaps better than any one I know of. If I go to him and say: 'I made some tones + last night that didn't sound right to me,' or 'I couldn't seem to put over this or + that effect; I want you to tell me what is the matter.' He will say: 'Sing for me, + show me the trouble and we'll see what we can do for it.' So I sing and he will say: + 'You are tightening your throat at that place,' or 'your diaphragm is not working + properly,' or there is some other defect. He can always put his finger directly on + the weak spot. He is my vocal doctor. Your whole vocal apparatus must work together + in entire harmony. We hear of teachers who seem to specialize on some one part of the + anatomy to the exclusion of other parts. They are so particular about the diaphragm, + for instance; that must be held with exactly the right firmness to support the tone. + That is all very well; but what about the chest, the larynx, the throat, the head and + all the rest of the anatomy? The truth is the whole trunk and head of the body are + concerned in the act of tone production; they form the <span class="pagenum"><a + name="page180" id="page180"></a>{180}</span> complete instrument, so to say. When the + singer is well and strong and in good condition, all the parts respond and do their + work easily and efficiently.</p> +<br /> +<br /> +<h5>DAILY PRACTICE</h5> +<br /> + <p>"I do not go through a routine of scales and exercises daily—at least not in + the season, for I have no time. If you are going to take your automobile out for a + spin you don't ride it around for half an hour in the yard to see whether it will go. + No, you first look after the machinery, to see if all is in working order, and then + you start out, knowing it will go. I do a lot of gymnastics each day, to exercise the + voice and limber up the anatomy. These act as a massage for the voice; they are in + the nature of humming, mingled with grunts, calls, exclamations, shouts, and many + kinds of sounds—indeed so many and various they cannot be enumerated. But they + put the voice in condition, so there is no need for all these other exercises which + most singers find so essential to their vocal well-being. I will say right here that + I am working with two masters; the first for the mechanics of the voice, the second + who helps me from quite an opposite angle—interpretation and finish.</p> +<br /> +<br /> +<h5>WITH MAUREL</h5><span + class="pagenum"><a name="page181" id="page181"></a>{181}</span> +<br /> + <p>"The master from whom I have learned so much that it cannot be estimated is Victor + Maurel. He is a most remarkable man, a great thinker and philosopher. If he had + turned his attention to any other art or science, or if he had been but a day + laborer, he would be a great man anywhere, in any capacity.</p> + <p>"I have been with him, whenever possible, for two years now. He has shown me the + philosophy, the psychology of singing. He has taught me the science of intense + diction. By means of such diction, I can sing <i>mezza voce</i>, and put it over with + less effort and much more artistic effect than I ever used to do, when I employed + much more voice. You hear it said this or that person has a big voice and can sing + with great power. A brass band can make a lot of noise. I have stood beside men, who + in a smaller space, could make much more noise than I could. But when they got out on + the stage you couldn't hear them at the back of the hall. It is the knowing how to + use the voice with the least possible effort, coupled with the right kind of diction, + that will make the greatest effect. Now I can express myself, and deliver the message + I feel I have to give.</p> +<br /> +<br /> +<h5>THE SINGER BEFORE AN AUDIENCE</h5><span class="pagenum"><a name="page182" + id="page182"></a>{182}</span> +<br /> + <p>"You ask if I hear myself, when I am singing for an audience. In a general way, + yes. Of course I do not get the full effect of what I am doing; a singer never does. + It takes the records to tell me that, and I have been making records for a good + number of years. But I know the sensations which accompany correct tone production, + and if I feel they are different in any place or passage, I try to make a mental note + of the fact and the passage, that I may correct it afterwards. But I must emphasize + the point that when I sing, I cast away all thought of <i>how</i> I do anything + technical; I want to get away from the mechanics of the voice; I must keep my thought + clear for the interpretation, for the message I have brought to the audience. To be + constantly thinking—how am I doing this or that—would hamper me terribly. + I should never get anywhere. I must have my vocal apparatus under such control that + it goes of itself. A pianist does not think of technic when playing in public, + neither should a singer think of his vocal technic. Of course there may be occasions + when adverse circumstances thrust conditions upon me. If I have a slight cold, or + <span class="pagenum"><a name="page183" id="page183"></a>{183}</span> tightness of + throat, I have to bring all my resources to bear, to rise above the seeming handicap, + and sing as well as I can in spite of it. I can say gratefully, without any desire to + boast, that during the past eleven years, I have never once missed an engagement or + disappointed an audience. Of course I have had to keep engagements when I did not + feel in the mood, either physically or mentally. Many singers would have refused + under like conditions. But it does not seem fair to the audience to disappoint, or to + the manager either; it puts him in a very difficult and unpleasant position. It seems + to me the artist should be more considerate of both manager and audience, than to + yield to a slight indisposition and so break his engagement.</p> +<br /> +<br /> +<h5>THE SINGER IN HIS STUDIO</h5> +<br /> + <p>"It makes such a difference—in quality of tone and in effect—whether + you sing in a small or large space. Things you do in the studio and which may sound + well there, are quite different or are lost altogether in a large hall. You really + cannot tell what the effect will be in a great space, by what you do in your studio. + In rehearsing and study, I use half voice, and only occasionally do I use full voice, + that is <span class="pagenum"><a name="page184" id="page184"></a>{184}</span> when I + wish to get a better idea of the effect."</p> +<br /> +<br /> +<h5>VOCAL MASTERY</h5> +<br /> + <p>As we stood at the close of the conference, I asked the supreme + question—What do you understand by Vocal Mastery? The artist looked as though I + were making an impossible demand in requiring an answer to so comprehensive a + subject. He took a few strides and then came back.</p> + <p>"I can answer that question with one word—Disregard. Which means, that if + you have such control of your anatomy, such command of your vocal resources that they + will always do their work, that they can be depended upon to act perfectly, then you + can disregard mechanism, and think only of the interpretation—only of your + vocal message. Then you have conquered the material—then you have attained + Vocal Mastery!"</p> + <hr style="width: 65%;" /> + <h2><a name="XIX" id="XIX"></a>XIX</h2> + <span class="pagenum"><a name="page185" id="page185"></a>{185}</span> + <h2>SOPHIE BRASLAU</h2> + <br /> +<br /> +<h5>MAKING A CAREER IN AMERICA</h5> +<br /> + <p>A fact, often overlooked when considering the career of some of our great singers + of to-day, is the fact that they started out to become an instrumentalist rather than + a singer. In other words they become proficient on some instrument before taking up + serious study of the voice. In this connection one thinks of Mme. Sembrich, who was + both pianist and violinist before becoming known as a singer. It would be interesting + to follow up this idea and enumerate the vocalists who have broadened their + musicianship through the study of other instruments than their own voices. But this + delightful task must be reserved for future leisure. For the present it can be set + down here that Miss Sophie Braslau, probably the youngest star in the constellation + of the Metropolitan artists, is an accomplished pianist, and intended to make her + career with the aid of that instrument instead of with her voice.</p> + <p><span class="pagenum"><a name="page186" id="page186"></a>{186}</span> + But we will let the young artist speak for herself. On the occasion in question, + she had just returned from a walk, her arms full of rosebuds. "I never can resist + flowers," she remarked, as she had them placed in a big silver vase. Then she carried + the visitor off to her own special rooms, whose windows overlooked an inner garden, + where one forgot one was in the heart of New York. "Indeed it is not like New York at + all, rather like Paris," said Miss Braslau, answering my thought.</p> + <p>On a <i>chaise longue</i> in this ivory and rose sanctum, reposed a big, beautiful + doll, preserved from childish days. The singer took it up; "I don't play with it + now," she said with a smile, "but I used to." She placed it carefully in a chair, + then settled herself to talk.</p> + <div class="figcenter" style="width: 327px;"> + <img src="images/0228-1.png" width="327" height="464" alt="SOPHIE BRASLAU" + title="SOPHIE BRASLAU" /> <b>SOPHIE BRASLAU</b> + </div> + <p>"Yes, I intended to make the piano my instrument and began my studies at the age + of six. Before long it was seen that I had something of a voice, but no one gave it + much thought, supposing I was to be a pianist; indeed I have the hand of one," + holding it up. "I don't think, in those early years, I was so very anxious to become + a player. I did not love scales—do not now, and would quite as soon have sat at + the piano with a book in my lap, while my fingers mechanically did their <span + class="pagenum"><a name="page187" id="page187"></a>{187}</span> stunts. But my mother + looked after my practice, and often sat near me. She required a regular amount of + time given to music study each day. I am so grateful that she was strict with me, for + my knowledge of piano and its literature is the greatest joy to me now. To my + thinking all children should have piano lessons; the cost is trifling compared to the + benefits they receive. They should be made to study, whether they wish to or not. + They are not prepared to judge what is good for them, and if they are given this + advantage they will be glad of it later on.</p> + <p>"In due time I entered the Institute of Musical Art, taking the full piano course. + Arthur Hochmann was my teacher for piano, and I found him an excellent master. He did + a great deal for me; in interpretation, in fineness of detail, in artistic finish I + owe him very much. Later I studied several years with Alexander Lambert.</p> + <p>"While at work with my piano, it grew more apparent that I had a voice that should + be cultivated. So I began. Afterwards I worked three years with Signor Buzzi Peccia, + who started me on an operatic career and finally brought me to the Metropolitan.</p> + <p>"It was a great ordeal for a young singer, <span class="pagenum"><a name="page188" + id="page188"></a>{188}</span> almost a beginner, to start at our greatest Opera + House! It meant unremitting labor for me. I worked very hard, but I am not afraid of + work. Toscanini held sway when I began, and he was a marvelous musician and + conductor. Such exactness, such perfection of detail; he required perfection of every + one. He did not at first realize how much of a beginner I was, though I had really + learned a large number of rôles. He was so strict in every detail that I wept + many bitter tears for fear I would not come up to the mark. I knew the music, but had + not gained experience through routine. It seems to me every singer should gain this + experience in some smaller places before attempting the highest. My advice would be + to go and get experience in Europe first. I have never been in Germany, but in Italy + and France there are many small opera houses where one may learn routine.</p> + <p>"Another thing. There is a mistaken notion that one cannot reach any height in + opera without 'pull' and great influence. I am sure this is not true; for while a + pull may help, one must be able to deliver the goods. If one cannot, all the backing + in the world will not make one a success. The singer must have the <span + class="pagenum"><a name="page189" id="page189"></a>{189}</span> ability to 'put it over.' + Think of the artists who can do it—Farrar, Gluck, Schumann-Heink. There is + never any doubt about them; they always win their audiences. What I have done has + been accomplished by hard work, without backing of any kind. Really of what use is + backing anyway? The public can judge—or at least it can <i>feel</i>. I know + very well that when my chance came to sing <i>Shanewis</i>, if I had not been able to + do it, no amount of influence would have helped the situation. I had it in my own + hand to make or mar my career. I often wonder whether audiences really know anything + about what you are trying to do; whether they have any conception of what is right in + singing, or whether they are merely swayed by the temperament of the singer.</p> + <p>"Whether we are, or are not to be a musical nation should be a question of deep + interest to all music lovers. If we really become a great musical people, it will be + largely due to the work of the records. We certainly have wonderful advantages here, + and are doing a tremendous lot for music.</p> + <p>"I had an interesting experience recently. It was in a little town in North + Carolina, where a song recital had never before been <span class="pagenum"><a + name="page190" id="page190"></a>{190}</span> given. Can you fancy a place where there + had never even been a concert? The people in this little town were busy producing + tobacco and had never turned their thought toward music. In the face of the coming + concert what did those people do? They got a program, studied what pieces I had sung + on the Victor, got the music of the others; so they had a pretty good idea of what I + was going to sing. When I stepped on the platform that night and saw the little + upright piano (no other instrument could be secured) and looked into those eager + faces, I wondered how they would receive my work. My first number was an aria from + <i>Orfeo</i>. When I finished, the demonstration was so deafening I had to wait + minutes before I could go on. And so it continued all the evening.</p> + <p>"How do I work? Very hard, at least six hours a day. Of these I actually sing + perhaps three hours. I begin at nine and give the first hour to memory work on + repertoire. I give very thorough study to my programs; for I must know every note in + them, both for voice and piano. I make it a point to know the accompaniments, for in + case I am ever left without an accompanist, I can play for myself, and it has a great + effect on audiences. They may not know or care whether you can <span + class="pagenum"><a name="page191" id="page191"></a>{191}</span> play Beethoven or + Chopin, but the fact that you can play while you sing, greatly impresses them.</p> + <p>"In committing a song, I play it over and sing it sufficiently to get a good idea + of its construction and meaning; then I work in detail, learning words and music at + the same time, usually. Certain things are very difficult for me, things requiring + absolute evenness of passage work, or sustained calm. Naturally I have an excess of + temperament; I feel things in a vivid, passionate way. So I need to go very slowly at + times. To-day I gave several hours to only three lines of an aria by Haendel, and am + not yet satisfied with it. Indeed, can we ever rest satisfied, when there is so much + to learn, and we can always improve?</p> + <p>"The second hour of my day is given to vocalizes. Of course there are certain + standard things that one must do; but there are others that need not be done every + day. I try to vary the work as much as I can.</p> + <p>"The rest of the day is given to study on repertoire and all the things that + belong to it. There is so much more to a singer's art than merely to sing. And it is + a sad thing to find that so many singers lack musicianship. They seem to think if + they can sing some songs, or <span class="pagenum"><a name="page192" + id="page192"></a>{192}</span> even a few operas, that is all there is to it. But one + who would become an artist must work most of the time. I am sure Charles Hackett + knows the value of work; so does Mabel Garrison and many other Americans. And when + you think of it, there are really a brave number of our own singers who are not only + making good, but making big names for themselves and winning the success that comes + from a union of talent and industry."</p> + <hr style="width: 65%;" /> + <h2><a name="XX" id="XX"></a>XX</h2> + <span class="pagenum"><a name="page193" id="page193"></a>{193}</span> + <h2>MORGAN KINGSTON</h2> + <br /> +<br /> +<h5>THE SPIRITUAL SIDE OF THE SINGER'S ART</h5> +<br /> + <p>"A man who has risen to his present eminence through determined effort and hard + work, who has done it all in America, is a unique figure in the world of art. He can + surely give much valuable information to students, for he has been through so much + himself." Thus I was informed by one who was in a position to understand how Morgan + Kingston had achieved success. The well known tenor was most kind in granting an + audience to one seeking light on his ideas and experiences. He welcomed the visitor + with simple, sincere courtesy, and discussed for an hour and a half various aspects + of the singer's art.</p> + <p>"In what way may I be of service to you?" began Mr. Kingston, after the first + greetings had been exchanged.</p> + <p>"There are many questions to ask," was the answer; "perhaps it were best to + propound the most difficult one first, instead of reserving it <span + class="pagenum"><a name="page194" id="page194"></a>{194}</span> till the last. What, + in your opinion, goes into the acquiring of Vocal Mastery?"</p> + <p>"That is certainly a difficult subject to take up, for vocal mastery includes so + many things. First and foremost it includes vocal technic. One must have an excellent + technic before one can hope to sing even moderately well. The singer can do nothing + without technic, though of course there are many people who try to sing without it. + They, however, never get anywhere when hampered by such a lack of equipment. Technic + furnishes the tools with which the singer creates his vocal art work; just as the + painter's brushes enable him to paint his picture.</p> + + <div class="figcenter" style="width: 331px;"> + <img src="images/0238-1.png" width="331" height="482" alt="MORGAN KINGSTON" + title="MORGAN KINGSTON" /> <b>MORGAN KINGSTON</b> + </div> + +<br /> +<br /> +<h5>RULES OF TECHNIC</h5> +<br /> + + <p>"I said the singer should have a finished technic in order to express the musical + idea aright, in order to be an artist. But technic is never finished; it goes on + developing and broadening as we ourselves grow and develop. We learn by degrees what + to add on and what to take away, in our effort to perfect technic. Students, + especially in America, are too apt to depend on rules merely. They think if they + absolutely follow the rules, they must necessarily become singers; if they find that + you <span class="pagenum"><a name="page195" id="page195"></a>{195}</span> deviate + from rule they tell you of it, and hold you up to the letter of the law, rather than + its meaning and spirit. I answer, rules should be guides, not tyrants. Rules are + necessary in the beginning; later we get beyond them,—or rather we work out + their spirit and are not hide-bound by the letter.</p> + <br /> +<br /> +<h5>EARLY STRUGGLES</h5> +<br /> + <p>"As you may know, I was born in Nottinghamshire, England. I always sang, as a + small boy, just for the love of it, never dreaming I would one day make it my + profession. In those early days I sang in the little church where Lord Byron is + buried. How many times I have walked over the slab which lies above his vault. When I + was old enough I went to work in the mines, so you see I know what hardships the + miners endure; I know what it means to be shut away from the sun for so many hours + every day. And I would lighten their hardships in every way possible. I am sure, if + it rested with me, to choose between having no coal unless I mined it myself, I would + never dig a single particle. But this is aside from the subject in hand.</p> + <p>"I always sang for the love of singing, and I had the hope that some day I could + do some <span class="pagenum"><a name="page196" id="page196"></a>{196}</span> good + with the gift which the good God had bestowed on me. Then, one day, the opportunity + came for me to sing in a concert in London. Up to that time I had never had a vocal + lesson in my life; my singing was purely a natural product. On this occasion I sang, + evidently with some little success, for it was decided that very night that I should + become a singer. Means were provided for both lessons and living, and I now gave my + whole time and attention toward fitting myself for my new calling. The lady who + played my accompaniments at that concert became my teacher. And I can say, with + gratitude to a kind Providence, that I have never had, nor wished to have any other. + When I hear young singers in America saying they have been to Mr. S. to get his + points, then they will go to Mr. W. to learn his point of view, I realize afresh that + my experience has been quite different and indeed unique; I am devoutly thankful it + has been so.</p> + <br /> +<br /> +<h5>WHAT THE TEACHER SHOULD DO FOR THE STUDENT</h5> +<br /> + <p>"My teacher made a study of me, of my characteristics, mentality and temperament. + That should be the business of every real<span class="pagenum"><a name="page197" + id="page197"></a>{197}</span> teacher, since each individual has different + characteristics from every other.</p> + <p>"It is now ten years since I began to study the art of singing. I came to America + soon after the eventful night which changed my whole career; my teacher also came to + this country. I had everything to learn; I could not even speak my own language; my + speech was a dialect heard in that part of the country where I was brought up. I have + had to cultivate and refine myself. I had to study other languages, Italian, French + and German. I learned them all in America. So you see there is no need for an + American to go out of his own country for vocal instruction or languages; all can be + learned right here at home. I am a living proof of this. What I have done others can + do.</p> + <br /> +<br /> +<h5>THE TECHNICAL SIDE</h5> +<br /> + <p>"As for technical material, I have never used a great quantity. Of course I do + scales and vocalizes for a short time each day; such things are always kept up. Then + I make daily use of about a dozen exercises by Rubini. Beyond these I make technical + studies out of the pieces. But, after one has made a certain amount of progress on + the technical side, one <span class="pagenum"><a name="page198" + id="page198"></a>{198}</span> must work for one's self—I mean one must work on + one's moral nature.</p> + <br /> +<br /> +<h5>THE MORAL SIDE</h5> +<br /> + <p>"I believe strongly that a singer cannot adequately express the beautiful and pure + in music while cherishing at the same time, a bad heart and a mean nature behind it. + Singing is such a personal thing, that one's mentality, one's inner nature, is bound + to reveal itself. Each one of us has evil tendencies to grapple with, envy, jealousy, + hatred, sensuality and all the rest of the evils we are apt to harbor. If we make no + effort to control these natural tendencies, they will permanently injure us, as well + as impair the voice, and vitiate the good we might do. I say it in all humility, but + I am earnestly trying to conquer the errors in myself, so that I may be able to do + some good with my voice. I have discovered people go to hear music when they want to + be soothed and uplifted. If they desire to be amused and enjoy a good laugh, they go + to light opera or vaudeville; if they want a soothing, quieting mental refreshment, + they attend a concert, opera or oratorio. Therefore I want to give them, when I sing, + what they are in need of, what they are longing for. I want to have such control of + <span class="pagenum"><a name="page199" id="page199"></a>{199}</span> myself that I + shall be fitted to help and benefit every person in the audience who listens to me. + Until I have thus prepared myself, I am not doing my whole duty to myself, to my art + or to my neighbor.</p> + <p>"We hear about the petty envy and jealousy in the profession, and it is true they + seem to be very real at times. Picture two young women singing at a concert; one + receives much attention and beautiful flowers, the other—none of these things. + No doubt it is human nature, so-called, for the neglected one to feel horribly + jealous of the favored one. Now this feeling ought to be conquered, for I believe, if + it is not, it will prevent the singer making beautiful, correct tones, or from + voicing the beauty and exaltation of the music. We know that evil thoughts react on + the body and result in diseases, which prevent the singer from reaching a high point + of excellence. We must think right thoughts for these are the worth while things of + life. Singing teachers utterly fail to take the moral or metaphysical side into + consideration in their teaching. They should do this and doubtless would, did they + but realize what a large place right thinking occupies in the development of the + singer.</p> + <p>"One could name various artists who only <span class="pagenum"><a name="page200" + id="page200"></a>{200}</span> consider their own self-aggrandizement; one is + compelled to realize that, with such low aims, the artist is bound to fall short of + highest achievement. It is our right attitude towards the best in life and the + future, that is of real value to us. How often people greet you with the words: + 'Well, how is the world treating you to-day?' Does any one ever say to you—'How + are you treating the world to-day?' That is the real thing to consider.</p> + <p>"As I said a few moments ago, I have studied ten years on vocal technic and + repertoire. I have not ventured to say so before, but I say it to-night—I can + sing! Of course most of the operatic tenor rôles are in my repertoire. This + season I am engaged for fourteen rôles at the Metropolitan. These must be ready + to sing on demand, that is at a moment's notice,—or say two hours' notice. That + means some memory work as well as constant practice.</p> + <p>"Would I rather appear in opera, recital or oratorio? I like them all. A recital + program must contain at least a dozen songs, which makes it as long as a leading + operatic rôle.</p> + <p>"The ten years just passed, filled as they have been with close study and public + work, I consider in the light of preparation. The <span class="pagenum"><a + name="page201" id="page201"></a>{201}</span> following ten years I hope to devote to + becoming more widely known in various countries. And then—" a pleasant smile + flitted over the fine, clean-cut features,—"then another ten years to make my + fortune. But I hasten to assure you the monetary side is quite secondary to the great + desire I have to do some good with the talent which has been given me. I realize more + and more each day, that to develop the spiritual nature will mean happiness and + success in this and in a future existence, and this is worth all the effort and + striving it costs."</p> + <hr style="width: 65%;" /> + <h2><a name="XXI" id="XXI"></a>XXI</h2> + <span class="pagenum"><a name="page202" id="page202"></a>{202}</span> + <h2>FRIEDA HEMPEL</h2> + <br /> +<br /> +<h5>A LESSON WITH A PRIMA DONNA</h5> +<br /> + <p>There is no need to say that Frieda Hempel is one of the most admired artists on + the opera and concert stage to-day. Every one knows the fact. Miss Hempel has + endeared herself to all through her lovely voice, her use of it, her charm of manner + and the sincerity of her art.</p> + <div class="figcenter" style="width: 328px;"> + <img src="images/0248-1.png" width="328" height="466" + alt="Photo by Alfred Chancy Johnston FRIEDA HEMPEL" + title="Photo by Alfred Chancy Johnston FRIEDA HEMPEL" /> + <span style="font-size: 75%;"><i>Photo by Alfred Chancy Johnston</i></span> + <br /><b>FRIEDA HEMPEL</b> + </div> + <p>It is seven years since Miss Hempel first came to sing at the Metropolitan. + America has advanced very greatly in musical appreciation during this period. Miss + Hempel herself has grown in artistic stature with each new character she has assumed. + This season she has exchanged the opera field for that of the concert room, to the + regret of opera patrons and all music lovers, who desired to see her at the + Metropolitan. Being so constantly on the wing, it has been extremely difficult to + secure a word with the admired artist. Late one afternoon, however, toward the end of + her very successful concert season, she was able to <span class="pagenum"><a + name="page203" id="page203"></a>{203}</span> devote an hour to a conference with the + writer on the principles of vocal art.</p> + <p>How fair, slender and girlish she looked, ensconced among the cushions of a + comfortable divan in her music room, with a favorite pet dog nestling at her + side.</p> + <p>"And you ask how to master the voice; it seems then, I am to give a vocal lesson," + she began, with an arch smile, as she caressed the little creature beside her.</p> + <br /> +<br /> +<h5>BREATHING</h5> +<br /> + <p>"The very first thing for the singer to consider is breath control; always the + breathing—the breathing. She thinks of it morning, noon and night. Even before + rising in the morning, she has it on her mind, and may do a few little stunts while + still reclining. Then, before beginning her vocal technic in the morning, she goes + through a series of breathing exercises. Just what they are is unnecessary to + indicate, as each teacher may have his own, or the singer has learned for herself + what forms are most beneficial.</p> + <br /> +<br /> +<h5>VOCAL TECHNIC</h5> +<br /> + <p>"The pianist before the public, or the player who hopes to master the instrument + in the <span class="pagenum"><a name="page204" id="page204"></a>{204}</span> future, + never thinks of omitting the daily task of scales and exercises; he knows that his + chances for success would soon be impaired, even ruined, if he should neglect this + important and necessary branch of study.</p> + <p>"It is exactly the same thing with the singer. She cannot afford to do without + scales and exercises. If she should, the public would soon find it out. She must be + in constant practice in order to produce her tones with smoothness and purity; she + must also think whether she is producing them with ease. There should never be any + strain, no evidence of effort. Voice production must always seem to be the easiest + thing in the world. No audience likes to see painful effort in a singer's face or + throat.</p> + <br /> +<br /> +<h5>VOCAL PRACTICE</h5> +<br /> + <p>"The young singer should always practice with a mirror—do not forget that; + she must look pleasant under all circumstances. No one cares to look at a singer who + makes faces and grimaces, or scowls when she sings. This applies to any one, young or + older. Singing must always seem easy, pleasant, graceful, attractive, winning. This + must be the mental concept, and, acted upon, the singer will thus win her audience. I + do not mean that one <span class="pagenum"><a name="page205" + id="page205"></a>{205}</span> should cultivate a grin when singing; that would be + going to the other extreme.</p> + <p>"Let the singer also use a watch when she practices, in order not to overdo. I + approve of a good deal of technical study, taken in small doses of ten to fifteen + minutes at a time. I myself do about two hours or more, though not all technic; but I + make these pauses for rest, so that I am not fatigued. After all, while we must have + technic, there is so much more to singing than its technic. Technic is indeed a means + to an end, more in the art of song than in almost any other form of art. Technic is + the background for expressive singing, and to sing expressively is what every one + should be striving for.</p> + <br /> +<br /> +<h5>WHAT IT MEANS TO BE A SINGER</h5> +<br /> + <p>"A beautiful voice is a gift from heaven, but the cultivation of it rests with its + possessor. Here in America, girls do not realize the amount of labor and sacrifice + involved, or they might not be so eager to enter upon a career. They are too much + taken up with teas, parties and social functions to have sufficient time to devote to + vocal study and all that goes with it. There are many other things to study; some + piano if possible, languages of course, <span class="pagenum"><a name="page206" + id="page206"></a>{206}</span> physical culture and acting, to make the body supple + and graceful. I say some piano should be included, at least enough to play + accompaniments at sight. But when she has mastered her song or rôle, she needs + an accompanist, for she can never play the music as it should be played while she + endeavors to interpret the song as that should be sung. One cannot do complete + justice to both at the same time.</p> + <p>"In order to study all the subjects required, the girl with a voice must be + willing to give most of her day to the work. This means sacrificing the social side + and being willing to throw herself heart and soul into the business of adequately + preparing for her career.</p> + <br /> +<br /> +<h5>AMERICAN VOICES</h5> +<br /> + <p>"I find there are quantities of lovely voices here in America. The quality of the + American female voice is beautiful; in no country is it finer, not even in Italy. You + have good teachers here, too. Then why are there so few American singers who are + properly prepared for a career? Why do we hear of so few who make good and amount to + something? If the girl has means and good social connections, she is often not ready + to sacrifice social gayeties <span class="pagenum"><a name="page207" + id="page207"></a>{207}</span> for the austere life of the student. If she is a poor + girl, she frequently cannot afford to take up the subjects necessary for her higher + development. Instruction is expensive here, and training for opera almost impossible. + The operatic coach requires a goodly fee for his services. And when the girl has + prepared several rôles where shall she find the opportunity to try them out? + Inexperienced singers cannot be accepted at the Metropolitan; that is not the place + for them. At the prices charged for seats the management cannot afford to engage any + but the very best artists. Until there are more opera houses throughout the country, + the American girl will still be obliged to go to Europe for experience and routine. + In Europe it is all so much easier. Every little city and town has its own opera + house, where regular performances are given and where young singers can try their + wings and gain experience. The conductor will often help and coach the singer and + never expect a fee for it.</p> + <br /> +<br /> +<h5>THE YOUNG SINGER BEFORE AN AUDIENCE</h5> +<br /> + <p>"The singer who wishes to make a career in concert, should constantly study to do + things easily and gracefully. She is gracious in <span class="pagenum"><a + name="page208" id="page208"></a>{208}</span> manner, and sings to the people as though + it gave her personal pleasure to stand before them. She has a happy expression of + countenance; she is simple, unaffected and sincere. More than all this her singing + must be filled with sentiment and soul; it must be deeply felt or it will not touch + others. Of what use will be the most elaborate technic in the world if there is no + soul back of it. So the young singer cultivates this power of expression, which grows + with constant effort. The artist has learned to share her gift of song with her + audience, and sings straight across into the hearts of her listeners. The less + experienced singer profits by her example.</p> + <p>"Shall the singer carry her music in a song recital, is a much discussed question. + Many come on with nothing in hand. What then happens? The hands are clasped in + supplication, as though praying for help. This attitude becomes somewhat harrowing + when held for a whole program. Other singers toy with chain or fan, movements which + may be very inappropriate to the sentiment of the song they are singing. For myself I + prefer to hold in hand a small book containing the words of my songs, for it seems to + be more graceful and Jess obtrusive than the other ways I have <span + class="pagenum"><a name="page209" id="page209"></a>{209}</span> mentioned. I never + refer to this little book, as I know the words of my songs backward; I could rise in + the middle of the night and go through the program without a glance at words or + music, so thoroughly do I know what I am singing. Therefore I do not need the book of + words, but I shall always carry it, no matter what the critics may say. And why + should not the executive artist reassure himself by having his music with him? It + seems to me a pianist would feel so much more certain of himself if he had the notes + before him; he of course need not look at them, but their presence would take away + the fear that is often an obsession. With the notes at hand he could let himself go, + give free reign to fancy, without the terrible anxiety he must often feel.</p> + <br /> +<br /> +<h5>OPERA OR CONCERT</h5> +<br /> + <p>"People often ask whether I prefer to sing in opera or concert. I always answer, I + love both. I enjoy opera for many reasons; I love the concert work, and I am also + very fond of oratorio. Of course in the opera I am necessarily restrained; I can + never be Frieda Hempel, I must always be some one else; I must always think of the + others who are playing with me. In concert I can be myself and <span + class="pagenum"><a name="page210" id="page210"></a>{210}</span> express myself. I get + near the people; they are my friends and I am theirs. I am much in spirit with + oratorio also.</p> + <br /> +<br /> +<h5>COLORATURA OR DRAMATIC</h5> +<br /> + <p>"Do I think the coloratura voice will ever become dramatic? It depends on the + quality of the voice. I think every dramatic singer should cultivate coloratura to + some extent—should study smooth legato scales and passages. To listen to some + of the dramatic rôles of to-day, one would think that smooth legato singing was + a lost art. Nothing can take its place, however, and singers should realize this + fact."</p> + <p>Miss Hempel believes that every singer, no matter how great, should realize the + advantage of constant advice from a capable teacher, in order to prevent the forming + of undesirable habits. She also considers Vocal Mastery implies the perfection of + everything connected with singing; that is to say, perfect breath control, perfect + placement of the voice, perfect tone production, together with all requisite grace, + feeling and expressiveness.</p> + <hr style="width: 65%;" /> + <span class="pagenum"><a name="page211" id="page211"></a>{211}</span> + <h2><a name="WITH_THE_MASTER_TEACHERS" id="WITH_THE_MASTER_TEACHERS"></a>WITH THE + MASTER TEACHERS</h2> + <span class="pagenum"><a name="page212" id="page212"></a>{212}</span> + <hr style="width: 65%;" /> + <h2><a name="XXII" id="XXII"></a>XXII</h2> + <span class="pagenum"><a name="page213" id="page213"></a>{213}</span> + <h2>DAVID BISPHAM</h2> + <br /> +<br /> +<h5>THE MAKING OF ARTIST SINGERS</h5> +<br /> + <p>If we were asked to name one of the best known, and best loved of American + singers, the choice would surely fall on David Bispham. This artist, through his + vocal, linguistic and histrionic gifts, his serious aims and high ideals, has + endeared himself to musicians and music lovers alike. We are all proud of him as an + American, and take a sort of personal pride in his achievements.</p> + <p>Mr. Bispham has been before the public as actor-singer for many years. There is no + other artist in the English-speaking world who has had greater experience in all + kinds of vocal work than this "Quaker Singer," as he calls himself, for he comes from + Philadelphia, and is of old English, Quaker, Colonial stock. His professional + début was made in London, in 1891, with the Royal English Opera Company, as + the Duc De Longueville, in the beautiful Opera Comique, <i>The Basoche</i>, by + Messager. The following year he appeared in<span class="pagenum"><a name="page214" + id="page214"></a>{214}</span> Wagnerian Music Drama at the Royal Opera, Covent + Garden, performing the part of Kurwenal, in <i>Tristan and Isolde</i>, without + rehearsal. His adaptability to music in English, French, Italian and German, caused + him to be at once accepted as a member of that distinguished company.</p> + <p>In 1896, Mr. Bispham joined the forces of the Metropolitan Opera House, New York, + and remained there for a number of years, singing each season alternately on both + sides of the ocean. Of recent years he has devoted most of his time to concerts, + though he is one of the founders and officers of the Society of American Singers, + with which artistic body he frequently appears in the classic operas of Mozart, + Pergolesi, Donizetti and others.</p> + <p>My first conference with Mr. Bispham was held in his New York studio. Here, in + this artistic retreat where absolute quiet reigns, though located in the heart of the + great city's busy life, the noted singer teaches and works out his programs and + various characterizations.</p> + <br /> +<br /> +<h5>THE PROBLEM OF BREATH CONTROL</h5> +<br /> + <p>"The singer should breathe as easily and naturally as animals and people do when + they <span class="pagenum"><a name="page215" id="page215"></a>{215}</span> sleep," he + began. "But we are awake when we sing; correct breath control, therefore, must be + carefully studied, and is the result of understanding and experience. The best art + conceals art. The aim is to produce tones with the utmost ease and naturalness, + though these must be gained with patient toil. A child patting the keyboard with his + tiny hands, is <i>unconsciously</i> natural and at ease, though he does not know what + he is doing; the great pianist is <i>consciously</i> at ease because he understands + principles of ease and relaxation, and has acquired the necessary control through + years of training.</p> + <p>"The singer acquires management of the breath through correct position and action + of his anatomy. The body is held erect, chest active; the network of abdominal + muscles constantly gain strength as they learn to push, push, push the air up through + the lungs to the windpipe, then through the mouth and nasal cavities." Mr. Bispham + illustrated each point in his own person as he described it.</p> + <p>"When the manner of taking breath, and the way to develop the diaphragm and + abdominal muscles, is understood, that is only a beginning. Management of the breath + is an art in itself. The singer must know what to do with <span class="pagenum"><a + name="page216" id="page216"></a>{216}</span> the breath once he has taken it in, or + he may let it out in quarts the moment he opens his mouth. He has to learn how much + he needs for each phrase. He learns how to conserve the breath; and while it is not + desirable to hold one tone to attenuation, that the gallery may gasp with + astonishment, as some singers do, yet it is well to learn to do all one conveniently + can with one inhalation, provided the phrase permits it.</p> + <br /> +<br /> +<h5>TECHNICAL MATERIAL</h5> +<br /> + <p>"I give many vocalizes and exercises, which I invent to fit the needs of each + pupil. I do not require them to be written down, simply remembered. At the next + lesson quite a different set of exercises may be recommended. I also make exercises + out of familiar tunes or themes from operatic airs. It will be found that technical + material in the various manuals is often chosen from such sources, so why not use + them in their original form. Thus while the student is studying technic he is also + acquiring much beautiful material, which will be of great value to him later on.</p> + <br /> +<br /> +<h5>THE STUDY OF REPERTOIRE</h5> +<br /> + <p>"Repertoire is a wide subject and offers a fascinating study to the vocal student. + He <span class="pagenum"><a name="page217" id="page217"></a>{217}</span> must have + both imagination and sentiment, also the ability to portray, through movement and + facial expression, the various moods and states of feeling indicated by words and + music.</p> + <p>"In taking up a new rôle, I read the story to get at the kernel or plot, and + see what it means. The composer first saw the words of poem or libretto, and these + suggested to him suitable music. So the singer begins his work by carefully reading + the words.</p> + <p>"I then have the music of the whole work played for me on the piano, so as to + discover its trend and meaning—its content. If the composer is available I ask + him to do this. I next begin to study my own part in detail, not only the important + sections but the little bits, which seem so small, but are often so difficult to + remember."</p> + <br /> +<br /> +<h5>CHARACTERIZATION</h5> +<br /> + <p>Under this head the singer spoke at length of the difficulty some singers + encounter when they endeavor to portray character, or differentiate emotions. There + is endless scope in this line, to exercise intelligence and imagination.</p> + <p>"Some singers," continued the artist, "seem incapable of characterizing a + rôle or song.<span class="pagenum"><a name="page218" + id="page218"></a>{218}</span> They can do what I call 'flat work,' but cannot + individualize a rôle. A singer may have a beautiful voice yet not be + temperamental; he may have no gift for acting, nor be able to do character work.</p> + <p>"At the present moment I am preparing several new rôles, three of them are + of old men. It rests with me to externalize these three in such a way that they shall + all be different, yet consistent with the characters as I understand them. Each + make-up must be distinctive, and my work is to portray the parts as I see and feel + them. I must get into the skin of each character, so to say, then act as I conceive + that particular person would behave under like circumstances. Many singers cannot + act, and most actors cannot sing. When the two are combined we have a singing actor, + or an actor-singer. Once there was a popular belief that it was not necessary for the + singer to know much about acting—if he only had a voice and could sing. The + present is changing all that. Many of us realize how very much study is required to + perfect this side of our art.</p> + <p>"In this connection I am reminded of my London début. I was to make it with + the Royal English Opera Company. They heard me three times before deciding to take me + on.<span class="pagenum"><a name="page219" id="page219"></a>{219}</span> With this + formality over, rehearsals began. I soon found that my ideas of how my + rôle—an important one—was to be acted, did not always coincide with + the views of the stage director, and there were ructions. The manager saw how things + were going, and advised me to accept seemingly the ideas of the stage director during + rehearsals, but to study acting with the highest authorities and then work out the + conception after my own ideas. Accordingly, I spent an hour daily, before the morning + rehearsal, with one of the finest actors of comedy to be found in London. Later in + the day, after rehearsal, I spent another hour with a great tragic actor. Thus I + worked in both lines, as my part was a mixture of the tragic and the comic. I put in + several weeks of very hard work in this way, and felt I had gained greatly. Of course + this was entirely on the histrionic side, but it gives an idea of the preparation one + needs.</p> + <p>"When the day of the dress rehearsal arrived, I appeared on the scene in full + regalia, clean shaven (I had been wearing a beard until then), and performed my + rôle as I had conceived it, regardless of the peculiar ideas of the stage + director. At the first performance I made a hit, and a little later was engaged for + <span class="pagenum"><a name="page220" id="page220"></a>{220}</span> grand opera at + Covent Garden, where I remained for ten years.</p> + <br /> +<br /> +<h5>KNOWLEDGE OF ANATOMY</h5> +<br /> + <p>"While I believe in understanding one's anatomy sufficiently for proper tone + production, and all that goes with it, there are many peculiar and unnecessary fads + and tricks resorted to by those who call themselves teachers of singing. The more + fantastic the theories inculcated by these people, the more the unwary students seem + to believe in them. People like to be deluded, you know. But I am not able to gratify + their desires in this direction; for I can't lie about music!</p> + <p>"I was present at a vocal lesson given by one of these so-called instructors. 'You + must sing in such a way that the tone will seem to come out of the back of your + head,' he told the pupil, and he waved his arms about his head as though he were + drawing the tone out visibly. Another pupil was placed flat on his back, then told to + breathe as though he were asleep, and then had to sing in that position. Another + teacher I know of makes pupils eject spit-balls of tissue paper at the ceiling, to + learn the alleged proper control of the breath. What criminal nonsense this is!</p> + <p><span class="pagenum"><a name="page221" id="page221"></a>{221}</span> + "As I have said, I believe in knowing what is necessary about anatomy, but not in + too great measure. A new book will soon be issued, I am told, which actually dissects + the human body, showing every bone and muscle in any way connected with breath or + voice. All this may be of interest as a matter of research, but must one go into such + minutiae in order to teach singing? I think the answer must ever be in the negative. + You might as well talk to a gold-fish in a bowl-and say: 'If you desire to proceed + laterally to the right, kindly oscillate gently your sinister dorsal fin, and you + will achieve the desired result.' Oh, Art, what sins are committed in thy name!"</p> + <br /> +<br /> +<h5>IN THE STUDIO</h5> +<br /> + <p>It is often affirmed that an artist finds experience the best teacher. It must be + equally true that the artist-teacher of wide experience in both performance and + instruction, should be a safe guide, just because of this varied experience.</p> + <p>I was impressed with this fact when I recently had the privilege of visiting Mr. + Bispham's studio during lesson hours, and listening to his instruction. A most + interesting <span class="pagenum"><a name="page222" id="page222"></a>{222}</span> + sanctum is this studio, filled as it is with souvenirs and pictures of the artist's + long career on the operatic stage. Here hangs a drawing in color of Bispham as + Telramund, in shining chain armor; there a life-size portrait as "Beethoven," and + again as himself. In the midst of all is the master, seated at a table. In front of + him, at the piano, stands the student. It is an English song she is at work on, for + Mr. Bispham thoroughly believes in mastering English as well as other languages.</p> + <p>How alert he is as he sits there; how keen of eye and ear. Not the slightest fault + escapes him. He often sings the phrase himself, then calls for its repetition.</p> + <p>"Sing that passage again; there is a tone in it that is not pleasant—not + well-sounding; make it beautiful!" "Careful of your consonants there, they are not + distinct; let them be clearer, but don't make them over distinct." "Don't scoop up + the ends of the phrases; make the tones this way"; and he illustrates repeatedly. + "Sing this phrase in one breath if you can, if not, breathe here—" indicating + the place.</p> + <p>The student now takes up an Italian aria. Of course the master teacher has no need + of printed score; he knows the arias by heart.<span class="pagenum"><a name="page223" + id="page223"></a>{223}</span> He merely jots down a few remarks on a slip of paper, + to be referred to later.</p> + <p>The aria goes quite well. At its close the singer goes to her seat and another + takes her place. A voice of rich, warm timbre. More English—and it must be most + exact, to suit Mr. Bispham's fastidious ear.</p> + <p>"Make the word <i>fire</i> in <i>one</i> syllable, not <i>two</i>. Do not open the + mouth quite so wide on the word <i>desire</i>, for, by doing so you lose the balance + and the tone is not so good."</p> + <br /> +<br /> +<h5>VOCALIZES</h5> +<br /> + <p>Another student—with a fine tenor—was asked to vocalize for a number + of minutes. He sang ascending and descending tone-figures, sometimes doing them in + one breath, at others taking a fresh breath at top. Some of the syllables used were: + la, ma, may, and mi. He then sang single tones, swelling and diminishing each. It was + found that passing from <i>forte</i> to <i>piano</i> was much more difficult than + swelling from soft to loud.</p> + <p>The aria "Be not afraid," was now taken up; it was pronounced one of the most + difficult solos ever written, and a very valuable composition for vocal training.</p> + <p>"You sing that phrase too loud," cautioned <span class="pagenum"><a name="page224" + id="page224"></a>{224}</span> the instructor. "This is not a human being who is + speaking, rather it is a heavenly voice. That high note of the phrase should be made + softer, more ethereal. Make it a <i>young tone</i>—put the quality of Spring + into it. The whole thing should be more spiritual or spiritualized. Now go through it + again from beginning to end."</p> + <p>When this was finished a halt was called; there had been enough work done for that + day. Soon the class was dismissed. The young singers—some if not all of them + known upon the concert stage—filed out. One young woman remained; she was to + have a drama lesson. The master of singing showed himself equally efficient as master + of English diction for the spoken drama.</p> + <p>And here, for a time, we must leave him at his work.</p> + <hr style="width: 65%;" /> + <h2><a name="XXIII" id="XXIII"></a>XXIII</h2> + <span class="pagenum"><a name="page225" id="page225"></a>{225}</span> + <h2>OSCAR SAENGER</h2> + <br /> +<br /> +<h5>USE OF RECORDS IN VOCAL STUDY</h5> +<br /> + <p>Mr. Oscar Saenger has been termed "maker of artists," since a number of our great + singers have come from under his capable hands. He has a rare gift for imparting + instruction in a way that is concise and convincing. A man of wide experience, + profound knowledge of his subject, commanding personality and winning courtesy, he + impresses all who come within his radius that he knows whereof he speaks. A man who + "knows what he knows" is one to be followed.</p> + <p>Mr. Saenger had just returned from a season of travel over America as far as the + Coast. A most profitable trip he called it, filled with many interesting and unique + experiences. He had been lecturing also, in a number of cities, on his new method of + vocal study with the aid of the Victor Talking Machine. When he learned I had come + expressly to ask for his ideas on vocal technic and study, he said:</p> + <p>"I think you will be interested to hear about <span class="pagenum"><a + name="page226" id="page226"></a>{226}</span> my latest hobby, the study of singing + with the aid of records." Then he plunged at once into the most absorbingly + interesting account of his ideas and achievements in this line I had ever listened + to.</p> + <br /> +<br /> +<h5>TEACHER, ARTIST AND ACCOMPANIST IN ONE</h5> +<br /> + <p>"This is my own idea, of combining the teacher, artist and accompanist in one + trinity," he began. "And, by the way, my idea is now patented in Washington. It is + the result of nine years' thought and labor, before the idea could be brought out in + its finished form. The design has been to make the method and its elucidation so + simple that the girl from a small town can understand it.</p> + <p>"The method consists of twenty lessons for each of the five kinds of voices: + Soprano, Mezzo-Soprano, Tenor, Baritone and Bass. Each portfolio holds twenty + records, together with a book containing minute directions for studying and using the + records. I believe that any one, with good intelligence, who wishes to learn to sing, + can take the book and records and begin his studies, even though he has never sung + before. He can thus prepare himself for future lessons. For you must understand this + method is not meant to replace the teacher, but <span class="pagenum"><a + name="page227" id="page227"></a>{227}</span> to aid the teacher. I can assure you it + aids him in ways without number. It gives him a perfect exemplar to illustrate his + principles. If he be fatigued, or unable to sing the passage in question, here is an + artist who is never wearied, who is always ready to do it for him. I myself + constantly use the records in my lessons. If I have taught a number of consecutive + hours, it is a relief to turn to the artist's record and save my own voice.</p> + <br /> +<br /> +<h5>SIMPLICITY</h5> +<br /> + <p>"As I have said, the design has been to make everything plain and simple. I wrote + the book and sent it to the Victor people. They returned it, saying I had written an + excellent book, but it was not simple enough. They proposed sending a man to me who + was neither a musician nor a singer. If I could make my meaning clear enough for him + to understand, it was likely the girl from a little Western town could grasp it.</p> + <p>"So this man came and we worked together. If I talked about head tones, he wanted + to know what I meant; if about throaty tones, I had to make these clear to him. When + he understood, I was sure any one could understand.</p> + <p>"Thus the books as they stand came into <span class="pagenum"><a name="page228" + id="page228"></a>{228}</span> being. The records themselves represent an immense + amount of care and effort. Will you believe we had to make over two thousand in order + to secure the one hundred needed for the present series? The slightest imperfection + is enough to render an otherwise perfect record useless. Even the artists themselves + would sometimes become discouraged at the enormous difficulties. It is nerve-racking + work, for one must be on tension all the time.</p> + <br /> +<br /> +<h5>IMITATION A FUNDAMENTAL PRINCIPLE</h5> +<br /> + <p>"If you are interested, I will go a little more into detail. The main idea of this + unique method of study, is imitation. Every human being likes to imitate—from + the tiny child to the adult. Acting upon this idea, we take the artist as model. + Everything the model does, the student strives to imitate. By means of the record, it + is possible for the student to do this over and over again, until he has learned to + copy it as accurately as it is possible. And here is where the knowledge and + experience of the teacher come in. During the lesson he tests each tone, each phrase, + advising the pupil how nearly he approaches the perfect model, or showing him his + faults and why he does not succeed in imitating the model more correctly."</p> + <br /> +<br /> +<h5>FOR BEGINNERS</h5><span + class="pagenum"><a name="page229" id="page229"></a>{229}</span> +<br /> + <p>"Do you mean to say, Mr. Saenger, that this method of vocal study can be taken up + by one who knows really nothing of the voice, or singing, and can be used with + success; that such a person can become a singer through self-study?"</p> + <p>"It is indeed possible," was the answer; "and it is being done every day. If the + student has much intelligence, determination and concentration, she can learn to sing + from these directions and these records. They are a great boon to young aspirants in + small towns, where there are really no good teachers. In such places local teachers + can study and teach from these records.</p> + <p>"Again, you often find people too shy, or too ashamed to go to a teacher for a + voice trial or lessons. They want to sing—every one would like to do that; but + they don't know how to go at it. With these records they can begin to study, and thus + get ready for later lessons. With these records those who are far from a music center + can have the benefit of expert instruction at small cost. I might work with a pupil + for several months in the ordinary way—without the records—and not be + able to teach <span class="pagenum"><a name="page230" id="page230"></a>{230}</span> + him even with half the accuracy and quickness obtainable by the new method.</p> + <br /> +<br /> +<h5>THE ACCOMPANIST</h5> +<br /> + <p>"All singers know how important, how necessary it is to have services of an expert + accompanist. The student of this method has one at hand every hour of the day; a + tireless accompanist, who is willing to repeat without complaint, as often as + necessary.</p> + <br /> +<br /> +<h5>THE SPEAKING VOICE</h5> +<br /> + <p>"A very important branch of the work, for the would-be singer, is to cultivate the + speaking voice. Tones in speaking should always be made beautiful and resonant. Even + in children a pleasant quality of voice in speaking can be acquired. Mothers and + teachers can be trained to know and produce beautiful tones. The ear must be + cultivated to know a pure, beautiful tone and to love it.</p> + <br /> +<br /> +<h5>BREATHING EXERCISES</h5> +<br /> + <p>"The management of the breath is a most important factor, as the life of the tone + depends on the continuance of the breath. The student must cultivate the power of + quickly inhaling a full breath and of exhaling it so <span class="pagenum"><a + name="page231" id="page231"></a>{231}</span> gradually that she can sing a phrase lasting + from ten to twenty seconds. This needs months of arduous practice. In all breathing, + inhale through the nose. The lower jaw during singing should be entirely relaxed.</p> + <p>"The tone should be focused just back of the upper front teeth. The way to place + the tone forward is to <i>think</i> it forward. The student must think the tone into + place.</p> + <p>"To 'attack' a tone is to sing it at once, without any scooping, and with free + open throat. When the throat is tightened the student loses power to attack her tones + in the right way.</p> + <br /> +<br /> +<h5>PHRASING</h5> +<br /> + <p>"Phrasing, in a limited sense, is simply musical punctuation. In its broader sense + it is almost synonymous with interpretation. For it has to do not only with musical + punctuation but with the grouping of tones and words in such a way that the + composition is rendered intelligible as a whole, so as to express the ideas of the + composer. This is where the intellectual and musical qualities of the singer are + brought into requisition. She must grasp the content, whether it be song or aria, in + order to effect this grouping intelligently. <i>Accent, crescendo</i> and + <i>diminuendo</i> are the most <span class="pagenum"><a name="page232" + id="page232"></a>{232}</span> important factors in phrasing. From the very beginning the + student should be careful how and where she takes breath and gives accent; there must + always be a reason, and thought will generally make the reason clear.</p> + <br /> +<br /> +<h5>TONE PRODUCTION</h5> +<br /> + <p>"The first thing to be considered is the position of the body; for beauty of tone + cannot be obtained unless all efforts harmonize to produce the desired result. An + easy, graceful, buoyant position is essential; it can be cultivated in front of a + mirror, from the first lesson.</p> + <p>"Tone production is the result of thought. Picture to yourself a beautiful tone; + sing it on the vowel Ah. If you stood in rapture before an entrancing scene you would + exclaim, Ah, how beautiful. Producing a beautiful tone rests on certain conditions. + First, breath control; Second, Freedom of throat; Third, Correct focus of tone.</p> + <p>"We know that a stiff jaw and tongue are the greatest hindrances to the emission + of good tone. Muscles of chin and tongue must be trained to become relaxed and + flexible. Do not stiffen the jaw or protrude the chin, else your appearance will be + painful and your tones faulty.</p> + <p><span class="pagenum"><a name="page233" id="page233"></a>{233}</span> + "To think the tone forward is quite as important as to sing it forward. Without + the mental impression of correct placing, the reality cannot exist. It is much better + to think the tone forward for five minutes and sing one minute, than to practice the + reverse. One should practice in fifteen-minute periods and rest at least ten minutes + between. The student should never sing more than two hours a day—one in the + morning and one in the afternoon. As most singers love their work, many are inclined + to overdo.</p> + <p>"Do not tamper with the two or three extreme upper or lower tones of your voice + lest you strain and ruin it permanently. Never practice when suffering from a + cold.</p> + <p>"Ideal attack is the tone which starts without any scooping, breathiness or + explosiveness. Breathe noiselessly, the secret of which is to breathe from down, up. + Faulty emissions of tone are: nasal, guttural, throaty and tremulous. I will give you + examples of all these from the record No. 33, which will show you first the fault and + then the perfect example. If the pupil studies these perfect emissions of tone and + tries to imitate them, there is no need for her to have the common faults + mentioned.</p> + <br /> +<br /> +<h5>SUSTAINED TONES</h5><span class="pagenum"><a name="page234" id="page234"></a>{234}</span> +<br /> + <p>"The next step is to study sustained tones. As you see the artist begins in the + middle of her voice—always the best way—and sings a whole tone on A, with + the syllable Ah, always waiting a whole measure for the pupil to imitate the tone. + Next she sings A flat and so on down to lower A, the pupil imitating each tone. She + now returns to middle A and ascends by half steps to E natural, the pupil copying + each tone after it is sung by the artist.</p> + <p>"The tone should be free, round and full, but not loud, and the aim be to preserve + the same quality throughout. Do not throw or push the tone, <i>but spin it</i>.</p> + <br /> +<br /> +<h5>UNITING SEVERAL TONES</h5> +<br /> + <p>"We first begin by uniting two tones, smoothly and evenly, then three in the same + way. After each pair or group of tones, the accompaniment is repeated and the pupil + imitates what the artist has just sung. Now comes the uniting of five tones, up and + down; after this the scale of one octave. The scale should be sung easily with + moderate tone quality. A slight accent can be given to the first and last tones of + the scale. We all realize the <span class="pagenum"><a name="page235" + id="page235"></a>{235}</span> scale is one of the most important exercises for the + building of the voice; the preceding exercises have prepared for it.</p> + <br /> +<br /> +<h5>ARPEGGIOS</h5> +<br /> + <p>"For imparting flexibility to the voice, nothing can exceed the Arpeggio, but like + all vocal exercises, it must be produced with precision of tone, singing each + interval clearly, with careful intonation, always striving for beauty of tone.</p> + <p>"There are various forms of arpeggios to be used. The second form is carried a + third above the octave; the third form a fifth above. This makes an exercise which + employs every tone in the scale save one, and gives practice in rapid breathing. + Remember, that the note before, taking breath is slightly shortened, in order to give + time for taking breath, without disturbing the rhythm.</p> + <br /> +<br /> +<h5>THE TRILL</h5> +<br /> + <p>"The trill is perhaps the most difficult of all vocal exercises, unless the singer + is blessed with a natural trill, which is a rare gift. We begin with quarter notes, + then add eighths and sixteenths. This exercise, if practiced daily, will produce the + desired result. It is taken on each tone of the voice—trilling in major + seconds.</p> + <br /> +<br /> +<h5>VOCALIZES</h5><span class="pagenum"><a name="page236" id="page236"></a>{236}</span> +<br /> + <p>"The purpose of vocalizes is to place and fix the voice accurately and to develop + taste, while singing rhythmically and elegantly. The records give some Concone + exercises, ably interpreted by one of our best known voices. You hear how even and + beautiful are the tones sung, and you note the pauses of four measures between each + phrase, to allow the student to repeat the phrase, as before.</p> + <p>"I firmly believe this method of study is bound to revolutionize vocal study and + teaching. You see it goes to the very foundation, and trains the student to imitate + the best models. It even goes farther back, to the children, teaching them how to + speak and sing correctly, always making beautiful tones, without harshness or + shouting. Young children can learn to sing tones and phrases from the records. + Furthermore, I believe the time is coming when the <i>technic and interpretation of + every instrument will be taught in this way</i>.</p> + <p>"It is my intention to follow up this set of foundational records by others which + will demonstrate the interpretation of songs and arias as they are sung by our + greatest artists. The outlook is almost limitless.</p> + <p><span class="pagenum"><a name="page237" id="page237"></a>{237}</span> + "And now, do you think I have answered your questions about tone production, + breath control and the rest? Perhaps I have, as convincingly as an hour's talk can + do."</p> + <hr style="width: 65%;" /> + <h2><a name="XXIV" id="XXIV"></a>XXIV</h2> + <span class="pagenum"><a name="page238" id="page238"></a>{238}</span> + <h2>HERBERT WITHERSPOON</h2> + <br /> +<br /> +<h5>MEMORY, IMAGINATION, ANALYSIS</h5> +<br /> + <p>No doubt the serious teacher, who may be occupied in any branch of musical + activity, has often pictured to himself what an ideal institution of musical art + might be like, if all students assembled should study thoroughly their particular + instrument, together with all that pertained to it. They should by all means possess + talent, intelligence, industry, and be far removed from a superficial attitude toward + their chosen field. The studio used for instruction in this imagined institution, + should also be ideal, quiet, airy, home-like, artistic.</p> + <p>Some such vision perhaps floats before the minds of some of us teachers, when we + are in the mood to dream of ideal conditions under which we would like to see our art + work conducted.</p> + <p>It has been possible for Mr. Herbert Witherspoon, the distinguished basso and + teacher, to make such a dream-picture come true. For he has established an + institution of vocal <span class="pagenum"><a name="page239" + id="page239"></a>{239}</span> art—in effect if not in name—where all the subjects + connected with singing, are considered and taught in the order of their significance. + Not less ideal is the building which contains these studios, for Mr. Witherspoon has + fitted up his private home as a true abiding place for the muse.</p> + <p>At the close of a busy day, marked like all the rest with a full complement of + lessons, the master teacher was willing to relax a little and speak of the work in + which he is so deeply absorbed. He apologized for having run over the time of the + last lesson, saying he never could teach by the clock.</p> + <p>"I do not like to call this a school," he began, "although it amounts to one in + reality, but only in so far as we take up the various subjects connected with vocal + study. I consider languages of the highest importance; we have them taught here. + There are classes in analysis, in pedagogy—teaching teachers how to instruct + others. We have an excellent master for acting and for stage deportment: I advise + that students know something of acting, even if they do not expect to go in for + opera; they learn how to carry themselves and are more graceful and self-possessed + before an audience.</p> + <p>"The work has developed far beyond my <span class="pagenum"><a name="page240" + id="page240"></a>{240}</span> expectations. There are over two hundred students, and I + have eight assistants, who have been trained by me and know my ways and methods. Some + of these give practice lessons to students, who alternate them with the lessons given + by me. These lessons are quite reasonable, and in combination with my work, give the + student daily attention.</p> + <p>"My plan is not to accept every applicant who comes, but to select the most + promising. The applicants must measure up to a certain standard before they can + enter. To this one fact is due much of our success."</p> + <p>"And what are these requirements?"</p> + <p>"Voice, to begin with; youth (unless the idea is to teach), good looks, musical + intelligence, application. If the candidate possesses these requisites, we begin to + work. In three months' time it can be seen whether the student is making sufficient + progress to come up to our standard. Those who do not are weeded out. You can readily + see that as a result of this weeding process, we have some very good material and + fine voices to work with.</p> + <p>"We have many musicals and recitals, both public and private, where young singers + have an opportunity to try their wings. There is a most generous, unselfish spirit + among the <span class="pagenum"><a name="page241" id="page241"></a>{241}</span> + students; they rejoice in each others' success, with never a hint of jealousy. We have + had a number of recitals in both Aeolian and Carnegie Halls, given by the artist + students this season. On these occasions the other students always attend and take as + much interest as though they were giving the recital themselves."</p> + <br /> +<br /> +<h5>BEL CANTO</h5> +<br /> + <p>"You have remarked lately that 'singers are realizing that the lost art of <i>bel + canto</i> is the thing to strive for and they are now searching for it.' Can you give + a little more light on this point?"</p> + <p>"I hardly meant to say that in any sense the art of bel canto was lost; how could + it be? Many singers seem to attach some uncanny significance to the term. Bel canto + means simply <i>beautiful singing</i>. When you have perfect breath control, and + distinct, artistic enunciation, you will possess bel canto, because you will produce + your tones and your words beautifully.</p> + <p>"Because these magic words are in the Italian tongue does not mean that they apply + to something only possessed by Italians. Not at all. Any one can sing beautifully who + does so with ease and naturalness, the American just <span class="pagenum"><a + name="page242" id="page242"></a>{242}</span> as well as those of any other countries. + In fact I consider American voices, in general, better trained than those of Italy, + Germany or France. The Italian, in particular, has very little knowledge of the + scientific side; he usually sings by intuition.</p> + <p>"We ought to have our own standards in judging American voices; until we do so, we + will be constantly comparing them with the voices of foreign singers. The quality of + the American voice is different from the quality found in the voices of other + countries. To my mind the best women's voices are found right here in our midst.</p> + <br /> +<br /> +<h5>MEMORY</h5> +<br /> + <p>"I have also said that there are three great factors which should form the + foundation stones upon which the singer should rear his structure of musical + achievement. These factors are Memory, Imagination, Analysis. I have put memory first + because it is the whole thing, so to say. The singer without memory—a + cultivated memory—does not get far. Memory lies at the very foundation of his + work, and must continue with it the whole journey through, from the bottom to the + top. In the beginning you think a beautiful tone, <span class="pagenum"><a + name="page243" id="page243"></a>{243}</span> you try to reproduce it. When you come + to it again you must remember just how you did it before. Each time you repeat the + tone this effort of memory comes in, until at last it has become second nature to + remember and produce the result; you now begin to do so automatically.</p> + <p>"As you advance there are words to remember as well as notes and tones. Memory, of + course, is just as necessary for the pianist. He must be able to commit large numbers + of notes, phrases and passages. In his case there are a number of keys to grasp at + once, but the singer can sing but one tone at a time. Both notes and words should be + memorized, so the singer can come before the audience without being confined to the + printed page. When acting is added there is still more to remember. Back of memory + study lies concentration; without concentration little can be accomplished in any + branch of art.</p> + <br /> +<br /> +<h5>IMAGINATION</h5> +<br /> + <p>"The central factor is imagination; what can be done without it! Can you think of + a musician, especially a singer, without imagination? He may acquire the + letter—that is, execute the notes correctly, but the performance is <span + class="pagenum"><a name="page244" id="page244"></a>{244}</span> dead, without life or + soul. With imagination he comprehends what is the inner meaning of the text, the + scene; also what the composer had in mind when he wrote. Then he learns to express + these emotions in his own voice and action, through the imaginative power, which will + color his tones, influence his action, render his portrayal instinct with life. + Imagination in some form is generally inherent in all of us. If it lies dormant, it + can be cultivated and brought to bear upon the singer's work. This is absolutely + essential.</p> + <br /> +<br /> +<h5>ANALYSIS</h5> +<br /> + <p>"I have put analysis last because it is the crowning virtue, the prime necessity. + We study analysis here in the studios, learning how to separate music into its + component parts, together with simple chord formations, general form and structure of + the pieces, and so on. Can you comprehend the dense ignorance of many music students + on these subjects? They will come here to me, never having analyzed a bit of music in + their lives, having not an inkling of what chord structure and form in music mean. If + they played piano even a little, they could hardly escape getting a small notion of + chord formation. But frequently vocal <span class="pagenum"><a name="page245" + id="page245"></a>{245}</span> students know nothing of the piano. They are too apt to be + superficial. It is an age of superficiality—and cramming: we see these evils + all the way from the college man down. I am a Yale man and don't like to say anything + about college government, yet I cannot shut my eyes to the fact that men may spend + four years going through college and yet not be educated when they come out. Most of + us are in too much of a hurry, and so fail to take time enough to learn things + thoroughly; above all we never stop to analyze.</p> + <p>"Analysis should begin at the very outset of our vocal or instrumental study. We + analyze the notes of the music we are singing, and a little later its form. We + analyze the ideas of the composer and also our own thoughts and ideas, to try and + bring them in harmony with his. After analyzing the passage before us, we may see it + in a totally different light, and so phrase and deliver it with an entirely different + idea from what we might have done without this intelligent study."</p> + <br /> +<br /> +<h5>CONSCIOUS OR, UNCONSCIOUS CONTROL</h5> +<br /> + <p>"Do you advise conscious action of the parts comprising the vocal instrument, or + do you prefer unconscious control of the instrument, with <span class="pagenum"><a + name="page246" id="page246"></a>{246}</span> thought directed to the ideal quality in + tone production and delivery?" was asked.</p> + <p>"By all means unconscious control," was the emphatic answer. "We wish to produce + beautiful sounds; if the throat is open, the breathing correct, and we have a mental + concept of that beautiful sound, we are bound to produce it. It might be almost + impossible to produce correct tones if we thought constantly about every muscle in + action. There is a great deal of nonsense talked and written about the diaphragm, + vocal chords and other parts of the anatomy. It is all right for the teacher who + wishes to be thoroughly trained, to know everything there is to know about the + various organs and muscles; I would not discourage this. But for the young singer I + consider it unnecessary. Think supremely of the beautiful tones you desire to + produce; listen for them with the outer ear—and the inner ear—that is to + say—mentally—and you will hear them. Meanwhile, control is becoming more + and more habitual, until it approaches perfection and at last becomes automatic. When + that point is reached, your sound producing instrument does the deed, while your + whole attention is fixed on the interpretation of a master work, <span + class="pagenum"><a name="page247" id="page247"></a>{247}</span> the performance of + which requires your undivided application. If there is action, you control that in + the same way until it also becomes automatic; then both singing and acting are + spontaneous."</p> + <br /> +<br /> +<h5>DOES THE SINGER HEAR HIMSELF?</h5> +<br /> + <p>This question was put to Mr. Witherspoon, who answered:</p> + <p>"The singer of course hears himself, and with study learns to hear himself better. + In fact I believe the lack of this part of vocal training is one of the greatest + faults of the day, and that the singer should depend more upon hearing the sound he + makes than upon feeling the sound. In other words, train the <i>ear</i>, the court of + ultimate resort, and the only judge—and forget sensation as much as possible, + for the latter leads to a million confusions.</p> + <p>"Undoubtedly a singer hears in his own voice what his auditors do not hear, for he + also hears with his inner ear, but the singer must learn to hear his own voice as + others hear it, which he can do perfectly well. Here we come to analysis again.</p> + <p>"The phonograph records teach us much in this respect, although I never have + considered <span class="pagenum"><a name="page248" id="page248"></a>{248}</span> that + the phonograph reproduces the human voice. It comes near it in some cases, utterly + fails in others, and the best singers do not always make the best or most faithful + reproductions."</p> + <hr style="width: 65%;" /> + <h2><a name="XXV" id="XXV"></a>XXV</h2> + <span class="pagenum"><a name="page249" id="page249"></a>{249}</span> + <h2>YEATMAN GRIFFITH</h2> +<br /> +<br /> +<h5>CAUSATION</h5> +<br /> + <p>"The causation of beautiful singing can only be found through a pure and velvety + production of the voice, and this is acquired in no other way than by a thorough + understanding of what constitutes a perfect beginning—that is the attack or + start of the tone. If the tone has a perfect beginning it must surely have a perfect + ending."</p> + <p>Thus Mr. Yeatman Griffith began a conference on the subject of vocal technic and + the art of song. He had had a day crowded to the brim with work—although all + days were usually alike filled—yet he seemed as fresh and unwearied as though + the day had only just begun. One felt that here was a man who takes true satisfaction + in his work of imparting to others; his work is evidently not a tiresome task but a + real joy. Mrs. Griffith shares this joy of work with her husband. "It is most ideal," + she says; "we have so grown into it together; we love it."</p> + <p><span class="pagenum"><a name="page250" id="page250"></a>{250}</span> As is well + known, this artist pair returned to their home land at the outbreak of the war, after + having resided and taught for five years in London, and previous to that for one year + in Florence, Italy. Of course they were both singers, giving recitals together, like + the Henschels, and appearing in concert and oratorio. But constant public activity is + incompatible with a large teaching practice. One or the other has to suffer. "We + chose to do the teaching and sacrifice our public career," said Mr. Griffith. During + the five years in which these artists have resided in New York, they have + accomplished much; their influence has been an artistic impulse toward the ideals of + beautiful singing. Among their many artist pupils who are making names for + themselves, it may be mentioned that Florence Macbeth, a charming coloratura soprano, + owes much of her success to their careful guidance.</p> + <p>"Michael Angelo has said," continued Mr. Griffith, "that 'a perfect start is our + first and greatest assurance of a perfect finish.' And nowhere is this precept more + truly exemplified than in vocal tone production. The tone must have the right + beginning, then it will be right all through. A faulty beginning is to blame for most + of the vocal faults and sins of singers.<span class="pagenum"><a name="page251" + id="page251"></a>{251}</span> Our country is full of beautiful natural voices; + through lack of understanding many of them, even when devoting time and money to + study, never become more than mediocre, when they might have developed into really + glorious voices if they had only had the right kind of treatment.</p> + <br /> +<br /> +<h5>TONE PLACEMENT</h5> +<br /> + <p>"We hear a great deal about tone placement in these days; the world seems to have + gone mad over the idea. But it is an erroneous idea. How futile to attempt to place + the tone in any particular spot in the anatomy. You can focus the tone, but you + cannot place it. There is but one place for it to come from and no other place. It is + either emitted with artistic effect or it is not. If not, then there is stiffness and + contraction, and the trouble ought to be remedied at once.</p> + <p>"Every one agrees that if the vocal instrument were something we could see, our + task would be comparatively easy. It is because the instrument is hidden that so many + false theories about it have sprung up. One teacher advocates a high, active chest; + therefore the chest is held high and rigid, while the abdominal muscles are deprived + of the strength <span class="pagenum"><a name="page252" id="page252"></a>{252}</span> + they should have. Another advises throwing the abdomen forward; still another squares + the shoulders and stiffens the neck. These things do not aid in breath control in the + least; on the contrary they induce rigidity which is fatal to easy, natural tone + emission.</p> + <br /> +<br /> +<h5>IN THE BEGINNING</h5> +<br /> + <p>"When the pupil comes to me, we at once establish natural, easy conditions of body + and an understanding of the causes which produce good tone. We then begin to work on + the vowels. They are the backbone of good singing. When they become controlled, they + are then preceded by consonants. Take the first vowel, A; it can be preceded by all + the consonants of the alphabet one after another, then each vowel in turn can be + treated in the same way. We now have syllables; the next step is to use words. Here + is where difficulties sometimes arise for the student. The word becomes perfectly + easy to sing if vowels and consonants are properly produced. When they are not, words + become obstacles. Correct understanding will quickly obviate this.</p> + <br /> +<br /> +<h5>BREATH CONTROL</h5><span + class="pagenum"><a name="page253" id="page253"></a>{253}</span> +<br /> + <p>"Breath control is indeed a vital need, but it should not be made a bugbear to be + greatly feared. The young student imagines he must inflate the lungs almost to + bursting, in order that he may take a breath long enough to sing a phrase. Then, as + soon as he opens his lips, he allows half the air he has taken in to escape, before + he has uttered a sound. With such a beginning he can only gasp a few notes of the + phrase. Or he distends the muscles at the waist to the fullest extent and fancies + this is the secret of deep breathing. In short, most students make the breathing and + breath control a very difficult matter indeed, when it is, or should be an act most + easy and natural. They do not need the large quantity of breath they imagine they do; + for a much smaller amount will suffice to do the work. I tell them, 'Inhale simply + and naturally, as though you inhaled the fragrance of a flower. And when you open + your lips after this full natural breath, do not let the breath escape; the vocal + chords will make the tone, if you understand how to make a perfect start. If the + action is correct, the vocal chords will meet; they will not be held apart nor will + they crowd each other. Allow <span class="pagenum"><a name="page254" + id="page254"></a>{254}</span> the diaphragm and respiratory muscles to do their work, + never forcing them; then you will soon learn what breath control in singing means. + Remember again, not a particle of breath should be allowed to escape. Every other + part of the apparatus must be permitted to do its work, otherwise there will be + interference somewhere.'</p> + <br /> +<br /> +<h5>CAUSATION</h5> +<br /> + <p>"Everything pertaining to the study of vocal technic and the art of singing may be + summed up in the one word—Causation. A cause underlies every effect. If you do + not secure the quality of tone you desire, there must be a reason for it. You + evidently do not understand the cause which will produce the effect. That is the + reason why singers possessing really beautiful voices produce uneven effects and + variable results. They may sing a phrase quite perfectly at one moment. A short time + after they may repeat the same phrase in quite a different way and not at all + perfectly. One night they will sing very beautifully; the next night you might hardly + recognize the voice, so changed would be its quality. This would not be the case if + they understood causation. A student, rightly taught, should know the cause <span + class="pagenum"><a name="page255" id="page255"></a>{255}</span> for everything he + does, how he does thus and so and why he does it. A singer should be able to produce + the voice correctly, no matter in what position the rôle he may be singing may + require the head or body to be in. In opera the head or body may be placed in + difficult unnatural positions, but these should not interfere with good tone + production.</p> + <br /> +<br /> +<h5>REGISTERS</h5> +<br /> + <p>"I am asked sometimes if I teach registers of the voice. I can say decidedly no, I + do not teach registers. The voice should be one and entire, from top to bottom, and + should be produced as such, no matter in what part of the voice you sing. Throughout + the voice the same instrument is doing the work. So, too, with voices of different + caliber, the coloratura, lyric and dramatic. Each and all of these may feel the + dramatic spirit of the part, but the lighter quality of the voice may prevent the + coloratura from expressing it. The world recognizes the dramatic singer in the size + of the voice and of the person. From an artistic point of view, however, there are + two ways of looking at the question, since the lyric voice may have vivid dramatic + instincts, and may be able to bring them out with equal or even <span + class="pagenum"><a name="page256" id="page256"></a>{256}</span> greater intensity + than the purely dramatic organ.</p> + <br /> +<br /> +<h5>VOCAL MASTERY</h5> +<br /> + <p>"Vocal Mastery is acquired through correct understanding of what constitutes pure + vowel sounds, and such control of the breath as will enable one to convert every atom + of breath into singing tone. This establishes correct action of the vocal chords and + puts the singer in possession of the various tints of the voice.</p> + <p>"When the diaphragm and respiratory muscles support the breath sufficiently and + the vocal chords are permitted to do their work, you produce pure tone. Many singers + do not understand these two vital principles. They either sing with too much + relaxation of the diaphragm and respiratory muscles, or too much rigidity. + Consequently the effort becomes local instead of constitutional, which renders the + tone hard and strident and variable to pitch. Again the vocal chords are either + forced apart or pinched together, with detriment to tone production.</p> + <p>"The real value of control is lost when we attempt to control the singing + instrument and the breath by seeking a place for the tone the singing instrument + produces. When the <span class="pagenum"><a name="page257" + id="page257"></a>{257}</span> vocal chords are allowed to produce pure vowels, correct + action is the result and with proper breath support, Vocal Mastery can be + assured."</p> + <hr style="width: 65%;" /> + <h2><a name="XXVI" id="XXVI"></a>XXVI</h2> + <span class="pagenum"><a name="page258" id="page258"></a>{258}</span> + <h2>J. H. DUVAL</h2> +<br /> +<br /> +<h5>SOME SECRETS OF BEAUTIFUL SINGING</h5> +<br /> + <p>A young French girl had just sung a group of songs in her own language and had won + acclaim from the distinguished company present. They admired the rich quality of her + voice, her easy, spontaneous tone production and clear diction. A brilliant future + was predicted for the young singer. One critic of renown remarked: "It is a long time + since I have heard a voice so well placed and trained."</p> + <p>"And who is your teacher?" she was asked.</p> + <p>"It is Mr. Duval; I owe everything to him. He has really made my voice; I have + never had another teacher and all my success will be due to him," she answered.</p> + <p>We at once expressed a desire to meet Mr. Duval and hear from his own lips how + such results were attained.</p> + <p>A meeting was easily arranged and we arrived at the appointed hour, just in time + to hear one of the brilliant students of this American-French singing master.</p> + <p><span class="pagenum"><a name="page259" id="page259"></a>{259}</span> + Mr. Duval is young, slim and lithe of figure, with sensitive, refined features, + which grow very animated as he speaks. He has a rich fund of humor and an intensity + of utterance that at once arrests the listener. He came forward to greet the visitor + with simple cordiality, saying he was pleased we could hear one of his latest + "finds."</p> + <p>The young tenor was at work on an air from <i>Tosca</i>. His rich, vibrant voice, + of large power and range and of real Caruso-like quality, poured forth with free and + natural emission. With what painstaking care this wise teacher aided him to mold each + tone, each phrase, till it attained the desired effect. Being a singer himself, Mr. + Duval is able to show and demonstrate as well as explain. He does both with the + utmost clearness and with unfailing interest and enthusiasm. Indeed his interest in + each pupil in his charge is unstinted.</p> + <p>The lesson over, Mr. Duval came over to us. "There is a singer I shall be proud + of," he said. "Several years ago I taught him for a few months, giving him the + principles of voice placement and tone production. This was in Europe. I had not seen + him since then till recently, when circumstances led him to New York. He never forgot + what he had <span class="pagenum"><a name="page260" + id="page260"></a>{260}</span> previously learned with me. He now has a lesson every day + and is a most industrious worker. I believe he has a fortune in that voice. Next + season will see him launched, and he will surely make a sensation."</p> + <p>"Will you give some idea of the means by which you accomplish such results?"</p> + <p>"The means are very simple and natural. So many students are set on the wrong + track by being told to do a multitude of things that are unnecessary, even positively + harmful. For instance, they are required to sing scales on the vowels, A, E, I, O, U. + I only use the vowel Ah, for exercises, finding the others are not needed, especially + excluding E and U as injurious. Indeed one of the worst things a young voice can do + is to sing scales on E and U, for these contract the muscles of the lips. Another + injurious custom is to sing long, sustained tones in the beginning. This I do not + permit.</p> + <p>"After telling you the things I forbid, I must enlighten you as to our plan of + study.</p> + <p>"The secret of correct tone emission is entire relaxation of the lips. I tell the + pupil, the beginner, at the first lesson, to sing the vowel Ah as loudly and as + deeply as possible, thinking constantly of relaxed lips and loose lower jaw.<span + class="pagenum"><a name="page261" id="page261"></a>{261}</span> Ah is the most + natural vowel and was used exclusively in the old Italian school of Bel Canto. Long + sustained tones are too difficult. One should sing medium fast scales at first. If we + begin with the long sustained tone, the young singer is sure to hold the voice in his + throat, or if he lets go, a tremolo will result. Either a throaty, stiff tone or a + tremolo will result from practicing the single sustained tone.</p> + <p>"Singing pianissimo in the beginning is another fallacy. This is one of the most + difficult accomplishments and should be reserved for a later period of + development.</p> + <p>"The young singer adds to scales various intervals, sung twice in a breath, + beginning, not at the extreme of the lower voice, but carried up as high as he can + comfortably reach. I believe in teaching high tones early, and in showing the pupil + how to produce the head voice. Not that I am a high tone specialist," he added + smiling, "for I do not sacrifice any part of the voice to secure the upper notes. But + after all it is the high portion of the voice that requires the most study, and that + is where so many singers fail.</p> + <p>"The young student practices these first exercises, and others, two half hours + daily, at least two hours after eating, and comes to me <span class="pagenum"><a + name="page262" id="page262"></a>{262}</span> three times a week. I suggest she rest + one day in each week, during which she need not sing at all, but studies other + subjects connected with her art. As the weeks go by, the voice, through relaxed lips + and throat and careful training, grows richer and more plentiful. One can almost note + its development from day to day.</p> +<br /> +<br /> +<h5>WORDS IN THE VOICE</h5> +<br /> + <p>"When the time comes to use words, the important thing is to put <i>the words in + the voice, not the voice in the words</i>, to quote Juliani, the great teacher, with + whom I was associated in Paris. More voices have been ruined by the stiff, + exaggerated use of the lips in pronouncing, than in any other way. When we put the + words in the voice, in an easy, natural way, we have bel canto.</p> + <p>"Another thing absolutely necessary is breath support. Hold up the breath high in + the body, for high tones, though always with the throat relaxed. This point is not + nearly enough insisted upon by teachers of singing.</p> + <p>"The points I have mentioned already prove that a vocal teacher who desires the + best results in his work with others, must know how to sing <span class="pagenum"><a + name="page263" id="page263"></a>{263}</span> himself; he should have had wide + experience in concert and opera before attempting to lead others along these + difficult paths. Because a man can play the organ and piano and has accompanied + singers is not the slightest cause for thinking he can train voices in the art of + song. I have no wish to speak against so-called teachers of singing, but say this in + the interests of unsuspecting students.</p> + <p>"It is impossible," continued Mr. Duval, "to put the whole method of vocal + training into a few sentences. The student advances gradually and naturally, but + surely, from the beginnings I have indicated, to the trill, the pizzicati, to more + rapid scales, to learning the attack, and so on. Of course diction plays a large part + in the singer's development. With the first song the student learns to put other + vowels in the same voice with which the exercises on Ah have been sung, and to have + them all of the same size, easily and loosely pronounced. Never permit the + pronunciation to be too broad for the voice. The pronunciation should never be + mouthed, but should flow into the stream of the breath without causing a ripple. This + is bel canto!</p> + <p>"In teaching I advise two pupils sharing the <span class="pagenum"><a + name="page264" id="page264"></a>{264}</span> hour, for while one is singing the other + can rest the voice and observe what is being taught. It is too fatiguing to a young + voice to expect it to work a full half hour without rest.</p> + <p>"I was teaching in my Paris studio for a number of months after the war started, + before coming to America. It is my intention, in future, to divide my time between + New York and Paris. I like teaching in the French capital for the reason I can bring + out my pupils in opera there. I am also pleased to teach in my own land, for the + pleasant connections I have made here, and for the fresh, young American voices which + come to me to be trained."</p> + <br /> +<br /> +<h5>VOCAL MASTERY</h5> +<br /> + <p>"What is Vocal Mastery? There are so many kinds! Every great artist has his own + peculiar manner of accomplishing results—his own vocal mastery. Patti had one + kind, Maurel another, Lehmann still another. Caruso also may be considered to have + his own vocal mastery, inasmuch as he commands a vocal technic which enables him to + interpret any rôle that lies within his power and range. The greatest singer of + to-day, Shalyapin, has also his individual vocal mastery, closely <span + class="pagenum"><a name="page265" id="page265"></a>{265}</span> resembling the sort + that enabled Maurel to run such a gamut of emotions with such astonishing command and + resource.</p> + <p>"In fine, as every great artist is different from his compeers, there can be no + fixed and fast standard of vocal mastery, except the mastery of doing a great thing + convincingly."</p> + <hr style="width: 65%;" /> + <h2><a name="XXVII" id="XXVII"></a>XXVII</h2> + <span class="pagenum"><a name="page266" id="page266"></a>{266}</span> + <h2>THE CODA</h2> +<br /> +<br /> +<h5>A RESUMÉ</h5> +<br /> + <p>The student, seeking light on the many problems of vocal technic, the training for + concert and opera, how to get started in the profession, and kindred subjects of + vital importance, has doubtless found, in the foregoing talks a rich fund of help and + suggestion. It is from such high sources that a few words of personal experience and + advice, have often proved to be to the young singer a beacon light, showing what to + avoid and what to follow. It were well to gather up these strands of suggestion from + great artists and weave them into a strong bulwark of precept and example, so that + the student may be kept within the narrow path of sound doctrine and high + endeavor.</p> + <p>At the very outset, two points must be borne in mind:</p> + <p>1. Each and every voice and mentality is individual.</p> + <p>2. The artist has become a law unto himself; it <span class="pagenum"><a + name="page267" id="page267"></a>{267}</span> is not possible for him to make rules + for others.</p> + <p>First, as to difference in voices. When it is considered that the human + instrument, unlike any fabricated by the hand of man, is a purely personal + instrument, subject to endless variation through variety in formation of mouth and + throat cavities, also physical conditions of the anatomy, it is no cause for wonder + that the human instrument should differ in each individual. Then think of all sorts + and conditions of mentality, environment, ambitions and ideals. It is a self evident + fact that the vocal instrument must be a part of each person, of whom there are "no + two alike."</p> + <p>Artists in general have strongly expressed themselves on this point: most of them + agree with Galli-Curci, when she says: "There are as many kinds of voices as there + are persons; therefore it seems to me each voice should be treated in the manner best + suited to its possessor." "Singing is such an individual thing, after all," says Anna + Case; "it is a part of one's very self." "Each person has a different mentality and a + different kind of voice," says Martinelli; "indeed there are as many qualities of + voice as there are people."</p> + <p><span class="pagenum"><a name="page268" id="page268"></a>{268}</span> + Granting, then, that there are no two voices and personalities in the world, + exactly alike, it follows, as a natural conclusion, that the renowned vocalist, who + has won his or her way from the beginning up to fame and fortune, realizes that her + instrument and her manner of training and handling it are peculiarly personal. As she + has won success through certain means and methods, she considers those means belong + to her, in the sense that they especially suit her particular instrument. She is then + a law unto herself and is unwilling to lay down any laws for others. Geraldine Farrar + does not imply there is only one right way to train the voice, and she has found that + way. In speaking of her method of study, she says: "These things seem best for my + voice, and this is the way I work. But, since each voice is different, my ways might + not suit any one else. I have no desire to lay down rules for others; I can only + speak of my own experience."</p> + <p>Galli-Curci says: "The singer who understands her business must know just how she + produces tones and vocal effects. She can then do them at all times, even under + adverse circumstances, when nervous or not in the mood. I have developed the voice + and trained it in the way that seemed to me best for it.<span class="pagenum"><a + name="page269" id="page269"></a>{269}</span> How can any other person tell you how + that is to be done?"</p> + <p>"It rests with the singer what she will do with her voice—how she will + develop it," remarks Mme. Homer. Martinelli says: "The voice is a hidden instrument + and eventually its fate must rest with its possessor. After general principles are + understood, a singer must work them out according to his ability." Florence Easton + remarks: "Each singer who has risen, who has found herself, knows by what path she + climbed, but the path she found might not do for another."</p> + <p>Instead of considering this reticence on the part of the successful singer, to + explain the ways and means which enabled him to reach success, in the light of a + selfish withholding of advice which would benefit the young student, we rather look + upon it as a worthy and conscientious desire not to lead any one into paths which + might not be best for his or her instrument.</p> + <p>In the beginning the student needs advice from an expert master, and is greatly + benefited by knowing how the great singers have achieved. Later on, when principles + have become thoroughly understood, the young singers learn what is best for their own + voices; they, <span class="pagenum"><a name="page270" id="page270"></a>{270}</span> + too, become a law unto themselves, capable of continuing the development of their own + voices in the manner best suited to this most individual of all instruments.</p> +<br /> +<br /> +<h5>AMERICAN VOICES</h5> +<br /> + <p>We often hear slighting things said of the quality of American voices, especially + the speaking voice. They are frequently compared to the beauty of European voices, to + the disparagement of those of our own country. Remembering the obloquy cast upon the + American voice, it is a pleasure to record the views of some of the great singers on + this point. "There are quantities of girls in America with good voices, good looks + and a love for music," asserts Mme. Easton. Mme. Hempel says: "I find there are + quantities of lovely voices here in America. The quality of the American female voice + is beautiful; in no country is it finer, not even in Italy." Herbert Witherspoon, who + has such wonderful experience in training voices, states: "We ought to have our own + standards in judging American voices; until we do so, we will be constantly comparing + them with the voices of foreign singers. The quality of the American voice is + different from the quality found in the voices of other countries.<span + class="pagenum"><a name="page271" id="page271"></a>{271}</span> To my mind, the best + women's voices are found right here in our midst." And he adds: "Any one can sing + beautifully who does so with ease and naturalness, the American just as well as those + of any other country. In fact I consider American voices, in general, better trained + than those of Italy, Germany or France. The Italian, in particular, has very little + knowledge of the scientific side; he usually sings by intuition."</p> +<br /> +<br /> +<h5>AMERICAN VOICE TEACHERS</h5> +<br /> + <p>If this be accepted, that American voices are better trained than those of other + countries, and there is no reason to doubt the statement of masters of such standing, + it follows there must be competent instructors in the art of song right in our own + land. Mme. Easton agrees with this. "There are plenty of good vocal teachers in + America," she says, "not only in New York City, but in other large cities of this + great country. There is always the problem, however, of securing just the right kind + of a teacher. For a teacher may be excellent for one voice but not for another." + Morgan Kingston asserts: "There is no need for an American to go out of his own + country for vocal instruction or languages; all can be <span class="pagenum"><a + name="page272" id="page272"></a>{272}</span> learned right here at home. I am a + living proof of this. What I have done others can do." "You have excellent vocal + teachers right here in America," says Mme. Hempel. Then she marvels, that with all + these advantages at her door, there are not more American girls who make good. She + lays it to the fact that our girls try to combine a social life with their musical + studies, to the great detriment of the latter.</p> +<br /> +<br /> +<h5>ARE AMERICAN VOCAL STUDENTS SUPERFICIAL?</h5> +<br /> + <p>It is doubtless a great temptation to the American girl who possesses a voice and + good looks, who is a favorite socially, to neglect her studies at times, for social + gaiety. She is in such haste to make something of herself, to get where she can earn + a little with her voice; yet by yielding to other calls she defeats the very purpose + for which she is striving by a lowered ideal of her art. Let us see how the artists + and teachers view this state of things. Lehmann says:</p> + <p>"The trouble with American girls is they are always in a hurry. They are not + content to sit down quietly and study till they have developed themselves into + something before they ever think of coming to Europe. They think if <span + class="pagenum"><a name="page273" id="page273"></a>{273}</span> they can only come + over here and sing for an artist, that fact alone will give them prestige in America. + With us American girls are too often looked upon as superficial because they come + over here quite unprepared. I say to them: Go home and study; there are plenty of + good teachers of voice and piano in your own land. Then, when you can <i>sing</i>, + come here if you wish."</p> + <p>Frieda Hempel speaks from close observation when she says: "Here in America, girls + do not realize the amount of labor and sacrifice involved, or they might not be so + eager to enter upon a musical career. They are too much taken up with teas, parties, + and social functions to have sufficient time to devote to vocal study and to all that + goes with it. In order to study all the subjects required, the girl with a voice must + be willing to give most of her day to work. This means sacrificing the social side, + and being willing to throw herself heart and soul into the business of adequately + preparing herself for her career."</p> +<br /> +<br /> +<h5>THE VOCAL STUDENT MUST NOT BE AFRAID TO WORK</h5> +<br /> + <p>In the words of Caruso's message to vocal students, they must be willing "to + work—to <span class="pagenum"><a name="page274" id="page274"></a>{274}</span> + work always—and to sacrifice." But Geraldine Farrar does not consider this in + the light of sacrifice. Her message to the young singer is:</p> + <p>"Stick to your work and study systematically, whole-heartedly. If you do not love + your work enough to give it your best thought, to make sacrifices for it, then there + is something wrong with you. Better choose some other line of work, to which you can + give undivided attention and devotion. For music requires both. As for sacrifices, + they really do not exist, if they promote the thing you honestly love most. You must + never stop studying, for there is always so much to learn." "I have developed my + voice through arduous toil," to quote Mme. Galli-Curci. Raisa says: "One cannot + expect to succeed in the profession of music without giving one's best time and + thought to the work of vocal training and all the other subjects that go with it. A + man in business gives his day, or the most of it, to his office. My time is devoted + to my art, and indeed I have not any too much time to study all the necessary sides + of it."</p> + <p>"I am always studying, always striving to improve what I have already learned and + trying to acquire the things I find difficult, or <span class="pagenum"><a + name="page275" id="page275"></a>{275}</span> have not yet attained to," testifies + Mme. Homer.</p> +<br /> +<br /> +<h5>THE REQUIREMENTS FOR A VOCAL CAREER</h5> +<br /> + <p>Those who have been through the necessary drudgery and struggle and have won out, + should be able to give an authoritative answer to this all important question. They + know what they started with, what any singer must possess at the beginning, and what + she must acquire.</p> + <p>Naturally the singer must have a voice, for there is no use trying to cultivate + something which does not exist. All artists subscribe to this. They also affirm she + should have good looks, a love for music and a musical nature. Let us hear from Mme. + Homer on this subject.</p> + <p>"1. Voice, first of all. 2. Intelligence; for intelligence controls, directs, + shines through and illumines everything. What can be done without it? 3. Musical + nature. 4. Capacity for Work. Without application, the gifts of voice, intelligence + and a musical nature will not make an artist. 5. A cheerful optimism, which refuses + to yield to discouragement. 6. Patience. It is only with patient striving, doing the + daily vocal task, and trying to do it each day a little better than the day before, + that <span class="pagenum"><a name="page276" id="page276"></a>{276}</span> anything + worth while is accomplished. The student must have unlimited patience to labor and + wait for results."</p> + <p>Mr. Witherspoon states, that students coming to him must possess "Voice, to begin + with; youth, good looks, musical intelligence and application. If the candidate + possess these requisites, we begin to work." Anna Case answers the question as to the + vital requisites necessary to become a singer: "Brains, Personality, Voice."</p> + <p>Quotations could be multiplied to prove that all artists fully concur with those + already mentioned. There must be a promising voice to cultivate, youth, good looks, + (for a public career) and the utmost devotion to work.</p> +<br /> +<br /> +<h5>WHAT BRANCHES OF STUDY MUST BE TAKEN UP?</h5> +<br /> + <p>All agree there are many other subjects to study besides singing; that alone is + far from sufficient. Edward Johnson says: "Singing itself is only a part, perhaps the + smaller part of one's equipment. If opera be the goal, there are languages, acting, + make up, impersonation, interpretation, how to walk, all to be added to piano, + harmony and languages. The most important of all is a musical education."</p> + <p>Most of the great singers have emphatically <span class="pagenum"><a + name="page277" id="page277"></a>{277}</span> expressed themselves in favor of piano + study. Indeed, many were pianists in the beginning, before they began to develop the + voice. Among those who had this training are: Galli-Curci, Lehmann, Raisa, D'Alvarez, + Barrientos, Braslau, Case. Miss Braslau says: "I am so grateful for my knowledge of + the piano and its literature; it is the greatest help to me now. To my thinking all + children should have piano lessons; the cost is trifling compared with the benefits + they receive. They should be made to study, whether they wish it or not, for they do + not know what is best for them."</p> + <p>Mme. Raisa says: "There are so many sides to the singer's equipment besides + singing itself. The piano is a necessity; the singer is greatly handicapped without a + knowledge of that instrument, for it not only provides accompaniment but cultivates + musical sense." "The vocal student should study piano as well as languages," asserts + Mme. Homer; "both are the essentials. Not that she need strive to become a pianist; + that would not be possible if she is destined to be a singer. But the more she knows + of the piano and its literature, the more this will cultivate her musical sense and + develop her taste."</p> + <p><span class="pagenum"><a name="page278" id="page278"></a>{278}</span> Florence + Easton is even more emphatic. "If a girl is fond of music, let her first study the + piano, for a knowledge of the piano and its music is at the bottom of everything. All + children should have this opportunity, whether they desire it or not. The child who + early begins to study piano, will often unconsciously follow the melody with her + voice. Thus the love of song is awakened in her, and a little later it is discovered + she has a voice worth cultivating."</p> + <p>On the subject of languages, artists are equally specific. Languages are an + absolute necessity, beginning with one's mother tongue. The student should not + imagine that because he is born to the English language, it does not require careful + study. Galli-Curci remarks: "The singer can always be considered fortunate who has + been brought up to more than one language. I learned Spanish and Italian at home. In + school I learned French, German and English, not only a little smattering of each, + but how to write and speak them."</p> + <p>Rosa Raisa speaks eight languages, according to her personal statement. Russian, + of course, as she is Russian, then French, Italian, German, Spanish, Polish, + Roumanian and English.</p> + <p><span class="pagenum"><a name="page279" id="page279"></a>{279}</span> + "The duty is laid upon Americans to study other languages, if they expect to + sing," says Florence Easton. "I know how often this study is neglected by the + student. It is only another phase of that haste which is characteristic of the young + student and singer."</p> +<br /> +<br /> +<h5>BREATH CONTROL</h5> +<br /> + <p>Following the subject of requirements for a vocal career, let us get right down to + the technical side, and review the ideas of artists on Breath Control, How to + Practice, What are the Necessary Exercises, What Vowels Should be Used, and so + on.</p> + <p>All admit that the subject of Breath Control is perhaps the most important of all. + Lehmann says: "I practice many breathing exercises without using tone. Breath becomes + voice through effort of will and by use of vocal organs. When singing, emit the + smallest quantity of breath. Vocal chords are breath regulators; relieve them of all + overwork."</p> + <p>Mme. Galli-Curci remarks: "Perhaps, in vocal mastery, the greatest factor of all + is the breathing. To control the breath is what each student is striving to learn, + what every singer endeavors to perfect, what every artist should master. It is an + almost endless study and an <span class="pagenum"><a name="page280" + id="page280"></a>{280}</span> individual one, because each organism and mentality is + different."</p> + <p>Marguerite d'Alvarez: "In handling and training the voice, breathing is perhaps + the most vital thing to be considered. To some breath control seems second nature; + others must toil for it. With me it is intuition. Breathing is such an individual + thing. With each person it is different, for no two people breathe in just the same + way."</p> + <p>Claudia Muzio: "Every singer knows how important is the management of breath. I + always hold up the chest, taking as deep breaths as I can conveniently. The power to + hold the breath and sing more and more tones with one breath, grows with careful, + intelligent practice."</p> + <p>Frieda Hempel: "The very first thing for a singer to consider is breath + control—always the breathing, the breathing. She thinks of it morning, noon and + night. Even before rising in the morning she has it on her mind, and may do a few + little stunts while still reclining. Then, before beginning vocal technic in the + morning, she goes through a series of breathing exercises."</p> + <p>David Bispham: "Correct breath control must be carefully studied and is the result + of <span class="pagenum"><a name="page281" id="page281"></a>{281}</span> + understanding and experience. When the manner of taking breath and the way to develop + the diaphragm and abdominal muscles, is understood, that is only a beginning. + Management of the breath is an art in itself. The singer must know what to do with + the breath once he has taken it in, or he may let it out in quarts when he opens his + mouth. He learns how much he needs for each phrase; he learns how to conserve the + breath."</p> + <p>Oscar Saenger: "The management of the breath is a most important factor, as the + life of the tone depends on a continuance of the breath. The student must cultivate + the power of quickly inhaling a full breath, and exhaling it so gradually that she + can sing a phrase lasting from ten to twenty seconds. This needs months of arduous + practice. In all breathing, inhale through the nose."</p> + <p>Yeatman Griffith: "Breath control is indeed a vital need, but should not be made a + bugbear to be greatly feared. Most students make breathing and breath control a + difficult matter, when it should be a natural and easy act. They do not need the + large amount of breath they imagine they do, for a much smaller quantity will + suffice. When you open the lips after a full, natural breath, do not let <span + class="pagenum"><a name="page282" id="page282"></a>{282}</span> the breath escape; + the vocal chords will make the tone, if you understand how to make a perfect + start."</p> +<br /> +<br /> +<h5>SPECIFIC EXERCISES</h5> +<br /> + <p>Great singers are chary of giving out vocal exercises which they have discovered, + evolved, or have used so constantly as to consider them a part of their own personal + equipment, for reasons stated earlier in this chapter. However, a few artists have + indicated certain forms which they use. Mme. d'Alvarez remarks: "When I begin to + study in the morning, I give the voice what I call a massage. This consists of + humming exercises, with closed lips. Humming is the sunshine of the voice. One + exercise is a short figure of four consecutive notes of the diatonic scale, ascending + and descending several times; on each repetition of the group of phrases, the new set + begins on the next higher note of the scale. This exercise brings the tone fully + forward."</p> + <p>Lehmann counsels the young voice to begin in the middle and work both ways. Begin + single tones piano, make a long crescendo and return to piano. Another exercise + employs two connecting half tones, using one or two vowels. During practice stand + before a mirror.</p> + <p><span class="pagenum"><a name="page283" id="page283"></a>{283}</span> + Raisa assures us she works at technic every day. "Vocalizes, scales, broken + thirds, long, slow tones in mezza di voce—that is beginning softly, swelling to + loud, then diminuendo to soft, are part of the daily régime." Farrar works on + scales and single tones daily. Muzio says: "I sing all the scales, one octave each, + once slow and once fast—all in one breath. Then I sing triplets on each tone, + as many as I can in one breath. Another exercise is to take one tone softly, then go + to the octave above; this tone is always sung softly, but there is a large crescendo + between the two soft tones." Kingston says: "As for technical material, I have never + used a great quantity. I do scales and vocalizes each day. I also make daily use of + about a dozen exercises by Rubini. Beyond these I make technical exercises out of the + pieces." De Luca sings scales in full power, then each tone alone, softly, then + swelling to full strength and dying away. Bispham: "I give many vocalizes and + exercises, which I invent to fit the need of each student. They are not written down, + simply remembered. I also make exercises out of familiar tunes or themes from opera. + Thus, while the student is studying technic, he is acquiring much beautiful + material."</p> + <p><span class="pagenum"><a name="page284" id="page284"></a>{284}</span> + Oscar Saenger: "We begin by uniting two tones smoothly and evenly, then three in + the same way; afterwards four and five. Then the scale of one octave. Arpeggios are + also most important. The trill is the most difficult of all vocal exercises. We begin + with quarter notes, then eighths and sixteenths. The trill is taken on each tone of + the voice, in major seconds." Werrenrath: "I do a lot of gymnastics each day, to + exercise the voice and limber up the anatomy. These act as a massage for the voice; + they are in the nature of humming, mingled with grunts, calls, exclamations, shouts, + and many kinds of sounds. They put the voice in condition, so there is no need for + all these other exercises which most singers find so essential to their vocal well + being."</p> + <p>Duval asserts: "Long, sustained tones are too difficult for the young voice. One + should sing medium fast scales at first."</p> +<br /> +<br /> +<h5>LENGTH OF TIME FOR DAILY PRACTICE</h5> +<br /> + <p>It may be helpful to know about how much time the artists devote to daily study, + especially to technical practice. It is understood all great singers work on + vocalizes and technical material daily.</p> + <p>Caruso is a constant worker. Two or three <span class="pagenum"><a name="page285" + id="page285"></a>{285}</span> hours in the forenoon, and several more later in the + day, whenever possible. Farrar devotes between one and two hours daily to vocalizes, + scales and tone study, Lehmann counsels one hour daily on technic. Galli-Curci gives + a half hour or so to vocalizes and scales every morning. Martinelli practices + exercises and vocalizes one hour each morning; then another hour on repertoire. In + the afternoon an hour more—three hours daily. Easton says: "It seems to me a + young singer should not practice more than an hour a day, at most, beginning with two + periods of fifteen or twenty minutes each." Anna Case says: "I never practice when I + am tired, for then it does more harm than good. One must be in good condition to make + good tones. I can study and not sing at all, for the work is all mental anyway." + Muzio states she gives practically her whole day to study, dividing it into short + periods, with rest between.</p> + <p>Frieda Hempel says: "I do about two hours or more, though not all of this for + technic. I approve of a good deal of technical study, taken in small doses of ten to + fifteen minutes at a time. Technic is a means to an end, more in the art of song than + in almost any other form of art. Technic is the background of expressive + singing."</p> + <p><span class="pagenum"><a name="page286" id="page286"></a>{286}</span> Sophie + Braslau is an incessant worker,—"at least six hours a day. Of these I actually + sing three hours. The first hour to memory work on repertoire. The second hour to + vocalizes. The rest of the time is given to repertoire and the things that belong to + it." Barrientos states she gives about three-quarters of an hour to vocal + technic—scales and exercises—each day. Duval advises the young student to + practice two half hours daily, two hours after eating, and rest the voice one day + each week, during which she studies other subjects connected with her art. Oscar + Saenger says: "One should practice in fifteen-minute periods, and rest at least ten + minutes between. Sing only two hours a day, one in the morning and one in + afternoon."</p> +<br /> +<br /> +<h5>WHAT VOWELS TO USE</h5> +<br /> + <p>There seems a divergence of opinion as to what vowels are most beneficial in + technical practice and study. Galli-Curci says: "In my own study I use them all, + though some are more valuable than others. The Ah is the most difficult of all. The O + is good; E needs great care. I have found the best way is to use mixed vowels, one + melting into the other. The tone can be started with each vowel in <span + class="pagenum"><a name="page287" id="page287"></a>{287}</span> turn, then mingled + with the rest of the vowels." Mme. d'Alvarez often starts the tone with Ah, which + melts into O and later changes to U, as the tone dies away. Bispham has the student + use various vowel syllables, as: Lah, Mah, May, and Mi. With Oscar Saenger the pupil + in early stages at least, uses Ah for vocalizes. Duval requires students to use the + vowel Ah, for exercises and scales, finding the others are not needed, especially + excluding E and U as injurious. Griffith uses each vowel in turn, preceded by all the + consonants of the alphabet, one after another.</p> +<br /> +<br /> +<h5>HALF OR FULL VOICE?</h5> +<br /> + <p>Shall the young singer practice with half or full voice seems a matter depending + on one's individual attainments. De Luca uses full power during practice, while Raisa + sings softly, or with medium, tone, during study hours, except occasionally when she + wishes to try out certain effects. Martinelli states he always practices with full + voice, as with half voice he would not derive the needed benefit. Mme. Easton admits + she does not, as a rule, use full voice when at work; but adds, this admission might + prove injurious to the young singer, for half voice might result in faulty tone + <span class="pagenum"><a name="page288" id="page288"></a>{288}</span> production. + Anna Case says when at work on a song in her music room, she sings it with the same + power as she would before an audience. She has not two ways of doing it, one for a + small room and another for a large one. Mr. Duval advises the young pupil to sing + tones as loudly and deeply as possible. Singing pianissimo is another fallacy for a + young voice. This is one of the most difficult accomplishments, and should be + reserved for a later period. Oscar Saenger: "The tone should be free, round and full, + but not loud."</p> +<br /> +<br /> +<h5>HEARING YOURSELF</h5> +<br /> + <p>Does the singer really hear himself is a question which has been put to nearly + every artist. Many answered in a comparative negative, though with qualifications. + Miss Farrar said:</p> + <p>"No, I do not actually hear my voice, except in a general way, but we learn to + know the sensations produced in throat, head, face, lips and other parts of the + anatomy, which vibrate in a certain manner to correct tone production. We learn the + <i>feeling</i> of the tone." "I can tell just how I am singing a tone or phrase," + says De Luca, "by the feeling and sensation; for of course I cannot hear the full + effect; no singer can really hear the effect of his work, except on <span + class="pagenum"><a name="page289" id="page289"></a>{289}</span> the records." "The + singer must judge so much from sensation, for she cannot very well hear herself, that + is, she cannot tell the full effect of what she is doing," says Anna Case. Mr. + Witherspoon says: "The singer of course hears himself and with study learns to hear + himself better. The singer should depend more on hearing the sound he makes than on + feeling the sound. In other words, train the <i>ear</i>, the court of ultimate + resort, and the only judge, and forget sensation as much as possible, for the latter + leads to a million confusions."</p> +<br /> +<br /> +<h5>VOCAL MASTERY, FROM THE ARTISTS' VIEWPOINT</h5> +<br /> + <p>Farrar: "A thing that is mastered must be really perfect. To master vocal art, the + singer must have so developed his voice that it is under complete control; then he + can do with it what he wishes. He must be able to produce all he desires of power, + pianissimo, accent, shading, delicacy and variety of color."</p> + <p>Galli-Curci: "To sum up: the three requirements of vocal mastery are: Management + of the Larynx; Relaxation of the Diaphragm; Control of the Breath. To these might be + added a fourth: Mixed Vowels. But when these are mastered, what then? Ah, <span + class="pagenum"><a name="page290" id="page290"></a>{290}</span> so much more it can + never be put into words. It is self-expression through the medium of tone, for tone + must always be a vital part of the singer's individuality, colored by feeling and + emotion. To perfect one's own instrument, must always be the singer's joy and + satisfaction."</p> + <p>Raisa: "If I have developed perfect control throughout the two and a half octaves + of my voice, can make each tone with pure quality and perfect evenness in the + different degrees of loud and soft, and if I have perfect breath control as well, I + then have an equipment that may serve all purposes of interpretation. For together + with vocal mastery must go the art of interpretation, in which all the mastery of the + vocal equipment may find expression. In order to interpret adequately one ought to + possess a perfect instrument, perfectly trained. When this is the case one can forget + mechanism, because confident of the ability to express any desired emotion."</p> + <p>Homer: "The singer must master all difficulties of technic, of tone production in + order to be able to express the thought of the composer, and the meaning of the + music."</p> + <p>Werrenrath: "I can answer the question in one word—Disregard. For if you + have <span class="pagenum"><a name="page291" id="page291"></a>{291}</span> complete + control of your anatomy and such command of your vocal resources that they will + always do their work; that they can be depended on to act perfectly, then you can + disregard mechanism and think only of the interpretation—only of your vocal + message. Then you have conquered the material and have attained Vocal Mastery."</p> + <p>Kingston: "Vocal Mastery includes so many things. First and foremost, vocal + technic. One must have an excellent technic before one can hope to sing even + moderately well. Technic furnishes the tool with which the singer creates his vocal + art work. Then the singer must work on his moral nature so that he shall express the + beautiful and pure in music. Until I have thus prepared myself, I am not doing my + whole duty to myself, my art or to my neighbor."</p> + <p>Griffith: "Vocal Mastery is acquired through correct understanding of what + constitutes pure vowel sounds, and such control of the breath as will enable one to + convert every atom of breath into singing tone. This establishes correct action of + the vocal chords and puts the singer in possession of the various tints of the + voice.</p> + <p>"When the vocal chords are allowed to <span class="pagenum"><a name="page292" + id="page292"></a>{292}</span> produce pure vowels, correct action is the result, and + with proper breath support, Vocal Mastery can be assured."</p> + <p>Duval: "What is Vocal Mastery? Every great artist has his own peculiar manner of + accomplishing results—has his own vocal mastery. Patti had one kind, Maurel + another, Lehmann still another. Caruso may also be said to have his own vocal + mastery.</p> + <p>"In fine, as every great artist is different from his compeers, there can be no + fixed and fast standard of vocal mastery, except the mastery of doing a great thing + greatly and convincingly."</p> + <h2>THE END</h2> + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Vocal Mastery, by Harriette Brower + +*** END OF THIS PROJECT GUTENBERG EBOOK VOCAL MASTERY *** + +***** This file should be named 15446-h.htm or 15446-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/1/5/4/4/15446/ + +Produced by Chuck Greif and the Online Distributed +Proofreading Team (https://www.pgdp.net). + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Vocal Mastery + Talks with Master Singers and Teachers + +Author: Harriette Brower + +Release Date: March 23, 2005 [EBook #15446] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK VOCAL MASTERY *** + + + + +Produced by Chuck Greif and the Online Distributed +Proofreading Team (https://www.pgdp.net). + + + + + + +[Illustration: To Miss Harriette Brower Very Sincerely Enrico Caruso +N.Y. 1919] + + + + +VOCAL MASTERY + +TALKS WITH MASTER SINGERS AND TEACHERS + +COMPRISING INTERVIEWS WITH CARUSO, FARRAR, MAUREL, LEHMANN, AND OTHERS + +BY + +HARRIETTE BROWER + +Author of "Piano Mastery, First and Second Series," "Home-Help in Music +Study," "Self-Help in Piano Study" + +WITH TWENTY PORTRAITS + +NEW YORK + +FREDERICK A. STOKES COMPANY PUBLISHERS + + +1917, +by OLIVER DITSON COMPANY + +1918, 1919, +by THE MUSICAL OBSERVER COMPANY + +1920, +by FREDERICK A. STOKES COMPANY + + + + +FOREWORD + + +It has long been a cherished desire to prepare a series of Talks with +famous Singers, which should have an equal aim with Talks with Master +Pianists, namely, to obtain from the artists their personal ideas +concerning their art and its mastery, and, when possible, some inkling +as to the methods by which they themselves have arrived at the goal. + +There have been unexpected and untold difficulties in the way of such an +undertaking. The greater the artist the more numerous the body-guard +which surrounds him--or her; the more stringent the watch over the +artist's time and movements. If one is able to penetrate this barrier +and is permitted to see the artist, one finds usually an affable +gentleman, a charming woman, with simple manners and kindly intentions. + +However, when one is fortunate enough to come in touch with great +singers, one finds it difficult to draw from them a definite idea of the +process by which they have achieved victory. A pianist can describe his +manner of tone production, methods of touch, fingering, pedaling; the +violinist can discourse on the bow arm, use of left hand, on staccato +and pizzicati; but the singer is loath to describe his own instrument. +And even if singers could analyze, the description might not fit any +case but their own. For the art of singing is an individual art, the +perfecting an instrument hidden from sight. Each artist must achieve +mastery by overcoming difficulties which beset his own personal path. + +Despite these obstacles, every effort has been put forth to induce +artists to speak from an educational standpoint. It is hoped the various +hints and precepts they have given, may prove of benefit to singers and +teachers. Limitations of space prevent the inclusion of many other +artists and teachers. + +HARRIETTE BROWER. + +150 West 80 Street, New York City. + + + + + +CONTENTS + + +FOREWORD + +ENRICO CARUSO ... The Value of Work + +GERALDINE FARRAR ... The Will to Succeed a Compelling Force + +VICTOR MAUREL ... Mind Is Everything + +A VISIT TO MME. LILLI LEHMANN + +AMELITA GALLI-CURCI ... Self-teaching the Great Essential + +GIUSEPPE DE LUCA ... Ceaseless Effort Necessary for Artistic Perfection + +LUISA TETRAZZINI ... The Coloratura Voice + +ANTONIO SCOTTI ... Training American Singers for Opera + +ROSA RAISA ... Patience and Perseverance Win Results + +LOUISE HOMER ... The Requirements of a Musical Career + +GIOVANNI MARTINELLI ... "Let Us Have Plenty of Opera in America" + +ANNA CASE ... Inspired Interpretation + +FLORENCE EASTON ... Problems Confronting the Young Singer + +MARGUERITE D'ALVAREZ ... The Message of the Singer + +MARIA BARRIENTOS ... Be Your Own Critic + +CLAUDIA MUZIO ... A Child of the Opera + +EDWARD JOHNSON (EDOUARDO DI GIOVANNI) ... The Evolution of an Opera Star + +REINALD WERRENRATH ... Achieving Success on the Concert Stage + +SOPHIE BRASLAU ... Making a Career in America + +MORGAN KINGSTON ... The Spiritual Side of the Singer's Art + +FRIEDA HEMPEL ... A Lesson with a Prima Donna + + +WITH THE MASTER TEACHERS + +DAVID BISPHAM ... The Making of Artist Singers + +OSCAR SAENGER ... Use of Records in Vocal Study + +HERBERT WITHERSPOON ... Memory, Imagination, Analysis + +YEATMAN GRIFFITH ... Causation + +J.H. DUVAL ... Some Secrets of Beautiful Singing + +THE CODA ... A Resume + + + + +ILLUSTRATIONS + +Enrico Caruso _Frontispiece_ + +Geraldine Farrar + +Victor Maurel + +Amelita Galli-Curci + +Giuseppe de Luca + +Luisa Tetrazzini + +Antonio Scotti + +Rosa Raisa + +Louise Homer + +Giovanni Martinelli + +Anna Case + +Florence Easton + +Marguerite d'Alvarez + +Maria Barrientos + +Claudia Muzio + +Edward Johnson + +Reinald Werrenrath + +Sophie Braslau + +Morgan Kingston + +Frieda Hempel + + + + + + +VOCAL MASTERY + + + + +I + +=ENRICO CARUSO= + +THE VALUE OF WORK + + +Enrico Caruso! The very name itself calls up visions of the greatest +operatic tenor of the present generation, to those who have both heard +and seen him in some of his many roles. Or, to those who have only +listened to his records, again visions of the wonderful voice, with its +penetrating, vibrant, ringing quality, the impassioned delivery, which +stamps every note he sings with the hall mark of genius, the tremendous, +unforgettable climaxes. Not to have heard Caruso sing is to have missed +something out of life; not to have seen him act in some of his best +parts is to have missed the inspiration of great acting. As Mr. Huneker +once wrote: "The artistic career of Caruso is as well known as that of +any great general or statesman; he is a national figure. He is a great +artist, and, what is rarer, a genuine man." + +And how we have seen his art grow and ripen, since he first began to +sing for us. The date of his first appearance at the Metropolitan Opera +House, New York, was November 23rd, 1903. Then the voice was marvelous +in its freshness and beauty, but histrionic development lagged far +behind. The singer seemed unable to make us visualize the characters he +endeavored to portray. It was always Caruso who sang a certain part; we +could never forget that. But constant study and experience have +eliminated even this defect, so that to-day the singer and actor are +justly balanced; both are superlatively great. Can any one who hears and +sees Caruso in the role of Samson, listen unmoved to the throbbing wail +of that glorious voice and the unutterable woe of the blind man's +poignant impersonation? + + +IN EARLY DAYS + +Enrico Caruso was born in Naples, the youngest of nineteen children. His +father was an engineer and the boy was taught the trade in his father's +shop, and was expected to follow in his father's footsteps. But destiny +decreed otherwise. As he himself said, to one listener: + +"I had always sung as far back as I can remember, for the pure love of +it. My voice was contralto, and I sang in a church in Naples from +fourteen till I was eighteen. Then I had to go into the army for awhile. +I had never learned how to sing, for I had never been taught. One day a +young officer of my company said to me: 'You will spoil your voice if +you keep on singing like that'--for I suppose I was fond of shouting in +those days. 'You should learn _how_ to sing,' he said to me; 'you must +study.' He introduced me to a young man who at once took an interest in +me and brought me to a singing master named Vergine. I sang for him, but +he was very discouraging. His verdict was it would be hopeless to try to +make a singer out of me. As it was, I might possibly earn a few lire a +night with my voice, but according to his idea I had far better stick to +my father's trade, in which I could at least earn forty cents a day. + +"But my young friend would not give up so easily. He begged Vergine to +hear me again. Things went a little better with me the second time and +Vergine consented to teach me. + + +RIGID DISCIPLINE + +"And now began a period of rigid discipline. In Vergine's idea I had +been singing too loud; I must reverse this and sing everything softly. +I felt as though in a strait-jacket; all my efforts at expression were +most carefully repressed; I was never allowed to let out my voice. At +last came a chance to try my wings in opera, at ten lire a night +($2.00). In spite of the regime of repression to which I had been +subjected for the past three years, there were still a few traces of my +natural feeling left. The people were kind to me and I got a few +engagements. Vergine had so long trained me to sing softly, never +permitting me to sing out, that people began to call me the Broken +Tenor. + + +THE FIRST REAL CHANCE + +"A better chance came before long. In 1896 the Opera House in Salerno +decided to produce _I Puritani_. At the last moment the tenor they had +engaged to sing the leading role became ill, and there was no one to +sing the part. Lombardi, conductor of the orchestra, told the directors +there was a young singer in Naples, about eighteen miles away, who he +knew could help them out and sing the part. When they heard the name +Caruso, they laughed scornfully. 'What, the Broken Tenor?' they asked. +But Lombardi pressed my claim, assured them I could be engaged, and no +doubt would be glad to sing for nothing. + +"So I was sent for. Lombardi talked with me awhile first. He explained +by means of several illustrations, that I must not stand cold and stiff +in the middle of the stage, while I sang nice, sweet tones. No, I must +let out my voice, I must throw myself into the part, I must be alive to +it--must live it and in it. In short, I must act as well as sing. + + +A REVELATION + +"It was all like a revelation to me. I had never realized before how +absolutely necessary it was to act out the character I attempted. So I +sang _I Puritani_, with as much success as could have been expected of a +young singer with so little experience. Something awoke in me at that +moment. From that night I was never called a 'Broken Tenor' again. I +made a regular engagement at two thousand lire a month. Out of this I +paid regularly to Vergine the twenty-five per cent which he always +demanded. He was somewhat reconciled to me when he saw that I had a real +engagement and was making a substantial sum, though he still insisted +that I would lose my voice in a few years. But time passes and I am +still singing. + + +RESULTS OF THE REVELATION + +"The fact that I could secure an opera engagement made me realize I had +within me the making of an artist, if I would really labor for such an +end. When I became thoroughly convinced of this, I was transformed from +an amateur into a professional in a single day. I now began to take care +of myself, learn good habits, and endeavored to cultivate my mind as +well as my voice. The conviction gradually grew upon me that if I +studied and worked, I would be able one day to sing in such a way as to +satisfy myself." + + +THE VALUE OF WORK TO THE SINGER + +Caruso believes in the necessity for work, and sends this message to all +ambitious students: "To become a singer requires work, work, and again +work! It need not be in any special corner of the earth; there is no one +spot that will do more for you than other places. It doesn't matter so +much where you are, if you have intelligence and a good ear. Listen to +yourself; your ear will tell you what kind of tones you are making. If +you will only use your own intelligence you can correct your own +faults." + + +CEASELESS STUDY + +This is no idle speech, voiced to impress the reader. Caruso practices +what he preaches, for he is an incessant worker. Two or three hours in +the forenoon, and several more later in the day, whenever possible. He +does not neglect daily vocal technic, scales and exercises. There are +always many roles to keep in rehearsal with the accompanist. He has a +repertoire of seventy roles, some of them learned in two languages. +Among the parts he has prepared but has never sung are: _Othello, Fra +Diavolo, Eugen Onegin, Pique Dame, Falstaff_ and _Jewels of the +Madonna_. + +Besides the daily review of opera roles, Caruso examines many new songs; +every day brings a generous supply. Naturally some of these find their +way into the waste basket; some are preserved for reference, while the +favored ones which are accepted must be studied for use in recital. + +I had the privilege, recently, of spending a good part of one forenoon +in Mr. Caruso's private quarters at his New York Hotel, examining a +whole book full of mementos of the Jubilee celebration of March, 1919, +on the occasion when the great tenor completed twenty-five years of +activity on the operatic stage. Here were gathered telegrams and +cablegrams from all over the world. Many letters and cards of greeting +and congratulation are preserved in this portly volume. Among them one +noticed messages from Mme. Schumann-Heink, the Flonzaley Quartet, +Cleofonte Campanini and hosts of others. Here, too, is preserved the +Jubilee Programme booklet, also the libretto used on that gala occasion. +Music lovers all over the world will echo the hope that this wonderful +voice may be preserved for many years to come! + + +A LAST WORD + +The above article was shown to Mr. Caruso, at his request, and I was +asked a few days later to come to him. There had been the usual +rehearsal at the Opera House that day. "Ah, those rehearsals," exclaimed +the secretary, stopping his typewriter for an instant; "no one who has +never been through it has any idea of what a rehearsal means." And he +lifted hands and eyes expressively. "Mr. Caruso rose at eight, went to +rehearsal at ten and did not finish till after three. He is now resting, +but will see you in a moment." + +Presently the great tenor opened the door and entered. He wore a +lounging coat of oriental silk, red bordered, and on the left hand +gleamed a wonderful ring, a broad band of dull gold, set with diamonds, +rubies and sapphires. He shook hands, said he had read my story, that it +was quite correct and had his entire approval. + +"And have you a final message to the young singers who are struggling +and longing to sing some day as wonderfully as you do?" + +"Tell them to study, to work always,--and--to sacrifice!" + +His eyes had a strange, inscrutable light in them, as he doubtless +recalled his own early struggles, and life of constant effort. + +And so take his message to heart: + +"Work, work--and--sacrifice!" + + + + +II + +=GERALDINE FARRAR= + +THE WILL TO SUCCEED A COMPELLING FORCE + + +"To measure the importance of Geraldine Farrar (at the Metropolitan +Opera House, New York) one has only to think of the void there would +have been during the last decade, and more, if she had not been there. +Try to picture the period between 1906 and 1920 without Farrar--it is +inconceivable! Farrar, more than any other singer, has been the +triumphant living symbol of the new day for the American artist at the +Metropolitan. She paved the way. Since that night, in 1906, when her +Juliette stirred the staid old house, American singers have been added +year by year to the personnel. Among these younger singers there are +those who will admit at once that it was the success of Geraldine Farrar +which gave them the impetus to work hard for a like success." + +[Illustration: GERALDINE FARRAR] + +These thoughts have been voiced by a recent reviewer, and will find a +quick response from young singers all over the country, who have been +inspired by the career of this representative artist, and by the +thousands who have enjoyed her singing and her many characterizations. + +I was present on the occasion of Miss Farrar's debut at the greatest +opera house of her home land. I, too, was thrilled by the fresh young +voice in the girlish and charming impersonation of Juliette. It is a +matter of history that from the moment of her auspicious return to +America she has been constantly before the public, from the beginning to +end of each operatic season. Other singers often come for part of the +season, step out and make room for others. But Miss Farrar, as well as +Mr. Caruso, can be depended on to remain. + +Any one who gives the question a moment's thought, knows that such a +career, carried through a score of years, means constant, unremitting +labor. There must be daily work on vocal technic; repertoire must be +kept up to opera pitch, and last and perhaps most important of all, new +works must be sought, studied and assimilated. + +The singer who can accomplish these tasks will have little or no time +for society and the gay world, inasmuch as her strength must be devoted +to the service of her art. She must keep healthy hours, be always ready +to appear, and never disappoint her audiences. And such, according to +Miss Farrar's own words is her record in the service of art. + +While zealously guarding her time from interruption from the merely +curious, Miss Farrar does not entrench herself behind insurmountable +barriers, as many singers seem to do, so that no honest seeker for her +views of study and achievement can find her. While making a rule not to +try voices of the throng of young singers who would like to have her +verdict on their ability and prospects, Miss Farrar is very gracious to +those who really need to see her. Again--unlike others--she will make an +appointment a couple of weeks in advance, and one can rest assured she +will keep that appointment to the day and hour, in spite of many +pressing calls on her attention. + +To meet and talk for an hour with an artist who has so often charmed you +from the other side of the footlights, is a most interesting experience. +In the present instance it began with my being taken up to Miss Farrar's +private sanctum, at the top of her New York residence. Though this is +her den, where she studies and works, it is a spacious parlor, where all +is light, color, warmth and above all, _quiet_. A thick crimson carpet +hushes the footfall. A luxurious couch piled with silken cushions, and +comfortable arm chairs are all in the same warm tint; over the grand +piano is thrown a cover of red velvet, gold embroidered. Portraits of +artists and many costly trifles are scattered here and there. The young +lady who acts as secretary happened to be in the room and spoke with +enthusiasm of the singer's absorption in her work, her delight in it, +her never failing energy and good spirits. "From the day I heard Miss +Farrar sing I felt drawn to her and hoped the time would come when I +could serve her in some way. I did not know then that it would be in +this way. Her example is an inspiration to all who come in touch with +her." + +In a few moments Miss Farrar herself appeared, and the young girl +withdrew. + +And was this Farrar who stood before me, in the flush of vigorous +womanhood, and who welcomed me so graciously? The first impression was +one of friendliness and sincerity, which caused the artist for the +moment to be forgotten in the unaffected simplicity of the woman. + +Miss Farrar settled herself comfortably among the red silk cushions and +was ready for our talk. The simplicity of manner was reflected in her +words. She did not imply--there is only one right way, and I have found +it. "These things seem best for my voice, and this is the way I work. +But, since each voice is different, they might not fit any one else. I +have no desire to lay down rules for others; I can only speak of my own +experience." + + +THE QUESTION OF HEALTH + +"And you would first know how I keep strong and well and always ready? +Perhaps the answer is, I keep regular hours and habits, and love my +work. I have always loved to sing, as far back as I can remember. Music +means everything to me--it is my life. As a child and young girl, I was +the despair of my playmates because I would not join their games; I did +not care to skate, play croquet or tennis, or such things. I never +wanted to exercise violently, and, to me, unnecessarily, because it +interfered with my singing; took energy which I thought might be better +applied. As I grew older I did not care to keep late hours and be in an +atmosphere where people smoked and perhaps drank, for these things were +bad for my voice and I could not do my work next day. My time is always +regularly laid out. I rise at half past seven, and am ready to work at +nine. I do not care to sit up late at night, either, for I think late +hours react on the voice. Occasionally, if we have a few guests for +dinner, I ask them, when ten thirty arrives, to stay as long as they +wish and enjoy themselves, but I retire. + + +TECHNICAL STUDY + +"There are gifted people who may be called natural born singers. Melba +is one of these. Such singers do not require much technical practice, or +if they need a little of it, half an hour a day is sufficient. I am not +one of those who do not need to practice. I give between one and two +hours daily to vocalizes, scales and tone study. But I love it! A scale +is beautiful to me, if it is rightly sung. In fact it is not merely a +succession of notes; it represents color. I always translate sound into +color. It is a fascinating study to make different qualities of tonal +color in the voice. Certain roles require an entirely different range of +colors from others. One night I must sing a part with thick, heavy, +rich tones; the next night my tones must be thinned out in quite another +timbre of the voice, to fit an opposite character." + +Asked if she can hear herself, Miss Farrar answered: + +"No, I do not actually hear my voice, except in a general way; but we +learn to know the sensations produced in muscles of throat, head, face, +lips and other parts of the anatomy, which vibrate in a certain manner +to correct tone production. We learn the _feeling_ of the tone. +Therefore every one, no matter how advanced, requires expert advice as +to the results. + + +WITH LEHMANN + +"I have studied for a long time with Lilli Lehmann in Berlin; in fact I +might say she is almost my only teacher, though I did have some +instruction before going to her, both in America and Paris. You see, I +always sang, even as a very little girl. My mother has excellent taste +and knowledge in music, and finding I was in danger of straining my +voice through singing with those older than myself, she placed me with a +vocal teacher when I was twelve, as a means of preservation. + +"Lehmann is a wonderful teacher and an extraordinary woman as well. +What art is there--what knowledge and understanding! What intensity +there is in everything she does. She used to say: 'Remember, these four +walls which inclose you, make a very different space to fill compared to +an opera house; you must take this fact into consideration and study +accordingly.' No one ever said a truer word. If one only studies or +sings in a room or studio, one has no idea of what it means to fill a +theater. It is a distinct branch of one's work to gain power and control +and to adapt one's self to large spaces. One can only learn this by +doing it. + +"It is sometimes remarked by listeners at the opera, that we sing too +loud, or that we scream. They surely never think of the great size of +the stage, of the distance from the proscenium arch to the footlights, +or from the arch to the first set of wings. They do not consider that +within recent years the size of the orchestra has been largely +increased, so that we are obliged to sing against this great number of +instruments, which are making every possible kind of a noise except that +of a siren. It is no wonder that we must make much effort to be heard: +sometimes the effort may seem injudicious. The point we must consider +is to make the greatest possible effect with the least possible +exertion. + +"Lehmann is the most painstaking, devoted teacher a young singer can +have. It is proof of her excellent method and her perfect understanding +of vocal mastery, that she is still able to sing in public, if not with +her old-time power, yet with good tone quality. It shows what an artist +she really is. I always went over to her every summer, until the war +came. We would work together at her villa in Gruenewald, which you +yourself know. Or we would go for a holiday down nearer Salzburg, and +would work there. We always worked wherever we were. + + +MEMORIZING + +"How do I memorize? I play the song or role through a number of times, +concentrating on both words and music at once. I am a pianist anyway; +and committing to memory is very easy for me. I was trained to learn by +heart from the very start. When I sang my little songs at six years old, +mother would never let me have any music before me: I must know my songs +by heart. And so I learned them quite naturally. To me singing was like +talking to people. + + +CONTRASTING COLORATURA AND DRAMATIC SINGING + +"You ask me to explain the difference between the coloratura and the +dramatic organ. I should say it is a difference of timbre. The +coloratura voice is bright and brilliant in its higher portion, but +becomes weaker and thinner as it descends; whereas the dramatic voice +has a thicker, richer quality all through, especially in its lower +register. The coloratura voice will sing upper C, and it will sound very +high indeed. I might sing the same tone, but it would sound like A flat, +because the tone would be of such totally different timbre. + + +TO THE YOUNG SINGER + +"If I have any message to the young singer, it would be: Stick to your +work and study systematically, whole-heartedly. If you do not love your +work enough to give it your best thought, to make sacrifices for it, +there is something wrong with you. Then choose some other line of work, +to which you can give undivided attention and devotion. For music +requires this. As for sacrifices, they really do not exist, if they +promote the thing you honestly love most. + +"Do not fancy you can properly prepare yourself in a short time to +undertake a musical career, for the path is a long and arduous one. You +must never stop studying, for there is always so much to learn. If I +have sung a role a hundred times, I always find places that can be +improved; indeed I never sing a role twice exactly in the same way. So, +from whatever side you consider the singer's work and career, both are +of absorbing interest. + +"Another thing; do not worry, for that is bad for your voice. If you +have not made this tone correctly, or sung that phrase to suit yourself, +pass it over for the moment with a wave of the hand or a smile; but +don't become discouraged. Go right on! I knew a beautiful American in +Paris who possessed a lovely voice. But she had a very sensitive nature, +which could not endure hard knocks. She began to worry over little +failures and disappointments, with the result that in three years her +voice was quite gone. We must not give way to disappointments, but +conquer them, and keep right along the path we have started on. + + +MODERN MUSIC + +"Modern music requires quite a different handling of the voice and makes +entirely different demands upon it than does the older music. The old +Italian operas required little or no action, only beautiful singing. The +opera houses were smaller and so were the orchestras. The singer could +stand still in the middle of the stage and pour out beautiful tones, +with few movements of body to mar his serenity. But we, in these days, +demand action as well as song. We need singing actors and actresses. The +music is declamatory; the singer must throw his whole soul into his +part, must act as well as sing. Things are all on a larger scale. It is +a far greater strain on the voice to interpret one of the modern Italian +operas than to sing one of those quietly beautiful works of the old +school. + +"America's growth in music has been marvelous on the appreciative and +interpretive side. With such a musical awakening, we can look forward to +the appearance of great creative genius right here in this country, +perhaps in the near future. Why should we not expect it? We have not yet +produced a composer who can write enduring operas or symphonies. +MacDowell is our highest type as yet; but others will come who will +carry the standard higher. + + +VOICE LIMITATIONS + +"The singer must be willing to admit limitations of voice and style and +not attempt parts which do not come within the compass of her +attainments. Neither is it wise to force the voice up or down when it +seems a great effort to do so. We can all think of singers whose natural +quality is mezzo--let us say--who try to force the voice up into a +higher register. There is one artist of great dramatic gifts, who not +content with the rich quality of her natural organ, tried to add several +high notes to the upper portion. The result was disastrous. Again, some +of our young singers who possess beautiful, sweet voices, should not +force them to the utmost limit of power, simply to fill, or try to fill +a great space. The life of the voice will be impaired by such injurious +practice. + + +VOCAL MASTERY + +"What do I understand by vocal mastery? It is something very difficult +to define. For a thing that is mastered must be really perfect. To +master vocal art, the singer must have so developed his voice that it is +under complete control; then he can do with it whatsoever he wishes. He +must be able to produce all he desires of power, pianissimo, accent, +shading, delicacy and variety of color. Who is equal to the task?" + +Miss Farrar was silent a moment; then she said, answering her own +question: + +"I can think of but two people who honestly can be said to possess vocal +mastery: they are Caruso and McCormack. Those who have only heard the +latter do little Irish tunes, have no idea of what he is capable. I have +heard him sing Mozart as no one else I know of can. These two artists +have, through ceaseless application, won vocal mastery. It is something +we are all striving for!" + + + + +III + +=VICTOR MAUREL= + +MIND IS EVERYTHING + + +Mr. James Huneker, in one of his series of articles entitled "With the +Immortals," in the New York _World_, thus, in his inimitable way +characterizes Victor Maurel: + +"I don't suppose there is to be found in musical annals such diversity +of aptitudes as that displayed by this French baritone. Is there an +actor on any stage to-day who can portray both the grossness of Falstaff +and the subtlety of Iago? Making allowance for the different art medium +that the singing actor must work in, and despite the larger curves of +operatic pose and gesture, Maurel kept astonishingly near to the +characters he assumed. He was Shakespearian; his Falstaff was the most +wonderful I ever saw." + +[Illustration: VICTOR MAUREL] + +And then Iago: "In the Maurel conception, Othello's Ancient was not +painted black in black--the heart of darkness, but with many nuances, +many gradations. He was economical of gesture, playing on the jealous +Moor as plays a skillfully handled bow upon a finely attuned violin. His +was truly an objective characterization. His Don Giovanni was broadly +designed. He was the aristocrat to the life, courtly, brave, amorous, +intriguing, cruel, superstitious and quick to take offense. In his best +estate, the drinking song was sheer virtuosity. Suffice to add that +Verdi intrusted to him the task of "originating" two such widely +sundered roles as Iago and Falstaff. An extraordinary artist!" + +One evening we were discussing the merits of various famous singers of +the past and present. My friend is an authority whose opinion I greatly +respect. He is not only a singer himself but is rapidly becoming a +singing master of renown. + +After we had conferred for a long time, my friend summed it all up with +the remark: + +"You know who, in my opinion, is the greatest, the dean of them all, a +past master of the art of song--Victor Maurel." + +Did I not know! In times gone by had we not discussed by the hour every +phase of Maurel's mastery of voice and action? Did we not together +listen to that voice and watch with breathless interest his investiture +of Don Giovanni, in the golden days when Lilli Lehmann and the De +Reszkes took the other parts. Was there ever a more elegant courtly Don, +a greater Falstaff, a more intriguing Iago? + +In those youthful days, my friend's greatest ambition was to be able to +sing and act like Maurel. To this end he labored unceasingly. Second +only to this aim was another--to know the great baritone personally, to +become his friend, to discuss the finest issues of art with him, to +consult him and have the benefit of his experience. The consummation of +this desire has been delayed for years, but it is one of the "all +things" which will surely come to him who waits. Maurel is now once more +on American soil, and doubtless intends remaining for a considerable +period. My friend is also established in the metropolis. The two have +met, not only once but many times--indeed they have become fast friends. + +"I will take you to him," promised friend Jacque,--knowing my desire to +meet the "grand old man"; "but don't ask for too many of his opinions +about singers, as he does not care to be quoted." + +Late one afternoon we arrived at his residence. At the moment he was in +his music room, where, for the last hour he had been singing +_Falstaff_! If we could only have been hidden away in some quiet corner +to listen! He came running down the stairway with almost the agility of +a boy, coming to meet us with simple dignity and courtesy. After the +first greetings were over we begged permission to examine the many +paintings which met the eye everywhere. There was a large panel facing +us, representing a tall transparent vase, holding a careless bunch of +summer flowers, very artistically handled. Near it hung an out-of-door +sketch, a garden path leading into the green. Other bits of landscape +still-life and portraits made up the collection. They had all been +painted by the same artist--none other than Maurel himself. As we +examined the flower panel, he came and stood by us. + +"Painting is a great art," he said; "an art which requires profound +study. I have been a close student of this art for many years and love +it more and more." + +"M. Maurel aims now to express himself through the art of color and +form, as he has always done through voice and gesture," remarked my +friend. + +"Art is the highest means of expression," went on the master, "whether +through music, painting, sculpture, architecture or the theater. The +effort to express myself through another art-medium, painting, has long +been a joy to me. I have studied with no teacher but myself, but I have +learned from all the great masters; they have taught me everything." + +He then led the way to his music room on the floor above. Here were more +paintings, many rare pieces of furniture and his piano. A fine portrait +of Verdi, with an affectionate autograph, stood on a table; one of +Ambroise Thomas, likewise inscribed, hung near. "A serious man, almost +austere," said Maurel, regarding the portrait of Verdi thoughtfully, +"but one of the greatest masters of all time." + +Praying us to be seated, he placed himself on an ottoman before us. The +talk easily drifted into the subject of the modern operatic stage, and +modern operas of the Italian school, in which one is so often tempted to +shout rather than sing. The hero of Mozart's Don Giovanni, who could +sing his music as perhaps no one else has ever done, would not be likely +to have much patience with the modern style of explosive vocal +utterance. + +"How do you preserve your voice and your repertoire?" I questioned. + +M. Maurel gazed before him thoughtfully. + +"It is entirely through the mind that I keep both. I know so exactly +how to produce tone qualities, that if I recall those sensations which +accompany tone production, I can induce them at will. How do we make +tones, sing an aria, impersonate a role? Is not all done with the mind, +with thought? I must think the tone before I produce it--before I sing +it; I must mentally visualize the character and determine how I will +represent it, before I attempt it. I must identify myself with the +character I am to portray before I can make it _live_. Does not then all +come from thinking--from thought? + +"Again: I can think out the character and make a mental picture of it +for myself, but how shall I project it for others to see? I have to +convince myself first that I am that character--I must identify myself +with it; then I must convince those who hear me that I am really that +character." Maurel rose and moved to the center of the room. + +"I am to represent some character--Amonasro, let us say. I must present +the captive King, bound with chains and brought before his captors. I +must feel with him, if I am really going to represent him. I must +believe myself bound and a prisoner; then I must, through pose and +action, through expression of face, gesture, voice, everything--I must +make this character real to the audience." + +And as we looked, he assumed the pose of the man in chains, his hands +seemed tied, his body bent, his expression one in which anger and +revenge mingled; in effect, he was for the moment Amonasro. + +"I have only made you see my mental concept of Amonasro. If I have once +thoroughly worked out a conception, made it my own, then it is mine. I +can create it at any moment. If I feel well and strong I can sing the +part now in the same way as I have always sung it, because my thought is +the same and thought produces. Whether I have a little more voice, or +less voice, what does it matter? I can never lose my conception of a +character, for it is in my mind, and mind projects it. So there is no +reason to lose the voice, for that also is in mind and can be thought +out at will. + +"Suppose I have an opposite character to portray,--the elegant Don +Giovanni, for example"; and drawing himself up and wrapping an imaginary +cloak about him, with the old well-remembered courtly gesture, his face +and manner were instantly transformed at the thought of his favorite +character. He turned and smiled on us, his strong features lighted, and +his whole appearance expressed the embodiment of Mozart's hero. + +"You see I must have lived, so to say, in these characters and made them +my own, or I could not recall them at a moment's notice. All +impersonation, to be artistic, to be vital, must be a part of one's +self; one must get into the character. When I sing Iago I am no longer +myself--I am another person altogether; self is quite forgotten; I am +Iago, for the time being. + +"In Paris, at the Sorbonne, I gave a series of lectures; the first was +on this very subject, the identification of one's self with the +character to be portrayed. The large audience of about fifteen hundred, +contained some of the most famous among artists and men of letters"; and +Maurel, with hands clasped about his knee, gazed before him into space, +and we knew he was picturing in mental vision, the scene at the +Sorbonne, which he had just recalled. + +After a moment, he resumed. "The singer, though trying to act out the +character he assumes, must not forget to _sing_. The combination of fine +singing and fine acting is rare. Nowadays people think if they can act, +that atones for inartistic singing; then they yield to the temptation +to shout, to make harsh tones, simply for effect." And the famous +baritone caricatured some of the sounds he had recently heard at an +operatic performance with such gusto, that a member of the household +came running in from an adjoining room, thinking there must have been an +accident and the master of the house was calling for help. He hastily +assured her all was well--no one was hurt; then we all had a hearty +laugh over the little incident. + +And now we begged to be allowed to visit the atelier, where the +versatile artist worked out his pictures. He protested that it was in +disorder, that he would not dare to take us up, and so on. After a +little he yielded to persuasion, saying, however, he would go up first +and arrange the room a little. As soon as he had left us my friend +turned to me: + +"What a remarkable man! So strong and vigorous, in spite of his advanced +age. No doubt he travels those stairs twenty times a day. He is as alert +as a young man; doubtless he still has his voice, as he says. And what a +career he has had. You know he was a friend of Edward the Seventh; they +once lived together. Then he and Verdi were close friends; he helped +coach singers for Verdi's operas. He says it was a wonderful +experience, when the composer sat down at the piano, put his hands on +the keys and showed the singers how he wanted his music sung! + +"Early in his career Maurel sang in Verdi's opera, _Simone Boccanegra_, +which one never hears now, but it has a fine baritone part, and a couple +of very dramatic scenes, especially the final scene at the close. This +is the death scene. Maurel had sung and acted so wonderfully on a +certain occasion that all the singers about him were in tears. Verdi was +present at this performance and was deeply moved by Maurel's singing and +acting. He came upon the stage when all was over, and exclaimed, in a +voice trembling with emotion: 'You have created the role just as I would +have it; I shall write an opera especially _for you_!' This he did; it +was _Othello_, and the Iago was composed for Maurel. In his later years, +when he seldom left his home, the aged composer several times expressed +the wish that he might go to Paris, just to hear Maurel sing once more. + +"It is very interesting that he was led to speak to us as he did just +now, about mental control, and the part played by mind in the singer's +study, equipment and career. It is a side of the question which every +young singer must seriously consider, first, last and always. But here +he comes." + +Again protesting about the appearance of his simple studio, the master +led the way up the stairways till we reached the top of the house, where +a north-lighted room had been turned into a painter's atelier. With +mingled feelings we stepped within this modest den of a great artist, +which held his treasures. These were never shown to the casual observer, +nor to the merely curious; they were reserved for the trusted few. + +The walls were lined with sketches; heads, still life, landscapes, all +subjects alike interested the painter. A rugged bust of Verdi, over life +size, modeled in plaster, stood in one corner. On an easel rested a +spirited portrait of Maurel, done by himself. + +"My friends tell me I should have a larger studio, with better light; +but I am content with this, for here is quiet and here I can be alone, +free to commune with myself. Here I can study my art undisturbed,--for +Art is my religion. If people ask if I go to church, I say No, but I +worship the immortality which is within, which I feel in my soul, the +reflection of the Almighty!" + +In quiet mood a little later we descended the white stairway and passed +along the corridors of this house, which looks so foreign to American +eyes, and has the atmosphere of a Paris home. + +The artist accompanied us to the street door and bade us farewell, in +his kindly dignified manner. + +As the door closed and we were in the street, my friend said: + +"A wonderful man and a rare artist. Where shall we find his like +to-day?" + + + + +IV + +A VISIT TO MME. LILLI LEHMANN + + +A number of years before the great war, a party of us were spending a +few weeks in Berlin. It was midsummer; the city, filled as it was for +one of us at least, with dear memories of student days, was in most +alluring mood. Flowers bloomed along every balcony, vines festooned +themselves from windows and doorways, as well as from many unexpected +corners. The parks, large and small, which are the delight of a great +city, were at their best and greenest--gay with color. Many profitable +hours were spent wandering through the galleries and museums, hearing +concerts and opera, and visiting the old quarters of the city, so +picturesque and full of memories. + +Two of us, who were musicians, were anxious to meet the famous dramatic +soprano, Lilli Lehmann, who was living quietly in one of the suburbs of +the city. Notes were exchanged, and on a certain day we were bidden to +come, out of the regular hours for visitors, by "special exception." + +How well I remember the drive through the newer residential section of +Berlin. The path before long led us through country estates, past +beautifully kept gardens and orchards. Our destination was the little +suburb of Gruenewald, itself like a big garden, with villas nestling +close to each other, usually set back from the quiet, shaded streets. +Some of the villas had iron gratings along the pathway, through which +one saw gay flowers and garden walks, often statuary and fountains. +Other homes were secluded from the street by high brick walls, +frequently decorated on top by urns holding flowers and drooping vines. + +Behind such a picturesque barrier, we found the gateway which led to +Mme. Lehmann's cottage. We rang and soon a trim maid came to undo the +iron gate. The few steps leading to the house door did not face us as we +entered the inclosure, but led up from the side. We wanted to linger and +admire the shrubs and flowering plants, but the maid hastened before us +so we had to follow. + +From the wide entrance hall doors led into rooms on either hand. We were +shown into a salon on the left, and bidden to await Madame's coming. + +In the few moments of restful quiet before she entered, we had time to +glance over this sanctum of a great artist. To say it was filled with +mementos and _objets d'art_ hardly expresses the sense of repleteness. +Every square foot was occupied by some treasure. Let the eye travel +around the room. At the left, as one entered the doorway, stood a fine +bust of the artist, chiseled in pure white marble, supported on a +pedestal of black marble. Then came three long, French windows, opening +into a green garden. Across the farther window stood a grand piano, +loaded with music. At the further end of the room, if memory serves, +hung a large, full length portrait of the artist herself. A writing +desk, laden with souvenirs, stood near. On the opposite side a divan +covered with rich brocade; more paintings on the walls, one very large +landscape by a celebrated German painter. + +Before we could note further details, Mme. Lehmann stood in the doorway, +then came forward and greeted us cordially. + +How often I had seen her impersonate her great roles, both in Germany +and America. They were always of some queenly character. Could it be +possible this was the famous Lehmann, this simple housewife, in black +skirt and white blouse, with a little apron as badge of home keeping. +But there was the stately tread, the grand manner, the graceful +movement. What mattered if the silver hair were drawn back severely from +the face; there was the dignity of expression, classic features, +penetrating glance and mobile mouth I remembered. + +After chatting a short time and asking many questions about America, +where her experiences had been so pleasant, our talk was interrupted, +for a little, by a voice trial, which Madame had agreed to give. Many +young singers, from everywhere, were anxious to have expert judgment on +their progress or attainments, so Lehmann was often appealed to and gave +frequent auditions of this kind. The fee was considerable, but she never +kept a penny of it for herself; it all went to one of her favorite +charities. The young girl who on this day presented herself for the +ordeal was an American, who, it seemed, had not carried her studies very +far. + + +EXAMINING A PUPIL + +Mme. Lehmann seated herself at the piano and asked for scales and +vocalizes. The young girl, either from fright or poor training, did not +make a very fortunate impression. She could not seem to bring out a +single pure steady tone, much less sing scales acceptably. + +Madame with a resigned look finally asked for a song, which was given. +It was a little song of Franz, I remember. Then Lehmann wheeled around +on the stool and said to us, in German: + +"The girl cannot sing--she has little or no voice to begin with, and has +not been rightly trained." Then to the young girl she said, kindly, in +English: + +"My dear young lady, you have almost everything to learn about singing, +for as yet you cannot even sing one tone correctly; you cannot even +speak correctly. First of all you need physical development; you must +broaden your chest through breathing exercises; you are too thin +chested. You must become physically stronger if you ever hope to sing +acceptably. Then you must study diction and languages. This is +absolutely necessary for the singer. Above all you must know how to +pronounce and sing in your own language. So many do not think it +necessary to study their own language; they think they know that +already; but one's mother tongue requires study as well as any other +language. + +"The trouble with American girls is they are always in a hurry. They are +not content to sit down quietly and study till they have developed +themselves into something before they ever think of coming to Europe. +They think if they can just come over here and sing for an artist, that +fact alone will give them prestige in America. But that gives them quite +the opposite reputation over here. American girls are too often looked +upon as superficial, because they come over here quite unprepared. I say +to all of them, as I say to you: Go home and study; there are plenty of +good teachers of voice and piano in your own land. Then, when you can +_sing_, come over here, if you wish; but do not come until you are +prepared." + +After this little episode, we continued our talk for a while longer. +Then, fearing to trespass on her time, we rose to leave. She came to the +door with us, followed us down the steps into the front garden, and held +the gate open for us, when we finally left. We had already expressed the +hope that she might be able to return to America, at no very distant +day, and repeat her former triumphs there. Her fine face lighted at the +thought, and her last words to us were, as she held open the little iron +wicket. "I have a great desire to go to your country again; perhaps, in +a year or two--who knows--I may be able to do it." + +She stood there, a noble, commanding figure, framed in the green of her +garden, and waved her handkerchief, till our cab turned a corner, and +she was lost to our view. + + +THE MOZART FESTIVAL + +Several years later, a year before the world war started, to be exact, +we had the pleasure of meeting the artist again, and this time, of +hearing her sing. + +It was the occasion of the Mozart Festival in Salzburg. It is well known +that Lehmann, devoted as she has always been to the genius of Mozart, +and one of the greatest interpreters of his music, had thrown her whole +energy into the founding of a suitable memorial to the master in his +native city. This memorial was to consist of a large music school, a +concert hall and home for opera. The Mozarteum was not yet completed, +but a Festival was held each year in Salzburg, to aid the project. +Madame Lehmann was always present and sang on these occasions. + +We timed our visit to Mozart's birthplace, so that we should be able to +attend the Festival, which lasted as usual five days. The concerts were +held in the Aula Academica, a fine Saal in the old picturesque quarter +of the city. + +At the opening concert, Lehmann sang a long, difficult Concert Aria of +Mozart. We could not help wondering, before she began, how time had +treated this great organ; whether we should be able to recognize the +famous Lehmann who had formerly taken such high rank as singer and +interpreter in America. We need not have feared that the voice had +become impaired. Or, if it had been, it had become rejuvenated on this +occasion. Mme. Lehmann sang with all her well-remembered power and +fervor, all her exaltation of spirit, and of course she had a great +ovation at the close. She looked like a queen in ivory satin and rare +old lace, with jewels on neck, arms and in her silver hair. In the +auditorium, three arm chairs had been placed in front of the platform. +The Arch-duke, Prince Eugen, the royal patron of the Festival, occupied +one. When Madame Lehmann had finished her Aria, she stepped down from +the platform. The Prince rose at once and went to meet her. She gave him +her hand with a graceful curtesy and he led her to the armchair next his +own, which had evidently been placed in position for her special use. + +At the close of the concert we had a brief chat with her. The next day +she was present at the morning concert. This time she was gowned in +black, with an ermine cape thrown over her shoulders. The Arch-duke sat +beside her in the arm chair, as he had done the evening before. We had a +bow and smile as she passed down the aisle. + +We trust the Mozarteum in Salzburg, for which Mme. Lehmann has labored +with such devotion, will one day fulfill its noble mission. + + +LEHMANN THE TEACHER + +As a teacher of the art of singing Madame Lehmann has long been a +recognized authority, and many artists now actively before the public, +have come from under her capable hands. Her book, "How to +Sing,"--rendered in English by Richard Aldrich--(Macmillan) has +illumined the path, for many a serious student who seeks light on that +strange, wonderful, hidden instrument--the voice. Madame Lehmann, by +means of many explanations and numerous plates, endeavors to make clear +to the young student how to begin and how to proceed in her vocal +studies. + + +BREATHING + +On the important subject of breathing she says: "No one can sing +without preparing for it mentally and physically. It is not enough to +sing well, one must know how one does it. I practice many breathing +exercises without using tone. Breath becomes voice through effort of +will and by use of vocal organs. When singing emit the smallest quantity +of breath. Vocal chords are breath regulators; relieve them of all +overwork. + +"At the start a young voice should be taught to begin in the middle and +work both ways--that is, up and down. A tone should never be forced. +Begin piano, make a long crescendo and return to piano. Another exercise +employs two connecting half tones, using one or two vowels. During +practice stand before a mirror, that one may see what one is doing. +Practice about one hour daily. Better that amount each day than ten +hours one day and none the next. The test will be; do you feel rested +and ready for work each morning? If not you have done too much the day +before." + + +REGISTERS + +In regard to registers Madame Lehmann has this to say: "In the formation +of the voice no registers should exist or be created. As long as the +word is kept in use, registers will not disappear." + + +PHYSIOLOGY + +In spite of the fact there are many drawings and plates illustrating the +various organs of head and throat which are used in singing, Madame +Lehmann says: + +"The singer is often worried about questions of physiology, whereas she +need--must--know little about it. + + +THE NASAL QUALITY + +"The singer must have some nasal quality, otherwise the voice sounds +colorless and expressionless. We must sing toward the nose: (not +necessarily through the nose). + +"For many ills of the voice and tone production, I use long, slow +scales. They are an infallible cure. + + +USE OF THE LIPS + +"The lips play a large part in producing variety of tone quality. Each +vowel, every word can be colored, as by magic, by well controlled play +of the lips. When lips are stiff and unresponsive, the singing is +colorless. Lips are final resonators, through which tones must pass, +and lip movements can be varied in every conceivable manner." + + +POWER AND VELOCITY + +She humorously writes: "Singers without power and velocity are like +horses without tails. For velocity, practice figures of five, six, seven +and eight notes, first slowly, then faster and faster, up and down." + + + + +V + +=AMELITA GALLI-CURCI= + +SELF-TEACHING THE GREAT ESSENTIAL + + +No singer can rise to any distinction without the severest kind of +self-discipline and hard work. This is the testimony of all the great +vocalists of our time--of any time. This is the message they send back +from the mountain top of victory to the younger ones who are striving to +acquire the mastery they have achieved. Work, work and again--work! And +if you have gained even a slight foothold on the hill of fame, then work +to keep your place. Above all, be not satisfied with your present +progress,--strive for more perfection. There are heights you have not +gained--higher up! There are joys for you--higher up, if you will but +labor to reach them. + +[Illustration: _Photo by De Strelecki, N.Y._ AMELITA GALLI-CURCI] + +Perhaps there is no singer who more thoroughly believes in the gospel of +work, and surely not one who more consistently practices what she +preaches, than Amelita Galli-Curci. She knows the value of work, and she +loves it for its own sake. There is no long cessation for her, during +summer months, "to rest her voice." There is no half-day seclusion after +a performance, to recover from the fatigue of singing a role the night +before. No, for her this event does not spell exhaustion but happiness, +exhilaration. It is a pleasure to sing because it is not wearisome--it +is a part of herself. And she enjoys the doing! Thus it happens that the +morning after a performance, she is up and abroad betimes, ready to +attend personally to the many calls upon her time and attention. She can +use her speaking voice without fear, because she has never done anything +to strain it; she is usually strong and well, buoyant and bright. Those +soft, dark eyes are wells of intelligent thinking; the mouth smiles +engagingly as she speaks; the slight figure is full of life and energy. +Yet there is a deep sense of calm in her presence. A brave, bright +spirit; a great, wonderful artist! + +These thoughts faintly glimpse my first impression of Mme. Galli-Curci, +as she entered her big, sunny parlor, where I was waiting to see her. +Her delicate, oval face was aglow with the flush of healthful exercise, +for she had just come in from a shopping expedition and the wintry air +was keen. "I love to go shopping," she explained, "so I always do it +myself." + +She bade me sit beside her on a comfortable divan, and at once began to +speak of the things I most wished to hear. + +"I am often asked," she began, "to describe how I create this or that +effect, how I produce such and such tones, how I make the voice float to +the farthest corner, and so on. I answer, that is my secret. In reality +it is no secret at all, at least not to any one who has solved the +problem. Any one possessing a voice and intelligence, can acquire these +things, who knows how to go to work to get them. But if one has no +notion of the process, no amount of mere talking will make it plain. +Singing an opera role seems such an easy thing from the other side of +the footlights. People seem to think, if you only know how to sing, it +is perfectly natural and easy for you to impersonate a great lyric role. +And the more mastery you have, the easier they think it is to do it. The +real truth of the matter is that it requires years and years of +study--constant study, to learn how to sing, before attempting a big +part in opera. + +"There are so many organs of the body that are concerned in the process +of breathing and tone production; and most of these organs must be, if +not always, yet much of the time, relaxed and in an easy pliable +condition when you sing. There is the diaphragm--then the throat, +larynx, the lungs, nose, lips--all of them help to make the tone. +Perhaps I might say the larynx is the most important factor of all. If +you can manage that, you have the secret. But no human being can tell +you exactly how to do it. Some singers before the public to-day have no +notion of how to manage this portion of their anatomy. Others may do so +occasionally, but it may only be by accident. They sometimes stumble +upon the principle, but not understanding how they did so, they cannot +reproduce the desired effects at will. The singer who understands her +business must know just how she produces tones and vocal effects. She +can then do them at all times, under adverse circumstances, even when +nervous, or not in the mood, or indisposed. + + +SELF-STUDY + +"How did I learn to know these things? By constant study, by constant +listening--for I have very keen ears--by learning the sensations +produced in throat and larynx when I made tones that were correctly +placed, were pleasing and at the same time made the effects I was +seeking. + +"Milan is my home city--beautiful Milano under the blue Italian skies, +the bluest in the world. As a young girl, the daughter of well-to-do +parents, I studied piano at the Royal Conservatory there, and also +musical theory and counterpoint. I shall ever be grateful I started in +this way, with a thorough musical foundation, for it has always been of +great advantage to me in further study. When my father met with +reverses, I made good use of my pianistic training by giving piano +lessons and making a very fair income for a young girl. + +"But I longed to sing! Is it not the birthright of every Italian to have +a voice? I began to realize I had a voice which might be cultivated. I +had always sung a little--every one does; song is the natural, +spontaneous expression of our people. But I wished to do more--to +express myself in song. So I began to teach myself by singing scales and +vocalizes between my piano lessons. Meanwhile I studied all the books on +singing I could lay hands on, and then tried to put the principles I +learned in this way in practice. In trying to do this I had to find out +everything for myself. And that is why I know them! I know exactly what +I am about when I sing, I know what muscles are being used, and in what +condition they ought to be; what parts of the anatomy are called into +action and why. Nature has given me two great gifts, a voice and good +health; for both these gifts I am deeply grateful. The first I have +developed through arduous toil; the second I endeavor to preserve +through careful living, regular hours and plenty of exercise in the +fresh air. I have developed the voice and trained it in the way that +seemed to me best for it. There are as many kinds of voices as there are +persons; it seems to me each voice should be treated in the way best +suited to its possessor. How can any other person tell you how that +should be done?" And the singer gave me a bright look, and made a pretty +deprecating gesture. "You yourself must have the intelligence to +understand your own case and learn how to treat it. + + +NEVER STRAIN THE VOICE + +"A singer who would keep her voice in the best condition, should +constantly and reasonably exercise it. I always do a half hour or so of +exercises, vocalizes and scales every morning; these are never +neglected. But I never do anything to strain the voice in any way. We +are told many fallacies by vocal teachers. One is that the diaphragm +must be held firmly in order to give support to the tone. It seems to me +this is a serious mistake. I keep the diaphragm relaxed. Thus tone +production, in my case, is made at all times with ease; there is never +any strain. You ask if it is not very fatiguing to sing against a large +orchestra, as we have to, and with a temperamental conductor, like +Marinuzzi, for instance, I do not find it so; there is a pure, clear +tone, which by its quality, placement and ease of production, will carry +farther than mere power ever can. It can be heard above a great +orchestra, and it _gets over_. + + +USE OF THE VOWELS + +"Young singers ask me what vowels to use in vocal practice. In my own +study I use them all. Of course some are more valuable than others. The +O is good, the E needs great care; the Ah is the most difficult of all. +I am aware this is contrary to the general idea. But I maintain that the +Ah is most difficult; for if you overdo it and the lips are too wide +apart, the result is a white tone. And on the other hand, if the lips +are nearer--or too near together, or are not managed rightly, stiffness +or a throaty quality is apt to result; then the tone cannot 'float.' I +have found the best way is to use the mixed vowels, one melting into the +other. The tone can be started with each vowel in turn, and then mingled +with the rest of the vowels. Do you know, the feathered songster I love +best--the nightingale--uses the mixed vowels too. Ah, how much I have +learned from him and from other birds also! Some of them have harsh +tones--real quacks--because they open their bills too far, or in a +special way. But the nightingale has such a lovely dark tone, a 'covered +tone,' which goes to the heart. It has the most exquisite quality in the +world. I have learned much from the birds, about what not to do and what +to do. + + +MEMORIZING + +"In taking up a new role I begin with the story, the libretto, so I may +first learn what it is about, its meaning and psychology. I take it to +bed with me, or have it by me if lying down, because I understand +musical composition and can get a clear idea of the composer's meaning +without going to the instrument. After a short time I begin to work it +out at the piano, in detail, words and music together. For a great role +like the _Somnambula_ or _Traviata_, I must spend three or four years, +perhaps more, in preparation, before bringing it to public performance. +It takes a long time to master thoroughly an operatic role, to work it +out from all sides, the singing, the acting, the characterization. To +the lay mind, if you can sing, you can easily act a part and also +memorize it. They little know the labor which must be bestowed on that +same role before it can be presented in such a shape as to be adequate, +in a way that will get it across. It does not go in a few weeks or even +months; it is the work of years. And even then it is never really +finished, for it can always be improved with more study, with more care +and thought. + + +THE NECESSITY FOR LANGUAGES + +"We hear much about need for study of languages by the singer, and +indeed too much stress cannot be placed on this branch of the work. I +realize that in America it is perhaps more difficult to impress people +with this necessity, as they have not the same need to use other +languages in every day life. The singer can always be considered +fortunate who has been brought up from earliest years to more than one +language. My mother was Spanish, my father Italian, so this gave me +both languages at home. Then in school I learned French, German and +English, not only a little smattering of each, but how to write and +speak them." + +"You certainly have mastered English remarkably well," I could not help +remarking, for she was speaking with great fluency, and with hardly any +accent. This seemed to please her, for she gave me one of those flashing +smiles. + + +COLORATURA AND DRAMATIC + +"Would you be pleased," I asked, "if later on your voice should develop +into a dramatic soprano?" + +Mme. Galli-Curci thought an instant. + +"No," she said, "I think I would rather keep the voice I have. I +heartily admire the dramatic voice and the roles it can sing. Raisa's +voice is for me the most beautiful I know. But after all I think, for +myself, I prefer the lyric and coloratura parts, they are so beautiful. +The old Italian composers knew well how to write for the voice. Their +music has beauty, it has melody, and melodic beauty will always make its +appeal. And the older Italian music is built up not only of melody and +fioriture, but is also dramatic. For these qualities can combine, and +do so in the last act of _Traviata_, which is so full of deep feeling +and pathos. + + +BREATH CONTROL + +"Perhaps, in Vocal Mastery, the greatest factor of all is the breathing. +To control the breath is what each student is striving to learn, what +every singer endeavors to perfect, what every artist should master. It +is an almost endless study and an individual one, because each organism +and mentality is different. Here, as in everything else, perfect ease +and naturalness are to be maintained, if the divine song which is the +singer's concept of beauty, is to be 'floated on the breath,' and its +merest whisper heard to the farthest corner of the gallery. + + +THE MATTER IN A NUTSHELL + +"To sum up then, the three requirements of vocal mastery are: a, +Management of the Larynx; b, Relaxation of the Diaphragm; c, Control of +the Breath. To these might be added a fourth; Mixed Vowels. + +"But when all these are mastered, what then? Ah, so much more it can +never be put into words. It is self-expression through the medium of +tone, for tone must always be a vital part of the singer's +individuality, colored by feeling and emotion. Tone is the outlet, the +expression of all one has felt, suffered and enjoyed. To perfect one's +own instrument, one's medium of expression, must always be the singer's +joy and satisfaction." + +"And you will surely rest when the arduous season is over?" + +"Yes, I will rest when the summer comes, and will return to Italy this +year. But even though I seem to rest, I never neglect my vocal practice; +that duty and pleasure is always performed." + +And with a charming smile and clasp of the hand, she said adieu. + + + + + +VI + +=GIUSEPPE DE LUCA= + +CEASELESS EFFORT NECESSARY FOR ARTISTIC PERFECTION + + +"A Roman of Rome" is what Mr. Giuseppe De Luca has been named. The very +words themselves call up all kinds of enchanting pictures. Sunny Italy +is the natural home of beautiful voices: they are her birthright. Her +blue sky, flowers and olive trees--her old palaces, hoary with age and +romantic story, her fountains and marbles, her wonderful treasures of +art, set her in a world apart, in the popular mind. Everything coming +from Italy has the right to be romantic and artistic. If it happens to +be a voice, it should of necessity be beautiful in quality, rich, +smooth, and well trained. + +[Illustration: To Mrs. Harriette Brower cordially Giuseppe De Luca] + +While all singers who come from the sunny land cannot boast all these +qualifications, Mr. De Luca, baritone of the Metropolitan Opera House, +New York, can do so. Gifted with a naturally fine organ, he has +cultivated it arduously and to excellent purpose. He began to study in +early youth, became a student of Saint Cecilia in Rome when fifteen +years of age, and made his debut at about twenty. He has sung in opera +ever since. + +In 1915,--November 25th to be exact--De Luca came to the Metropolitan, +and won instant recognition from critics and public alike. It is said of +him that he earned "this success by earnest and intelligent work. +Painstaking to a degree, there is no detail of his art that he neglects +or slights--so that one hesitates to decide whether he is greater as a +singer or as an actor." Perhaps, however, his most important quality is +his mastery of "_bel canto_"--pure singing--that art which seems to +become constantly rarer on the operatic and concert stage. + +"De Luca does such beautiful, finished work; every detail is carefully +thought out until it is as perfect as can be." So remarked a member of +the Metropolitan, and a fellow artist. + +Those who have listened to the Roman baritone in the various roles he +has assumed, have enjoyed his fine voice, his true _bel canto_ style, +and his versatile dramatic skill. He has never disappointed his public, +and more than this, is ever ready to step into the breach should +necessity arise. + +A man who has at least a hundred and twenty operas at his tongue's end, +who has been singing in the greatest opera houses of the world for more +than twenty years, will surely have much to tell which can help those +who are farther down the line. If he is willing to do so, can speak the +vernacular, and can spare a brief hour from the rush of constant study +and engagement, a conference will be possible. It was possible, for time +was made for it. + + +THE MUSICAL GIFT + +Mr. De Luca, who speaks the English language remarkably well, greeted +the writer with easy courtesy. His genial manner makes one feel at home +immediately. Although he had just come from the Opera House, where he +had sung an important role, he seemed as fresh and rested as though +nothing had happened. + +"I think the ability to act, and also, in a measure, to sing, is a +gift," began the artist. "I remember, even as a little child, I was +always acting out in pantomime or mimicry what I had seen and felt. If I +was taken to the theater, I would come home, place a chair for audience, +and act out the whole story I had just seen before it. From my youngest +years I always wanted to sing and act. + + +A REMARKABLE TEACHER + +"As early as I could, at about the age of fifteen, I began to study +singing, with a most excellent teacher; who was none other than Signor +Wenceslao Persischini, who is now no longer living. He trained no fewer +than seventy-four artists, of which I was the last. Battestini, that +wonderful singer, whose voice to-day, at the age of sixty-five, is as +remarkable as ever, is one of his pupils. We know that if a vocal +teacher sings himself, and has faults, his pupils are bound to copy +those faults instinctively and unconsciously. With Persischini this +could not be the case; for, owing to some throat trouble, he was not +able to sing at all. He could only whisper the tones he wanted, +accompanying them with signs and facial grimaces." And Mr. De Luca +illustrated these points in most amusing fashion. Then he continued: + +"But he had unerring judgment, together with the finest ear. He knew +perfectly how the tone should be sung and the student was obliged to do +it exactly right and must keep at it till it was right. He would let +nothing faulty pass without correction. I also had lessons in acting +from Madame Marini, a very good teacher of the art. + + +THE ARTIST LIFE + +"After five years of hard study I made my debut at Piacenza, as +Valentine, in _Faust_, November 6th, 1897. Then, you may remember, I +came to the Metropolitan in the season of 1915-1916, where I have been +singing continually ever since. + +"The artist should have good health, that he may be always able to sing. +He owes this to his public, to be always ready, never to disappoint. I +think I have never disappointed an audience and have always been in good +voice. It seems to me when one is no longer able to do one's best it is +time to stop singing." + +"It is because you study constantly and systematically that you are +always in good voice." + +"Yes, I am always at work. I rise at eight in the morning, not later. +Vocalizes are never neglected. I often sing them as I take my bath. Some +singers do not see the necessity of doing exercises every day; I am not +one of those. I always sing my scales, first with full power, then +taking each tone softly, swelling to full strength, then dying away--in +mezza voce. I use many other exercises also--employing full power. +English is also one of the daily studies, with lessons three times a +week. + + +CONSTANTLY ON THE WATCH + +"When singing a role, I am always listening--watching--to be conscious +of just what I am doing. I am always criticizing myself. If a tone or a +phrase does not sound quite correct to me as to placement, or +production, I try to correct the fault at once. I can tell just how I am +singing a tone or phrase by the feeling and sensation. Of course I +cannot hear the full effect; no singer ever can actually hear the effect +of his work, except on the records. There he can learn, for the first +time, just how his voice sounds. + + +LEARNING A NEW ROLE + +"How do I begin a new part? I first read over the words and try to get a +general idea of their meaning, and how I would express the ideas. I try +over the arias and get an idea of those. Then comes the real work--the +memorizing and working out the conception. I first commit the words, and +know them so well I can write them out. Next I join them to the music. +So far I have worked by myself. After this much has been done, I call in +the accompanist, as I do not play the piano very well; that is to say, +my right hand will go but the left lags behind! + + +ALWAYS BEING SURE OF THE WORDS + +"Yes, as you say, it requires constant study to keep the various roles +in review, especially at the Metropolitan, where the operas are changed +from day to day. Of course at performance the prompter is always there +to give the cue--yet the words must always be in mind. I have never yet +forgotten a word or phrase. On one occasion--it was in the _Damnation of +Faust_, a part I had already sung a number of times--I thought of a word +that was coming, and seemed utterly unable to remember it. I grew quite +cold with fear--I am inclined to be a little nervous anyway--but it was +quite impossible to think of the word. Luckily at the moment when I +needed the word I was so fearful about, it suddenly came to me. + + +NATURAL ANXIETY + +"Of course there is always anxiety for the artist with every public +appearance. There is so much responsibility--one must always be at +one's best; and the responsibility increases as one advances, and begins +to realize more and more keenly how much is expected and what depends on +one's efforts. I can assure you we all feel this, from the least to the +greatest. The most famous singers perhaps suffer most keenly. + +"I have always sung in Italian opera, in which the language is easy for +me. Latterly I have added French operas to my list. _Samson and +Delilah_, which I had always done in Italian, I had to relearn in +French; this for me was very difficult. I worked a long time on it, but +mastered it at last. + +"This is my twenty-second season in opera. I have a repertoire of about +one hundred and twenty roles, in most of which I have sung many times in +Italy. Some I wish might be brought out at the Metropolitan. Verdi's +_Don Carlos_, for instance, has a beautiful baritone part; it is really +one of the fine operas, though it might be considered a bit +old-fashioned to-day. Still I think it would be a success here. I am +preparing several new parts for this season; one of them is the +Tschaikowsky work--_Eugene Onegin_. So you see I am constantly at work. + +"My favorite operas? I think they are these"; and Mr. De Luca hastily +jotted down the following: _Don Carlos, Don Giovanni, Hamlet, Rigoletto, +Barbier, Damnation of Faust_, and last, but not least, _Tannhauser_. + + +GROWTH OF MUSICAL APPRECIATION IN AMERICA + +Asked if he considered appreciation for music had advanced during his +residence in America, his answer was emphatically in the affirmative. + +"The other evening I attended a reception of representative American +society, among whom were many frequenters of the Metropolitan. Many of +them spoke to me of the opera _Marouf_. I was surprised, for this modern +French opera belongs to the new idiom, and is difficult to understand. +'Do you really like the music of _Marouf_?' I asked. 'Oh, yes indeed,' +every one said. It is one of my longest parts, but not one of my special +favorites. + +"In the summer! Ah, I go back to my beloved Italy almost as soon as the +Metropolitan season closes. I could sing in Buenos Aires, as the season +there follows the one here. But I prefer to rest the whole time until I +return. I feel the singer needs a period of rest each year. To show you +how necessary it is for the singer to do daily work on the voice, I +almost feel I cannot sing at all during the summer, as I do no +practicing, and without vocalizes one cannot keep in trim. If I am asked +to sing during vacation, I generally refuse. I tell them I cannot sing, +for I do not practice. It takes me a little while after I return, to get +the vocal apparatus in shape again. + +"Thus it means constant study, eternal vigilance to attain the goal, +then to hold what you have attained and advance beyond it if possible." + + + + +VII + +=LUISA TETRAZZINI= + +THE COLORATURA VOICE + + +Luisa Tetrazzini has been called the greatest exponent of coloratura +singing that we have at the present time. Her phenomenal successes in +various quarters of the globe, where she has been heard in both opera +and concert, are well known, and form pages of musical history, full of +interest. This remarkable voice, of exquisite quality and development, +is another proof that we have as beautiful voices to-day, if we will but +realize the fact, as were ever known or heard of in the days of famous +Italian songsters. + +[Illustration: LOUISA TETRAZZINI] + +Portraits often belie the artist, by accentuating, unduly, some +individuality of face or figure, and Tetrazzini is no exception. From +her pictures one would expect to find one of the imperious, dominating +order of prima donnas of the old school. When I met the diva, I was at +once struck by the simplicity of her appearance and attire. There was +nothing pompous about her; she did not carry herself with the air of +one conscious of possessing something admired and sought after by all +the world, something which set her on a high pedestal apart from other +singers. Not at all. I saw a little lady of plump, comfortable figure, a +face which beamed with kindliness and good humor, a mouth wreathed with +smiles. Her manner and speech were equally simple and cordial, so that +the visitor was put at ease at once, and felt she had known the great +singer for years. + +Before the conference could begin a pretty episode happened, which +showed the human side of the singer's character, and gave a glimpse into +her every day life. Mme. Tetrazzini was a little late for her +appointment, as she had been out on a shopping expedition, an occupation +which she greatly enjoys. Awaiting her return was a group of +photographers, who had arranged their apparatus, mirrors and flash-light +screen, even to the piano stool on which the singer was to be placed. +She took in the situation at a glance, as she entered, and obediently +gave herself into the hands of the picture makers. + +"Ah, you wish to make me beautiful," she exclaimed, with her pretty +accent; "I am not beautiful, but you may try to make me look so." With +patience she assumed the required poses, put her head on this side or +that, drew her furs closer about her or allowed them to fall away from +the white throat, with its single string of pearls. The onlooker +suggested she be snapped with a little black "Pom," who had found his +way into the room and was now an interested spectator, on his vantage +ground, a big sofa. So little "Joy" was gathered up and held in +affectionate, motherly arms, close against his mistress' face. It was +all very human and natural, and gave another side to the singer's +character from the side she shows to the public. + +At last the ordeal was over, and Madame was free to leave her post and +sit in one of the arm chairs, where she could be a little more +comfortable. The secretary was also near, to be appealed to when she +could not make herself intelligible in English. "My English is very +bad," she protested; "I have not the time now to learn it properly; that +is why I speak it so very bad. In the summer, or next year, I will +really learn it. Now, what is it I can tell you? I am ready." + + +FOR THE DEBUTANTE + +To ask such a natural born singer how she studies and works, is like +asking the fish swimming about in the ocean, to tell you where is the +sea! She could not tell you how she does it. Singing is as the breath of +life to Tetrazzini--as natural as the air she breathes. Realizing this, +I began at the other end. + +"What message have you, Madame, for the young singer, who desires to +make a career?" + +"Ah, yes, the debutante. Tell her she must practice much--very much--" +and Madame spread out her hands to indicate it was a large subject; "she +must practice several hours every day. I had to practice very much when +I began my study--when I was sixteen; but now I do not have to spend +much time on scales and exercises; they pretty well go of themselves"; +and she smiled sweetly. + +"You say," she continued, "the debutante--the young singer--does not +know--in America--how much she needs the foreign languages. But she +should learn them. She should study French, Italian and Spanish, and +know how to speak them. Because, if she should travel to those +countries, she must make herself understood, and she must be able to +sing in those languages, too. + +"Besides the languages, it is very good for her to study piano also; +she need not know it so well as if she would be a pianist, but she +should know it a little; yet it is better to know more of the piano--it +will make her a better musician." + + +THE COLORATURA VOICE + +"You love the coloratura music, do you not, Madame?" + +"Ah, yes, I love the coloratura,--it suits me; I have always studied for +that--I know all the old Italian operas. For the coloratura music you +must make the voice sound high and sweet--like a bird--singing and +soaring. You think my voice sounds something like Patti's? Maybe. She +said so herself. Ah, Patti was my dear friend--my very dear friend--I +loved her dearly. She only sang the coloratura music, though she loved +Wagner and dramatic music. Not long before she died she said to me: +'Luisa, always keep to the coloratura music, and the beautiful _bel +canto_ singing; do nothing to strain your voice; preserve its velvety +quality.' Patti's voice went to C sharp, in later years; mine has +several tones higher. In the great aria in Lucia, she used to substitute +a trill at the end instead of the top notes; but she said to +me--'Luisa, _you_ can sing the high notes!'" + +"Then the breathing, Madame, what would you say of that?" + +"Ah, the breathing, that is very important indeed. You must breathe from +here, you know--what you call it--from the diaphragm, and from both +sides; it is like a bellows, going in and out," and she touched the +portions referred to. "One does not sing from the chest,--that would +make queer, harsh tones." She sang a few tones just to show how harsh +they would be. + +"You have shown such wonderful breath control in the way you sustain +high tones, beginning them softly, swelling then diminishing them." + +"Ah, yes, the coloratura voice must always be able to do those things," +was the answer. + +"Should you ever care to become a dramatic singer?" she was asked. + +Tetrazzini grew thoughtful; "No, I do not think so," she said, after a +pause; "I love my coloratura music, and I think my audience likes it +too; it goes to the heart--it is all melody, and that is what people +like. I sing lyric music also--I am fond of that." + +"Yes, and you sing songs in English, with such good diction, that we +can all understand you--almost every word." + +Madame beamed. + +"I promise you I will learn English better next year; for I shall come +back to my friends in America next autumn. I shall be in Italy in the +summer. I have two homes over there, one in Italy and one in +Switzerland. + +"Do I prefer to sing in opera or concert, you ask? I believe I like +concert much better, for many reasons. I get nearer to the audience; I +am freer--much freer, and can be myself and not some other person. There +is no change of costume, either; I wear one gown, so it is easier; yes, +I like it much more. + +"In traveling over your big country--you see I have just been out to +California and back--I find your people have advanced so very much in +appreciation of music; you know so much more than when I was here +before; that was indeed a long time ago--about twelve years,--" and +Madame made a pretty little gesture. + +"But in one way your great big country has scarcely advanced any if at +all; you have not advanced in providing opera for your music lovers. You +need permanent opera companies in all the larger cities. The opera +companies of New York and Chicago are fine, oh yes,--but they cannot +give opera to the whole country. There are a few traveling companies +too, which are good. But what are they in your big country? You should +have opera stock companies all over, which would give opera for the +people. Then your fine American girls would have the chance to gain +operatic experience in their own country, which they cannot get now. +That is why the foreign singer has such a chance here, and that is why +the native singer can hardly get a chance. All the American girls' eyes +turn with longing to the Metropolitan Opera House; and with the best +intentions in the world the Director can only engage a small number of +those he would like to have, because he has no room for them. He can not +help it. So I say, that while your people have grown so much in the +liking and in the understanding of music, you do not grow on this side, +because your young singers are obliged to travel to a foreign land to +get the practice in opera they are unable to get at home. You need to do +more for the permanent establishing of opera in the large and small +cities of your country." + +Madame did not express her thoughts quite as consecutively as I have set +them down, but I am sure she will approve, as these are her ideas of +the musical situation in this country. + +As I listened to the words of this "second Patti," as she is called, and +learned of her kindly deeds, I was as much impressed by her kindness of +heart as I had been by her beautiful art of song. She does much to +relieve poverty and suffering wherever she finds it. As a result of her +"vocal mastery," she has been able to found a hospital in Italy for +victims of tuberculosis, which accommodates between three and four +hundred patients. The whole institution is maintained from her own +private income. During the war she generously gave of her time and art +to sing for the soldiers and aided the cause of the Allies and the Red +Cross whenever possible. For her labors of love in this direction, she +has the distinction of being decorated by a special gold medal of honor, +by both the French and Italian Governments; a distinction only conferred +on two others beside herself. + +After our conference, I thanked her for giving me an hour from her +crowded day. She took my hand and pressed it warmly in both hers. + +"Please do not quite forget me, Madame." + +"Indeed not, will you forget me?" + +"No, I shall always remember this delightful hour." + +"Then, you see, I cannot forget you!" and she gave my hand a parting +squeeze. + + + + +VIII + +=ANTONIO SCOTTI= + +TRAINING AMERICAN SINGERS FOR OPERA + + +A singer of finished art and ripe experience is Antonio Scotti. His +operatic career has been rich in development, and he stands to-day at +the top of the ladder, as one of the most admired dramatic baritones of +our time. + +One of Naples' sons, he made a first appearance on the stage at Malta, +in 1889. Successful engagements in Milan, Rome, Madrid, Russia and +Buenos Aires followed. In 1899 he came to London, singing _Don Giovanni_ +at Covent Garden. A few months thereafter, he came to New York and began +his first season at the Metropolitan. His vocal and histrionic gifts won +instant recognition here and for the past twenty years he has been one +of the most dependable artists of each regular season. + + +CHARACTERIZATION + +[Illustration: [handwritten note] To Miss Harriette Brower Cordially A +Scotti New York 1920] + +With all his varied endowments, it seldom or never falls to the lot of a +baritone to impersonate the lover; on the contrary it seems to be his +metier to portray the villain. Scotti has been forced to hide his true +personality behind the mask of a Scarpia, a Tonio, an Iago, and last but +not least, the most repulsive yet subtle of all his villains--Chim-Fang, +in _L'Oracolo_. Perhaps the most famous of them all is Scarpia. But what +a Scarpia, the quintessence of the polished, elegant knave! The +refinement of Mr. Scotti's art gives to each role distinct +characteristics which separate it from all the others. + + +OPPORTUNITY FOR THE AMERICAN SINGER + +Mr. Scotti has done and is doing much for the young American singer, by +not only drilling the inexperienced ones, but also by giving them +opportunity to appear in opera on tour. To begin this enterprise, the +great baritone turned impresario, engaged a company of young singers, +most of them Americans, and, when his season at the Metropolitan was at +an end, took this company, at his own expense, on a southern trip, +giving opera in many cities. + +Discussing his venture on one occasion, Mr. Scotti said: + +"It was an experiment in several ways. First, I had an all-American +company, which was indeed an experiment. I had some fine artists in the +principal roles, with lesser known ones in smaller parts. With these I +worked personally, teaching them how to act, thus preparing them for +further career in the field of opera. I like to work with the younger +and less experienced ones, for it gives me real pleasure to watch how +they improve, when they have the opportunity. + +"Of course I am obliged to choose my material carefully, for many more +apply for places than I can ever accept. + + +ITALIAN OPERA IN AMERICA + +"So closely is Italy identified with all that pertains to opera," he +continued, "that the question of the future of Italian opera in America +interests me immensely. It has been my privilege to devote some of the +best years of my life to singing in Italian opera in this wonderful +country of yours. One is continually impressed with the great advance +America has made and is making along all musical lines. It is marvelous, +though you who live here may not be awake to the fact. Musicians in +Europe and other parts of the world, who have never been here, can form +no conception of the musical activities here. + +"It is very gratifying to me, as an Italian, to realize that the +operatic compositions of my country must play an important part in the +future of American musical art. It seems to me there is more intrinsic +value--more variety in the works of modern Italian composers than in +those of other nations. We know the operas of Mozart are largely founded +on Italian models. + +"Of the great modern Italian composers, I feel that Puccini is the most +important, because he has a more intimate appreciation of theatrical +values. He seems to know just what kind of music will fit a series of +words or a scene, which will best bring out the dramatic sense. +Montemezzi is also very great in this respect. This in no way detracts +from what Mascagni, Leoncavallo and others have accomplished. It is only +my personal estimate of Puccini as a composer. The two most popular +operas to-day are _Aida_ and _Madame Butterfly_, and they will always +draw large audiences, although American people are prone to attend the +opera for the purpose of hearing some particular singer and not for the +sake of the work of the composer. In other countries this is not so +often the case. We must hope this condition will be overcome in due +time, for the reason that it now often happens that good performances +are missed by the public who are only attracted when some much heralded +celebrity sings." + + +AMERICAN COMPOSERS + +Asked for his views regarding American operatic composers, Mr. Scotti +said: + +"American composers often spoil their chances of success by selecting +uninteresting and uninspired stories, which either describe some doleful +historic incident or illustrate some Indian legend, in which no one of +to-day is interested, and which is so far removed from actual life that +it becomes at once artificial, academic and preposterous. Puccini spends +years searching for suitable librettos, as great composers have always +done. When he finds a story that is worthy he turns it into an opera. +But he will wait till he discovers the right kind of a plot. No wonder +he has success. In writing modern music dramas, as all young Americans +endeavor to do, they will never be successful unless they are careful to +pick out really dramatic stories to set to music." + + +OPERATIC TRAINING + +On a certain occasion I had an opportunity to confer with this popular +baritone, and learn more in regard to his experiences as impresario. +This meeting was held in the little back office of the Metropolitan, a +tiny spot, which should be--and doubtless is--dear to every member of +the company. Those four walls, if they would speak, could tell many +interesting stories of singers and musicians, famed in the world of art +and letters, who daily pass through its doors, or sit chatting on its +worn leather-covered benches, exchanging views on this performance or +that, or on the desirability or difficulty of certain roles. Even while +we were in earnest conference, Director Gatti-Casazza passed through the +room, stopping long enough to say a pleasant word and offer a clasp of +the hand. Mr. Guard, too, flitted by in haste, but had time to give a +friendly greeting. + +Mr. Scotti was in genial mood and spoke with enthusiasm of his +activities with a favorite project--his own opera company. To the +question as to whether he found young American singers in too great +haste to come before the public, before they were sufficiently prepared, +thus proving they were superficial in their studies, he replied: + +"No, I do not find this to be the case. As a general rule, young +American singers have a good foundation to build upon. They have good +voices to start with; they are eager to learn and they study carefully. +What they lack most--those who go in for opera I mean--is stage routine +and a knowledge of acting. This, as I have said before, I try to give +them. I do not give lessons in singing to these young aspirants, as I +might in this way gain the enmity of vocal teachers; but I help the +untried singers to act their parts. Of course all depends on the +mentality--how long a process of training the singer needs. The +coloratura requires more time to perfect this manner of singing than +others need; but some are much quicker at it than others. + +"It is well I am blessed with good health, as my task is extremely +arduous. When on tour, I sing every night, besides constantly rehearsing +my company. We are ninety in all, including our orchestra. It is indeed +a great undertaking. I do not do it for money, for I make nothing +personally out of it, and you can imagine how heavy the expenses are; +four thousand dollars a week, merely for transportation. But I do it for +the sake of art, and to spread the love of modern Italian opera over +this great, wonderful country, the greatest country for music that +exists to-day. And the plan succeeds far beyond my hopes; for where we +gave one performance in a place, we now, on our second visit, can give +three--four. Next year we shall go to California. + +"So we are doing our part, both to aid the young singer who sorely needs +experience and to educate the masses and general public to love what is +best in modern Italian opera!" + + + + +IX + +=ROSA RAISA= + +PATIENCE AND PERSEVERANCE WIN RESULTS + + +To the present day opera goers the name of Rosa Raisa stands for a +compelling force. In whatever role she appears, she is always a +commanding figure, both physically, dramatically and musically. Her +feeling for dramatic climax, the intensity with which she projects each +character assumed, the sincerity and self forgetfulness of her +naturalistic interpretation, make every role notable. Her voice is a +rich, powerful soprano, vibrantly sweet when at its softest--like a +rushing torrent of passion in intense moments. At such moments the +listener is impressed with the belief that power and depth of tone are +limitless; that the singer can never come to the end of her resources, +no matter how deeply she may draw on them. There are such moments of +tragic intensity, in her impersonation of the heroine in _Jewels of the +Madonna_, in _Sister Angelica_, in _Norma_, as the avenging priestess, +in which role she has recently created such a remarkable impression. + +[Illustration: Rosa Raisa] + + +A PRIMA DONNA AT HOME + +If one has pictured to one's self that because the Russian prima donna +can show herself a whirlwind of dynamic passion on the stage, therefore +she must show some of these qualities in private life, one would quickly +become disabused of such an impression when face to face with the +artist. One would then meet a slender, graceful young woman, of gentle +presence and with the simplest manners in the world. The dark, liquid +eyes look at one with frankness and sincerity; the wide, low brow, from +which the dark hair is softly drawn away, is the brow of a madonna. In +repose the features might easily belong to one of Raphael's saints. +However, they light up genially when their owner speaks. + +Mme. Raisa stood in the doorway of her New York apartment, ready to +greet us as we were shown the way to her. Her figure, clad in +close-fitting black velvet, looked especially slender; her manner was +kind and gracious, and we were soon seated in her large, comfortable +salon, deep in conference. Before we had really begun, the singer's pet +dog came bounding to greet us from another room. The tiny creature, a +Mexican terrier, was most affectionate, yet very gentle withal, and +content to quietly cuddle down and listen to the conversation. + +"I will speak somewhat softly," began Mme. Raisa, "since speaking seems +to tire me much more than singing, for what reason I do not know. We +singers must think a little of our physical well being, you see. This +means keeping regular hours, living very simply and taking a moderate +amount of exercise. + +"Yes, I always loved to sing; even as a little child I was constantly +singing. And so I began to have singing lessons when I was eight years +old. Later on I went to Italy and lived there for a number of years, +until I began to travel. I now make my home in Naples. My teacher there +was Madame Marchesio, who was a remarkable singer, musician and +teacher--all three. Even when she reached the advanced age of eighty, +she could still sing wonderfully well. She had the real _bel canto_, +understood the voice, how to use it and the best way to preserve it. I +owe so much to her careful, artistic training; almost everything, I may +say. + + +THE SINGER'S LIFE + +"One cannot expect to succeed in the profession of music without giving +one's best time and thought to the work of vocal training and all the +other subjects that go with it. A man in business gives his day, or the +most of it, to his office. My time is devoted to my art, and indeed I +have not any too much time to study all the necessary sides of it. + +"During the season, I do regular vocal practice each day and keep the +various roles in review. During the summer I study new parts, for then I +have the time and the quiet. That is what the singer needs--quiet. I +always return to Naples for the vacation, unless I go to South America +and sing there. Then I must have a little rest too, that I may be ready +for the labors of the following season. + + +VOCAL TRAINING + +"Even during the busiest days technic practice is never neglected. +Vocalizes, scales, terzetta--what you call them--broken thirds, yes, and +long, slow tones in _mezza di voce_, that is, beginning softly, swelling +to loud then gradually diminishing to soft, are part of the daily +regime. One cannot omit these things if one would always keep in +condition and readiness. When at work in daily study, I sing softly, or +with medium tone quality; I do not use full voice except occasionally, +when I am going through a part and wish to try out certain effects. + + +"ONE VOICE" + +"I was trained first as a coloratura and taught to do all the old +Italian operas of Bellini, Rosini, Donizetti and the rest of the florid +Italian school. This gives the singer a thorough, solid training--the +sort of training that requires eight or ten years to accomplish. But +this is not too much time to give, if one wishes to be thoroughly +prepared to sing all styles of music. In former days, when singers +realized the necessity of being prepared in this way, there existed I +might say--_one voice;_ for the soprano voice was trained to sing both +florid and dramatic music. But in these days sopranos are divided into +High, Lyric, Coloratura and Dramatic; singers choose which of these +lines seems to suit best their voice and temperament. + + +COLORATURA AND DRAMATIC + +"It is of advantage to the singer to be trained in both these arts. In +the smaller opera houses of Italy, a soprano, if thus trained, can sing +_Lucia_ one night and _Norma_ the next; _Traviata_ one night and +_Trovatore_ the next. + +"Modern Italian opera calls for the dramatic soprano. She must be an +actress just as well as a singer. She must be able to express in both +voice and gesture intense passion and emotion. It is the period of storm +and stress. Coloratura voices have not so much opportunity at the +present time, unless they are quite out of the ordinary. And yet, for +me, a singer who has mastery of the beautiful art of _bel canto,_ is a +great joy. Galli-Curci's art is the highest I know of. For me she is the +greatest singer. Melba also is wonderful. I have heard her often--she +has been very kind to me. When I hear her sing an old Italian air, with +those pure, bell-like tones of hers, I am lifted far up; I feel myself +above the sky. + + +DO NOT YIELD TO DISCOURAGEMENT + +"The younger singer need not yield to discouragement, for she must know +from the start, that the mastery of a great art like singing is a long +and arduous task. If the work seems too difficult at times, do not give +up or say 'I cannot.' If I had done that, I should have really given up +many times. Instead I say; 'I can do it, and not only I can but I will!' + + +MUSICIANSHIP + +"There are so many sides to the singer's equipment, besides singing +itself"; and Mme. Raisa lifted dark eyes and spread out her graceful +hands as though to indicate the bigness of the subject. "Yes, there is +the piano, for instance; the singer is much handicapped without a +knowledge of that instrument, for it not only provides accompaniment but +cultivates the musical sense. Of course I have learned the piano and I +consider it necessary for the singer. + +"Then there are languages. Be not content with your own, though that +language must be perfectly learned and expressed, but learn others." + +"You of course speak several languages?" questioned the listener. + +"Yes, I speak eight," she answered modestly. "Russian, of course, for I +am Russian; then French, Italian, German, Spanish, Polish, Roumanian and +English. Besides these I am familiar with a few dialects. + + +HAVE PATIENCE + +"So many young singers are so impatient; they want to prepare themselves +in three or four years for a career," and Madame frowned her +disapproval. "Perhaps they may come before the public after that length +of time spent in study; but they will only know a part--a little of all +they ought to know. With a longer time, conscientiously used, they would +be far better equipped. The singer who spends nine or ten years in +preparation, who is trained to sing florid parts as well as those which +are dramatic--she indeed can sing anything, the music of the old school +as well as of the new. In Rome I gave a recital of old music, assisted +by members of the Sistine Chapel choir. We gave much old music, some of +it dating from the sixth century. + +"Do I always feel the emotions I express when singing a role? Yes, I can +say that I endeavor to throw myself absolutely into the part I am +portraying; but that I always do so with equal success cannot be +expected. So many unforeseen occurrences may interfere, which the +audience can never know or consider. One may not be exactly in the mood, +or in the best of voice; the house may not be a congenial space, or the +audience is unsympathetic. But if all is propitious and the audience +with you--then you are lifted up and carry every one with you. Then you +are inspired and petty annoyances are quite forgotten. + + +VOCAL MASTERY + +"You ask a very difficult question when you ask of what vocal mastery +consists. If I have developed perfect control throughout the two and a +half octaves of my voice, can make each tone with pure quality and +perfect evenness in the different degrees of loud and soft, and if I +have perfect breath control as well, I then have an equipment that may +serve all purposes of interpretation. + +"Together with vocal mastery must go the art of interpretation, in which +all the mastery of the vocal equipment may find expression. In order to +interpret adequately one ought to possess a perfect instrument, +perfectly trained. When this is the case one can forget mechanism, +because confident of the ability to express whatever emotion is +desired." + +"Have you a message which may be carried to the young singers?" she was +asked. + +"Tell them to have patience--patience to work and patience to wait for +results. Vocal mastery is not a thing that can be quickly accomplished; +it is not the work of weeks and months, but of years of consistent, +constant effort. It cannot be hurried, but must grow with one's growth, +both mentally and physically. But the reward of earnest effort is sure +to come!" + + + +X + +=LOUISE HOMER= + +THE REQUIREMENTS OF A MUSICAL CAREER + + +Madame Louise Homer is a native artist to whom every loyal American can +point with pardonable pride. Her career has been a constant, steady +ascent, from the start; it is a career so well known in America that +there is hardly any need to review it, except as she herself refers to +it on the rare occasions when she is induced to speak of herself. For +Mme. Homer is one of the most modest artists in the world; nothing is +more distasteful to her than to seek for publicity through ordinary +channels. So averse is she to any self-seeking that it was with +considerable hesitation that she consented to express her views to the +writer, on the singer's art. As Mr. Sidney Homer, the well known +composer and husband of Mme. Homer, remarked, the writer should prize +this intimate talk, as it was the first Mme. Homer had granted in a very +long time. + +[Illustration: LOUISE HOMER] + +The artist had lately returned from a long trip, crowded with many +concerts, when I called at the New York residence of this ideal musical +pair and their charming family. Mme. Homer was at home and sent down +word she would see me shortly. In the few moments of waiting, I seemed +to feel the genial atmosphere of this home, its quiet and cheer. A +distant tinkle of girlish laughter was borne to me once or twice; then a +phrase or two sung by a rich, vibrant voice above; then in a moment +after, the artist herself descended and greeted me cordially. + +"We will have a cup of tea before we start in to talk," she said, and, +as if by magic, the tea tray and dainty muffins appeared. + +How wholesome and fresh she looked, with the ruddy color in her cheeks +and the firm whiteness of neck and arms. The Japanese robe of "midnight +blue," embroidered in yellows, heightened the impression of vigorous +health by its becomingness. + + +FOR THE GIRL WHO WANTS TO MAKE A CAREER + +"There is so much to consider for the girl who desires to enter the +profession," began Mme. Homer, in response to my first query. "First, +she must have a voice, there is no use attempting a career without the +voice; there must be something to develop, something worth while to +build upon. And if she has the voice and the means to study, she must +make up her mind to devote herself exclusively to her art; there is no +other way to succeed. She cannot enter society, go to luncheons, dinners +and out in the evening, and at the same time accomplish much in the way +of musical development. Many girls think, if they attend two or three +voice lessons a week and learn some songs and a few operatic arias, that +is all there is to it. But there is far more. They must know many other +things. The vocal student should study piano and languages; these are +really essential. Not that she should strive to become a pianist; that +would not be possible if she is destined to become a singer; but the +more she knows of the piano and its literature, the more this will +cultivate her musical sense and develop her taste. + + +HOW AN ARTIST WORKS + +"I am always studying, always striving to improve what I have already +learned and trying to acquire the things I find difficult, or that I +have not yet attained to. I do vocal technic every day; this is +absolutely essential, while one is in the harness. It is during the +winter that I work so industriously, both on technic and repertoire, +between tours. This is when I study. I believe in resting the voice part +of the year, and I take this rest in the summer. Then, for a time, I do +not sing at all. I try to forget there is such a thing as music in the +world, so far as studying it is concerned. Of course I try over Mr. +Homer's new songs, when they are finished, for summer is his time for +composition. + +"Since the voice is such an intangible instrument, the singer needs +regular guidance and criticism, no matter how advanced she may be. As +you say, it is difficult for the singer to determine the full effect of +her work; she often thinks it much better than it really is. That is +human nature, isn't it?" she added with one of her charming smiles. + + +THE START IN OPERA + +"How did you start upon an operatic career?" the singer was asked. + +Just here Mr. Homer entered and joined in the conference. + +"I do not desire to go into my life-history, as that would take too +long. In a few words, this is how it happened--years ago. + +"We were living in Boston; I had a church position, so we were each busy +with our musical work. My voice was said to be 'glorious,' but it was a +cumbersome, unwieldy organ. I could only sing up to F; there were so +many things I wanted to do with my voice that seemed impossible, that I +realized I needed more training. I could have remained where I was; the +church people were quite satisfied, and I sang in concert whenever +opportunity offered. But something within urged me on. We decided to +take a year off and spend it in study abroad. Paris was then the Mecca +for singers and to Paris we went. I plunged at once into absorbing +study; daily lessons in voice training and repertoire; languages, and +French diction, several times a week, and soon acting was added, for +every one said my voice was for the theater. I had no idea, when I +started out, that I should go into opera. I had always loved to sing, as +far back as I can remember. My father was a Presbyterian clergyman, and +when we needed new hymn books for church or Sunday School, they used to +come to our house. I would get hold of every hymn book I could find and +learn the music. So I was always singing; but an operatic career never +entered my thought, until the prospect seemed to unfold before me, as a +result of my arduous study in Paris. Of course I began to learn +important arias from the operas. Every contralto aspires to sing the +grand air from the last act of _Le Prophete;_ you know it of course. I +told my teacher I could never do it, as it demanded higher tones than I +had acquired, going up to C. He assured me it would be perfectly easy in +a little while, if I would spend a few moments daily on those high +notes. His prediction was correct, for in a few months I had no trouble +with the top notes. + +"I studied stage deportment and acting from one of the greatest singing +actors of the French stage, Paul Lherie. What an artist he was! So +subtle, so penetrating, so comprehensive. The principles he taught are a +constant help to me now, and his remarks often come back to me as I +study a new role. + +"As I say, I studied this line of work, not knowing what would grow out +of it; I did it on faith, hoping that it might prove useful." + +"It seems to me," remarked the composer, "that young singers would do +well to make a study of acting, along with languages and piano. Then, if +the voice developed and an operatic career opened to them, they would be +so much better prepared; they would have made a start in the right +direction; there would not be so much to learn all at once, later on." + +"If the girl could only be sure she was destined for a stage career," +said Mme. Homer, thoughtfully, "she might do many things from the start +that she doesn't think of doing before she knows. + +"To go on with my Paris story. I kept faithfully at work for a year, +preparing myself for I knew not just what; I could not guess what was in +store. Then I got my first opera engagement, quite unexpectedly. I was +singing for some professional friends in a large _saale_. I noticed a +man standing with his back to me, looking out of one of the long +windows. When I finished, he came forward and offered me an engagement +at Vichy, for the summer season. The name Vichy only suggested to my +mind a kind of beverage. Now I learned the town had a flourishing Opera +House, and I was expected to sing eight roles. Thus my stage career +began." + + +WHAT ARE THE ASSETS FOR A CAREER? + +"And what must the girl possess, who wishes to make a success with her +singing?" was asked. + +"First of all, as I have already said, she must have a voice; she can +never expect to get very far without that. Voice is a necessity for a +singer, but it rests with her what she will do with it, how she will +develop it. + +"The next asset is intelligence; that is as great a necessity as a +voice. For through the voice we express what we feel, what we are; +intelligence controls, directs, shines through and illumines everything. +Indeed what can be done without intelligence? I could mention a young +singer with a good natural voice, who takes her tones correctly, who +studies well; indeed one can find no fault with the technical side of +her work; but her singing has no meaning--it says absolutely nothing; it +only represents just so many notes." + +"That is because she has not a musical nature," put in Mr. Homer. "To my +mind that is the greatest asset any one can have who wishes to become a +musician in any branch of the art. What can be done without a musical +nature? Of course I speak of the young singer who wishes to make a +career. There are many young people who take up singing for their own +pleasure, never expecting to do much with it. And it is a good thing to +do so. It gives pleasure to their family and friends--is a healthful +exercise, and last but not least, is financially good for the teacher +they employ. + +"But the trouble comes when these superficial students aspire to become +opera singers, after a couple of seasons' study. Of course they all cast +eyes at the Metropolitan, as the end and aim of all striving. + +"Just as if, when a young man enters a law office, it is going to lead +him to the White House, or that he expects it will," said Mr. Homer. + +"Then," resumed the artist, "we have already three requirements for a +vocal career; Voice, Intelligence and a Musical Nature. I think the +Fourth should be a Capacity for Work. Without application, the gifts of +voice, intelligence and a musical nature will not make an artist. To +accomplish this task requires ceaseless labor, without yielding to +discouragement. Perhaps the Fifth asset would be a cheerful optimism as +proof against discouragement. + +"That is the last thing the student should yield to--discouragement, for +this has stunted or impaired the growth of many singers possessed of +natural talent. The young singer must never be down-hearted. Suppose +things do not go as she would like to have them; she must learn to +overcome obstacles, not be overcome by them. She must have backbone +enough to stand up under disappointments; they are the test of her +mettle, of her worthiness to enter the circle with those who have +overcome. For she can be sure that none of us have risen to a place in +art without the hardest kind of work, struggle and the conquering of all +sorts of difficulties. + +"The sixth asset ought to be Patience, for she will need that in large +measure. It is only with patient striving, doing the daily vocal task, +and trying to do it each day a little better than the day before, that +anything worth while is accomplished. It is a work that cannot be +hurried. I repeat it; the student must have unlimited patience to labor +and wait for results. + + +COLORATURA AND DRAMATIC + +"I would advise every student to study coloratura first. Then, as the +voice broadens, deepens and takes on a richer timbre, it will turn +naturally to the more dramatic expression. The voice needs this +background, or foundation in the old Italian music, in order to acquire +flexibility and freedom. I was not trained to follow this plan myself, +but my daughter Louise, who is just starting out in her public career, +has been brought up to this idea, which seems to me the best. + + +MEMORIZING + +"I memorize very easily, learning both words and music at the same time. +In taking up a new role, my accompanist plays it for me and we go over +it carefully noting all there is in language and notes. When I can take +it to bed with me, and go over it mentally; when I can go through it as +I walk along the street, then it has become a part of me; then I can +feel I know it." + +"Mme. Homer holds the banner at the Metropolitan, for rapid memorizing," +said her husband. "On one occasion, when _Das Rheingold_ was announced +for an evening performance, the Fricka was suddenly indisposed and +unable to appear. Early in the afternoon, the Director came to Mme. +Homer, begging her to do the part, as otherwise he would be forced to +close the house that night. A singer had tried all forenoon to learn the +role, but had now given it up as impossible. Mme. Homer consented. She +started in at three o'clock and worked till six, went on in the evening, +sang the part without rehearsal, and acquitted herself with credit. This +record has never been surpassed at the Metropolitan." "I knew the other +Frickas of the Ring," said Madame, "but had never learned the one in the +_Rheingold_; it is full of short phrases and difficult to remember, but +I came through all right. I may add, as you ask, that perhaps _Orfeo_ is +my favorite role, one of the most beautiful works we have." + + +VOCAL MASTERY + +"What do I understand by Vocal Mastery? The words explain themselves. +The singer must master all difficulties of technic, of tone production, +so as to be able to express the thought of the composer, and the meaning +of the music." + +"Don't forget that the singer must have a musical nature," added Mr. +Homer, "for without this true vocal mastery is impossible." + + + + +XI + +=GIOVANNI MARTINELLI= + +"LET US HAVE PLENTY OF OPERA IN AMERICA" + + +Said the Professor: "How well I remember the first time I heard +Martinelli. We were traveling in Italy that summer, and had arrived in +Verona rather late in the afternoon. The city seemed full of people, +with many strangers, and we could not at first secure accommodations at +the hotel. Inquiring the cause, the answer was: 'Does not the signer +know that to-day is one holiday, and to-night, in the Amphitheater, +_Aida_ will be sung, under the stars.' We finally secured rooms, and of +course heard the opera that night. Young Martinelli was the Rhadames, +and I shall never forget how splendidly his voice rang out over those +vast spaces of the Arena. It was a most unusual experience to hear that +music sung in the open--'under the stars,' and it was unforgettable." + +[Illustration: GIOVANNI MARTINELLI] + +Giovanni Martinelli, who has been for several years one of the leading +tenors at the Metropolitan Opera House, New York, has warmly entrenched +himself in the hearts of music lovers in America. To be a great singer, +as some one has said, requires, first, voice; second, voice; third, +voice. However, at the present hour a great singer must have more than +voice; we demand histrionic ability also. We want singing actors as well +as great singers. + +Mr. Martinelli is the possessor of a beautiful voice and, moreover, is a +fine actor and an excellent musician. He was, first of all, a +clarinetist before he became a singer, and so well did he play his +chosen instrument that his services were in great demand in his home +town in Italy. Then it was discovered he had a voice and he was told he +could make a far greater success with that voice than he ever could +playing the clarinet. He set to work at once to cultivate the voice in +serious earnest and under good instruction. After a considerable time +devoted to study, he made his debut in Milan, in Verdi's _Ernani_. His +success won an engagement at Covent Garden and for Monte Carlo. + +A visit to the singer's New York home is a most interesting experience. +He has chosen apartments perched high above the great artery of the +city's life--Broadway. From the many sun-flooded windows magnificent +views of avenue, river and sky are visible, while at night the +electrical glamour that meets the eye is fairy-like. It is a sightly +spot and must remind the singer of his own sun lighted atmosphere at +home. + +The visitor was welcomed with simple courtesy by a kindly, unaffected +gentleman, who insists he cannot speak "your English," but who, in spite +of this assertion, succeeds in making himself excellently well +understood. One feels his is a mentality that will labor for an object +and will attain it through force of effort. There is determination in +the firm mouth, which smiles so pleasantly when speaking; the thoughtful +brow and serious eyes add their share to the forceful personality. The +Titian-tinted hair indicates, it is said, a birthplace in northern +Italy. This is quite true in the case of Mr. Martinelli, as he comes +from a village not far from Padua and but fifty miles from Venice--the +little town of Montagnana. + + +DAILY STUDY + +"You ask about my daily routine of study. In the morning I practice +exercises and vocalizes for one hour. These put the voice in good +condition, tune up the vocal chords and oil up the mechanism, so to +speak. After this I work on repertoire for another hour. I always +practice with full voice, as with half voice I would not derive the +benefit I need. At rehearsals I use half voice, but not when I study. In +the afternoon I work another hour, this time with my accompanist; for I +do not play the piano myself, only just enough to assist the voice with +a few chords. This regime gives me three hours' regular study, which +seems to me quite sufficient. The voice is not like the fingers of a +pianist, for they can be used without limit. If we would keep the voice +at its best, we must take care not to overwork it. + + +TREATMENT OF THE VOICE + +"In regard to the treatment of the voice, each singer must work out his +own salvation. A great teacher--one who understands his own voice and +can sing as well as teach--may tell how he does things, may explain how +he treats the voice, may demonstrate to the student his manner of +executing a certain phrase or passage, or of interpreting a song. But +when this is done he can do little more for the student, for each person +has a different mentality and a different quality of voice--indeed +there are as many qualities of voice as there are people. After general +principles are thoroughly understood, a singer must work them out +according to his own ability. This does not mean that he cannot be +guided and helped by the greater experience of a master higher up, who +can always criticize the _result_ of what the student is trying to do. +The voice is a hidden instrument, and eventually its fate must rest with +its possessor. + + +A NEW ROLE + +"When I take up a new part I read the book very carefully to get a +thorough idea of the story, the plot and the characters. Then comes the +study of my own part, of which I memorize the words first of all. As +soon as the words are committed I begin on the music. When these are +both well in hand, work with the accompanist follows. + +"I have many tenor roles in my repertoire and am working on others. If +you ask for my favorite opera, or operas, I would answer, as most +Italians would do, that I enjoy singing the music of Verdi more than +that of any composer. I love his _Aida_ perhaps best of all. _Ernani_ is +a beautiful opera, but maybe would be thought too old-fashioned for New +York. I sing various roles in French as well as Italian--_Faust, Sans +Gene_, and many more. In Italy we know Wagner very well--_Lohengrin, +Tannhauser, Tristan_ and _Meistersinger_,--but of course they are always +sung in Italian. + + +OPERA IN EVERY CITY + +"The Metropolitan is one of the greatest opera houses in the world--but +it is only _one_. You have a wonderful country, yet most of its cities +must do without opera. Do not forget that in Italy every city and town +has its opera house and its season of opera, lasting ten weeks or more. +Of course the works are not elaborately produced, the singers may not be +so great or high-salaried, but the people are being educated to know and +love the best opera music. Performances are given Wednesdays and +Thursdays, Saturdays and Sundays; the singers resting the days between. +They need to as they are obliged to sing at every performance. + +"Ah, if you would follow some such plan in America! It would create a +great love for good music in the smaller cities and towns where people +hear so little, and so seldom this kind of music. You do so much for +music in every other style, but not for opera. Of course I must except +the half dozen cities large enough and rich enough to be favored with a +season of extended operatic performances; these are the real music +centers of your country. + +"I will show you what we do for opera in Italy. Here is an Italian +musical journal, which I have just received." Mr. Martinelli took up a +single-sheet newspaper which lay upon his desk. "You will find all the +large cities and most of the small ones reported here. Accordingly, +accounts are given of what works are being performed, what artists are +singing and where, and how long each season will last. Thus we can +glance over the whole field and keep in touch with every singer. +Naturally, the time and length of the seasons of performance differ +widely in the different places. Thus a singer of reputation can make +engagements in various places, then go from one town to another in a +complete tour, without conflicting. + +"I have had the pleasure of singing a number of seasons at the +Metropolitan. During the summer I do not always go back to Italy when +the season is over here; last year I sang in Buenos Aires. This keeps +me at work the whole year. Buenos Aires is a beautiful city, and reminds +one of Milan. Yes, I like New York. It is more commercial, of course, +but I have grown accustomed to that side of it." + +As the visitor was leaving, courteously conducted through the corridor +by Mr. Martinelli, a small chariot was encountered, crammed with dolls +and toys, the whole belonging to little Miss Martinelli, aged eleven +months. + +"Shall you make a singer of the little lady?" the artist was asked. + +"Ah, no; one singer in a family is enough," was the quick response. "But +who can tell? It may so happen, after all." + + + + +XII + +=ANNA CASE= + +INSPIRED INTERPRETATION + + +Anna Case, known from one end of our land to the other, in song recital, +is surely one hundred per cent. American. She was born in the little +State of New Jersey, and received her entire vocal training right here +in New York City, of a single teacher. No running about from one +instructor to another, "getting points" from each, for this singer. She +knew from the first moment that she had found the right teacher, one who +understood her, what she wanted to do, and could bring her to the goal. + +And when one has discovered just the right person to develop talent, one +should have the good sense and loyalty to stick to that person. This is +exactly what Miss Case has done, for along with other gifts she has the +best gift of all--common sense. "Mme. Ostrom-Renard has been my only +teacher," she says; "whatever I am or have accomplished I owe entirely +to her. She has done everything for me; I feel she is the most wonderful +teacher in the world." + +[Illustration: ANNA CASE] + +A life of constant travel and almost daily concerts and recitals, lies +before Miss Case from early in the Autumn to the end of Spring, with but +a few breathing places here and there, between the tours, when she +returns home to rest up. + +During one of these oases it was a pleasant experience to meet and talk +with the charming young singer, in her cozy New York apartment. She had +just come in from a six weeks' trip, which had included concerts in +Texas and Mexico, where the usual success had attended her everywhere. + +It must surely give a sense of relief to know that the quiet home is +awaiting one's return; that there are to be found one's favorite books, +music, piano, the silken divan, soft lights, pictures,--all the familiar +comforts one is deprived of on the road. + +The visitor, coming in from the biting winds without, was impressed with +the comfort and warmth of the small salon, as the mistress of it +entered. Clad in soft draperies of dull blue, which but thinly veiled +the white arms and fell away from the rounded throat, Miss Case was just +as beautiful to look upon as when she stands in bewildering evening gown +before a rapt audience. And, what is much more to the point, she is a +thoroughly sensible, sincere American girl, with no frills and no +nonsense about her. + +After greetings were over, the singer settled herself among the silken +cushions of her divan ready for our talk. + +"I believe I always wanted to sing, rather than do anything else in the +way of music. I studied the piano a little at first, but that did not +exactly appeal to me. I also began the violin, because my father is fond +of that instrument and wanted me to play it. But the violin was not just +what I wanted either, for all the time I longed to sing. Singing is such +a part of one's very self; I wanted to express myself through it. I had +no idea, when I started, that I should ever make a specialty of it, or +that, in a comparatively few years I should be singing all over the +country. I did not know what was before me, I only wanted to learn to +sing. + +"Now I cannot tell just how I do the different things one must do to +sing correctly. I know that, if I have to master some subject, I just +sit down and work at that thing till I can do it--till it is done. My +teacher knows every organ in the anatomy, and can describe the muscles, +bones and ligaments found in the head, face and throat. She can make a +diagram of the whole or any part. Not that such knowledge is going to +make a singer, but it may help in directing one's efforts." + + +TONE PLACEMENT + +"Can you describe tone placement?" she was asked. + +"For the deeper tones--as one makes them--they seem to come from lower +down: for the middle and higher tones, you feel the vibrations in facial +muscles and about the eyes, always focused forward, just at the base of +the forehead, between the eyes. It is something very difficult to put +into words; the sensations have to be experienced, when making the +tones. The singer must judge so much from sensation, for she cannot very +well hear herself. I do not really hear myself; I mean by this I cannot +tell the full effect of what I am doing." + + +WHEN TO PRACTICE + +"No doubt you do much practice--or is that now necessary?" + +Miss Case considered this thoughtfully. + +"I never practice when I am tired, for then it does more harm than good. +It is much better for the voice to rest and not use it at all, than to +sing when not physically fit. One must be in good condition to make +good tones; they will not be clear and perfect if one is not strong and +in good health. I can really study, yet not sing at all. For the whole +work is mental anyway. + + +USING FULL VOICE + +"When I work on the interpretation of a song, in the quiet of my music +room here, I try to sing it just as I would before an audience; I have +not two ways of doing it, one way for a small room and another for a +large one. If your tone placement is correct, and you are making the +right effects, they will carry equally in a large space. At least this +is my experience. But," she added, smiling, "you may find other artists +who would not agree to this, who would think quite differently. Each one +must see things her own way; and singing is such an individual thing +after all. + + +THE SUBJECT OF INTERPRETATION + +"The interpretation of a role, or song, is everything--of course. What +are mere notes and signs compared to the thoughts expressed through +them? Yet it is evident there are people who don't agree to this, for +one hears many singers who never seem to look deeper than the printed +page. They stand up and go through their songs, but the audiences +remain cold; they are not touched. The audiences are blamed for their +apathy or indifference, but how can they be warmed when the singer does +not kindle them into life? + +"To me there is a wonderful bond of sympathy between the audience and +myself. I feel the people, in a sense, belong to me--are part of my +family. To them I pour out all my feelings--my whole soul. All the +sorrow of the sad songs, all the joy of the gay ones, they share with +me. In this spirit I come before them; they feel this, I am sure. It +awakens a response at once, and this always inspires me. I put myself in +a receptive mood; it has the desired effect; my interpretation becomes +inspired through their sympathy and my desire to give out to them. + + +THE WORDS OF A SONG PARAMOUNT + +"I feel the greatest thing about a song is the words. They inspired the +music, they were the cause of its being. I cannot imagine, when once +words have been joined to music, how other words can be put to the same +music, without destroying the whole idea. The words must be made plain +to the audience. Every syllable should be intelligible, and understood +by the listener. I feel diction is so absolutely essential. How can a +singer expect the audience will take an interest in what she is doing, +if they have no idea what it is all about? And this applies not only to +English songs but to those in French as well. In an audience there will +be many who understand French. Shall the singer imagine she can +pronounce a foreign tongue in any old way, and it will go--in these +days? No, she must be equally careful about all diction and see that it +is as nearly perfect as she can make it; that it is so correct that +anybody can understand every word. When she can do this, she has gone a +long way toward carrying her audience with her when she sings. + +"When the diction is satisfactory, there is yet something much deeper; +it is the giving out of one's best thought, one's best self, which +must animate the song and carry it home to the listener. It touches +the heart, because it comes from one's very inmost being. I am a +creature of mood. I cannot sing unless I feel like it. I must be +inspired in order to give an interpretation that shall be worth +anything. + + +GROWTH OF APPRECIATION + +"In traveling over the country, I have found such wonderful musical +growth, and it seems to increase each year. Even in little places the +people show such appreciation for what is good. And I only give them +good music--the best songs, both classical and modern. Nothing but the +best would interest me. In my recent trip, down in Mexico and Oklahoma, +there are everywhere large halls, and people come from all the country +round to attend a concert. Men who look as though they had driven a +grocery wagon, or like occupation, sit and listen so attentively and +with such evident enjoyment. I am sure the circulation of the phonograph +records has much to do with America's present wonderful advancement in +musical understanding." + +Just here a large cat slipped through the doorway; such a beautiful +creature, with long gray and white fur and big blue eyes. + +"It is a real chinchilla, of high degree," said Miss Case, caressing her +pet. "I call her Fochette. I am so fond of all animals, especially dogs +and cats." + +"You must know the country well, having been over it so much." + +"Yes, but oh, the long distances! It often takes so many hours to go +from one place to another. I think there is a reason why foreign singers +are apt to be rather stout; they are not worn out by traveling great +distances, as cities are so much nearer together than over here!" And +Miss Case smiled in amusement. "But, in spite of all discomforts of +transportation and so on, the joy of bringing a message to a waiting +audience is worth all it costs. I often think, if one could just fly to +Chicago or Philadelphia, for instance, sing one's program and return +just as quickly, without all these hours of surface travel, how +delightful it would be! I had a wonderful experience in an airplane last +summer. Flying has the most salutary effect on the voice. After sailing +through the air for awhile, you feel as though you could sing anything +and everything, the exhilaration is so great. One takes in such a +quantity of pure air that the lungs feel perfectly clear and free. One +can learn a lesson about breathing from such an experience." + +Before parting a final question was asked: + +"What, in your opinion, are the vital requisites necessary to become a +singer?" + +Almost instantly came the reply: + +"Brains, Personality, Voice." + +With this cryptic answer we took leave of the fair artist. + + + + +XIII + +=FLORENCE EASTON= + +PROBLEMS CONFRONTING THE YOUNG SINGER + + +English by birth, American by marriage, beloved in every country where +her art is known, Florence Easton, after ten years of activity in the +music centers of Europe, is now making her home in America. Mme. Easton +is a singer whose attitude towards music is one of deepest sincerity. No +one could witness her beautiful, sympathetic investiture of the Saint +Elizabeth, of Liszt, or some of her other important roles, without being +impressed with this complete, earnest sincerity. It shines out of her +earnest eyes and frank smile, as she greets the visitor; it vibrates in +the tones of her voice as she speaks. What can even a whole hour's talk +reveal of the deep undercurrents of an artist's thought? Yet in sixty +minutes many helpful things may be said, and Mme. Easton, always serious +in every artistic thing she undertakes, will wish the educational side +of our talk to be uppermost. + + +THE YOUNG SINGER + +"I have a deep sympathy for the American girl who honestly wishes to +cultivate her voice. Of course, in the first place, she must have a +voice to start with; there is no use trying to train something which +doesn't exist. Given the voice and a love for music, it is still +difficult to tell another how to begin. Each singer who has risen, who +has found herself, knows by what path she climbed, but the path she +found might not do for another. + +"There are quantities of girls in America with good voices, good looks +and a love for music. And there are plenty of good vocal teachers, too, +not only in New York, but in other large cities of this great country. +There is always the problem, however, of securing just the right kind of +a teacher. For a teacher may be excellent for one voice but not for +another. + + +THE STUDIO VERSUS THE CONCERT ROOM + +[Illustration: FLORENCE EASTON] + +"The American girl, trained in the studio, has little idea of what it +means to sing in a large hall or opera house. In the small room her +voice sounds very pretty, and she can make a number of nice effects; she +may also have a delicate pianissimo. These things are mostly lost when +she tries them in a large space. It is like beginning all over again. +She has never been taught any other way but the studio way. If young +singers could only have a chance to try their wings frequently in large +halls, it would be of the greatest benefit. If they could sing to a +public who only paid a nominal sum and did not expect great things; a +public who would come for the sake of the music they were to hear, +because they wanted the enjoyment and refreshment of it, not for the +sake of some singers with big names, they would judge the young aspirant +impersonally, which would be one of the best things for her. + + +VALUE OF HONEST CRITICISM + +"Frequently the trouble with the young singer is that her friends too +often tell her how wonderful she is. This is a hindrance instead of a +help. She should always have some one who will criticize her honestly. +The singer cannot really hear herself, that is, not until she is well +advanced in her work. Therefore she should always have the guidance of a +teacher. I never think of giving a program without going through it for +criticism. The office of critic is a very difficult one, especially if +you are to criticize some one you are fond of. Mr. Maclennan and I try +to do it for each other. I assure you it is no easy task to sing a +program knowing some one is listening who will not spare you, and will +tell you all your faults. I know this is all very salutary, but it is +human nature to wish to hear one's good points rather than the poor +ones. I sometimes say: 'Do tell me the good things I did.' But he says +he does not need to speak of those; I only need to know my faults in +order that they may be corrected. + +"It is so easy to overdo a little, one way or the other. For instance, +you make a certain effect,--it goes well. You think you will make it a +little more pronounced next time. And so it goes on, until before you +know it you have acquired a definite habit, which the critics will call +a mannerism and advise you to get rid of. So the artist has to be +constantly on the watch, to guard against these incipient faults." + + +BREATHING EXERCISES + +Asked what kind of breathing exercises she used, Mme. Easton continued: +"No doubt each one has her own exercises for the practice and teaching +of breath control. For myself, I stand at the open window, for one +should always breathe pure air, and I inhale and exhale slowly, a +number of times, till I feel my lungs are thoroughly clear and filled +with fresh air. Then I frequently sing tones directly after these long +inhalations. A one-octave scale, sung slowly in one breath, or at most +in two, is an excellent exercise. You remember Lilli Lehmann's talks +about the 'long scale'? But the way in which she uses it perhaps no one +but a Lehmann could imitate. What a wonderful woman she was--and is! She +has such a remarkable physique, and can endure any amount of effort and +fatigue. Every singer who hopes to make a success in any branch of the +musical profession, should look after the physical side, and see that it +is cared for and developed. + + +"STUDY THE PIANO!" + +"If a girl is fond of music, let her first of all study the piano, for a +knowledge of the piano and its music is really at the bottom of +everything. If I have a word of advice to mothers, it should be: 'Let +your child study the piano.' All children should have this opportunity, +whether they greatly desire it or not. The child who early begins to +study the piano, will often--almost unconsciously--follow the melody +she plays with her voice. Thus the love of song is awakened in her, and +a little later it is discovered she has a voice that is worth +cultivating. How many of our great singers began their musical studies +first at the piano. + +"On the other hand, the girl with a voice, who has never worked at the +piano, is greatly handicapped from the start, when she begins her vocal +studies. As she knows nothing of the piano, everything has to be played +for her,--she can never be independent of the accompanist; she loses +half the pleasure of knowing and doing things herself." + + +FULL OR HALF VOICE + +Asked if she used full or half voice for practice, Mme. Easton replied: + +"I do not, as a rule, use full voice when at work. But this admission, +if followed, might prove injurious to the young singer. In the earlier +stages of study, one should use full voice, for half voice might result +in very faulty tone production. The advanced singer, who has passed the +experimental stage can do many things the novice may not attempt, and +this is one of them. + + +IN REGARD TO MEMORIZING + +"Here again my particular method of work can hardly be of value to +others, as I memorize with great rapidity. It is no effort for me; I +seem to be able to visualize the whole part. Music has always been very +easy to remember and with sufficient concentration I can soon make the +words my own. I always concentrate deeply on what I am doing. Lately I +was asked to prepare a leading role in one of the season's new operas, +to replace a singer at short notice, should this be necessary. I did so +and accomplished the task in four days. Mr. Caruso laughingly remarked I +must have a camera in my head. I know my own parts, both voice and +accompaniment. In learning a song, I commit both voice and words at the +same time. + + +FEELING DEEPLY DURING PERFORMANCE + +"I feel the meaning of the music, the tragedy or comedy, the sadness or +gayety of it each time I perform it, but not, as a rule, to the extent +of being entirely worn out with emotion. It depends, however, on the +occasion. If you are singing in a foreign language, which the audience +does not understand, you make every effort to 'put it over,' to make +them see what you are trying to tell them. You strive to make the song +intelligible in some way. You may add facial expression and gesture, +more than you would otherwise do. All this is more wearing because of +the effort involved. + + +LANGUAGE + +"This brings us to another point, the study of languages. The Italian +sings nearly all his roles in his own tongue, with a few learned in +French. With the Frenchman, it is the same: he sings in his own tongue +and learns some parts in Italian. But we poor Americans are forced to +learn our parts in all three languages. This, of itself, greatly adds to +our difficulties. We complain that the American sings his own language +so carelessly. An Italian, singing his own language for his own people, +may not be any more careful than we are, but he will make English, if he +attempts it, more intelligible than we do, because he takes extra care +to do so. The duty is laid upon Americans to study other languages, if +they expect to sing. I know how often this study is neglected by the +student. It is another phase of that haste to make one's way which is +characteristic of the young student and singer. + +"Take, for example, the girl in the small town, who is trying to do +something with her voice. She believes if she can get to New York, or +some other music center, and have six months' lessons with some well +known teacher, she will emerge a singer. She comes and finds living +expenses so great that only one lesson a week with the professor is +possible. There is no chance for language or diction study, or piano +lessons; yet all these she ought to have. And one vocal lesson a week is +entirely inadequate. The old way of having daily lessons was far more +successful. The present way vocal teachers give lessons is not conducive +to the best development. The pupils come in a hurry, one after another, +to get their fifteen or twenty minutes of instruction. Yet one cannot +blame the teacher for he must live. + + +THE IDEAL WAY + +"The ideal way is to have several lessons a week, and not to take them +in such haste. If the pupil arrives, and finds, on first essay, that her +voice is not in the best of trim, how much better to be able to wait a +bit, and try again; it might then be all right. But, as I said, under +modern conditions, this course seems not to be possible, for the teacher +must live. If only vocal lessons could be free, at least to the +talented ones! It seems sad that a gifted girl must pay to learn to +sing, when it is a very part of her, as much as the song of the bird. +Ah, if I had plenty of money, I would see that many of them should have +this privilege, without always looking at the money end of it. + + +AMOUNT OF DAILY PRACTICE + +"It seems to me the young singer should not practice more than two +periods of fifteen or twenty minutes each. At most one should not use +the voice more than an hour a day. We hear of people practicing hours +and hours daily, but that is probably in books. The voice cannot be +treated as the pianist or violinist does his fingers. One must handle +the voice with much more care. + + +OPPORTUNITIES FOR THE YOUNG SINGER IN AMERICA + +"The chances for the American singer to make a career in concert and +recital are abundant. In no other country in the world do such +opportunities exist. If she can meet the requirements, she can win both +fame and fortune on the concert stage. + +"In opera, on the other hand, opportunities are few and the outlook +anything but hopeful. Every young singer casts longing eyes at the +Metropolitan, or Chicago Opera, as the goal of all ambition. But that is +the most hopeless notion of all. No matter how beautiful the voice, it +is drill, routine, experience one needs. Without these, plus musical +reputation, how is one to succeed in one of the two opera houses of the +land? And even if one is accepted 'for small parts,' what hope is there +of rising, when some of the greatest artists of the world hold the +leading roles? What the American singer needs is opportunity to gain +experience and reputation in smaller places. Several years' drill and +routine would fit the aspirant for a much broader field. This would give +her command over her resources and herself, and perfect her voice and +impersonations, if she has the gifts and constantly studies to improve +them. Even England, so small compared to America, has seven opera +companies that travel up and down the land, giving opera; they have done +this during all the years of the war. + +"This question of providing opportunity for operatic experience in +America, is one which has long been discussed and many experiments have +been tried, without arriving at satisfactory results. What is needed is +to awaken interest in opera in small places--just little out-of-the-way +towns. My idea would be to have a regular stock local opera company, and +have the standard operas studied. Have a little orchestra of about +twenty and a small chorus. The small parts to be learned by the most +competent singers in the place. Then have the few principal roles taken +by 'guest artists,' who might make these engagements in regular route +and succession. It seems to me such a plan could be carried out, and +what a joy it would be to any small community! But people must gradually +awake to this need: it will take time." + + + + +XIV + +=MARGUERITE D'ALVAREZ= + +THE MESSAGE OF THE SINGER + + +A great podium backed with green, reminding one of a forest of palms; +dim lights through the vast auditorium; a majestic, black-robed figure +standing alone among the palms, pouring out her voice in song; a voice +at once vibrant, appealing, powerful, filled now with sweeping passion, +again with melting tenderness; such was the stage setting for my first +impression of Mme. Marguerite d'Alvarez, and such were some of the +emotions she conveyed. + +Soon after this experience, I asked if I might have a personal talk with +the artist whose singing had made such a deep impression upon me. It was +most graciously granted, and at the appointed hour I found myself in a +charmingly appointed yet very home-like salon, chatting with this +Spanish lady from Peru, who speaks such beautiful English and is +courtesy itself. + +This time it was not a somber, black-robed figure who came forward so +graciously to greet me, for above a black satin walking skirt, Madame +had added a blouse of soft creamy lace, which revealed the rounded +curves of neck and arms; the only ornament being a string of pearls +about the full throat. Later in our talk I ventured to express my +preference for creamy draperies instead of black, for the concert room; +but the singer thought otherwise. "No," she said; "my gown must be +absolutely unobtrusive--negative. I must not use it to heighten effect, +or to attract the audience to me personally. People must be drawn to me +by what I express, by my art, by what I have to give them." + +But to begin at the beginning. In answer to my first question, "What +must one do to become a singer?" Madame said: + +[Illustration: MARGUERITE D'ALVAREZ] + +"To become a singer, one must have a voice; that is of the first +importance. In handling and training that voice, breathing is perhaps +the most vital thing to be considered. To some breath control seems to +be second nature; others must toil for it. With me it is intuition; it +has always been natural. Breathing is such an individual thing. With +each person it is different, for no two people breathe in just the same +way, whether natural or acquired. Just as one pianist touches the keys +of the instrument in his own peculiar way, unlike the ways of all other +pianists. For instance, no two singers will deliver the opening phrase +of 'My heart at thy sweet voice,' from _Samson_, in exactly the same +way. One will expend a little more breath on some tones than on others; +one may sing it softer, another louder. Indeed how can two people ever +give out a phrase in the same way, when they each feel it differently? +The great thing is to control the management of the breath through +intelligent study. But alas,"--with a pretty little deprecating +gesture,--"many singers do not seem to use their intelligence in the +right way. They need to study so many things besides vocalizes and a few +songs. They ought to broaden themselves in every way. They should know +books, pictures, sculpture, acting, architecture,--in short everything +possible in the line of art, and of life. For all these things will help +them to sing more intelligently. They should cultivate all these means +of self-expression. For myself, I have had a liberal education in +music--piano, harmony, theory, composition and kindred subjects. And +then I love and study art in all its forms and manifestations." + +"Your first recital in New York was a rich and varied feast," I +remarked. + +"Indeed I feel I gave the audience too much; there was such a weight of +meaning to each song, and so many! I cannot sing indifferent or +superficial songs. I must sing those which mean much, either of sadness +or mirth, passion or exaltation. No one knows (who has not been through +it) what it means to face a great audience of strangers, knowing that +something in you must awake those people and draw them toward you: you +must bare your very soul to them and bring theirs to you, in answering +response, just by your voice. It is a wonderful thing, to bring to +masses of people a message in this way. I feel this strongly, whenever I +stand before a large audience, that with every note I sing I am +delivering something of the God-given gift which has been granted to +me--that I can do some good to each one who hears. If they do not care +for me, or if they misunderstand my message, they may hate me--at first. +When they do understand, then they adore me. + + +SENTIMENT VERSUS TEMPERAMENT + +"You can well believe it is far more difficult to sing a recital program +than to do an operatic role. In the recital you are absolutely alone, +and entirely responsible for your effect on the audience. You must be +able to express every variety of emotion and feeling, must make them +realize the difference between sorrow and happiness, revenge or disdain; +in short, make them, for the moment, experience these things. The artist +who can best vivify these varying emotions must have temperament. On the +piano, you may hear players who express sentiment, feeling, fine +discrimination in tone color and shading; but comparatively few possess +real temperament. There is great difference between that quality and +sentiment. The one can be learned, to a certain extent; but temperament +is one's very life and soul, and is bound to sweep everything before it. +Of this one thing I am very sure; the singer cannot express all these +emotions without feeling them to the full during performance. I always +feel every phrase I sing--live it. That is why, after a long and +exhausting program, I am perfectly limp and spent. For I have given all +that was in me. Friends of Sara Bernhardt say that after a performance, +they would find her stretched prone on a couch in her dressing room, +scarcely able to move or speak. The strain of a public appearance, when +one gives one's heart's blood, is beyond words"; and Madame's upturned +face and expressive gesture denoted how keenly alive she was to this +experience. + +After a little pause, I said: "Let us come down to earth, while you tell +me just how you study. No doubt you do some daily technical practice." + + +MASSAGE THE VOICE + +"Oh, yes, technic is most important; one can do nothing without it. When +I begin to study in the morning, I give the voice what I call a massage. +One's voice cannot be driven, it must be coaxed, enticed. This massage +consists of humming exercises, with closed lips. Humming is the sunshine +of the voice." The singer illustrated the idea with a short musical +figure, consisting of three consecutive tones of the diatonic scale, +ascending and descending several times; on each repetition the phrase +began on the next higher note of the scale. "You see," she continued, +"this little exercise brings the tone fully forward. As you feel the +vibration, it should be directly between the eyes. + +"Now, after you have coaxed the voice forward in this way, and then +opened your lips to sing a full tone, this tone should, indeed must, be +right in the same place where the humming tones were,--it cannot be +anywhere else." Madame illustrated again, first humming on one tone, +then letting it out with full resonance, using the vowel Ah, which +melted into O, and later changed into U, as the tone died away. "This +vibration in the voice should not be confounded with a tremolo, which +is, of course, very undesirable. A voice without vibrato, would be cold +and dead, expressionless. There must be this pulsing quality in the +tone, which carries waves of feeling on it. + +"Thus the singer entices the voice to come forward and out, never +treating it roughly or harshly, never forcing or straining it. Take +pleasure in every tone you make; with patience and pleasure much is +accomplished. I could not give you a more useful tip than this." + +"Will you tell me how you learn a song?" she was asked. + +"I first read over the text and get a good idea of its meaning. When I +begin to study the song, I never separate the music from the words, but +learn both together. I play the piano of course, and thus can get a good +idea of the accompaniment, and of the whole _ensemble_. + +"I feel so strongly that real art, the highest art, is for those who +truly understand it and its mission. A dream of mine is one day to found +a school of true art. Everything in this school shall be on a high plane +of thought. The instructors shall be gifted themselves and have only +lofty ideals. And it will be such a happiness to watch the development +of talent which may blossom into genius through having the right +nurture. I shall watch this work from a distance, for I might be too +anxious if I allowed myself to be in the midst of the work. But this is +my dream, and I hope it will one day come true." + + + + +XV + +=MARIA BARRIENTOS= + +BE YOUR OWN CRITIC + + +It is often remarked that the world has grown far away from coloratura +singing; that what we want to-day is the singing actor, the dramatic +singer, who can portray passion--tear it to tatters if need be--but at +least throw into voice gesture and action all the conflicting emotions +which arise when depicting a modern dramatic character. It is said, with +much truth, composers do not write coloratura parts in these days, since +audiences do not care to listen to singers who stand in the middle of +the stage, merely to sing beautiful arias and tonal embroideries. +Therefore there are very few coloratura singers at present, since their +opportunities are so limited. + +To the last objection it can be answered that audiences do still flock +to hear a great coloratura artist, for they know they will hear pure, +beautiful melodies when they listen to the old Italian operas. And +melody proves to be a magnet every time; it always touches the heart. + +Again, the coloratura singer is not obliged to stand in the middle of +the stage, while she warbles beautiful tones, with seemingly little +regard for the role she is enacting. The coloratura singer, who is an +artist, can act as well as sing. Tetrazzini, as she moves about the +room, greeting her guests, as she does in _Traviata_ or _Lucia_, can at +the same time keep right on with her florid song, proving she can think +of both arts at once. + +It is quite true there are not many coloratura singers of the first rank +to-day. When you have mentioned Galli-Curci, Tetrazzini, Barrientos, and +Frieda Hempel--the last is both lyric and coloratura--you have named all +the great ones who are known to us here in America. There are a couple +of younger artists, Garrison and Macbeth, who are rapidly gaining the +experience which will one day place them in the charmed circle. + +[Illustration: MARIA BARRIENTOS] + +Consider for an instant the three first named singers. They stand at the +very top of their profession; they are each and all great in their +chosen line, to which they are fitted by reason of their special vocal +gifts. Yet how absolutely different is each from the other! They cannot +even be compared. They all sing the great florid arias, but each with +her own peculiar timbre of voice, her individual nuance and manner of +expression. And it is well this should be so. We would not have all +coloratura singing of the same pattern of sameness or quality, for we +find uniformity is monotonous. There is one peculiar mode of mastery for +Galli-Curci, another for Tetrazzini, still another for Barrientos; each +in her particular _genre_ is unique, apart. + +Perhaps this is especially the case with the Spanish prima donna, +Barrientos, who has for several years past come to the Metropolitan for +part of the season. She lives very quietly--almost in seclusion--in the +great city, keeping very much to herself, with her mother and the +members of her household, and does not care to have the simple routine +she plans for herself interrupted by any outside demands on her crowded +days. + +Thus it happens that very few come face to face with the Spanish artist +except her personal friends. But once in a while she breaks the strict +rule, and will consent to speak with a serious questioner about her +manner of study, how she happened to take up a musical career, also some +of the characteristics of her country, its people and its musical art. + +As her own art of song is most delicate and pure, as her instrument is +the most fragile and ethereal of any of the voices of her class, so the +singer herself is of slight and delicate physique. Her oval face, with +its large luminous eyes, has a charm more pronounced than when seen on +the other side of the footlights. Her manner is simple and sincere, in +common with that of all great artists. + +"Although I always loved singing, I never expected to become a singer," +began Mme. Barrientos, as we were seated on a comfortable divan in her +artistic music room. "As a very young girl, hardly more than a child, my +health became delicate. I had been working very hard at the Royal +Conservatory of Music, in Barcelona, my native city, studying piano, +violin and theory, also composition. I was always a delicate child, and +the close application required for these studies was too much for me. +Singing was prescribed in order to develop my chest and physique; I took +it up as a means of health and personal pleasure, without the slightest +idea to what it might lead. + +"You speak of the responsibility of choosing a good and reliable vocal +instructor. This is indeed a difficult task, because each teacher is +fully persuaded that his method is the only correct one. But there are +so _many teachers_, and some of them do not even sing themselves at +all. Can you imagine a vocal teacher who cannot sing himself, who is so +to say voiceless, unable to demonstrate what he teaches? A piano or +violin teacher must play his instrument, or he will not be able to show +the pupils how it ought to be done. But the vocal teacher thinks to +instruct without demonstrating what he is trying to impart. + + +BEGINNING VOCAL STUDY WITH OPERA + +"So I did not begin my studies with a regular vocal teacher, but with a +dilettante--I do not know just how you say that in English. This +gentleman was not a professional; he was a business man who at the same +time was a good musician. Instead of starting me with a lot of scales +and exercises, we began at once with the operas. I was twelve years old +when I began, and after one year of this kind of study, made my debut in +the role of Inez, in _L'Africaine_. About this time I lost my kind +instructor, who passed away. I then worked by myself until I was +sixteen, when I began to study technic systematically. As you see, then, +I am practically self-taught. It seems to me, if one has voice and +intelligence, one can and should be one's own teacher. No one else can +do as much for you as you can do for yourself. You can tell what the +sensations are, what parts are relaxed and what parts are firm, better +than any one else. You can listen and work on tone quality until it +reaches the effect you desire. I do not neglect vocal technic now, for I +know its value. I do about three quarters of an hour technical practice +every day--scales and exercises. + + +MEMORIZING + +"I memorize very easily; it only takes a few weeks to learn an operatic +role. I spent three weeks on _Coq d'Or_, and that is a difficult part, +so many half tones and accidentals. But I love that music, it is so +beautiful; it is one of my favorite roles. Some parts are longer and +more difficult than others. Of course I know most of the Italian operas +and many French ones. I should like to sing _Mireille_ and _Lakme_ here, +but the Director may wish to put on other works instead. + + +SPANISH OPERA + +"Yes, we have native opera in Spain, but the works of our operatic +composers are little known in other lands. The Spanish people are +clannish, you see, and seem to lack the ambition to travel abroad to +make their art known to others; they are satisfied to make it known to +their own people. Casals and I--we are perhaps the ones who regularly +visit you, though you have several Spanish singers in the opera who +reside here permanently. + +"As for Spanish composers of instrumental music, you are here somewhat +familiar with the names of Grovelez and Albeniz; Granados you know also, +both his opera, _Goyescas_, which was performed at the Metropolitan, and +his personality. He came to America to witness the premier of his opera, +and while here proved he was a most excellent pianist as well as a +composer of high merit, which fact was revealed in his piano and vocal +compositions. The American people were most kind and appreciative to +him. When the disaster came and he was lost at sea, the testimonial they +sent his orphaned children was a goodly sum, though I hardly think the +children appreciated your goodness. + +"Among the composers in Spain who have turned their gifts toward +operatic channels I can mention Pedrell, Morea, Falla, Vives and Breton. +Vives is now writing an opera for me, entitled _Abanico_. Gradually, no +doubt, the music of our country, especially its opera, will find its +way to other lands. Even in England, I am told, Spanish music is very +little known; our many distinguished modern musicians are hardly even +names. Of course the world knows our Toreador songs, our castanet +dances, and the like; perhaps they think we have little or no serious +music, because it is still unknown. Spanish music is peculiar to the +country; it is permeated with the national spirit and feeling." + +Asked if she would sing in South America during the vacation, the singer +answered: + +"I have sung there with great success. But I shall not be able to go +there this summer. My little boy has been placed in a school in France; +it is the first time we have been separated, and it has been very hard +for me to have the ocean between us. I shall sing at Atlanta, the first +week of May, and then sail the middle of the month for France. Yes, +indeed, I hope to return to America next season. + +"I trust you have been able to understand my poor English," she said +smiling, as she parted with her visitor; "we speak several languages +here in my home--Spanish with my mother and friends, French and Italian +with others in the household. But there seems little necessity for using +English, even though I am living in the heart of the metropolis. +Perhaps next year, I shall master your language better." + +And the picture of her, as she stood in her artistic, home-like salon, +with its lights, its pictures and flowers, is even more lasting than any +to be remembered on the operatic stage. + + + + +XVI + +=CLAUDIA MUZIO= + +A CHILD OF THE OPERA + +[Illustration: CLAUDIA MUZIO] + +In tales of romance one reads sometimes of a gifted girl who lives in a +musical atmosphere all her life, imbibing artistic influences as +naturally and almost as unconsciously as the air she breathes. At the +right moment, she suddenly comes out into the light and blossoms into a +full fledged singer, to the surprise and wonder of all her friends. Or +she is brought up behind the scenes in some great Opera House of the +world, where, all unnoticed by her elders, she lives in a dream world of +her own, peopled by the various characters in the operas to which she +daily listens. She watches the stage so closely and constantly that she +unconsciously commits the roles of the heroines she most admires, to +memory. She knows what they sing, how they act the various parts, how +they impersonate the characters. Again, at the right moment, the leading +prima donna is indisposed, there is no one to take her place; manager +is in despair, when the slip of a girl, who is known to have a voice, +but has never sung in opera, offers to go on in place of the absent one. +She is finally permitted to do so; result, a popular success. + +Some pages of Claudia Muzio's musical story read like the romantic +experiences of a novel-heroine. She, too, was brought up in great opera +houses, and it seemed natural, that in due course of time, she should +come into her own, in the greatest lyric theater of the land of her +adoption. + +When she returned to America, a couple of years ago, after gaining +experience in Europe, she arrived toward the end of the season preceding +her scheduled debut here, to prepare herself more fully for the coming +appearance awaiting her. + +I was asked to meet and talk with the young singer, to ascertain her +manner of study, and some of her ideas regarding the work which lay +before her. + + * * * * * + +"It was always my dream to sing at the Metropolitan, and my dream has +come true." + +Claudia Muzio said the words with her brilliant smile, as her great soft +dark eyes gazed luminously at the visitor. + +The day was cold and dreary without, but the singer's apartment was of +tropical warmth. A great bowl of violets on the piano exhaled delicious +fragrance; the young Italian in the bloom of her oriental beauty, seemed +like some luxuriant tropical blossom herself. + +Claudia Muzio, who was just about to take her place among the personnel +of the Metropolitan, is truly to the manner born,--a real child of the +opera. She has lived in opera all her life, has imbibed the operatic +atmosphere from her earliest remembrance. It must be as necessary for a +singer who aspires to fill a high place in this field of artistic +endeavor, to live amid congenial surroundings, as for a pianist, +violinist or composer to be environed by musical influences. + +"Yes, I am an Italian," she began, "for I was born in Italy; but when I +was two years old I was taken to London, and my childhood was passed in +that great city. My father was stage manager at Covent Garden, and has +also held the same post at the Manhattan and Metropolitan Opera Houses +in New York. So I have grown up in the theater. I have always listened +to opera--daily, and my childish imagination was fired by seeing the art +of the great singers. I always hoped I should one day become a singer, +so I always watched the artists in action, noting how they did +everything. As a result, I do not now have to study acting as a separate +branch of the work, for acting comes to me naturally. I am very +temperamental; I feel intuitively how the role should be enacted. + +"All tiny children learn to sing little songs, and I was no exception. I +acquired quite a number, and at the age of six, exhibited my +accomplishments at a little recital. But I never had singing lessons +until I began to study seriously at about the age of sixteen. Although I +did not study the voice till I reached that age, I was always occupied +with music, for I learned as a little girl to play both harp and piano. + +"We lived in London, of which city I am very fond, from the time I was +two, till I was fourteen, then we came to America. After residing here a +couple of years, it was decided I should make a career, and we went to +Italy. I was taken to Madame Anna Casaloni at Turino. She was quite +elderly at that time, but she had been a great singer. When she tried my +voice, she told me it was quite properly placed--so I had none of that +drudgery to go through. + +"At first my voice was a very light soprano, hardly yet a coloratura. It +became so a little later, however, and then gradually developed into a +dramatic soprano. I am very happy about this fact, for I love to portray +tears as well as laughter--sorrow and tragedy as well as lightness and +gayety. The coloratura manner of singing is all delicacy and lightness, +and one cannot express deep emotion in this way. + +"We subsequently went to Milano, where I studied with Madame Viviani, a +soprano who had enjoyed great success on the operatic stage. + +"After several years of serious study I was ready to begin my career. So +I sang in Milan and other Italian cities, then at Covent Garden, and now +I am in the Metropolitan. In Italy I created the role of Fiora in _Amore +del tre Re_, and sang with Ferrari-Fontana. I also created Francesca in +_Francesca da Rimini_, under its composer, Zandonai. I have a repertoire +of about thirty operas, and am of course adding to it constantly, as one +must know many more than thirty roles. Since coming to New York, I have +learned _Aida_, which I did not know before, and have already appeared +in it. It was learned thoroughly in eight days. Now I am at work on +_Madame Butterfly_. + + +TECHNICAL PRACTICE + +"I work regularly every morning on vocal technic. Not necessarily a +whole hour at a stretch, as some do; but as much time as I feel I need. +I give practically my whole day to study, so that I can make frequent +short pauses in technical practice. If technic is studied with complete +concentration and vigor, as it always should be, it is much more +fatiguing than singing an opera role. + +"You ask about the special forms of exercises I use. I sing all the +scales, one octave each--once slow and once fast--all in one breath. +Then I sing triplets on each tone, as many as I can in one breath. I can +sing about fifteen now, but I shall doubtless increase the number. For +all these I use full power of tone. Another form of exercise is to take +one tone softly, then go to the octave above, which tone is also sung +softly, but there is a large crescendo made between the two soft tones. +My compass is three octaves--from C below middle C, to two octaves above +that point. I also have C sharp, but I do not practice it, for I know I +can reach it if I need it, and I save my voice. Neither do I work on the +final tones of the lowest octave, for the same reason--to preserve the +voice. + + +BREATH CONTROL + +"Every singer knows how important is the management of the breath. I +always hold the chest up, taking as long breaths as I can conveniently +do. The power to hold the breath, and sing more and more tones with one +breath, grows with careful, intelligent practice. There are no rules +about the number of phrases you can sing with a single breath. A teacher +will tell you; if you can sing two phrases with one breath, do so; if +not, take breath between. It all rests with the singer. + + +MEMORIZING + +"I learn words and music of a role at the same time, for one helps the +other. When I have mastered a role, I know it absolutely, words, music +and accompaniment. I can always play my accompaniments, for I understand +the piano. I am always at work on repertoire, even at night. I don't +seem to need very much sleep, I think, and I often memorize during the +night; that is such a good time to work, for all is so quiet and still. +I lie awake thinking of the music, and in this way I learn it. Or, +perhaps it learns itself. For when I retire the music is not yet +mastered, not yet my own, but when morning comes I really know it. + +"Of course I must know the words with great exactness, especially in +songs. I shall do English songs in my coming song recital work, and the +words and diction must be perfect, or people will criticize my English. +I always write out the words of my roles, so as to be sure I understand +them and have them correctly memorized. + + +KEEPING UP REPERTOIRE + +"Most singers, I believe, need a couple of days--sometimes longer--in +which to review a role. I never use the notes or score when going over a +part in which I have appeared, for I know them absolutely, so there is +no occasion to use the notes. Other singers appear frequently at +rehearsal with their books, but I never take mine. My intimate knowledge +of score, when I assisted my father in taking charge of operatic scores, +is always a great help to me. I used to take charge of all the scores +for him, and knew all the cuts, changes and just how they were to be +used. The singers themselves often came to me for stage directions about +their parts, knowing I had this experience. + +"Yes, as you suggest, I could sing here in winter, then in South America +in summer." (Miss Muzio accomplished this recently, with distinguished +success and had many thrilling adventures incident to travel.) "This +would mean I would have no summer at all, for that season with them is +colder than we have it here. No, I want my summer for rest and study. +During the season at the Metropolitan I give up everything for my art. I +refuse all society and the many invitations I receive to be guest of +honor here and there. I remain quietly at home, steadfastly at work. My +art means everything to me, and I must keep myself in the best condition +possible, to be ready when the call comes to sing. One cannot do both, +you know; art and society do not mix well. I have never disappointed an +audience; it would be a great calamity to be obliged to do so." + + + + +XVII + +=EDWARD JOHNSON= + +(=EDOUARDO DI GIOVANNI=) + +THE EVOLUTON OF AN OPERA STAR + + +The story of Edward Johnson's musical development should prove an +incentive, nay more, a beacon light along the path of consistent +progress toward the goal of vocal and operatic achievement. Indeed as a +tiny child he must have had the desire to become a singer. A friend +speaks of musical proclivities which began to show themselves at an +early age, and describes visits of the child to their home, where, in a +little Lord Fauntleroy suit, he would stand up before them all and sing +a whole recital of little songs, to the delight of all his relatives. +The singer's progress, from the musical child on and up to that of an +operatic artist, has been rational and healthy, with nothing hectic or +overwrought about it; a constant, gradual ascent of the mountain. And +while an enviable vantage ground has been reached, such an artist must +feel there are yet other heights to conquer. For even excellence, +already achieved, requires constant effort to be held at high water +mark. And the desire for greater perfection, which every true artist +must feel, is a never-ending urge to continued struggle. + +In a recent conversation with the tenor, Mr. Johnson spoke of early +days, when he desired above everything else to become a musician and +follow a musical career, though his family expected him to enter the +business world. He came to New York to look the ground over, hoping +there might be opportunity to continue his studies and make his way at +the same time. He was fortunate enough to secure a church position, and +sang subsequently in some of the best New York and Brooklyn churches. +After this period he did much concert work, touring through the Middle +West with the Chicago Symphony Orchestra and singing in many Music +Festivals throughout the country. + +[Illustration: Edward Johnson] + +But church and concert singing did not entirely satisfy; he longed to +try his hand at opera,--in short to make an operatic career. He was well +aware that he would not find this field nor gain the necessary +experience in America; he must go to Italy, the land of song, to gain +the required training and experience. He was also fully aware of the +fact that there was plenty of hard work, and probably many +disappointments before him, but he did not shrink from either. + +"Fortunately, I have a fund of humor," he said, and there was a twinkle +in his eye as he spoke. "It is a saving grace, as you say; without it I +believe I should have many times given up in sheer despair." + +Mr. Johnson went to Italy in 1909, beginning at once his studies with +Lombardi, in Florence. In the ten years of his absence from his home +land he has built up a reputation and made a career in the great +operatic centers of Italy, Spain and South America. After his debut in +Padua, he became leading tenor at La Scala, Milan, for five consecutive +seasons. In Rome he spent four seasons at the Costanzi Theater, in the +meantime making two visits to the Colon Theater, Buenos Aires, and +filling engagements in Madrid, Bologna, Florence and Genoa. + +"How could I stay away from America for such a length of time? you ask. +For various reasons. I was getting what I had come to Italy for, +experience and reputation. I was comfortable and happy in my work. I +loved the beautiful country, and the life suited me. The people were +kind. I had my own home in Florence, which is still there and to which I +can return when my season is over here. Best of all I had the +opportunity of creating all the new tenor roles in the recent operas of +Puccini, Montemezzi, Pizzetti and Gratico. I also created the role of +_Parsifal_ in Italian, and the first season at La Scala, it was +performed twenty-seven times." + +"With your permission let us go a little into detail in regard to the +needs of the young singer and his method of study, so that he may +acquire vocal mastery. What do you consider the most important and +necessary subject for the young singer, or any one who wishes to enter +the profession, to consider?" + +"A musical education," was the prompt, unhesitating reply. "So many +think if they have a good natural voice and take singing lessons, that +is quite sufficient; they will soon become singers. But a singer should +also be a musician. He should learn the piano by all means and have some +knowledge of theory and harmony. These subjects will be of the greatest +benefit in developing his musicianship; indeed he cannot well get on +without them. A beautiful voice with little musical education, is not of +as much value to its possessor as one not so beautiful, which has been +well trained and is coupled with solid musical attainments. + + +A MUSICAL CAREER + +"If one goes in for a musical career, one should realize at the start, +something of what it means, what is involved, and what must go with it. +Singing itself is only a part, perhaps even the smaller part, of one's +equipment. If opera be the goal, there are languages, acting, make up, +impersonation, interpretation, how to walk, how to carry oneself, all to +be added to the piano and harmony we have already spoken of. The art of +the singer is a profession--yes, and a business too. You prepare +yourself to fill a public demand; you must prove yourself worthy, you +must come up to the standard, or there will not be a demand for what you +have to offer. And it is right this should be so. We should be willing +to look the situation fairly in the eye, divesting it of all those rose +colored dreams and fancies; then we should get right down to work. + + +NOT MANY RULES + +"If you get right down to the bottom, there are in reality not so many +singing rules to learn. You sing on the five vowels, and when you can +do them loudly, softly, and with mezzo voce, you have a foundation upon +which to build vocal mastery. And yet some people study eight, ten years +without really laying the foundation. Why should it take the singer such +a long time to master the material of his equipment? A lawyer or doctor, +after leaving college, devotes three or four years only to preparing +himself for his profession, receives his diploma, then sets up in +business. It ought not to be so much more difficult to learn to sing +than to learn these other professions. + + +THE EAR + +"Of course the ear is the most important factor, our greatest ally. It +helps us imitate. Imitation forms a large part of our study. We hear a +beautiful tone; we try to imitate it; we try in various ways, with +various placements, until we succeed in producing the sound we have been +seeking. Then we endeavor to remember the sensations experienced in +order that we may repeat the tone at will. So you see Listening, +Imitation and Memory are very important factors in the student's +development. + + +BEL CANTO + +"I have just spoken of a beautiful tone. The old Italian operas +cultivate the _bel canto_, that is--beautiful singing. Of course it is +well for the singer to cultivate this first of all, for it is excellent, +and necessary for the voice. But modern Italian opera portrays the real +men and women of to-day, who live, enjoy, suffer, are angry and +repentant. _Bel canto_ will not express these emotions. When a man is +jealous or in a rage, he will not stand quietly in the middle of the +stage and sing beautiful tones. He does not think of beautiful tones at +all. Hatred and jealousy should be expressed in the voice as well as in +action and gesture; they are far from lovely in themselves, and to be +natural and true to life, they will not make lovely tones in the voice. +We want singing actors to-day, men and women who can adequately portray +the characters they impersonate through both voice and action. + + +LEARNING A ROLE + +"In taking up a new part I vocalize the theme first, to get an idea of +the music; then I learn the words. After this I work with the +accompanist who comes to me every morning. Of course, besides this, I do +daily vocalizes and vocal exercises; one must always keep up one's +vocal technic. + +"But learning words and music is only a part of the work to be done on a +role. It must then be interpreted; more than this it must be visualized. +This part of the work rests largely with the singer, and gives +opportunity for his individuality to assert itself. Of course the +general idea of the characterization is given us, the make-up, posturing +and so on. To work out these ideas, to make the part our own, to feel at +home in it, so that it shall not seem like acting, but appear perfectly +natural--all this takes a great deal of thought, time and study. It is +all a mental process, as every one knows; we must project our thought +out to the audience, we must 'get it over,' or it will never strike +fire!" + + +INTERPRETATION + +On the subject of individuality in interpretation, Mr. Johnson was +convincing. "I feel that if I have worked out a characterization, I must +stick to my idea, in spite of what others say. It is my own conception, +and I must either stand or fall by it. At times I have tried to follow +the suggestions of this or that critic and have changed my +interpretation to suit their taste. But it always rendered me self +conscious, made my work unnatural and caused me speedily to return to my +own conception. + + +LEARNING BY DOING + +"The singer finds the stage a great teacher. Before the footlights he +has constant opportunity to try out this or that effect, to note which +placement of the voice best fits the tones he wishes to produce. Then, +too, he soon learns to feel whether he has made the impression he had +hoped, whether he has the audience with him. If he cannot win the +audience, he takes careful thought to see why. In order to win his +hearers, to get his work across the footlights, there are certain things +he must have, virtues he must possess. For instance,"--and the artist +counted them off on his finger tips,--"he must have Accent, Diction, +Characterization, and above all, Sincerity. No matter what other good +qualities he may possess, he must be sincere before anything else. If he +lack this the audience soon finds it out. There's nothing that wins its +way like the grace of sincerity. You see I give prominent place to +accent and diction. Whatever fault the critics found with me, they have +always conceded to me both these virtues. + +"But time passes and soon the work of the night will begin. I trust that +our informal conference may contain a few points of personal experience +which may be helpful to those who are striving to enter the field of +opera." And with his pleasant smile and genial greeting, Mr. Johnson +closed the conference. + + + + +XVIII + +=REINALD WERRENRATH= + +ACHIEVING SUCCESS ON THE CONCERT STAGE + + +At the close of a recital by Reinald Werrenrath, the listener feels he +has something to carry away, a tangible impression, a real message. What +is the impression--can it be defined? Perhaps it is more the complete +effect as a whole that makes the deepest impression. The voice is always +agreeable, the diction so clear and distinct that every syllable can be +followed from the topmost corner of Carnegie Hall, so there is no need +to print a program book for this singer. Different qualities of voice +render the picture or mood more vivid, and all is accomplished with +perfect ease, in itself a charm. People settle in their seats as if +certain that a song recital by Werrenrath is sure to bring enjoyment and +satisfaction. + +And Mr. Werrenrath has proven, through season after season of concert +giving in America, that he is filling his own special niche in the +scheme of the country's musical life; that he has his own message of +the beautiful--the natural--in vocal art to deliver to the people all +over the land, and he is accomplishing this with ever increasing ability +and success. + +To go through a season filled with concert tours, such as a popular +singer has laid out for him, means so many weeks and months of strenuous +toil and travel. There may be a few brief hours or days here and there, +when he can be at home among family and friends; but soon he is off +again--"on the road." + +Mr. Werrenrath is the sort of singer who is generally on the wing, or if +not exactly that, is so rushed with work, record making and rehearsing +for occasional opera appearances, that it is very difficult to get a +word with him. I was exceedingly fortunate however, one day recently, to +catch a glimpse of him between a Metropolitan rehearsal on the one hand, +and some concert business on the other. He entered the room where I +waited, tall, vigorous, his fine face lighted by a rapid walk in the +fresh air; he seemed the embodiment of mental vigor and alertness. + + +VOCAL CONTROL + +[Illustration: REINALD WERRENRATH] + +I plunged at once into the subject I had come for, telling him I wanted +to know how he had worked to bring about such results as were noted in +his recent recital in Carnegie Hall; in what way he had studied, and +what, in his opinion, were the most important factors, from an +educational point of view, for the young singer to consider. + +"That is entirely too difficult a question to be answered briefly, even +in a half hour, or in an hour's talk. There are too many angles;" his +clear gray eyes looked at me frankly as he spoke. "Voice culture, voice +mastery, what is it? It is having control of your instrument to such an +extent that you put it out of your thought completely when you sing. The +voice is your servant and must do your bidding. This control is arrived +at through a variety of means, and can be considered from a thousand +angles, any one of which would be interesting to follow up. I have been +on the concert stage for nearly a score of years, and ought to know +whereof I speak; yet I can say I have not learned it all even now, not +by any means. Vocal technic is something on which you are always +working, something which is never completed, something which is +constantly improving with your mental growth and experience--if you are +working along the right lines. People talk of finishing their vocal +technic; how can that ever be done? You are always learning how to do +better. If you don't make the effect you expected to, in a certain +place, when singing in public, you take thought of it afterward, +consider what was the matter, _why_ you couldn't put it over--why it had +no effect on the audience. Then you work on it, learn how to correct and +improve it. + + +EARLY EXPERIENCES + +"As you may know, my father was a great singer; he was my first teacher. +After I lost him I studied for several years with Dr. Carl Duft and +later with Arthur Mees. In all this time I had learned a great deal +about music from the intellectual and emotional sides, music in the +abstract and so on. In fact, I thought I knew about all there was to be +learned about the art of song; I settled back on my oars and let the +matter go at that. At last, however, I awoke to see that I didn't know +it all yet; I discovered I couldn't put the feeling and emotion which +surged within me across to others in the way I wanted to--in the way +which could move and impress them; I could not make the effects I +wanted; I was getting into a rut. This was seven years ago. At that time +I went to Percy Rector Stevens, who has done me an immense amount of +good, and with whom I constantly keep in touch, in case there should be +anything wrong with my instrument anywhere. Mr. Stevens understands the +mechanics of the voice perhaps better than any one I know of. If I go to +him and say: 'I made some tones last night that didn't sound right to +me,' or 'I couldn't seem to put over this or that effect; I want you to +tell me what is the matter.' He will say: 'Sing for me, show me the +trouble and we'll see what we can do for it.' So I sing and he will say: +'You are tightening your throat at that place,' or 'your diaphragm is +not working properly,' or there is some other defect. He can always put +his finger directly on the weak spot. He is my vocal doctor. Your whole +vocal apparatus must work together in entire harmony. We hear of +teachers who seem to specialize on some one part of the anatomy to the +exclusion of other parts. They are so particular about the diaphragm, +for instance; that must be held with exactly the right firmness to +support the tone. That is all very well; but what about the chest, the +larynx, the throat, the head and all the rest of the anatomy? The truth +is the whole trunk and head of the body are concerned in the act of tone +production; they form the complete instrument, so to say. When the +singer is well and strong and in good condition, all the parts respond +and do their work easily and efficiently. + + +DAILY PRACTICE + +"I do not go through a routine of scales and exercises daily--at least +not in the season, for I have no time. If you are going to take your +automobile out for a spin you don't ride it around for half an hour in +the yard to see whether it will go. No, you first look after the +machinery, to see if all is in working order, and then you start out, +knowing it will go. I do a lot of gymnastics each day, to exercise the +voice and limber up the anatomy. These act as a massage for the voice; +they are in the nature of humming, mingled with grunts, calls, +exclamations, shouts, and many kinds of sounds--indeed so many and +various they cannot be enumerated. But they put the voice in condition, +so there is no need for all these other exercises which most singers +find so essential to their vocal well-being. I will say right here that +I am working with two masters; the first for the mechanics of the voice, +the second who helps me from quite an opposite angle--interpretation and +finish. + + +WITH MAUREL + +"The master from whom I have learned so much that it cannot be estimated +is Victor Maurel. He is a most remarkable man, a great thinker and +philosopher. If he had turned his attention to any other art or science, +or if he had been but a day laborer, he would be a great man anywhere, +in any capacity. + +"I have been with him, whenever possible, for two years now. He has +shown me the philosophy, the psychology of singing. He has taught me the +science of intense diction. By means of such diction, I can sing _mezza +voce_, and put it over with less effort and much more artistic effect +than I ever used to do, when I employed much more voice. You hear it +said this or that person has a big voice and can sing with great power. +A brass band can make a lot of noise. I have stood beside men, who in a +smaller space, could make much more noise than I could. But when they +got out on the stage you couldn't hear them at the back of the hall. It +is the knowing how to use the voice with the least possible effort, +coupled with the right kind of diction, that will make the greatest +effect. Now I can express myself, and deliver the message I feel I have +to give. + + +THE SINGER BEFORE AN AUDIENCE + +"You ask if I hear myself, when I am singing for an audience. In a +general way, yes. Of course I do not get the full effect of what I am +doing; a singer never does. It takes the records to tell me that, and I +have been making records for a good number of years. But I know the +sensations which accompany correct tone production, and if I feel they +are different in any place or passage, I try to make a mental note of +the fact and the passage, that I may correct it afterwards. But I must +emphasize the point that when I sing, I cast away all thought of _how_ I +do anything technical; I want to get away from the mechanics of the +voice; I must keep my thought clear for the interpretation, for the +message I have brought to the audience. To be constantly thinking--how +am I doing this or that--would hamper me terribly. I should never get +anywhere. I must have my vocal apparatus under such control that it goes +of itself. A pianist does not think of technic when playing in public, +neither should a singer think of his vocal technic. Of course there may +be occasions when adverse circumstances thrust conditions upon me. If I +have a slight cold, or tightness of throat, I have to bring all my +resources to bear, to rise above the seeming handicap, and sing as well +as I can in spite of it. I can say gratefully, without any desire to +boast, that during the past eleven years, I have never once missed an +engagement or disappointed an audience. Of course I have had to keep +engagements when I did not feel in the mood, either physically or +mentally. Many singers would have refused under like conditions. But it +does not seem fair to the audience to disappoint, or to the manager +either; it puts him in a very difficult and unpleasant position. It +seems to me the artist should be more considerate of both manager and +audience, than to yield to a slight indisposition and so break his +engagement. + + +THE SINGER IN HIS STUDIO + +"It makes such a difference--in quality of tone and in effect--whether +you sing in a small or large space. Things you do in the studio and +which may sound well there, are quite different or are lost altogether +in a large hall. You really cannot tell what the effect will be in a +great space, by what you do in your studio. In rehearsing and study, I +use half voice, and only occasionally do I use full voice, that is when +I wish to get a better idea of the effect." + + +VOCAL MASTERY + +As we stood at the close of the conference, I asked the supreme +question--What do you understand by Vocal Mastery? The artist looked as +though I were making an impossible demand in requiring an answer to so +comprehensive a subject. He took a few strides and then came back. + +"I can answer that question with one word--Disregard. Which means, that +if you have such control of your anatomy, such command of your vocal +resources that they will always do their work, that they can be depended +upon to act perfectly, then you can disregard mechanism, and think only +of the interpretation--only of your vocal message. Then you have +conquered the material--then you have attained Vocal Mastery!" + + + + +XIX + +=SOPHIE BRASLAU= + +MAKING A CAREER IN AMERICA + + +A fact, often overlooked when considering the career of some of our +great singers of to-day, is the fact that they started out to become an +instrumentalist rather than a singer. In other words they become +proficient on some instrument before taking up serious study of the +voice. In this connection one thinks of Mme. Sembrich, who was both +pianist and violinist before becoming known as a singer. It would be +interesting to follow up this idea and enumerate the vocalists who have +broadened their musicianship through the study of other instruments than +their own voices. But this delightful task must be reserved for future +leisure. For the present it can be set down here that Miss Sophie +Braslau, probably the youngest star in the constellation of the +Metropolitan artists, is an accomplished pianist, and intended to make +her career with the aid of that instrument instead of with her voice. + +But we will let the young artist speak for herself. On the occasion in +question, she had just returned from a walk, her arms full of rosebuds. +"I never can resist flowers," she remarked, as she had them placed in a +big silver vase. Then she carried the visitor off to her own special +rooms, whose windows overlooked an inner garden, where one forgot one +was in the heart of New York. "Indeed it is not like New York at all, +rather like Paris," said Miss Braslau, answering my thought. + +On a _chaise longue_ in this ivory and rose sanctum, reposed a big, +beautiful doll, preserved from childish days. The singer took it up; "I +don't play with it now," she said with a smile, "but I used to." She +placed it carefully in a chair, then settled herself to talk. + +[Illustration: SOPHIE BRASLAU] + +"Yes, I intended to make the piano my instrument and began my studies at +the age of six. Before long it was seen that I had something of a voice, +but no one gave it much thought, supposing I was to be a pianist; indeed +I have the hand of one," holding it up. "I don't think, in those early +years, I was so very anxious to become a player. I did not love +scales--do not now, and would quite as soon have sat at the piano with a +book in my lap, while my fingers mechanically did their stunts. But my +mother looked after my practice, and often sat near me. She required a +regular amount of time given to music study each day. I am so grateful +that she was strict with me, for my knowledge of piano and its +literature is the greatest joy to me now. To my thinking all children +should have piano lessons; the cost is trifling compared to the benefits +they receive. They should be made to study, whether they wish to or not. +They are not prepared to judge what is good for them, and if they are +given this advantage they will be glad of it later on. + +"In due time I entered the Institute of Musical Art, taking the full +piano course. Arthur Hochmann was my teacher for piano, and I found him +an excellent master. He did a great deal for me; in interpretation, in +fineness of detail, in artistic finish I owe him very much. Later I +studied several years with Alexander Lambert. + +"While at work with my piano, it grew more apparent that I had a voice +that should be cultivated. So I began. Afterwards I worked three years +with Signor Buzzi Peccia, who started me on an operatic career and +finally brought me to the Metropolitan. + +"It was a great ordeal for a young singer, almost a beginner, to start +at our greatest Opera House! It meant unremitting labor for me. I worked +very hard, but I am not afraid of work. Toscanini held sway when I +began, and he was a marvelous musician and conductor. Such exactness, +such perfection of detail; he required perfection of every one. He did +not at first realize how much of a beginner I was, though I had really +learned a large number of roles. He was so strict in every detail that I +wept many bitter tears for fear I would not come up to the mark. I knew +the music, but had not gained experience through routine. It seems to me +every singer should gain this experience in some smaller places before +attempting the highest. My advice would be to go and get experience in +Europe first. I have never been in Germany, but in Italy and France +there are many small opera houses where one may learn routine. + +"Another thing. There is a mistaken notion that one cannot reach any +height in opera without 'pull' and great influence. I am sure this is +not true; for while a pull may help, one must be able to deliver the +goods. If one cannot, all the backing in the world will not make one a +success. The singer must have the ability to 'put it over.' Think of +the artists who can do it--Farrar, Gluck, Schumann-Heink. There is never +any doubt about them; they always win their audiences. What I have done +has been accomplished by hard work, without backing of any kind. Really +of what use is backing anyway? The public can judge--or at least it can +_feel_. I know very well that when my chance came to sing _Shanewis_, if +I had not been able to do it, no amount of influence would have helped +the situation. I had it in my own hand to make or mar my career. I often +wonder whether audiences really know anything about what you are trying +to do; whether they have any conception of what is right in singing, or +whether they are merely swayed by the temperament of the singer. + +"Whether we are, or are not to be a musical nation should be a question +of deep interest to all music lovers. If we really become a great +musical people, it will be largely due to the work of the records. We +certainly have wonderful advantages here, and are doing a tremendous lot +for music. + +"I had an interesting experience recently. It was in a little town in +North Carolina, where a song recital had never before been given. Can +you fancy a place where there had never even been a concert? The people +in this little town were busy producing tobacco and had never turned +their thought toward music. In the face of the coming concert what did +those people do? They got a program, studied what pieces I had sung on +the Victor, got the music of the others; so they had a pretty good idea +of what I was going to sing. When I stepped on the platform that night +and saw the little upright piano (no other instrument could be secured) +and looked into those eager faces, I wondered how they would receive my +work. My first number was an aria from _Orfeo_. When I finished, the +demonstration was so deafening I had to wait minutes before I could go +on. And so it continued all the evening. + +"How do I work? Very hard, at least six hours a day. Of these I actually +sing perhaps three hours. I begin at nine and give the first hour to +memory work on repertoire. I give very thorough study to my programs; +for I must know every note in them, both for voice and piano. I make it +a point to know the accompaniments, for in case I am ever left without +an accompanist, I can play for myself, and it has a great effect on +audiences. They may not know or care whether you can play Beethoven or +Chopin, but the fact that you can play while you sing, greatly impresses +them. + +"In committing a song, I play it over and sing it sufficiently to get a +good idea of its construction and meaning; then I work in detail, +learning words and music at the same time, usually. Certain things are +very difficult for me, things requiring absolute evenness of passage +work, or sustained calm. Naturally I have an excess of temperament; I +feel things in a vivid, passionate way. So I need to go very slowly at +times. To-day I gave several hours to only three lines of an aria by +Haendel, and am not yet satisfied with it. Indeed, can we ever rest +satisfied, when there is so much to learn, and we can always improve? + +"The second hour of my day is given to vocalizes. Of course there are +certain standard things that one must do; but there are others that need +not be done every day. I try to vary the work as much as I can. + +"The rest of the day is given to study on repertoire and all the things +that belong to it. There is so much more to a singer's art than merely +to sing. And it is a sad thing to find that so many singers lack +musicianship. They seem to think if they can sing some songs, or even a +few operas, that is all there is to it. But one who would become an +artist must work most of the time. I am sure Charles Hackett knows the +value of work; so does Mabel Garrison and many other Americans. And when +you think of it, there are really a brave number of our own singers who +are not only making good, but making big names for themselves and +winning the success that comes from a union of talent and industry." + + + + +XX + +=MORGAN KINGSTON= + +THE SPIRITUAL SIDE OF THE SINGER'S ART + + +"A man who has risen to his present eminence through determined effort +and hard work, who has done it all in America, is a unique figure in the +world of art. He can surely give much valuable information to students, +for he has been through so much himself." Thus I was informed by one who +was in a position to understand how Morgan Kingston had achieved +success. The well known tenor was most kind in granting an audience to +one seeking light on his ideas and experiences. He welcomed the visitor +with simple, sincere courtesy, and discussed for an hour and a half +various aspects of the singer's art. + +"In what way may I be of service to you?" began Mr. Kingston, after the +first greetings had been exchanged. + +"There are many questions to ask," was the answer; "perhaps it were best +to propound the most difficult one first, instead of reserving it till +the last. What, in your opinion, goes into the acquiring of Vocal +Mastery?" + +"That is certainly a difficult subject to take up, for vocal mastery +includes so many things. First and foremost it includes vocal technic. +One must have an excellent technic before one can hope to sing even +moderately well. The singer can do nothing without technic, though of +course there are many people who try to sing without it. They, however, +never get anywhere when hampered by such a lack of equipment. Technic +furnishes the tools with which the singer creates his vocal art work; +just as the painter's brushes enable him to paint his picture. + + +RULES OF TECHNIC + +[Illustration: MORGAN KINGSTON] + +"I said the singer should have a finished technic in order to express +the musical idea aright, in order to be an artist. But technic is never +finished; it goes on developing and broadening as we ourselves grow and +develop. We learn by degrees what to add on and what to take away, in +our effort to perfect technic. Students, especially in America, are too +apt to depend on rules merely. They think if they absolutely follow the +rules, they must necessarily become singers; if they find that you +deviate from rule they tell you of it, and hold you up to the letter of +the law, rather than its meaning and spirit. I answer, rules should be +guides, not tyrants. Rules are necessary in the beginning; later we get +beyond them,--or rather we work out their spirit and are not hide-bound +by the letter. + + +EARLY STRUGGLES + +"As you may know, I was born in Nottinghamshire, England. I always sang, +as a small boy, just for the love of it, never dreaming I would one day +make it my profession. In those early days I sang in the little church +where Lord Byron is buried. How many times I have walked over the slab +which lies above his vault. When I was old enough I went to work in the +mines, so you see I know what hardships the miners endure; I know what +it means to be shut away from the sun for so many hours every day. And I +would lighten their hardships in every way possible. I am sure, if it +rested with me, to choose between having no coal unless I mined it +myself, I would never dig a single particle. But this is aside from the +subject in hand. + +"I always sang for the love of singing, and I had the hope that some day +I could do some good with the gift which the good God had bestowed on +me. Then, one day, the opportunity came for me to sing in a concert in +London. Up to that time I had never had a vocal lesson in my life; my +singing was purely a natural product. On this occasion I sang, evidently +with some little success, for it was decided that very night that I +should become a singer. Means were provided for both lessons and living, +and I now gave my whole time and attention toward fitting myself for my +new calling. The lady who played my accompaniments at that concert +became my teacher. And I can say, with gratitude to a kind Providence, +that I have never had, nor wished to have any other. When I hear young +singers in America saying they have been to Mr. S. to get his points, +then they will go to Mr. W. to learn his point of view, I realize afresh +that my experience has been quite different and indeed unique; I am +devoutly thankful it has been so. + + +WHAT THE TEACHER SHOULD DO FOR THE STUDENT + +"My teacher made a study of me, of my characteristics, mentality and +temperament. That should be the business of every real teacher, since +each individual has different characteristics from every other. + +"It is now ten years since I began to study the art of singing. I came +to America soon after the eventful night which changed my whole career; +my teacher also came to this country. I had everything to learn; I could +not even speak my own language; my speech was a dialect heard in that +part of the country where I was brought up. I have had to cultivate and +refine myself. I had to study other languages, Italian, French and +German. I learned them all in America. So you see there is no need for +an American to go out of his own country for vocal instruction or +languages; all can be learned right here at home. I am a living proof of +this. What I have done others can do. + + +THE TECHNICAL SIDE + +"As for technical material, I have never used a great quantity. Of +course I do scales and vocalizes for a short time each day; such things +are always kept up. Then I make daily use of about a dozen exercises by +Rubini. Beyond these I make technical studies out of the pieces. But, +after one has made a certain amount of progress on the technical side, +one must work for one's self--I mean one must work on one's moral +nature. + + +THE MORAL SIDE + +"I believe strongly that a singer cannot adequately express the +beautiful and pure in music while cherishing at the same time, a bad +heart and a mean nature behind it. Singing is such a personal thing, +that one's mentality, one's inner nature, is bound to reveal itself. +Each one of us has evil tendencies to grapple with, envy, jealousy, +hatred, sensuality and all the rest of the evils we are apt to harbor. +If we make no effort to control these natural tendencies, they will +permanently injure us, as well as impair the voice, and vitiate the good +we might do. I say it in all humility, but I am earnestly trying to +conquer the errors in myself, so that I may be able to do some good with +my voice. I have discovered people go to hear music when they want to be +soothed and uplifted. If they desire to be amused and enjoy a good +laugh, they go to light opera or vaudeville; if they want a soothing, +quieting mental refreshment, they attend a concert, opera or oratorio. +Therefore I want to give them, when I sing, what they are in need of, +what they are longing for. I want to have such control of myself that I +shall be fitted to help and benefit every person in the audience who +listens to me. Until I have thus prepared myself, I am not doing my +whole duty to myself, to my art or to my neighbor. + +"We hear about the petty envy and jealousy in the profession, and it is +true they seem to be very real at times. Picture two young women singing +at a concert; one receives much attention and beautiful flowers, the +other--none of these things. No doubt it is human nature, so-called, for +the neglected one to feel horribly jealous of the favored one. Now this +feeling ought to be conquered, for I believe, if it is not, it will +prevent the singer making beautiful, correct tones, or from voicing the +beauty and exaltation of the music. We know that evil thoughts react on +the body and result in diseases, which prevent the singer from reaching +a high point of excellence. We must think right thoughts for these are +the worth while things of life. Singing teachers utterly fail to take +the moral or metaphysical side into consideration in their teaching. +They should do this and doubtless would, did they but realize what a +large place right thinking occupies in the development of the singer. + +"One could name various artists who only consider their own +self-aggrandizement; one is compelled to realize that, with such low +aims, the artist is bound to fall short of highest achievement. It is +our right attitude towards the best in life and the future, that is of +real value to us. How often people greet you with the words: 'Well, how +is the world treating you to-day?' Does any one ever say to you--'How +are you treating the world to-day?' That is the real thing to consider. + +"As I said a few moments ago, I have studied ten years on vocal technic +and repertoire. I have not ventured to say so before, but I say it +to-night--I can sing! Of course most of the operatic tenor roles are in +my repertoire. This season I am engaged for fourteen roles at the +Metropolitan. These must be ready to sing on demand, that is at a +moment's notice,--or say two hours' notice. That means some memory work +as well as constant practice. + +"Would I rather appear in opera, recital or oratorio? I like them all. A +recital program must contain at least a dozen songs, which makes it as +long as a leading operatic role. + +"The ten years just passed, filled as they have been with close study +and public work, I consider in the light of preparation. The following +ten years I hope to devote to becoming more widely known in various +countries. And then--" a pleasant smile flitted over the fine, clean-cut +features,--"then another ten years to make my fortune. But I hasten to +assure you the monetary side is quite secondary to the great desire I +have to do some good with the talent which has been given me. I realize +more and more each day, that to develop the spiritual nature will mean +happiness and success in this and in a future existence, and this is +worth all the effort and striving it costs." + + + + +XXI + +=FRIEDA HEMPEL= + +A LESSON WITH A PRIMA DONNA + + +There is no need to say that Frieda Hempel is one of the most admired +artists on the opera and concert stage to-day. Every one knows the fact. +Miss Hempel has endeared herself to all through her lovely voice, her +use of it, her charm of manner and the sincerity of her art. + +[Illustration: _Photo by Alfred Chancy Johnston_ FRIEDA HEMPEL] + +It is seven years since Miss Hempel first came to sing at the +Metropolitan. America has advanced very greatly in musical appreciation +during this period. Miss Hempel herself has grown in artistic stature +with each new character she has assumed. This season she has exchanged +the opera field for that of the concert room, to the regret of opera +patrons and all music lovers, who desired to see her at the +Metropolitan. Being so constantly on the wing, it has been extremely +difficult to secure a word with the admired artist. Late one afternoon, +however, toward the end of her very successful concert season, she was +able to devote an hour to a conference with the writer on the +principles of vocal art. + +How fair, slender and girlish she looked, ensconced among the cushions +of a comfortable divan in her music room, with a favorite pet dog +nestling at her side. + +"And you ask how to master the voice; it seems then, I am to give a +vocal lesson," she began, with an arch smile, as she caressed the little +creature beside her. + + +BREATHING + +"The very first thing for the singer to consider is breath control; +always the breathing--the breathing. She thinks of it morning, noon and +night. Even before rising in the morning, she has it on her mind, and +may do a few little stunts while still reclining. Then, before beginning +her vocal technic in the morning, she goes through a series of breathing +exercises. Just what they are is unnecessary to indicate, as each +teacher may have his own, or the singer has learned for herself what +forms are most beneficial. + + +VOCAL TECHNIC + +"The pianist before the public, or the player who hopes to master the +instrument in the future, never thinks of omitting the daily task of +scales and exercises; he knows that his chances for success would soon +be impaired, even ruined, if he should neglect this important and +necessary branch of study. + +"It is exactly the same thing with the singer. She cannot afford to do +without scales and exercises. If she should, the public would soon find +it out. She must be in constant practice in order to produce her tones +with smoothness and purity; she must also think whether she is producing +them with ease. There should never be any strain, no evidence of effort. +Voice production must always seem to be the easiest thing in the world. +No audience likes to see painful effort in a singer's face or throat. + + +VOCAL PRACTICE + +"The young singer should always practice with a mirror--do not forget +that; she must look pleasant under all circumstances. No one cares to +look at a singer who makes faces and grimaces, or scowls when she sings. +This applies to any one, young or older. Singing must always seem easy, +pleasant, graceful, attractive, winning. This must be the mental +concept, and, acted upon, the singer will thus win her audience. I do +not mean that one should cultivate a grin when singing; that would be +going to the other extreme. + +"Let the singer also use a watch when she practices, in order not to +overdo. I approve of a good deal of technical study, taken in small +doses of ten to fifteen minutes at a time. I myself do about two hours +or more, though not all technic; but I make these pauses for rest, so +that I am not fatigued. After all, while we must have technic, there is +so much more to singing than its technic. Technic is indeed a means to +an end, more in the art of song than in almost any other form of art. +Technic is the background for expressive singing, and to sing +expressively is what every one should be striving for. + + +WHAT IT MEANS TO BE A SINGER + +"A beautiful voice is a gift from heaven, but the cultivation of it +rests with its possessor. Here in America, girls do not realize the +amount of labor and sacrifice involved, or they might not be so eager to +enter upon a career. They are too much taken up with teas, parties and +social functions to have sufficient time to devote to vocal study and +all that goes with it. There are many other things to study; some piano +if possible, languages of course, physical culture and acting, to make +the body supple and graceful. I say some piano should be included, at +least enough to play accompaniments at sight. But when she has mastered +her song or role, she needs an accompanist, for she can never play the +music as it should be played while she endeavors to interpret the song +as that should be sung. One cannot do complete justice to both at the +same time. + +"In order to study all the subjects required, the girl with a voice must +be willing to give most of her day to the work. This means sacrificing +the social side and being willing to throw herself heart and soul into +the business of adequately preparing for her career. + + +AMERICAN VOICES + +"I find there are quantities of lovely voices here in America. The +quality of the American female voice is beautiful; in no country is it +finer, not even in Italy. You have good teachers here, too. Then why are +there so few American singers who are properly prepared for a career? +Why do we hear of so few who make good and amount to something? If the +girl has means and good social connections, she is often not ready to +sacrifice social gayeties for the austere life of the student. If she +is a poor girl, she frequently cannot afford to take up the subjects +necessary for her higher development. Instruction is expensive here, and +training for opera almost impossible. The operatic coach requires a +goodly fee for his services. And when the girl has prepared several +roles where shall she find the opportunity to try them out? +Inexperienced singers cannot be accepted at the Metropolitan; that is +not the place for them. At the prices charged for seats the management +cannot afford to engage any but the very best artists. Until there are +more opera houses throughout the country, the American girl will still +be obliged to go to Europe for experience and routine. In Europe it is +all so much easier. Every little city and town has its own opera house, +where regular performances are given and where young singers can try +their wings and gain experience. The conductor will often help and coach +the singer and never expect a fee for it. + + +THE YOUNG SINGER BEFORE AN AUDIENCE + +"The singer who wishes to make a career in concert, should constantly +study to do things easily and gracefully. She is gracious in manner, +and sings to the people as though it gave her personal pleasure to stand +before them. She has a happy expression of countenance; she is simple, +unaffected and sincere. More than all this her singing must be filled +with sentiment and soul; it must be deeply felt or it will not touch +others. Of what use will be the most elaborate technic in the world if +there is no soul back of it. So the young singer cultivates this power +of expression, which grows with constant effort. The artist has learned +to share her gift of song with her audience, and sings straight across +into the hearts of her listeners. The less experienced singer profits by +her example. + +"Shall the singer carry her music in a song recital, is a much discussed +question. Many come on with nothing in hand. What then happens? The +hands are clasped in supplication, as though praying for help. This +attitude becomes somewhat harrowing when held for a whole program. Other +singers toy with chain or fan, movements which may be very inappropriate +to the sentiment of the song they are singing. For myself I prefer to +hold in hand a small book containing the words of my songs, for it seems +to be more graceful and Jess obtrusive than the other ways I have +mentioned. I never refer to this little book, as I know the words of my +songs backward; I could rise in the middle of the night and go through +the program without a glance at words or music, so thoroughly do I know +what I am singing. Therefore I do not need the book of words, but I +shall always carry it, no matter what the critics may say. And why +should not the executive artist reassure himself by having his music +with him? It seems to me a pianist would feel so much more certain of +himself if he had the notes before him; he of course need not look at +them, but their presence would take away the fear that is often an +obsession. With the notes at hand he could let himself go, give free +reign to fancy, without the terrible anxiety he must often feel. + + +OPERA OR CONCERT + +"People often ask whether I prefer to sing in opera or concert. I always +answer, I love both. I enjoy opera for many reasons; I love the concert +work, and I am also very fond of oratorio. Of course in the opera I am +necessarily restrained; I can never be Frieda Hempel, I must always be +some one else; I must always think of the others who are playing with +me. In concert I can be myself and express myself. I get near the +people; they are my friends and I am theirs. I am much in spirit with +oratorio also. + + +COLORATURA OR DRAMATIC + +"Do I think the coloratura voice will ever become dramatic? It depends +on the quality of the voice. I think every dramatic singer should +cultivate coloratura to some extent--should study smooth legato scales +and passages. To listen to some of the dramatic roles of to-day, one +would think that smooth legato singing was a lost art. Nothing can take +its place, however, and singers should realize this fact." + +Miss Hempel believes that every singer, no matter how great, should +realize the advantage of constant advice from a capable teacher, in +order to prevent the forming of undesirable habits. She also considers +Vocal Mastery implies the perfection of everything connected with +singing; that is to say, perfect breath control, perfect placement of +the voice, perfect tone production, together with all requisite grace, +feeling and expressiveness. + + + + +WITH THE MASTER TEACHERS + + + + +XXII + +=DAVID BISPHAM= + +THE MAKING OF ARTIST SINGERS + + +If we were asked to name one of the best known, and best loved of +American singers, the choice would surely fall on David Bispham. This +artist, through his vocal, linguistic and histrionic gifts, his serious +aims and high ideals, has endeared himself to musicians and music lovers +alike. We are all proud of him as an American, and take a sort of +personal pride in his achievements. + +Mr. Bispham has been before the public as actor-singer for many years. +There is no other artist in the English-speaking world who has had +greater experience in all kinds of vocal work than this "Quaker Singer," +as he calls himself, for he comes from Philadelphia, and is of old +English, Quaker, Colonial stock. His professional debut was made in +London, in 1891, with the Royal English Opera Company, as the Duc De +Longueville, in the beautiful Opera Comique, _The Basoche_, by Messager. +The following year he appeared in Wagnerian Music Drama at the Royal +Opera, Covent Garden, performing the part of Kurwenal, in _Tristan and +Isolde_, without rehearsal. His adaptability to music in English, +French, Italian and German, caused him to be at once accepted as a +member of that distinguished company. + +In 1896, Mr. Bispham joined the forces of the Metropolitan Opera House, +New York, and remained there for a number of years, singing each season +alternately on both sides of the ocean. Of recent years he has devoted +most of his time to concerts, though he is one of the founders and +officers of the Society of American Singers, with which artistic body he +frequently appears in the classic operas of Mozart, Pergolesi, Donizetti +and others. + +My first conference with Mr. Bispham was held in his New York studio. +Here, in this artistic retreat where absolute quiet reigns, though +located in the heart of the great city's busy life, the noted singer +teaches and works out his programs and various characterizations. + + +THE PROBLEM OF BREATH CONTROL + +"The singer should breathe as easily and naturally as animals and people +do when they sleep," he began. "But we are awake when we sing; correct +breath control, therefore, must be carefully studied, and is the result +of understanding and experience. The best art conceals art. The aim is +to produce tones with the utmost ease and naturalness, though these must +be gained with patient toil. A child patting the keyboard with his tiny +hands, is _unconsciously_ natural and at ease, though he does not know +what he is doing; the great pianist is _consciously_ at ease because he +understands principles of ease and relaxation, and has acquired the +necessary control through years of training. + +"The singer acquires management of the breath through correct position +and action of his anatomy. The body is held erect, chest active; the +network of abdominal muscles constantly gain strength as they learn to +push, push, push the air up through the lungs to the windpipe, then +through the mouth and nasal cavities." Mr. Bispham illustrated each +point in his own person as he described it. + +"When the manner of taking breath, and the way to develop the diaphragm +and abdominal muscles, is understood, that is only a beginning. +Management of the breath is an art in itself. The singer must know what +to do with the breath once he has taken it in, or he may let it out in +quarts the moment he opens his mouth. He has to learn how much he needs +for each phrase. He learns how to conserve the breath; and while it is +not desirable to hold one tone to attenuation, that the gallery may gasp +with astonishment, as some singers do, yet it is well to learn to do all +one conveniently can with one inhalation, provided the phrase permits +it. + + +TECHNICAL MATERIAL + +"I give many vocalizes and exercises, which I invent to fit the needs of +each pupil. I do not require them to be written down, simply remembered. +At the next lesson quite a different set of exercises may be +recommended. I also make exercises out of familiar tunes or themes from +operatic airs. It will be found that technical material in the various +manuals is often chosen from such sources, so why not use them in their +original form. Thus while the student is studying technic he is also +acquiring much beautiful material, which will be of great value to him +later on. + + +THE STUDY OF REPERTOIRE + +"Repertoire is a wide subject and offers a fascinating study to the +vocal student. He must have both imagination and sentiment, also the +ability to portray, through movement and facial expression, the various +moods and states of feeling indicated by words and music. + +"In taking up a new role, I read the story to get at the kernel or plot, +and see what it means. The composer first saw the words of poem or +libretto, and these suggested to him suitable music. So the singer +begins his work by carefully reading the words. + +"I then have the music of the whole work played for me on the piano, so +as to discover its trend and meaning--its content. If the composer is +available I ask him to do this. I next begin to study my own part in +detail, not only the important sections but the little bits, which seem +so small, but are often so difficult to remember." + + +CHARACTERIZATION + +Under this head the singer spoke at length of the difficulty some +singers encounter when they endeavor to portray character, or +differentiate emotions. There is endless scope in this line, to exercise +intelligence and imagination. + +"Some singers," continued the artist, "seem incapable of characterizing +a role or song. They can do what I call 'flat work,' but cannot +individualize a role. A singer may have a beautiful voice yet not be +temperamental; he may have no gift for acting, nor be able to do +character work. + +"At the present moment I am preparing several new roles, three of them +are of old men. It rests with me to externalize these three in such a +way that they shall all be different, yet consistent with the characters +as I understand them. Each make-up must be distinctive, and my work is +to portray the parts as I see and feel them. I must get into the skin of +each character, so to say, then act as I conceive that particular person +would behave under like circumstances. Many singers cannot act, and most +actors cannot sing. When the two are combined we have a singing actor, +or an actor-singer. Once there was a popular belief that it was not +necessary for the singer to know much about acting--if he only had a +voice and could sing. The present is changing all that. Many of us +realize how very much study is required to perfect this side of our art. + +"In this connection I am reminded of my London debut. I was to make it +with the Royal English Opera Company. They heard me three times before +deciding to take me on. With this formality over, rehearsals began. I +soon found that my ideas of how my role--an important one--was to be +acted, did not always coincide with the views of the stage director, and +there were ructions. The manager saw how things were going, and advised +me to accept seemingly the ideas of the stage director during +rehearsals, but to study acting with the highest authorities and then +work out the conception after my own ideas. Accordingly, I spent an hour +daily, before the morning rehearsal, with one of the finest actors of +comedy to be found in London. Later in the day, after rehearsal, I spent +another hour with a great tragic actor. Thus I worked in both lines, as +my part was a mixture of the tragic and the comic. I put in several +weeks of very hard work in this way, and felt I had gained greatly. Of +course this was entirely on the histrionic side, but it gives an idea of +the preparation one needs. + +"When the day of the dress rehearsal arrived, I appeared on the scene in +full regalia, clean shaven (I had been wearing a beard until then), and +performed my role as I had conceived it, regardless of the peculiar +ideas of the stage director. At the first performance I made a hit, and +a little later was engaged for grand opera at Covent Garden, where I +remained for ten years. + + +KNOWLEDGE OF ANATOMY + +"While I believe in understanding one's anatomy sufficiently for proper +tone production, and all that goes with it, there are many peculiar and +unnecessary fads and tricks resorted to by those who call themselves +teachers of singing. The more fantastic the theories inculcated by these +people, the more the unwary students seem to believe in them. People +like to be deluded, you know. But I am not able to gratify their desires +in this direction; for I can't lie about music! + +"I was present at a vocal lesson given by one of these so-called +instructors. 'You must sing in such a way that the tone will seem to +come out of the back of your head,' he told the pupil, and he waved his +arms about his head as though he were drawing the tone out visibly. +Another pupil was placed flat on his back, then told to breathe as +though he were asleep, and then had to sing in that position. Another +teacher I know of makes pupils eject spit-balls of tissue paper at the +ceiling, to learn the alleged proper control of the breath. What +criminal nonsense this is! + +"As I have said, I believe in knowing what is necessary about anatomy, +but not in too great measure. A new book will soon be issued, I am told, +which actually dissects the human body, showing every bone and muscle in +any way connected with breath or voice. All this may be of interest as a +matter of research, but must one go into such minutiae in order to teach +singing? I think the answer must ever be in the negative. You might as +well talk to a gold-fish in a bowl-and say: 'If you desire to proceed +laterally to the right, kindly oscillate gently your sinister dorsal +fin, and you will achieve the desired result.' Oh, Art, what sins are +committed in thy name!" + + +IN THE STUDIO + +It is often affirmed that an artist finds experience the best teacher. +It must be equally true that the artist-teacher of wide experience in +both performance and instruction, should be a safe guide, just because +of this varied experience. + +I was impressed with this fact when I recently had the privilege of +visiting Mr. Bispham's studio during lesson hours, and listening to his +instruction. A most interesting sanctum is this studio, filled as it is +with souvenirs and pictures of the artist's long career on the operatic +stage. Here hangs a drawing in color of Bispham as Telramund, in shining +chain armor; there a life-size portrait as "Beethoven," and again as +himself. In the midst of all is the master, seated at a table. In front +of him, at the piano, stands the student. It is an English song she is +at work on, for Mr. Bispham thoroughly believes in mastering English as +well as other languages. + +How alert he is as he sits there; how keen of eye and ear. Not the +slightest fault escapes him. He often sings the phrase himself, then +calls for its repetition. + +"Sing that passage again; there is a tone in it that is not +pleasant--not well-sounding; make it beautiful!" "Careful of your +consonants there, they are not distinct; let them be clearer, but don't +make them over distinct." "Don't scoop up the ends of the phrases; make +the tones this way"; and he illustrates repeatedly. "Sing this phrase in +one breath if you can, if not, breathe here--" indicating the place. + +The student now takes up an Italian aria. Of course the master teacher +has no need of printed score; he knows the arias by heart. He merely +jots down a few remarks on a slip of paper, to be referred to later. + +The aria goes quite well. At its close the singer goes to her seat and +another takes her place. A voice of rich, warm timbre. More English--and +it must be most exact, to suit Mr. Bispham's fastidious ear. + +"Make the word _fire_ in _one_ syllable, not _two_. Do not open the +mouth quite so wide on the word _desire_, for, by doing so you lose the +balance and the tone is not so good." + + +VOCALIZES + +Another student--with a fine tenor--was asked to vocalize for a number +of minutes. He sang ascending and descending tone-figures, sometimes +doing them in one breath, at others taking a fresh breath at top. Some +of the syllables used were: la, ma, may, and mi. He then sang single +tones, swelling and diminishing each. It was found that passing from +_forte_ to _piano_ was much more difficult than swelling from soft to +loud. + +The aria "Be not afraid," was now taken up; it was pronounced one of the +most difficult solos ever written, and a very valuable composition for +vocal training. + +"You sing that phrase too loud," cautioned the instructor. "This is not +a human being who is speaking, rather it is a heavenly voice. That high +note of the phrase should be made softer, more ethereal. Make it a +_young tone_--put the quality of Spring into it. The whole thing should +be more spiritual or spiritualized. Now go through it again from +beginning to end." + +When this was finished a halt was called; there had been enough work +done for that day. Soon the class was dismissed. The young singers--some +if not all of them known upon the concert stage--filed out. One young +woman remained; she was to have a drama lesson. The master of singing +showed himself equally efficient as master of English diction for the +spoken drama. + +And here, for a time, we must leave him at his work. + + + + +XXIII + +OSCAR SAENGER + +USE OF RECORDS IN VOCAL STUDY + + +Mr. Oscar Saenger has been termed "maker of artists," since a number of +our great singers have come from under his capable hands. He has a rare +gift for imparting instruction in a way that is concise and convincing. +A man of wide experience, profound knowledge of his subject, commanding +personality and winning courtesy, he impresses all who come within his +radius that he knows whereof he speaks. A man who "knows what he knows" +is one to be followed. + +Mr. Saenger had just returned from a season of travel over America as +far as the Coast. A most profitable trip he called it, filled with many +interesting and unique experiences. He had been lecturing also, in a +number of cities, on his new method of vocal study with the aid of the +Victor Talking Machine. When he learned I had come expressly to ask for +his ideas on vocal technic and study, he said: + +"I think you will be interested to hear about my latest hobby, the +study of singing with the aid of records." Then he plunged at once into +the most absorbingly interesting account of his ideas and achievements +in this line I had ever listened to. + + +TEACHER, ARTIST AND ACCOMPANIST IN ONE + +"This is my own idea, of combining the teacher, artist and accompanist +in one trinity," he began. "And, by the way, my idea is now patented in +Washington. It is the result of nine years' thought and labor, before +the idea could be brought out in its finished form. The design has been +to make the method and its elucidation so simple that the girl from a +small town can understand it. + +"The method consists of twenty lessons for each of the five kinds of +voices: Soprano, Mezzo-Soprano, Tenor, Baritone and Bass. Each portfolio +holds twenty records, together with a book containing minute directions +for studying and using the records. I believe that any one, with good +intelligence, who wishes to learn to sing, can take the book and records +and begin his studies, even though he has never sung before. He can thus +prepare himself for future lessons. For you must understand this method +is not meant to replace the teacher, but to aid the teacher. I can +assure you it aids him in ways without number. It gives him a perfect +exemplar to illustrate his principles. If he be fatigued, or unable to +sing the passage in question, here is an artist who is never wearied, +who is always ready to do it for him. I myself constantly use the +records in my lessons. If I have taught a number of consecutive hours, +it is a relief to turn to the artist's record and save my own voice. + + +SIMPLICITY + +"As I have said, the design has been to make everything plain and +simple. I wrote the book and sent it to the Victor people. They returned +it, saying I had written an excellent book, but it was not simple +enough. They proposed sending a man to me who was neither a musician nor +a singer. If I could make my meaning clear enough for him to understand, +it was likely the girl from a little Western town could grasp it. + +"So this man came and we worked together. If I talked about head tones, +he wanted to know what I meant; if about throaty tones, I had to make +these clear to him. When he understood, I was sure any one could +understand. + +"Thus the books as they stand came into being. The records themselves +represent an immense amount of care and effort. Will you believe we had +to make over two thousand in order to secure the one hundred needed for +the present series? The slightest imperfection is enough to render an +otherwise perfect record useless. Even the artists themselves would +sometimes become discouraged at the enormous difficulties. It is +nerve-racking work, for one must be on tension all the time. + + +IMITATION A FUNDAMENTAL PRINCIPLE + +"If you are interested, I will go a little more into detail. The main +idea of this unique method of study, is imitation. Every human being +likes to imitate--from the tiny child to the adult. Acting upon this +idea, we take the artist as model. Everything the model does, the +student strives to imitate. By means of the record, it is possible for +the student to do this over and over again, until he has learned to copy +it as accurately as it is possible. And here is where the knowledge and +experience of the teacher come in. During the lesson he tests each tone, +each phrase, advising the pupil how nearly he approaches the perfect +model, or showing him his faults and why he does not succeed in +imitating the model more correctly." + + +FOR BEGINNERS + +"Do you mean to say, Mr. Saenger, that this method of vocal study can be +taken up by one who knows really nothing of the voice, or singing, and +can be used with success; that such a person can become a singer through +self-study?" + +"It is indeed possible," was the answer; "and it is being done every +day. If the student has much intelligence, determination and +concentration, she can learn to sing from these directions and these +records. They are a great boon to young aspirants in small towns, where +there are really no good teachers. In such places local teachers can +study and teach from these records. + +"Again, you often find people too shy, or too ashamed to go to a teacher +for a voice trial or lessons. They want to sing--every one would like to +do that; but they don't know how to go at it. With these records they +can begin to study, and thus get ready for later lessons. With these +records those who are far from a music center can have the benefit of +expert instruction at small cost. I might work with a pupil for several +months in the ordinary way--without the records--and not be able to +teach him even with half the accuracy and quickness obtainable by the +new method. + + +THE ACCOMPANIST + +"All singers know how important, how necessary it is to have services of +an expert accompanist. The student of this method has one at hand every +hour of the day; a tireless accompanist, who is willing to repeat +without complaint, as often as necessary. + + +THE SPEAKING VOICE + +"A very important branch of the work, for the would-be singer, is to +cultivate the speaking voice. Tones in speaking should always be made +beautiful and resonant. Even in children a pleasant quality of voice in +speaking can be acquired. Mothers and teachers can be trained to know +and produce beautiful tones. The ear must be cultivated to know a pure, +beautiful tone and to love it. + + +BREATHING EXERCISES + +"The management of the breath is a most important factor, as the life of +the tone depends on the continuance of the breath. The student must +cultivate the power of quickly inhaling a full breath and of exhaling it +so gradually that she can sing a phrase lasting from ten to twenty +seconds. This needs months of arduous practice. In all breathing, inhale +through the nose. The lower jaw during singing should be entirely +relaxed. + +"The tone should be focused just back of the upper front teeth. The way +to place the tone forward is to _think_ it forward. The student must +think the tone into place. + +"To 'attack' a tone is to sing it at once, without any scooping, and +with free open throat. When the throat is tightened the student loses +power to attack her tones in the right way. + + +PHRASING + +"Phrasing, in a limited sense, is simply musical punctuation. In its +broader sense it is almost synonymous with interpretation. For it has to +do not only with musical punctuation but with the grouping of tones and +words in such a way that the composition is rendered intelligible as a +whole, so as to express the ideas of the composer. This is where the +intellectual and musical qualities of the singer are brought into +requisition. She must grasp the content, whether it be song or aria, in +order to effect this grouping intelligently. _Accent, crescendo_ and +_diminuendo_ are the most important factors in phrasing. From the very +beginning the student should be careful how and where she takes breath +and gives accent; there must always be a reason, and thought will +generally make the reason clear. + + +TONE PRODUCTION + +"The first thing to be considered is the position of the body; for +beauty of tone cannot be obtained unless all efforts harmonize to +produce the desired result. An easy, graceful, buoyant position is +essential; it can be cultivated in front of a mirror, from the first +lesson. + +"Tone production is the result of thought. Picture to yourself a +beautiful tone; sing it on the vowel Ah. If you stood in rapture before +an entrancing scene you would exclaim, Ah, how beautiful. Producing a +beautiful tone rests on certain conditions. First, breath control; +Second, Freedom of throat; Third, Correct focus of tone. + +"We know that a stiff jaw and tongue are the greatest hindrances to the +emission of good tone. Muscles of chin and tongue must be trained to +become relaxed and flexible. Do not stiffen the jaw or protrude the +chin, else your appearance will be painful and your tones faulty. + +"To think the tone forward is quite as important as to sing it forward. +Without the mental impression of correct placing, the reality cannot +exist. It is much better to think the tone forward for five minutes and +sing one minute, than to practice the reverse. One should practice in +fifteen-minute periods and rest at least ten minutes between. The +student should never sing more than two hours a day--one in the morning +and one in the afternoon. As most singers love their work, many are +inclined to overdo. + +"Do not tamper with the two or three extreme upper or lower tones of +your voice lest you strain and ruin it permanently. Never practice when +suffering from a cold. + +"Ideal attack is the tone which starts without any scooping, breathiness +or explosiveness. Breathe noiselessly, the secret of which is to breathe +from down, up. Faulty emissions of tone are: nasal, guttural, throaty +and tremulous. I will give you examples of all these from the record No. +33, which will show you first the fault and then the perfect example. If +the pupil studies these perfect emissions of tone and tries to imitate +them, there is no need for her to have the common faults mentioned. + + +SUSTAINED TONES + +"The next step is to study sustained tones. As you see the artist begins +in the middle of her voice--always the best way--and sings a whole tone +on A, with the syllable Ah, always waiting a whole measure for the pupil +to imitate the tone. Next she sings A flat and so on down to lower A, +the pupil imitating each tone. She now returns to middle A and ascends +by half steps to E natural, the pupil copying each tone after it is sung +by the artist. + +"The tone should be free, round and full, but not loud, and the aim be +to preserve the same quality throughout. Do not throw or push the tone, +_but spin it_. + + +UNITING SEVERAL TONES + +"We first begin by uniting two tones, smoothly and evenly, then three in +the same way. After each pair or group of tones, the accompaniment is +repeated and the pupil imitates what the artist has just sung. Now comes +the uniting of five tones, up and down; after this the scale of one +octave. The scale should be sung easily with moderate tone quality. A +slight accent can be given to the first and last tones of the scale. We +all realize the scale is one of the most important exercises for the +building of the voice; the preceding exercises have prepared for it. + + +ARPEGGIOS + +"For imparting flexibility to the voice, nothing can exceed the +Arpeggio, but like all vocal exercises, it must be produced with +precision of tone, singing each interval clearly, with careful +intonation, always striving for beauty of tone. + +"There are various forms of arpeggios to be used. The second form is +carried a third above the octave; the third form a fifth above. This +makes an exercise which employs every tone in the scale save one, and +gives practice in rapid breathing. Remember, that the note before, +taking breath is slightly shortened, in order to give time for taking +breath, without disturbing the rhythm. + + +THE TRILL + +"The trill is perhaps the most difficult of all vocal exercises, unless +the singer is blessed with a natural trill, which is a rare gift. We +begin with quarter notes, then add eighths and sixteenths. This +exercise, if practiced daily, will produce the desired result. It is +taken on each tone of the voice--trilling in major seconds. + + +VOCALIZES + +"The purpose of vocalizes is to place and fix the voice accurately and +to develop taste, while singing rhythmically and elegantly. The records +give some Concone exercises, ably interpreted by one of our best known +voices. You hear how even and beautiful are the tones sung, and you note +the pauses of four measures between each phrase, to allow the student to +repeat the phrase, as before. + +"I firmly believe this method of study is bound to revolutionize vocal +study and teaching. You see it goes to the very foundation, and trains +the student to imitate the best models. It even goes farther back, to +the children, teaching them how to speak and sing correctly, always +making beautiful tones, without harshness or shouting. Young children +can learn to sing tones and phrases from the records. Furthermore, I +believe the time is coming when the _technic and interpretation of every +instrument will be taught in this way_. + +"It is my intention to follow up this set of foundational records by +others which will demonstrate the interpretation of songs and arias as +they are sung by our greatest artists. The outlook is almost limitless. + +"And now, do you think I have answered your questions about tone +production, breath control and the rest? Perhaps I have, as convincingly +as an hour's talk can do." + + + + +XXIV + +=HERBERT WITHERSPOON= + +MEMORY, IMAGINATION, ANALYSIS + + +No doubt the serious teacher, who may be occupied in any branch of +musical activity, has often pictured to himself what an ideal +institution of musical art might be like, if all students assembled +should study thoroughly their particular instrument, together with all +that pertained to it. They should by all means possess talent, +intelligence, industry, and be far removed from a superficial attitude +toward their chosen field. The studio used for instruction in this +imagined institution, should also be ideal, quiet, airy, home-like, +artistic. + +Some such vision perhaps floats before the minds of some of us teachers, +when we are in the mood to dream of ideal conditions under which we +would like to see our art work conducted. + +It has been possible for Mr. Herbert Witherspoon, the distinguished +basso and teacher, to make such a dream-picture come true. For he has +established an institution of vocal art--in effect if not in +name--where all the subjects connected with singing, are considered and +taught in the order of their significance. Not less ideal is the +building which contains these studios, for Mr. Witherspoon has fitted up +his private home as a true abiding place for the muse. + +At the close of a busy day, marked like all the rest with a full +complement of lessons, the master teacher was willing to relax a little +and speak of the work in which he is so deeply absorbed. He apologized +for having run over the time of the last lesson, saying he never could +teach by the clock. + +"I do not like to call this a school," he began, "although it amounts to +one in reality, but only in so far as we take up the various subjects +connected with vocal study. I consider languages of the highest +importance; we have them taught here. There are classes in analysis, in +pedagogy--teaching teachers how to instruct others. We have an excellent +master for acting and for stage deportment: I advise that students know +something of acting, even if they do not expect to go in for opera; they +learn how to carry themselves and are more graceful and self-possessed +before an audience. + +"The work has developed far beyond my expectations. There are over two +hundred students, and I have eight assistants, who have been trained by +me and know my ways and methods. Some of these give practice lessons to +students, who alternate them with the lessons given by me. These lessons +are quite reasonable, and in combination with my work, give the student +daily attention. + +"My plan is not to accept every applicant who comes, but to select the +most promising. The applicants must measure up to a certain standard +before they can enter. To this one fact is due much of our success." + +"And what are these requirements?" + +"Voice, to begin with; youth (unless the idea is to teach), good looks, +musical intelligence, application. If the candidate possesses these +requisites, we begin to work. In three months' time it can be seen +whether the student is making sufficient progress to come up to our +standard. Those who do not are weeded out. You can readily see that as a +result of this weeding process, we have some very good material and fine +voices to work with. + +"We have many musicals and recitals, both public and private, where +young singers have an opportunity to try their wings. There is a most +generous, unselfish spirit among the students; they rejoice in each +others' success, with never a hint of jealousy. We have had a number of +recitals in both Aeolian and Carnegie Halls, given by the artist +students this season. On these occasions the other students always +attend and take as much interest as though they were giving the recital +themselves." + + +BEL CANTO + +"You have remarked lately that 'singers are realizing that the lost art +of _bel canto_ is the thing to strive for and they are now searching for +it.' Can you give a little more light on this point?" + +"I hardly meant to say that in any sense the art of bel canto was lost; +how could it be? Many singers seem to attach some uncanny significance +to the term. Bel canto means simply _beautiful singing_. When you have +perfect breath control, and distinct, artistic enunciation, you will +possess bel canto, because you will produce your tones and your words +beautifully. + +"Because these magic words are in the Italian tongue does not mean that +they apply to something only possessed by Italians. Not at all. Any one +can sing beautifully who does so with ease and naturalness, the American +just as well as those of any other countries. In fact I consider +American voices, in general, better trained than those of Italy, Germany +or France. The Italian, in particular, has very little knowledge of the +scientific side; he usually sings by intuition. + +"We ought to have our own standards in judging American voices; until we +do so, we will be constantly comparing them with the voices of foreign +singers. The quality of the American voice is different from the quality +found in the voices of other countries. To my mind the best women's +voices are found right here in our midst. + + +MEMORY + +"I have also said that there are three great factors which should form +the foundation stones upon which the singer should rear his structure of +musical achievement. These factors are Memory, Imagination, Analysis. I +have put memory first because it is the whole thing, so to say. The +singer without memory--a cultivated memory--does not get far. Memory +lies at the very foundation of his work, and must continue with it the +whole journey through, from the bottom to the top. In the beginning you +think a beautiful tone, you try to reproduce it. When you come to it +again you must remember just how you did it before. Each time you repeat +the tone this effort of memory comes in, until at last it has become +second nature to remember and produce the result; you now begin to do so +automatically. + +"As you advance there are words to remember as well as notes and tones. +Memory, of course, is just as necessary for the pianist. He must be able +to commit large numbers of notes, phrases and passages. In his case +there are a number of keys to grasp at once, but the singer can sing but +one tone at a time. Both notes and words should be memorized, so the +singer can come before the audience without being confined to the +printed page. When acting is added there is still more to remember. Back +of memory study lies concentration; without concentration little can be +accomplished in any branch of art. + + +IMAGINATION + +"The central factor is imagination; what can be done without it! Can you +think of a musician, especially a singer, without imagination? He may +acquire the letter--that is, execute the notes correctly, but the +performance is dead, without life or soul. With imagination he +comprehends what is the inner meaning of the text, the scene; also what +the composer had in mind when he wrote. Then he learns to express these +emotions in his own voice and action, through the imaginative power, +which will color his tones, influence his action, render his portrayal +instinct with life. Imagination in some form is generally inherent in +all of us. If it lies dormant, it can be cultivated and brought to bear +upon the singer's work. This is absolutely essential. + + +ANALYSIS + +"I have put analysis last because it is the crowning virtue, the prime +necessity. We study analysis here in the studios, learning how to +separate music into its component parts, together with simple chord +formations, general form and structure of the pieces, and so on. Can you +comprehend the dense ignorance of many music students on these subjects? +They will come here to me, never having analyzed a bit of music in their +lives, having not an inkling of what chord structure and form in music +mean. If they played piano even a little, they could hardly escape +getting a small notion of chord formation. But frequently vocal +students know nothing of the piano. They are too apt to be superficial. +It is an age of superficiality--and cramming: we see these evils all the +way from the college man down. I am a Yale man and don't like to say +anything about college government, yet I cannot shut my eyes to the fact +that men may spend four years going through college and yet not be +educated when they come out. Most of us are in too much of a hurry, and +so fail to take time enough to learn things thoroughly; above all we +never stop to analyze. + +"Analysis should begin at the very outset of our vocal or instrumental +study. We analyze the notes of the music we are singing, and a little +later its form. We analyze the ideas of the composer and also our own +thoughts and ideas, to try and bring them in harmony with his. After +analyzing the passage before us, we may see it in a totally different +light, and so phrase and deliver it with an entirely different idea from +what we might have done without this intelligent study." + + +CONSCIOUS OR UNCONSCIOUS CONTROL + +"Do you advise conscious action of the parts comprising the vocal +instrument, or do you prefer unconscious control of the instrument, with +thought directed to the ideal quality in tone production and delivery?" +was asked. + +"By all means unconscious control," was the emphatic answer. "We wish to +produce beautiful sounds; if the throat is open, the breathing correct, +and we have a mental concept of that beautiful sound, we are bound to +produce it. It might be almost impossible to produce correct tones if we +thought constantly about every muscle in action. There is a great deal +of nonsense talked and written about the diaphragm, vocal chords and +other parts of the anatomy. It is all right for the teacher who wishes +to be thoroughly trained, to know everything there is to know about the +various organs and muscles; I would not discourage this. But for the +young singer I consider it unnecessary. Think supremely of the beautiful +tones you desire to produce; listen for them with the outer ear--and the +inner ear--that is to say--mentally--and you will hear them. Meanwhile, +control is becoming more and more habitual, until it approaches +perfection and at last becomes automatic. When that point is reached, +your sound producing instrument does the deed, while your whole +attention is fixed on the interpretation of a master work, the +performance of which requires your undivided application. If there is +action, you control that in the same way until it also becomes +automatic; then both singing and acting are spontaneous." + + +DOES THE SINGER HEAR HIMSELF? + +This question was put to Mr. Witherspoon, who answered: + +"The singer of course hears himself, and with study learns to hear +himself better. In fact I believe the lack of this part of vocal +training is one of the greatest faults of the day, and that the singer +should depend more upon hearing the sound he makes than upon feeling the +sound. In other words, train the _ear_, the court of ultimate resort, +and the only judge--and forget sensation as much as possible, for the +latter leads to a million confusions. + +"Undoubtedly a singer hears in his own voice what his auditors do not +hear, for he also hears with his inner ear, but the singer must learn to +hear his own voice as others hear it, which he can do perfectly well. +Here we come to analysis again. + +"The phonograph records teach us much in this respect, although I never +have considered that the phonograph reproduces the human voice. It +comes near it in some cases, utterly fails in others, and the best +singers do not always make the best or most faithful reproductions." + + + + +XXV + +=YEATMAN GRIFFITH= + +CAUSATION + + +"The causation of beautiful singing can only be found through a pure and +velvety production of the voice, and this is acquired in no other way +than by a thorough understanding of what constitutes a perfect +beginning--that is the attack or start of the tone. If the tone has a +perfect beginning it must surely have a perfect ending." + +Thus Mr. Yeatman Griffith began a conference on the subject of vocal +technic and the art of song. He had had a day crowded to the brim with +work--although all days were usually alike filled--yet he seemed as +fresh and unwearied as though the day had only just begun. One felt that +here was a man who takes true satisfaction in his work of imparting to +others; his work is evidently not a tiresome task but a real joy. Mrs. +Griffith shares this joy of work with her husband. "It is most ideal," +she says; "we have so grown into it together; we love it." + +As is well known, this artist pair returned to their home land at the +outbreak of the war, after having resided and taught for five years in +London, and previous to that for one year in Florence, Italy. Of course +they were both singers, giving recitals together, like the Henschels, +and appearing in concert and oratorio. But constant public activity is +incompatible with a large teaching practice. One or the other has to +suffer. "We chose to do the teaching and sacrifice our public career," +said Mr. Griffith. During the five years in which these artists have +resided in New York, they have accomplished much; their influence has +been an artistic impulse toward the ideals of beautiful singing. Among +their many artist pupils who are making names for themselves, it may be +mentioned that Florence Macbeth, a charming coloratura soprano, owes +much of her success to their careful guidance. + +"Michael Angelo has said," continued Mr. Griffith, "that 'a perfect +start is our first and greatest assurance of a perfect finish.' And +nowhere is this precept more truly exemplified than in vocal tone +production. The tone must have the right beginning, then it will be +right all through. A faulty beginning is to blame for most of the vocal +faults and sins of singers. Our country is full of beautiful natural +voices; through lack of understanding many of them, even when devoting +time and money to study, never become more than mediocre, when they +might have developed into really glorious voices if they had only had +the right kind of treatment. + + +TONE PLACEMENT + +"We hear a great deal about tone placement in these days; the world +seems to have gone mad over the idea. But it is an erroneous idea. How +futile to attempt to place the tone in any particular spot in the +anatomy. You can focus the tone, but you cannot place it. There is but +one place for it to come from and no other place. It is either emitted +with artistic effect or it is not. If not, then there is stiffness and +contraction, and the trouble ought to be remedied at once. + +"Every one agrees that if the vocal instrument were something we could +see, our task would be comparatively easy. It is because the instrument +is hidden that so many false theories about it have sprung up. One +teacher advocates a high, active chest; therefore the chest is held high +and rigid, while the abdominal muscles are deprived of the strength +they should have. Another advises throwing the abdomen forward; still +another squares the shoulders and stiffens the neck. These things do not +aid in breath control in the least; on the contrary they induce rigidity +which is fatal to easy, natural tone emission. + + +IN THE BEGINNING + +"When the pupil comes to me, we at once establish natural, easy +conditions of body and an understanding of the causes which produce good +tone. We then begin to work on the vowels. They are the backbone of good +singing. When they become controlled, they are then preceded by +consonants. Take the first vowel, A; it can be preceded by all the +consonants of the alphabet one after another, then each vowel in turn +can be treated in the same way. We now have syllables; the next step is +to use words. Here is where difficulties sometimes arise for the +student. The word becomes perfectly easy to sing if vowels and +consonants are properly produced. When they are not, words become +obstacles. Correct understanding will quickly obviate this. + + +BREATH CONTROL + +"Breath control is indeed a vital need, but it should not be made a +bugbear to be greatly feared. The young student imagines he must inflate +the lungs almost to bursting, in order that he may take a breath long +enough to sing a phrase. Then, as soon as he opens his lips, he allows +half the air he has taken in to escape, before he has uttered a sound. +With such a beginning he can only gasp a few notes of the phrase. Or he +distends the muscles at the waist to the fullest extent and fancies this +is the secret of deep breathing. In short, most students make the +breathing and breath control a very difficult matter indeed, when it is, +or should be an act most easy and natural. They do not need the large +quantity of breath they imagine they do; for a much smaller amount will +suffice to do the work. I tell them, 'Inhale simply and naturally, as +though you inhaled the fragrance of a flower. And when you open your +lips after this full natural breath, do not let the breath escape; the +vocal chords will make the tone, if you understand how to make a perfect +start. If the action is correct, the vocal chords will meet; they will +not be held apart nor will they crowd each other. Allow the diaphragm +and respiratory muscles to do their work, never forcing them; then you +will soon learn what breath control in singing means. Remember again, +not a particle of breath should be allowed to escape. Every other part +of the apparatus must be permitted to do its work, otherwise there will +be interference somewhere.' + + +CAUSATION + +"Everything pertaining to the study of vocal technic and the art of +singing may be summed up in the one word--Causation. A cause underlies +every effect. If you do not secure the quality of tone you desire, there +must be a reason for it. You evidently do not understand the cause which +will produce the effect. That is the reason why singers possessing +really beautiful voices produce uneven effects and variable results. +They may sing a phrase quite perfectly at one moment. A short time after +they may repeat the same phrase in quite a different way and not at all +perfectly. One night they will sing very beautifully; the next night you +might hardly recognize the voice, so changed would be its quality. This +would not be the case if they understood causation. A student, rightly +taught, should know the cause for everything he does, how he does thus +and so and why he does it. A singer should be able to produce the voice +correctly, no matter in what position the role he may be singing may +require the head or body to be in. In opera the head or body may be +placed in difficult unnatural positions, but these should not interfere +with good tone production. + + +REGISTERS + +"I am asked sometimes if I teach registers of the voice. I can say +decidedly no, I do not teach registers. The voice should be one and +entire, from top to bottom, and should be produced as such, no matter in +what part of the voice you sing. Throughout the voice the same +instrument is doing the work. So, too, with voices of different caliber, +the coloratura, lyric and dramatic. Each and all of these may feel the +dramatic spirit of the part, but the lighter quality of the voice may +prevent the coloratura from expressing it. The world recognizes the +dramatic singer in the size of the voice and of the person. From an +artistic point of view, however, there are two ways of looking at the +question, since the lyric voice may have vivid dramatic instincts, and +may be able to bring them out with equal or even greater intensity than +the purely dramatic organ. + + +VOCAL MASTERY + +"Vocal Mastery is acquired through correct understanding of what +constitutes pure vowel sounds, and such control of the breath as will +enable one to convert every atom of breath into singing tone. This +establishes correct action of the vocal chords and puts the singer in +possession of the various tints of the voice. + +"When the diaphragm and respiratory muscles support the breath +sufficiently and the vocal chords are permitted to do their work, you +produce pure tone. Many singers do not understand these two vital +principles. They either sing with too much relaxation of the diaphragm +and respiratory muscles, or too much rigidity. Consequently the effort +becomes local instead of constitutional, which renders the tone hard and +strident and variable to pitch. Again the vocal chords are either forced +apart or pinched together, with detriment to tone production. + +"The real value of control is lost when we attempt to control the +singing instrument and the breath by seeking a place for the tone the +singing instrument produces. When the vocal chords are allowed to +produce pure vowels, correct action is the result and with proper breath +support, Vocal Mastery can be assured." + + + + +XXVI + +=J.H. DUVAL= + +SOME SECRETS OF BEAUTIFUL SINGING + + +A young French girl had just sung a group of songs in her own language +and had won acclaim from the distinguished company present. They admired +the rich quality of her voice, her easy, spontaneous tone production and +clear diction. A brilliant future was predicted for the young singer. +One critic of renown remarked: "It is a long time since I have heard a +voice so well placed and trained." + +"And who is your teacher?" she was asked. + +"It is Mr. Duval; I owe everything to him. He has really made my voice; +I have never had another teacher and all my success will be due to him," +she answered. + +We at once expressed a desire to meet Mr. Duval and hear from his own +lips how such results were attained. + +A meeting was easily arranged and we arrived at the appointed hour, just +in time to hear one of the brilliant students of this American-French +singing master. + +Mr. Duval is young, slim and lithe of figure, with sensitive, refined +features, which grow very animated as he speaks. He has a rich fund of +humor and an intensity of utterance that at once arrests the listener. +He came forward to greet the visitor with simple cordiality, saying he +was pleased we could hear one of his latest "finds." + +The young tenor was at work on an air from _Tosca_. His rich, vibrant +voice, of large power and range and of real Caruso-like quality, poured +forth with free and natural emission. With what painstaking care this +wise teacher aided him to mold each tone, each phrase, till it attained +the desired effect. Being a singer himself, Mr. Duval is able to show +and demonstrate as well as explain. He does both with the utmost +clearness and with unfailing interest and enthusiasm. Indeed his +interest in each pupil in his charge is unstinted. + +The lesson over, Mr. Duval came over to us. "There is a singer I shall +be proud of," he said. "Several years ago I taught him for a few months, +giving him the principles of voice placement and tone production. This +was in Europe. I had not seen him since then till recently, when +circumstances led him to New York. He never forgot what he had +previously learned with me. He now has a lesson every day and is a most +industrious worker. I believe he has a fortune in that voice. Next +season will see him launched, and he will surely make a sensation." + +"Will you give some idea of the means by which you accomplish such +results?" + +"The means are very simple and natural. So many students are set on the +wrong track by being told to do a multitude of things that are +unnecessary, even positively harmful. For instance, they are required to +sing scales on the vowels, A, E, I, O, U. I only use the vowel Ah, for +exercises, finding the others are not needed, especially excluding E and +U as injurious. Indeed one of the worst things a young voice can do is +to sing scales on E and U, for these contract the muscles of the lips. +Another injurious custom is to sing long, sustained tones in the +beginning. This I do not permit. + +"After telling you the things I forbid, I must enlighten you as to our +plan of study. + +"The secret of correct tone emission is entire relaxation of the lips. I +tell the pupil, the beginner, at the first lesson, to sing the vowel Ah +as loudly and as deeply as possible, thinking constantly of relaxed lips +and loose lower jaw. Ah is the most natural vowel and was used +exclusively in the old Italian school of Bel Canto. Long sustained tones +are too difficult. One should sing medium fast scales at first. If we +begin with the long sustained tone, the young singer is sure to hold the +voice in his throat, or if he lets go, a tremolo will result. Either a +throaty, stiff tone or a tremolo will result from practicing the single +sustained tone. + +"Singing pianissimo in the beginning is another fallacy. This is one of +the most difficult accomplishments and should be reserved for a later +period of development. + +"The young singer adds to scales various intervals, sung twice in a +breath, beginning, not at the extreme of the lower voice, but carried up +as high as he can comfortably reach. I believe in teaching high tones +early, and in showing the pupil how to produce the head voice. Not that +I am a high tone specialist," he added smiling, "for I do not sacrifice +any part of the voice to secure the upper notes. But after all it is the +high portion of the voice that requires the most study, and that is +where so many singers fail. + +"The young student practices these first exercises, and others, two half +hours daily, at least two hours after eating, and comes to me three +times a week. I suggest she rest one day in each week, during which she +need not sing at all, but studies other subjects connected with her art. +As the weeks go by, the voice, through relaxed lips and throat and +careful training, grows richer and more plentiful. One can almost note +its development from day to day. + + +WORDS IN THE VOICE + +"When the time comes to use words, the important thing is to put _the +words in the voice, not the voice in the words_, to quote Juliani, the +great teacher, with whom I was associated in Paris. More voices have +been ruined by the stiff, exaggerated use of the lips in pronouncing, +than in any other way. When we put the words in the voice, in an easy, +natural way, we have bel canto. + +"Another thing absolutely necessary is breath support. Hold up the +breath high in the body, for high tones, though always with the throat +relaxed. This point is not nearly enough insisted upon by teachers of +singing. + +"The points I have mentioned already prove that a vocal teacher who +desires the best results in his work with others, must know how to sing +himself; he should have had wide experience in concert and opera before +attempting to lead others along these difficult paths. Because a man can +play the organ and piano and has accompanied singers is not the +slightest cause for thinking he can train voices in the art of song. I +have no wish to speak against so-called teachers of singing, but say +this in the interests of unsuspecting students. + +"It is impossible," continued Mr. Duval, "to put the whole method of +vocal training into a few sentences. The student advances gradually and +naturally, but surely, from the beginnings I have indicated, to the +trill, the pizzicati, to more rapid scales, to learning the attack, and +so on. Of course diction plays a large part in the singer's development. +With the first song the student learns to put other vowels in the same +voice with which the exercises on Ah have been sung, and to have them +all of the same size, easily and loosely pronounced. Never permit the +pronunciation to be too broad for the voice. The pronunciation should +never be mouthed, but should flow into the stream of the breath without +causing a ripple. This is bel canto! + +"In teaching I advise two pupils sharing the hour, for while one is +singing the other can rest the voice and observe what is being taught. +It is too fatiguing to a young voice to expect it to work a full half +hour without rest. + +"I was teaching in my Paris studio for a number of months after the war +started, before coming to America. It is my intention, in future, to +divide my time between New York and Paris. I like teaching in the French +capital for the reason I can bring out my pupils in opera there. I am +also pleased to teach in my own land, for the pleasant connections I +have made here, and for the fresh, young American voices which come to +me to be trained." + + +VOCAL MASTERY + +"What is Vocal Mastery? There are so many kinds! Every great artist has +his own peculiar manner of accomplishing results--his own vocal mastery. +Patti had one kind, Maurel another, Lehmann still another. Caruso also +may be considered to have his own vocal mastery, inasmuch as he commands +a vocal technic which enables him to interpret any role that lies within +his power and range. The greatest singer of to-day, Shalyapin, has also +his individual vocal mastery, closely resembling the sort that enabled +Maurel to run such a gamut of emotions with such astonishing command and +resource. + +"In fine, as every great artist is different from his compeers, there +can be no fixed and fast standard of vocal mastery, except the mastery +of doing a great thing convincingly." + + + + +XXVII + +=THE CODA= + +A RESUME + + +The student, seeking light on the many problems of vocal technic, the +training for concert and opera, how to get started in the profession, +and kindred subjects of vital importance, has doubtless found, in the +foregoing talks a rich fund of help and suggestion. It is from such high +sources that a few words of personal experience and advice, have often +proved to be to the young singer a beacon light, showing what to avoid +and what to follow. It were well to gather up these strands of +suggestion from great artists and weave them into a strong bulwark of +precept and example, so that the student may be kept within the narrow +path of sound doctrine and high endeavor. + +At the very outset, two points must be borne in mind: + +1. Each and every voice and mentality is individual. + +2. The artist has become a law unto himself; it is not possible for him +to make rules for others. + +First, as to difference in voices. When it is considered that the human +instrument, unlike any fabricated by the hand of man, is a purely +personal instrument, subject to endless variation through variety in +formation of mouth and throat cavities, also physical conditions of the +anatomy, it is no cause for wonder that the human instrument should +differ in each individual. Then think of all sorts and conditions of +mentality, environment, ambitions and ideals. It is a self evident fact +that the vocal instrument must be a part of each person, of whom there +are "no two alike." + +Artists in general have strongly expressed themselves on this point: +most of them agree with Galli-Curci, when she says: "There are as many +kinds of voices as there are persons; therefore it seems to me each +voice should be treated in the manner best suited to its possessor." +"Singing is such an individual thing, after all," says Anna Case; "it is +a part of one's very self." "Each person has a different mentality and a +different kind of voice," says Martinelli; "indeed there are as many +qualities of voice as there are people." + +Granting, then, that there are no two voices and personalities in the +world, exactly alike, it follows, as a natural conclusion, that the +renowned vocalist, who has won his or her way from the beginning up to +fame and fortune, realizes that her instrument and her manner of +training and handling it are peculiarly personal. As she has won success +through certain means and methods, she considers those means belong to +her, in the sense that they especially suit her particular instrument. +She is then a law unto herself and is unwilling to lay down any laws for +others. Geraldine Farrar does not imply there is only one right way to +train the voice, and she has found that way. In speaking of her method +of study, she says: "These things seem best for my voice, and this is +the way I work. But, since each voice is different, my ways might not +suit any one else. I have no desire to lay down rules for others; I can +only speak of my own experience." + +Galli-Curci says: "The singer who understands her business must know +just how she produces tones and vocal effects. She can then do them at +all times, even under adverse circumstances, when nervous or not in the +mood. I have developed the voice and trained it in the way that seemed +to me best for it. How can any other person tell you how that is to be +done?" + +"It rests with the singer what she will do with her voice--how she will +develop it," remarks Mme. Homer. Martinelli says: "The voice is a hidden +instrument and eventually its fate must rest with its possessor. After +general principles are understood, a singer must work them out according +to his ability." Florence Easton remarks: "Each singer who has risen, +who has found herself, knows by what path she climbed, but the path she +found might not do for another." + +Instead of considering this reticence on the part of the successful +singer, to explain the ways and means which enabled him to reach +success, in the light of a selfish withholding of advice which would +benefit the young student, we rather look upon it as a worthy and +conscientious desire not to lead any one into paths which might not be +best for his or her instrument. + +In the beginning the student needs advice from an expert master, and is +greatly benefited by knowing how the great singers have achieved. Later +on, when principles have become thoroughly understood, the young singers +learn what is best for their own voices; they, too, become a law unto +themselves, capable of continuing the development of their own voices in +the manner best suited to this most individual of all instruments. + + +AMERICAN VOICES + +We often hear slighting things said of the quality of American voices, +especially the speaking voice. They are frequently compared to the +beauty of European voices, to the disparagement of those of our own +country. Remembering the obloquy cast upon the American voice, it is a +pleasure to record the views of some of the great singers on this point. +"There are quantities of girls in America with good voices, good looks +and a love for music," asserts Mme. Easton. Mme. Hempel says: "I find +there are quantities of lovely voices here in America. The quality of +the American female voice is beautiful; in no country is it finer, not +even in Italy." Herbert Witherspoon, who has such wonderful experience +in training voices, states: "We ought to have our own standards in +judging American voices; until we do so, we will be constantly comparing +them with the voices of foreign singers. The quality of the American +voice is different from the quality found in the voices of other +countries. To my mind, the best women's voices are found right here in +our midst." And he adds: "Any one can sing beautifully who does so with +ease and naturalness, the American just as well as those of any other +country. In fact I consider American voices, in general, better trained +than those of Italy, Germany or France. The Italian, in particular, has +very little knowledge of the scientific side; he usually sings by +intuition." + + +AMERICAN VOICE TEACHERS + +If this be accepted, that American voices are better trained than those +of other countries, and there is no reason to doubt the statement of +masters of such standing, it follows there must be competent instructors +in the art of song right in our own land. Mme. Easton agrees with this. +"There are plenty of good vocal teachers in America," she says, "not +only in New York City, but in other large cities of this great country. +There is always the problem, however, of securing just the right kind of +a teacher. For a teacher may be excellent for one voice but not for +another." Morgan Kingston asserts: "There is no need for an American to +go out of his own country for vocal instruction or languages; all can be +learned right here at home. I am a living proof of this. What I have +done others can do." "You have excellent vocal teachers right here in +America," says Mme. Hempel. Then she marvels, that with all these +advantages at her door, there are not more American girls who make good. +She lays it to the fact that our girls try to combine a social life with +their musical studies, to the great detriment of the latter. + + +ARE AMERICAN VOCAL STUDENTS SUPERFICIAL? + +It is doubtless a great temptation to the American girl who possesses a +voice and good looks, who is a favorite socially, to neglect her studies +at times, for social gaiety. She is in such haste to make something of +herself, to get where she can earn a little with her voice; yet by +yielding to other calls she defeats the very purpose for which she is +striving by a lowered ideal of her art. Let us see how the artists and +teachers view this state of things. Lehmann says: + +"The trouble with American girls is they are always in a hurry. They are +not content to sit down quietly and study till they have developed +themselves into something before they ever think of coming to Europe. +They think if they can only come over here and sing for an artist, that +fact alone will give them prestige in America. With us American girls +are too often looked upon as superficial because they come over here +quite unprepared. I say to them: Go home and study; there are plenty of +good teachers of voice and piano in your own land. Then, when you can +_sing_, come here if you wish." + +Frieda Hempel speaks from close observation when she says: "Here in +America, girls do not realize the amount of labor and sacrifice +involved, or they might not be so eager to enter upon a musical career. +They are too much taken up with teas, parties, and social functions to +have sufficient time to devote to vocal study and to all that goes with +it. In order to study all the subjects required, the girl with a voice +must be willing to give most of her day to work. This means sacrificing +the social side, and being willing to throw herself heart and soul into +the business of adequately preparing herself for her career." + + +THE VOCAL STUDENT MUST NOT BE AFRAID TO WORK + +In the words of Caruso's message to vocal students, they must be willing +"to work--to work always--and to sacrifice." But Geraldine Farrar does +not consider this in the light of sacrifice. Her message to the young +singer is: + +"Stick to your work and study systematically, whole-heartedly. If you do +not love your work enough to give it your best thought, to make +sacrifices for it, then there is something wrong with you. Better choose +some other line of work, to which you can give undivided attention and +devotion. For music requires both. As for sacrifices, they really do not +exist, if they promote the thing you honestly love most. You must never +stop studying, for there is always so much to learn." "I have developed +my voice through arduous toil," to quote Mme. Galli-Curci. Raisa says: +"One cannot expect to succeed in the profession of music without giving +one's best time and thought to the work of vocal training and all the +other subjects that go with it. A man in business gives his day, or the +most of it, to his office. My time is devoted to my art, and indeed I +have not any too much time to study all the necessary sides of it." + +"I am always studying, always striving to improve what I have already +learned and trying to acquire the things I find difficult, or have not +yet attained to," testifies Mme. Homer. + + +THE REQUIREMENTS FOR A VOCAL CAREER + +Those who have been through the necessary drudgery and struggle and have +won out, should be able to give an authoritative answer to this all +important question. They know what they started with, what any singer +must possess at the beginning, and what she must acquire. + +Naturally the singer must have a voice, for there is no use trying to +cultivate something which does not exist. All artists subscribe to this. +They also affirm she should have good looks, a love for music and a +musical nature. Let us hear from Mme. Homer on this subject. + +"1. Voice, first of all. 2. Intelligence; for intelligence controls, +directs, shines through and illumines everything. What can be done +without it? 3. Musical nature. 4. Capacity for Work. Without +application, the gifts of voice, intelligence and a musical nature will +not make an artist. 5. A cheerful optimism, which refuses to yield to +discouragement. 6. Patience. It is only with patient striving, doing the +daily vocal task, and trying to do it each day a little better than the +day before, that anything worth while is accomplished. The student must +have unlimited patience to labor and wait for results." + +Mr. Witherspoon states, that students coming to him must possess "Voice, +to begin with; youth, good looks, musical intelligence and application. +If the candidate possess these requisites, we begin to work." Anna Case +answers the question as to the vital requisites necessary to become a +singer: "Brains, Personality, Voice." + +Quotations could be multiplied to prove that all artists fully concur +with those already mentioned. There must be a promising voice to +cultivate, youth, good looks, (for a public career) and the utmost +devotion to work. + + +WHAT BRANCHES OF STUDY MUST BE TAKEN UP? + +All agree there are many other subjects to study besides singing; that +alone is far from sufficient. Edward Johnson says: "Singing itself is +only a part, perhaps the smaller part of one's equipment. If opera be +the goal, there are languages, acting, make up, impersonation, +interpretation, how to walk, all to be added to piano, harmony and +languages. The most important of all is a musical education." + +Most of the great singers have emphatically expressed themselves in +favor of piano study. Indeed, many were pianists in the beginning, +before they began to develop the voice. Among those who had this +training are: Galli-Curci, Lehmann, Raisa, D'Alvarez, Barrientos, +Braslau, Case. Miss Braslau says: "I am so grateful for my knowledge of +the piano and its literature; it is the greatest help to me now. To my +thinking all children should have piano lessons; the cost is trifling +compared with the benefits they receive. They should be made to study, +whether they wish it or not, for they do not know what is best for +them." + +Mme. Raisa says: "There are so many sides to the singer's equipment +besides singing itself. The piano is a necessity; the singer is greatly +handicapped without a knowledge of that instrument, for it not only +provides accompaniment but cultivates musical sense." "The vocal student +should study piano as well as languages," asserts Mme. Homer; "both are +the essentials. Not that she need strive to become a pianist; that would +not be possible if she is destined to be a singer. But the more she +knows of the piano and its literature, the more this will cultivate her +musical sense and develop her taste." + +Florence Easton is even more emphatic. "If a girl is fond of music, let +her first study the piano, for a knowledge of the piano and its music is +at the bottom of everything. All children should have this opportunity, +whether they desire it or not. The child who early begins to study +piano, will often unconsciously follow the melody with her voice. Thus +the love of song is awakened in her, and a little later it is discovered +she has a voice worth cultivating." + +On the subject of languages, artists are equally specific. Languages are +an absolute necessity, beginning with one's mother tongue. The student +should not imagine that because he is born to the English language, it +does not require careful study. Galli-Curci remarks: "The singer can +always be considered fortunate who has been brought up to more than one +language. I learned Spanish and Italian at home. In school I learned +French, German and English, not only a little smattering of each, but +how to write and speak them." + +Rosa Raisa speaks eight languages, according to her personal statement. +Russian, of course, as she is Russian, then French, Italian, German, +Spanish, Polish, Roumanian and English. + +"The duty is laid upon Americans to study other languages, if they +expect to sing," says Florence Easton. "I know how often this study is +neglected by the student. It is only another phase of that haste which +is characteristic of the young student and singer." + + +BREATH CONTROL + +Following the subject of requirements for a vocal career, let us get +right down to the technical side, and review the ideas of artists on +Breath Control, How to Practice, What are the Necessary Exercises, What +Vowels Should be Used, and so on. + +All admit that the subject of Breath Control is perhaps the most +important of all. Lehmann says: "I practice many breathing exercises +without using tone. Breath becomes voice through effort of will and by +use of vocal organs. When singing, emit the smallest quantity of breath. +Vocal chords are breath regulators; relieve them of all overwork." + +Mme. Galli-Curci remarks: "Perhaps, in vocal mastery, the greatest +factor of all is the breathing. To control the breath is what each +student is striving to learn, what every singer endeavors to perfect, +what every artist should master. It is an almost endless study and an +individual one, because each organism and mentality is different." + +Marguerite d'Alvarez: "In handling and training the voice, breathing is +perhaps the most vital thing to be considered. To some breath control +seems second nature; others must toil for it. With me it is intuition. +Breathing is such an individual thing. With each person it is different, +for no two people breathe in just the same way." + +Claudia Muzio: "Every singer knows how important is the management of +breath. I always hold up the chest, taking as deep breaths as I can +conveniently. The power to hold the breath and sing more and more tones +with one breath, grows with careful, intelligent practice." + +Frieda Hempel: "The very first thing for a singer to consider is breath +control--always the breathing, the breathing. She thinks of it morning, +noon and night. Even before rising in the morning she has it on her +mind, and may do a few little stunts while still reclining. Then, before +beginning vocal technic in the morning, she goes through a series of +breathing exercises." + +David Bispham: "Correct breath control must be carefully studied and is +the result of understanding and experience. When the manner of taking +breath and the way to develop the diaphragm and abdominal muscles, is +understood, that is only a beginning. Management of the breath is an art +in itself. The singer must know what to do with the breath once he has +taken it in, or he may let it out in quarts when he opens his mouth. He +learns how much he needs for each phrase; he learns how to conserve the +breath." + +Oscar Saenger: "The management of the breath is a most important factor, +as the life of the tone depends on a continuance of the breath. The +student must cultivate the power of quickly inhaling a full breath, and +exhaling it so gradually that she can sing a phrase lasting from ten to +twenty seconds. This needs months of arduous practice. In all breathing, +inhale through the nose." + +Yeatman Griffith: "Breath control is indeed a vital need, but should not +be made a bugbear to be greatly feared. Most students make breathing and +breath control a difficult matter, when it should be a natural and easy +act. They do not need the large amount of breath they imagine they do, +for a much smaller quantity will suffice. When you open the lips after a +full, natural breath, do not let the breath escape; the vocal chords +will make the tone, if you understand how to make a perfect start." + + +SPECIFIC EXERCISES + +Great singers are chary of giving out vocal exercises which they have +discovered, evolved, or have used so constantly as to consider them a +part of their own personal equipment, for reasons stated earlier in this +chapter. However, a few artists have indicated certain forms which they +use. Mme. d'Alvarez remarks: "When I begin to study in the morning, I +give the voice what I call a massage. This consists of humming +exercises, with closed lips. Humming is the sunshine of the voice. One +exercise is a short figure of four consecutive notes of the diatonic +scale, ascending and descending several times; on each repetition of the +group of phrases, the new set begins on the next higher note of the +scale. This exercise brings the tone fully forward." + +Lehmann counsels the young voice to begin in the middle and work both +ways. Begin single tones piano, make a long crescendo and return to +piano. Another exercise employs two connecting half tones, using one or +two vowels. During practice stand before a mirror. + +Raisa assures us she works at technic every day. "Vocalizes, scales, +broken thirds, long, slow tones in mezza di voce--that is beginning +softly, swelling to loud, then diminuendo to soft, are part of the daily +regime." Farrar works on scales and single tones daily. Muzio says: "I +sing all the scales, one octave each, once slow and once fast--all in +one breath. Then I sing triplets on each tone, as many as I can in one +breath. Another exercise is to take one tone softly, then go to the +octave above; this tone is always sung softly, but there is a large +crescendo between the two soft tones." Kingston says: "As for technical +material, I have never used a great quantity. I do scales and vocalizes +each day. I also make daily use of about a dozen exercises by Rubini. +Beyond these I make technical exercises out of the pieces." De Luca +sings scales in full power, then each tone alone, softly, then swelling +to full strength and dying away. Bispham: "I give many vocalizes and +exercises, which I invent to fit the need of each student. They are not +written down, simply remembered. I also make exercises out of familiar +tunes or themes from opera. Thus, while the student is studying technic, +he is acquiring much beautiful material." + +Oscar Saenger: "We begin by uniting two tones smoothly and evenly, then +three in the same way; afterwards four and five. Then the scale of one +octave. Arpeggios are also most important. The trill is the most +difficult of all vocal exercises. We begin with quarter notes, then +eighths and sixteenths. The trill is taken on each tone of the voice, in +major seconds." Werrenrath: "I do a lot of gymnastics each day, to +exercise the voice and limber up the anatomy. These act as a massage for +the voice; they are in the nature of humming, mingled with grunts, +calls, exclamations, shouts, and many kinds of sounds. They put the +voice in condition, so there is no need for all these other exercises +which most singers find so essential to their vocal well being." + +Duval asserts: "Long, sustained tones are too difficult for the young +voice. One should sing medium fast scales at first." + + +LENGTH OF TIME FOR DAILY PRACTICE + +It may be helpful to know about how much time the artists devote to +daily study, especially to technical practice. It is understood all +great singers work on vocalizes and technical material daily. + +Caruso is a constant worker. Two or three hours in the forenoon, and +several more later in the day, whenever possible. Farrar devotes between +one and two hours daily to vocalizes, scales and tone study, Lehmann +counsels one hour daily on technic. Galli-Curci gives a half hour or so +to vocalizes and scales every morning. Martinelli practices exercises +and vocalizes one hour each morning; then another hour on repertoire. In +the afternoon an hour more--three hours daily. Easton says: "It seems to +me a young singer should not practice more than an hour a day, at most, +beginning with two periods of fifteen or twenty minutes each." Anna Case +says: "I never practice when I am tired, for then it does more harm than +good. One must be in good condition to make good tones. I can study and +not sing at all, for the work is all mental anyway." Muzio states she +gives practically her whole day to study, dividing it into short +periods, with rest between. + +Frieda Hempel says: "I do about two hours or more, though not all of +this for technic. I approve of a good deal of technical study, taken in +small doses of ten to fifteen minutes at a time. Technic is a means to +an end, more in the art of song than in almost any other form of art. +Technic is the background of expressive singing." + +Sophie Braslau is an incessant worker,--"at least six hours a day. Of +these I actually sing three hours. The first hour to memory work on +repertoire. The second hour to vocalizes. The rest of the time is given +to repertoire and the things that belong to it." Barrientos states she +gives about three-quarters of an hour to vocal technic--scales and +exercises--each day. Duval advises the young student to practice two +half hours daily, two hours after eating, and rest the voice one day +each week, during which she studies other subjects connected with her +art. Oscar Saenger says: "One should practice in fifteen-minute periods, +and rest at least ten minutes between. Sing only two hours a day, one in +the morning and one in afternoon." + + +WHAT VOWELS TO USE + +There seems a divergence of opinion as to what vowels are most +beneficial in technical practice and study. Galli-Curci says: "In my own +study I use them all, though some are more valuable than others. The Ah +is the most difficult of all. The O is good; E needs great care. I have +found the best way is to use mixed vowels, one melting into the other. +The tone can be started with each vowel in turn, then mingled with the +rest of the vowels." Mme. d'Alvarez often starts the tone with Ah, which +melts into O and later changes to U, as the tone dies away. Bispham has +the student use various vowel syllables, as: Lah, Mah, May, and Mi. With +Oscar Saenger the pupil in early stages at least, uses Ah for vocalizes. +Duval requires students to use the vowel Ah, for exercises and scales, +finding the others are not needed, especially excluding E and U as +injurious. Griffith uses each vowel in turn, preceded by all the +consonants of the alphabet, one after another. + + +HALF OR FULL VOICE? + +Shall the young singer practice with half or full voice seems a matter +depending on one's individual attainments. De Luca uses full power +during practice, while Raisa sings softly, or with medium, tone, during +study hours, except occasionally when she wishes to try out certain +effects. Martinelli states he always practices with full voice, as with +half voice he would not derive the needed benefit. Mme. Easton admits +she does not, as a rule, use full voice when at work; but adds, this +admission might prove injurious to the young singer, for half voice +might result in faulty tone production. Anna Case says when at work on +a song in her music room, she sings it with the same power as she would +before an audience. She has not two ways of doing it, one for a small +room and another for a large one. Mr. Duval advises the young pupil to +sing tones as loudly and deeply as possible. Singing pianissimo is +another fallacy for a young voice. This is one of the most difficult +accomplishments, and should be reserved for a later period. Oscar +Saenger: "The tone should be free, round and full, but not loud." + + +HEARING YOURSELF + +Does the singer really hear himself is a question which has been put to +nearly every artist. Many answered in a comparative negative, though +with qualifications. Miss Farrar said: + +"No, I do not actually hear my voice, except in a general way, but we +learn to know the sensations produced in throat, head, face, lips and +other parts of the anatomy, which vibrate in a certain manner to correct +tone production. We learn the _feeling_ of the tone." "I can tell just +how I am singing a tone or phrase," says De Luca, "by the feeling and +sensation; for of course I cannot hear the full effect; no singer can +really hear the effect of his work, except on the records." "The singer +must judge so much from sensation, for she cannot very well hear +herself, that is, she cannot tell the full effect of what she is doing," +says Anna Case. Mr. Witherspoon says: "The singer of course hears +himself and with study learns to hear himself better. The singer should +depend more on hearing the sound he makes than on feeling the sound. In +other words, train the _ear_, the court of ultimate resort, and the only +judge, and forget sensation as much as possible, for the latter leads to +a million confusions." + + +VOCAL MASTERY, FROM THE ARTISTS' VIEWPOINT + +Farrar: "A thing that is mastered must be really perfect. To master +vocal art, the singer must have so developed his voice that it is under +complete control; then he can do with it what he wishes. He must be able +to produce all he desires of power, pianissimo, accent, shading, +delicacy and variety of color." + +Galli-Curci: "To sum up: the three requirements of vocal mastery are: +Management of the Larynx; Relaxation of the Diaphragm; Control of the +Breath. To these might be added a fourth: Mixed Vowels. But when these +are mastered, what then? Ah, so much more it can never be put into +words. It is self-expression through the medium of tone, for tone must +always be a vital part of the singer's individuality, colored by feeling +and emotion. To perfect one's own instrument, must always be the +singer's joy and satisfaction." + +Raisa: "If I have developed perfect control throughout the two and a +half octaves of my voice, can make each tone with pure quality and +perfect evenness in the different degrees of loud and soft, and if I +have perfect breath control as well, I then have an equipment that may +serve all purposes of interpretation. For together with vocal mastery +must go the art of interpretation, in which all the mastery of the vocal +equipment may find expression. In order to interpret adequately one +ought to possess a perfect instrument, perfectly trained. When this is +the case one can forget mechanism, because confident of the ability to +express any desired emotion." + +Homer: "The singer must master all difficulties of technic, of tone +production in order to be able to express the thought of the composer, +and the meaning of the music." + +Werrenrath: "I can answer the question in one word--Disregard. For if +you have complete control of your anatomy and such command of your +vocal resources that they will always do their work; that they can be +depended on to act perfectly, then you can disregard mechanism and think +only of the interpretation--only of your vocal message. Then you have +conquered the material and have attained Vocal Mastery." + +Kingston: "Vocal Mastery includes so many things. First and foremost, +vocal technic. One must have an excellent technic before one can hope to +sing even moderately well. Technic furnishes the tool with which the +singer creates his vocal art work. Then the singer must work on his +moral nature so that he shall express the beautiful and pure in music. +Until I have thus prepared myself, I am not doing my whole duty to +myself, my art or to my neighbor." + +Griffith: "Vocal Mastery is acquired through correct understanding of +what constitutes pure vowel sounds, and such control of the breath as +will enable one to convert every atom of breath into singing tone. This +establishes correct action of the vocal chords and puts the singer in +possession of the various tints of the voice. + +"When the vocal chords are allowed to produce pure vowels, correct +action is the result, and with proper breath support, Vocal Mastery can +be assured." + +Duval: "What is Vocal Mastery? Every great artist has his own peculiar +manner of accomplishing results--has his own vocal mastery. Patti had +one kind, Maurel another, Lehmann still another. Caruso may also be said +to have his own vocal mastery. + +"In fine, as every great artist is different from his compeers, there +can be no fixed and fast standard of vocal mastery, except the mastery +of doing a great thing greatly and convincingly." + + +THE END + + + + + + + +End of the Project Gutenberg EBook of Vocal Mastery, by Harriette Brower + +*** END OF THIS PROJECT GUTENBERG EBOOK VOCAL MASTERY *** + +***** This file should be named 15446.txt or 15446.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/1/5/4/4/15446/ + +Produced by Chuck Greif and the Online Distributed +Proofreading Team (https://www.pgdp.net). + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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