diff options
Diffstat (limited to '15446-h')
| -rw-r--r-- | 15446-h/15446-h.htm | 6087 | ||||
| -rw-r--r-- | 15446-h/images/0001-1.png | bin | 0 -> 96652 bytes | |||
| -rw-r--r-- | 15446-h/images/0001-2.png | bin | 0 -> 27722 bytes | |||
| -rw-r--r-- | 15446-h/images/0020-1.png | bin | 0 -> 88592 bytes | |||
| -rw-r--r-- | 15446-h/images/0036-1.png | bin | 0 -> 98379 bytes | |||
| -rw-r--r-- | 15446-h/images/0062-1.png | bin | 0 -> 102281 bytes | |||
| -rw-r--r-- | 15446-h/images/0076-1.png | bin | 0 -> 107316 bytes | |||
| -rw-r--r-- | 15446-h/images/0076-2.png | bin | 0 -> 13947 bytes | |||
| -rw-r--r-- | 15446-h/images/0088-1.png | bin | 0 -> 113028 bytes | |||
| -rw-r--r-- | 15446-h/images/0100-1.png | bin | 0 -> 99958 bytes | |||
| -rw-r--r-- | 15446-h/images/0100-2.png | bin | 0 -> 16397 bytes | |||
| -rw-r--r-- | 15446-h/images/0110-1.png | bin | 0 -> 98259 bytes | |||
| -rw-r--r-- | 15446-h/images/0122-1.png | bin | 0 -> 101925 bytes | |||
| -rw-r--r-- | 15446-h/images/0136-1.png | bin | 0 -> 104943 bytes | |||
| -rw-r--r-- | 15446-h/images/0146-1.png | bin | 0 -> 106951 bytes | |||
| -rw-r--r-- | 15446-h/images/0158-1.png | bin | 0 -> 103653 bytes | |||
| -rw-r--r-- | 15446-h/images/0172-1.png | bin | 0 -> 96708 bytes | |||
| -rw-r--r-- | 15446-h/images/0182-1.png | bin | 0 -> 99952 bytes | |||
| -rw-r--r-- | 15446-h/images/0192-1.png | bin | 0 -> 101026 bytes | |||
| -rw-r--r-- | 15446-h/images/0204-1.png | bin | 0 -> 102062 bytes | |||
| -rw-r--r-- | 15446-h/images/0216-1.png | bin | 0 -> 90327 bytes | |||
| -rw-r--r-- | 15446-h/images/0228-1.png | bin | 0 -> 100628 bytes | |||
| -rw-r--r-- | 15446-h/images/0238-1.png | bin | 0 -> 109605 bytes | |||
| -rw-r--r-- | 15446-h/images/0248-1.png | bin | 0 -> 95900 bytes |
24 files changed, 6087 insertions, 0 deletions
diff --git a/15446-h/15446-h.htm b/15446-h/15446-h.htm new file mode 100644 index 0000000..7c99de2 --- /dev/null +++ b/15446-h/15446-h.htm @@ -0,0 +1,6087 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Transitional//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-transitional.dtd"> +<html xmlns="http://www.w3.org/1999/xhtml"> + <head> + <meta http-equiv="Content-Type" content="text/html; charset=iso-8859-1" /> + <meta name="generator" content="HTML Tidy for Linux/x86 (vers 1st November 2002), see www.w3.org" /> + <title>The Project Gutenberg eBook of Vocal Mastery, by Harriette Brower.</title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + p { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + } + h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; + } + hr { width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + } + body{margin-left: 10%; + margin-right: 10%; + } + div.centered {text-align: center;} /* work around for IE centering with CSS problem part 1 */ + div.centered table {margin-left: auto; margin-right: auto; text-align: left;} /* work around for IE centering with CSS problem part 2 */ + + .blockquot{margin-left: 5%; margin-right: 10%;} + .bbox {border: solid 2px;} + .center {text-align: center;} + .smcap {font-variant: small-caps;} + .figcenter {margin: auto; text-align: center;} + .fnanchor {vertical-align: super; font-size: .8em; text-decoration: none;} +span.pagenum {position: absolute; left: 91%; right: 1%; + font-size: 8pt;} +tr td {padding-bottom: .5em; padding-top: .5em} + // --> + /* XML end ]]>*/ + </style> + </head> + <body> + + +<pre> + +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). + + + + + + +</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. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +https://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +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 + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at https://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit https://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart was the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + + +</pre> + + </body> +</html> + + + diff --git a/15446-h/images/0001-1.png b/15446-h/images/0001-1.png Binary files differnew file mode 100644 index 0000000..6e0ba1a --- /dev/null +++ b/15446-h/images/0001-1.png diff --git a/15446-h/images/0001-2.png b/15446-h/images/0001-2.png Binary files differnew file mode 100644 index 0000000..e76e887 --- /dev/null +++ b/15446-h/images/0001-2.png diff --git a/15446-h/images/0020-1.png b/15446-h/images/0020-1.png Binary files differnew file mode 100644 index 0000000..66f097e --- /dev/null +++ b/15446-h/images/0020-1.png diff --git a/15446-h/images/0036-1.png b/15446-h/images/0036-1.png Binary files differnew file mode 100644 index 0000000..2c1ae17 --- /dev/null +++ b/15446-h/images/0036-1.png diff --git a/15446-h/images/0062-1.png b/15446-h/images/0062-1.png Binary files differnew file mode 100644 index 0000000..be91dea --- /dev/null +++ b/15446-h/images/0062-1.png diff --git a/15446-h/images/0076-1.png b/15446-h/images/0076-1.png Binary files differnew file mode 100644 index 0000000..4345a33 --- /dev/null +++ b/15446-h/images/0076-1.png diff --git a/15446-h/images/0076-2.png b/15446-h/images/0076-2.png Binary files differnew file mode 100644 index 0000000..ce7e360 --- /dev/null +++ b/15446-h/images/0076-2.png diff --git a/15446-h/images/0088-1.png b/15446-h/images/0088-1.png Binary files differnew file mode 100644 index 0000000..3b3dfbf --- /dev/null +++ b/15446-h/images/0088-1.png diff --git a/15446-h/images/0100-1.png b/15446-h/images/0100-1.png Binary files differnew file mode 100644 index 0000000..0117c83 --- /dev/null +++ b/15446-h/images/0100-1.png diff --git a/15446-h/images/0100-2.png b/15446-h/images/0100-2.png Binary files differnew file mode 100644 index 0000000..c3dd2d7 --- /dev/null +++ b/15446-h/images/0100-2.png diff --git a/15446-h/images/0110-1.png b/15446-h/images/0110-1.png Binary files differnew file mode 100644 index 0000000..7c8b8ce --- /dev/null +++ b/15446-h/images/0110-1.png diff --git a/15446-h/images/0122-1.png b/15446-h/images/0122-1.png Binary files differnew file mode 100644 index 0000000..77077ee --- /dev/null +++ b/15446-h/images/0122-1.png diff --git a/15446-h/images/0136-1.png b/15446-h/images/0136-1.png Binary files differnew file mode 100644 index 0000000..046f3e0 --- /dev/null +++ b/15446-h/images/0136-1.png diff --git a/15446-h/images/0146-1.png b/15446-h/images/0146-1.png Binary files differnew file mode 100644 index 0000000..477e4d0 --- /dev/null +++ b/15446-h/images/0146-1.png diff --git a/15446-h/images/0158-1.png b/15446-h/images/0158-1.png Binary files differnew file mode 100644 index 0000000..33cb1ff --- /dev/null +++ b/15446-h/images/0158-1.png diff --git a/15446-h/images/0172-1.png b/15446-h/images/0172-1.png Binary files differnew file mode 100644 index 0000000..2fbcee0 --- /dev/null +++ b/15446-h/images/0172-1.png diff --git a/15446-h/images/0182-1.png b/15446-h/images/0182-1.png Binary files differnew file mode 100644 index 0000000..3f70f6d --- /dev/null +++ b/15446-h/images/0182-1.png diff --git a/15446-h/images/0192-1.png b/15446-h/images/0192-1.png Binary files differnew file mode 100644 index 0000000..0da107b --- /dev/null +++ b/15446-h/images/0192-1.png diff --git a/15446-h/images/0204-1.png b/15446-h/images/0204-1.png Binary files differnew file mode 100644 index 0000000..e3d5dbb --- /dev/null +++ b/15446-h/images/0204-1.png diff --git a/15446-h/images/0216-1.png b/15446-h/images/0216-1.png Binary files differnew file mode 100644 index 0000000..a43b88f --- /dev/null +++ b/15446-h/images/0216-1.png diff --git a/15446-h/images/0228-1.png b/15446-h/images/0228-1.png Binary files differnew file mode 100644 index 0000000..2e75461 --- /dev/null +++ b/15446-h/images/0228-1.png diff --git a/15446-h/images/0238-1.png b/15446-h/images/0238-1.png Binary files differnew file mode 100644 index 0000000..76b9f92 --- /dev/null +++ b/15446-h/images/0238-1.png diff --git a/15446-h/images/0248-1.png b/15446-h/images/0248-1.png Binary files differnew file mode 100644 index 0000000..5cc4444 --- /dev/null +++ b/15446-h/images/0248-1.png |
