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+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: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK VOCAL MASTERY ***
+
+
+
+
+Produced by Chuck Greif and the Online Distributed
+Proofreading Team (https://www.pgdp.net).
+
+
+
+
+
+
+[Illustration: To Miss Harriette Brower Very Sincerely Enrico Caruso
+N.Y. 1919]
+
+
+
+
+VOCAL MASTERY
+
+TALKS WITH MASTER SINGERS AND TEACHERS
+
+COMPRISING INTERVIEWS WITH CARUSO, FARRAR, MAUREL, LEHMANN, AND OTHERS
+
+BY
+
+HARRIETTE BROWER
+
+Author of "Piano Mastery, First and Second Series," "Home-Help in Music
+Study," "Self-Help in Piano Study"
+
+WITH TWENTY PORTRAITS
+
+NEW YORK
+
+FREDERICK A. STOKES COMPANY PUBLISHERS
+
+
+1917,
+by OLIVER DITSON COMPANY
+
+1918, 1919,
+by THE MUSICAL OBSERVER COMPANY
+
+1920,
+by FREDERICK A. STOKES COMPANY
+
+
+
+
+FOREWORD
+
+
+It has long been a cherished desire to prepare a series of Talks with
+famous Singers, which should have an equal aim with Talks with Master
+Pianists, namely, to obtain from the artists their personal ideas
+concerning their art and its mastery, and, when possible, some inkling
+as to the methods by which they themselves have arrived at the goal.
+
+There have been unexpected and untold difficulties in the way of such an
+undertaking. The greater the artist the more numerous the body-guard
+which surrounds him--or her; the more stringent the watch over the
+artist's time and movements. If one is able to penetrate this barrier
+and is permitted to see the artist, one finds usually an affable
+gentleman, a charming woman, with simple manners and kindly intentions.
+
+However, when one is fortunate enough to come in touch with great
+singers, one finds it difficult to draw from them a definite idea of the
+process by which they have achieved victory. A pianist can describe his
+manner of tone production, methods of touch, fingering, pedaling; the
+violinist can discourse on the bow arm, use of left hand, on staccato
+and pizzicati; but the singer is loath to describe his own instrument.
+And even if singers could analyze, the description might not fit any
+case but their own. For the art of singing is an individual art, the
+perfecting an instrument hidden from sight. Each artist must achieve
+mastery by overcoming difficulties which beset his own personal path.
+
+Despite these obstacles, every effort has been put forth to induce
+artists to speak from an educational standpoint. It is hoped the various
+hints and precepts they have given, may prove of benefit to singers and
+teachers. Limitations of space prevent the inclusion of many other
+artists and teachers.
+
+HARRIETTE BROWER.
+
+150 West 80 Street, New York City.
+
+
+
+
+
+CONTENTS
+
+
+FOREWORD
+
+ENRICO CARUSO ... The Value of Work
+
+GERALDINE FARRAR ... The Will to Succeed a Compelling Force
+
+VICTOR MAUREL ... Mind Is Everything
+
+A VISIT TO MME. LILLI LEHMANN
+
+AMELITA GALLI-CURCI ... Self-teaching the Great Essential
+
+GIUSEPPE DE LUCA ... Ceaseless Effort Necessary for Artistic Perfection
+
+LUISA TETRAZZINI ... The Coloratura Voice
+
+ANTONIO SCOTTI ... Training American Singers for Opera
+
+ROSA RAISA ... Patience and Perseverance Win Results
+
+LOUISE HOMER ... The Requirements of a Musical Career
+
+GIOVANNI MARTINELLI ... "Let Us Have Plenty of Opera in America"
+
+ANNA CASE ... Inspired Interpretation
+
+FLORENCE EASTON ... Problems Confronting the Young Singer
+
+MARGUERITE D'ALVAREZ ... The Message of the Singer
+
+MARIA BARRIENTOS ... Be Your Own Critic
+
+CLAUDIA MUZIO ... A Child of the Opera
+
+EDWARD JOHNSON (EDOUARDO DI GIOVANNI) ... The Evolution of an Opera Star
+
+REINALD WERRENRATH ... Achieving Success on the Concert Stage
+
+SOPHIE BRASLAU ... Making a Career in America
+
+MORGAN KINGSTON ... The Spiritual Side of the Singer's Art
+
+FRIEDA HEMPEL ... A Lesson with a Prima Donna
+
+
+WITH THE MASTER TEACHERS
+
+DAVID BISPHAM ... The Making of Artist Singers
+
+OSCAR SAENGER ... Use of Records in Vocal Study
+
+HERBERT WITHERSPOON ... Memory, Imagination, Analysis
+
+YEATMAN GRIFFITH ... Causation
+
+J.H. DUVAL ... Some Secrets of Beautiful Singing
+
+THE CODA ... A Resume
+
+
+
+
+ILLUSTRATIONS
+
+Enrico Caruso _Frontispiece_
+
+Geraldine Farrar
+
+Victor Maurel
+
+Amelita Galli-Curci
+
+Giuseppe de Luca
+
+Luisa Tetrazzini
+
+Antonio Scotti
+
+Rosa Raisa
+
+Louise Homer
+
+Giovanni Martinelli
+
+Anna Case
+
+Florence Easton
+
+Marguerite d'Alvarez
+
+Maria Barrientos
+
+Claudia Muzio
+
+Edward Johnson
+
+Reinald Werrenrath
+
+Sophie Braslau
+
+Morgan Kingston
+
+Frieda Hempel
+
+
+
+
+
+
+VOCAL MASTERY
+
+
+
+
+I
+
+=ENRICO CARUSO=
+
+THE VALUE OF WORK
+
+
+Enrico Caruso! The very name itself calls up visions of the greatest
+operatic tenor of the present generation, to those who have both heard
+and seen him in some of his many roles. Or, to those who have only
+listened to his records, again visions of the wonderful voice, with its
+penetrating, vibrant, ringing quality, the impassioned delivery, which
+stamps every note he sings with the hall mark of genius, the tremendous,
+unforgettable climaxes. Not to have heard Caruso sing is to have missed
+something out of life; not to have seen him act in some of his best
+parts is to have missed the inspiration of great acting. As Mr. Huneker
+once wrote: "The artistic career of Caruso is as well known as that of
+any great general or statesman; he is a national figure. He is a great
+artist, and, what is rarer, a genuine man."
+
+And how we have seen his art grow and ripen, since he first began to
+sing for us. The date of his first appearance at the Metropolitan Opera
+House, New York, was November 23rd, 1903. Then the voice was marvelous
+in its freshness and beauty, but histrionic development lagged far
+behind. The singer seemed unable to make us visualize the characters he
+endeavored to portray. It was always Caruso who sang a certain part; we
+could never forget that. But constant study and experience have
+eliminated even this defect, so that to-day the singer and actor are
+justly balanced; both are superlatively great. Can any one who hears and
+sees Caruso in the role of Samson, listen unmoved to the throbbing wail
+of that glorious voice and the unutterable woe of the blind man's
+poignant impersonation?
+
+
+IN EARLY DAYS
+
+Enrico Caruso was born in Naples, the youngest of nineteen children. His
+father was an engineer and the boy was taught the trade in his father's
+shop, and was expected to follow in his father's footsteps. But destiny
+decreed otherwise. As he himself said, to one listener:
+
+"I had always sung as far back as I can remember, for the pure love of
+it. My voice was contralto, and I sang in a church in Naples from
+fourteen till I was eighteen. Then I had to go into the army for awhile.
+I had never learned how to sing, for I had never been taught. One day a
+young officer of my company said to me: 'You will spoil your voice if
+you keep on singing like that'--for I suppose I was fond of shouting in
+those days. 'You should learn _how_ to sing,' he said to me; 'you must
+study.' He introduced me to a young man who at once took an interest in
+me and brought me to a singing master named Vergine. I sang for him, but
+he was very discouraging. His verdict was it would be hopeless to try to
+make a singer out of me. As it was, I might possibly earn a few lire a
+night with my voice, but according to his idea I had far better stick to
+my father's trade, in which I could at least earn forty cents a day.
+
+"But my young friend would not give up so easily. He begged Vergine to
+hear me again. Things went a little better with me the second time and
+Vergine consented to teach me.
+
+
+RIGID DISCIPLINE
+
+"And now began a period of rigid discipline. In Vergine's idea I had
+been singing too loud; I must reverse this and sing everything softly.
+I felt as though in a strait-jacket; all my efforts at expression were
+most carefully repressed; I was never allowed to let out my voice. At
+last came a chance to try my wings in opera, at ten lire a night
+($2.00). In spite of the regime of repression to which I had been
+subjected for the past three years, there were still a few traces of my
+natural feeling left. The people were kind to me and I got a few
+engagements. Vergine had so long trained me to sing softly, never
+permitting me to sing out, that people began to call me the Broken
+Tenor.
+
+
+THE FIRST REAL CHANCE
+
+"A better chance came before long. In 1896 the Opera House in Salerno
+decided to produce _I Puritani_. At the last moment the tenor they had
+engaged to sing the leading role became ill, and there was no one to
+sing the part. Lombardi, conductor of the orchestra, told the directors
+there was a young singer in Naples, about eighteen miles away, who he
+knew could help them out and sing the part. When they heard the name
+Caruso, they laughed scornfully. 'What, the Broken Tenor?' they asked.
+But Lombardi pressed my claim, assured them I could be engaged, and no
+doubt would be glad to sing for nothing.
+
+"So I was sent for. Lombardi talked with me awhile first. He explained
+by means of several illustrations, that I must not stand cold and stiff
+in the middle of the stage, while I sang nice, sweet tones. No, I must
+let out my voice, I must throw myself into the part, I must be alive to
+it--must live it and in it. In short, I must act as well as sing.
+
+
+A REVELATION
+
+"It was all like a revelation to me. I had never realized before how
+absolutely necessary it was to act out the character I attempted. So I
+sang _I Puritani_, with as much success as could have been expected of a
+young singer with so little experience. Something awoke in me at that
+moment. From that night I was never called a 'Broken Tenor' again. I
+made a regular engagement at two thousand lire a month. Out of this I
+paid regularly to Vergine the twenty-five per cent which he always
+demanded. He was somewhat reconciled to me when he saw that I had a real
+engagement and was making a substantial sum, though he still insisted
+that I would lose my voice in a few years. But time passes and I am
+still singing.
+
+
+RESULTS OF THE REVELATION
+
+"The fact that I could secure an opera engagement made me realize I had
+within me the making of an artist, if I would really labor for such an
+end. When I became thoroughly convinced of this, I was transformed from
+an amateur into a professional in a single day. I now began to take care
+of myself, learn good habits, and endeavored to cultivate my mind as
+well as my voice. The conviction gradually grew upon me that if I
+studied and worked, I would be able one day to sing in such a way as to
+satisfy myself."
+
+
+THE VALUE OF WORK TO THE SINGER
+
+Caruso believes in the necessity for work, and sends this message to all
+ambitious students: "To become a singer requires work, work, and again
+work! It need not be in any special corner of the earth; there is no one
+spot that will do more for you than other places. It doesn't matter so
+much where you are, if you have intelligence and a good ear. Listen to
+yourself; your ear will tell you what kind of tones you are making. If
+you will only use your own intelligence you can correct your own
+faults."
+
+
+CEASELESS STUDY
+
+This is no idle speech, voiced to impress the reader. Caruso practices
+what he preaches, for he is an incessant worker. Two or three hours in
+the forenoon, and several more later in the day, whenever possible. He
+does not neglect daily vocal technic, scales and exercises. There are
+always many roles to keep in rehearsal with the accompanist. He has a
+repertoire of seventy roles, some of them learned in two languages.
+Among the parts he has prepared but has never sung are: _Othello, Fra
+Diavolo, Eugen Onegin, Pique Dame, Falstaff_ and _Jewels of the
+Madonna_.
+
+Besides the daily review of opera roles, Caruso examines many new songs;
+every day brings a generous supply. Naturally some of these find their
+way into the waste basket; some are preserved for reference, while the
+favored ones which are accepted must be studied for use in recital.
+
+I had the privilege, recently, of spending a good part of one forenoon
+in Mr. Caruso's private quarters at his New York Hotel, examining a
+whole book full of mementos of the Jubilee celebration of March, 1919,
+on the occasion when the great tenor completed twenty-five years of
+activity on the operatic stage. Here were gathered telegrams and
+cablegrams from all over the world. Many letters and cards of greeting
+and congratulation are preserved in this portly volume. Among them one
+noticed messages from Mme. Schumann-Heink, the Flonzaley Quartet,
+Cleofonte Campanini and hosts of others. Here, too, is preserved the
+Jubilee Programme booklet, also the libretto used on that gala occasion.
+Music lovers all over the world will echo the hope that this wonderful
+voice may be preserved for many years to come!
+
+
+A LAST WORD
+
+The above article was shown to Mr. Caruso, at his request, and I was
+asked a few days later to come to him. There had been the usual
+rehearsal at the Opera House that day. "Ah, those rehearsals," exclaimed
+the secretary, stopping his typewriter for an instant; "no one who has
+never been through it has any idea of what a rehearsal means." And he
+lifted hands and eyes expressively. "Mr. Caruso rose at eight, went to
+rehearsal at ten and did not finish till after three. He is now resting,
+but will see you in a moment."
+
+Presently the great tenor opened the door and entered. He wore a
+lounging coat of oriental silk, red bordered, and on the left hand
+gleamed a wonderful ring, a broad band of dull gold, set with diamonds,
+rubies and sapphires. He shook hands, said he had read my story, that it
+was quite correct and had his entire approval.
+
+"And have you a final message to the young singers who are struggling
+and longing to sing some day as wonderfully as you do?"
+
+"Tell them to study, to work always,--and--to sacrifice!"
+
+His eyes had a strange, inscrutable light in them, as he doubtless
+recalled his own early struggles, and life of constant effort.
+
+And so take his message to heart:
+
+"Work, work--and--sacrifice!"
+
+
+
+
+II
+
+=GERALDINE FARRAR=
+
+THE WILL TO SUCCEED A COMPELLING FORCE
+
+
+"To measure the importance of Geraldine Farrar (at the Metropolitan
+Opera House, New York) one has only to think of the void there would
+have been during the last decade, and more, if she had not been there.
+Try to picture the period between 1906 and 1920 without Farrar--it is
+inconceivable! Farrar, more than any other singer, has been the
+triumphant living symbol of the new day for the American artist at the
+Metropolitan. She paved the way. Since that night, in 1906, when her
+Juliette stirred the staid old house, American singers have been added
+year by year to the personnel. Among these younger singers there are
+those who will admit at once that it was the success of Geraldine Farrar
+which gave them the impetus to work hard for a like success."
+
+[Illustration: GERALDINE FARRAR]
+
+These thoughts have been voiced by a recent reviewer, and will find a
+quick response from young singers all over the country, who have been
+inspired by the career of this representative artist, and by the
+thousands who have enjoyed her singing and her many characterizations.
+
+I was present on the occasion of Miss Farrar's debut at the greatest
+opera house of her home land. I, too, was thrilled by the fresh young
+voice in the girlish and charming impersonation of Juliette. It is a
+matter of history that from the moment of her auspicious return to
+America she has been constantly before the public, from the beginning to
+end of each operatic season. Other singers often come for part of the
+season, step out and make room for others. But Miss Farrar, as well as
+Mr. Caruso, can be depended on to remain.
+
+Any one who gives the question a moment's thought, knows that such a
+career, carried through a score of years, means constant, unremitting
+labor. There must be daily work on vocal technic; repertoire must be
+kept up to opera pitch, and last and perhaps most important of all, new
+works must be sought, studied and assimilated.
+
+The singer who can accomplish these tasks will have little or no time
+for society and the gay world, inasmuch as her strength must be devoted
+to the service of her art. She must keep healthy hours, be always ready
+to appear, and never disappoint her audiences. And such, according to
+Miss Farrar's own words is her record in the service of art.
+
+While zealously guarding her time from interruption from the merely
+curious, Miss Farrar does not entrench herself behind insurmountable
+barriers, as many singers seem to do, so that no honest seeker for her
+views of study and achievement can find her. While making a rule not to
+try voices of the throng of young singers who would like to have her
+verdict on their ability and prospects, Miss Farrar is very gracious to
+those who really need to see her. Again--unlike others--she will make an
+appointment a couple of weeks in advance, and one can rest assured she
+will keep that appointment to the day and hour, in spite of many
+pressing calls on her attention.
+
+To meet and talk for an hour with an artist who has so often charmed you
+from the other side of the footlights, is a most interesting experience.
+In the present instance it began with my being taken up to Miss Farrar's
+private sanctum, at the top of her New York residence. Though this is
+her den, where she studies and works, it is a spacious parlor, where all
+is light, color, warmth and above all, _quiet_. A thick crimson carpet
+hushes the footfall. A luxurious couch piled with silken cushions, and
+comfortable arm chairs are all in the same warm tint; over the grand
+piano is thrown a cover of red velvet, gold embroidered. Portraits of
+artists and many costly trifles are scattered here and there. The young
+lady who acts as secretary happened to be in the room and spoke with
+enthusiasm of the singer's absorption in her work, her delight in it,
+her never failing energy and good spirits. "From the day I heard Miss
+Farrar sing I felt drawn to her and hoped the time would come when I
+could serve her in some way. I did not know then that it would be in
+this way. Her example is an inspiration to all who come in touch with
+her."
+
+In a few moments Miss Farrar herself appeared, and the young girl
+withdrew.
+
+And was this Farrar who stood before me, in the flush of vigorous
+womanhood, and who welcomed me so graciously? The first impression was
+one of friendliness and sincerity, which caused the artist for the
+moment to be forgotten in the unaffected simplicity of the woman.
+
+Miss Farrar settled herself comfortably among the red silk cushions and
+was ready for our talk. The simplicity of manner was reflected in her
+words. She did not imply--there is only one right way, and I have found
+it. "These things seem best for my voice, and this is the way I work.
+But, since each voice is different, they might not fit any one else. I
+have no desire to lay down rules for others; I can only speak of my own
+experience."
+
+
+THE QUESTION OF HEALTH
+
+"And you would first know how I keep strong and well and always ready?
+Perhaps the answer is, I keep regular hours and habits, and love my
+work. I have always loved to sing, as far back as I can remember. Music
+means everything to me--it is my life. As a child and young girl, I was
+the despair of my playmates because I would not join their games; I did
+not care to skate, play croquet or tennis, or such things. I never
+wanted to exercise violently, and, to me, unnecessarily, because it
+interfered with my singing; took energy which I thought might be better
+applied. As I grew older I did not care to keep late hours and be in an
+atmosphere where people smoked and perhaps drank, for these things were
+bad for my voice and I could not do my work next day. My time is always
+regularly laid out. I rise at half past seven, and am ready to work at
+nine. I do not care to sit up late at night, either, for I think late
+hours react on the voice. Occasionally, if we have a few guests for
+dinner, I ask them, when ten thirty arrives, to stay as long as they
+wish and enjoy themselves, but I retire.
+
+
+TECHNICAL STUDY
+
+"There are gifted people who may be called natural born singers. Melba
+is one of these. Such singers do not require much technical practice, or
+if they need a little of it, half an hour a day is sufficient. I am not
+one of those who do not need to practice. I give between one and two
+hours daily to vocalizes, scales and tone study. But I love it! A scale
+is beautiful to me, if it is rightly sung. In fact it is not merely a
+succession of notes; it represents color. I always translate sound into
+color. It is a fascinating study to make different qualities of tonal
+color in the voice. Certain roles require an entirely different range of
+colors from others. One night I must sing a part with thick, heavy,
+rich tones; the next night my tones must be thinned out in quite another
+timbre of the voice, to fit an opposite character."
+
+Asked if she can hear herself, Miss Farrar answered:
+
+"No, I do not actually hear my voice, except in a general way; but we
+learn to know the sensations produced in muscles of throat, head, face,
+lips and other parts of the anatomy, which vibrate in a certain manner
+to correct tone production. We learn the _feeling_ of the tone.
+Therefore every one, no matter how advanced, requires expert advice as
+to the results.
+
+
+WITH LEHMANN
+
+"I have studied for a long time with Lilli Lehmann in Berlin; in fact I
+might say she is almost my only teacher, though I did have some
+instruction before going to her, both in America and Paris. You see, I
+always sang, even as a very little girl. My mother has excellent taste
+and knowledge in music, and finding I was in danger of straining my
+voice through singing with those older than myself, she placed me with a
+vocal teacher when I was twelve, as a means of preservation.
+
+"Lehmann is a wonderful teacher and an extraordinary woman as well.
+What art is there--what knowledge and understanding! What intensity
+there is in everything she does. She used to say: 'Remember, these four
+walls which inclose you, make a very different space to fill compared to
+an opera house; you must take this fact into consideration and study
+accordingly.' No one ever said a truer word. If one only studies or
+sings in a room or studio, one has no idea of what it means to fill a
+theater. It is a distinct branch of one's work to gain power and control
+and to adapt one's self to large spaces. One can only learn this by
+doing it.
+
+"It is sometimes remarked by listeners at the opera, that we sing too
+loud, or that we scream. They surely never think of the great size of
+the stage, of the distance from the proscenium arch to the footlights,
+or from the arch to the first set of wings. They do not consider that
+within recent years the size of the orchestra has been largely
+increased, so that we are obliged to sing against this great number of
+instruments, which are making every possible kind of a noise except that
+of a siren. It is no wonder that we must make much effort to be heard:
+sometimes the effort may seem injudicious. The point we must consider
+is to make the greatest possible effect with the least possible
+exertion.
+
+"Lehmann is the most painstaking, devoted teacher a young singer can
+have. It is proof of her excellent method and her perfect understanding
+of vocal mastery, that she is still able to sing in public, if not with
+her old-time power, yet with good tone quality. It shows what an artist
+she really is. I always went over to her every summer, until the war
+came. We would work together at her villa in Gruenewald, which you
+yourself know. Or we would go for a holiday down nearer Salzburg, and
+would work there. We always worked wherever we were.
+
+
+MEMORIZING
+
+"How do I memorize? I play the song or role through a number of times,
+concentrating on both words and music at once. I am a pianist anyway;
+and committing to memory is very easy for me. I was trained to learn by
+heart from the very start. When I sang my little songs at six years old,
+mother would never let me have any music before me: I must know my songs
+by heart. And so I learned them quite naturally. To me singing was like
+talking to people.
+
+
+CONTRASTING COLORATURA AND DRAMATIC SINGING
+
+"You ask me to explain the difference between the coloratura and the
+dramatic organ. I should say it is a difference of timbre. The
+coloratura voice is bright and brilliant in its higher portion, but
+becomes weaker and thinner as it descends; whereas the dramatic voice
+has a thicker, richer quality all through, especially in its lower
+register. The coloratura voice will sing upper C, and it will sound very
+high indeed. I might sing the same tone, but it would sound like A flat,
+because the tone would be of such totally different timbre.
+
+
+TO THE YOUNG SINGER
+
+"If I have any message to the young singer, it would be: Stick to your
+work and study systematically, whole-heartedly. If you do not love your
+work enough to give it your best thought, to make sacrifices for it,
+there is something wrong with you. Then choose some other line of work,
+to which you can give undivided attention and devotion. For music
+requires this. As for sacrifices, they really do not exist, if they
+promote the thing you honestly love most.
+
+"Do not fancy you can properly prepare yourself in a short time to
+undertake a musical career, for the path is a long and arduous one. You
+must never stop studying, for there is always so much to learn. If I
+have sung a role a hundred times, I always find places that can be
+improved; indeed I never sing a role twice exactly in the same way. So,
+from whatever side you consider the singer's work and career, both are
+of absorbing interest.
+
+"Another thing; do not worry, for that is bad for your voice. If you
+have not made this tone correctly, or sung that phrase to suit yourself,
+pass it over for the moment with a wave of the hand or a smile; but
+don't become discouraged. Go right on! I knew a beautiful American in
+Paris who possessed a lovely voice. But she had a very sensitive nature,
+which could not endure hard knocks. She began to worry over little
+failures and disappointments, with the result that in three years her
+voice was quite gone. We must not give way to disappointments, but
+conquer them, and keep right along the path we have started on.
+
+
+MODERN MUSIC
+
+"Modern music requires quite a different handling of the voice and makes
+entirely different demands upon it than does the older music. The old
+Italian operas required little or no action, only beautiful singing. The
+opera houses were smaller and so were the orchestras. The singer could
+stand still in the middle of the stage and pour out beautiful tones,
+with few movements of body to mar his serenity. But we, in these days,
+demand action as well as song. We need singing actors and actresses. The
+music is declamatory; the singer must throw his whole soul into his
+part, must act as well as sing. Things are all on a larger scale. It is
+a far greater strain on the voice to interpret one of the modern Italian
+operas than to sing one of those quietly beautiful works of the old
+school.
+
+"America's growth in music has been marvelous on the appreciative and
+interpretive side. With such a musical awakening, we can look forward to
+the appearance of great creative genius right here in this country,
+perhaps in the near future. Why should we not expect it? We have not yet
+produced a composer who can write enduring operas or symphonies.
+MacDowell is our highest type as yet; but others will come who will
+carry the standard higher.
+
+
+VOICE LIMITATIONS
+
+"The singer must be willing to admit limitations of voice and style and
+not attempt parts which do not come within the compass of her
+attainments. Neither is it wise to force the voice up or down when it
+seems a great effort to do so. We can all think of singers whose natural
+quality is mezzo--let us say--who try to force the voice up into a
+higher register. There is one artist of great dramatic gifts, who not
+content with the rich quality of her natural organ, tried to add several
+high notes to the upper portion. The result was disastrous. Again, some
+of our young singers who possess beautiful, sweet voices, should not
+force them to the utmost limit of power, simply to fill, or try to fill
+a great space. The life of the voice will be impaired by such injurious
+practice.
+
+
+VOCAL MASTERY
+
+"What do I understand by vocal mastery? It is something very difficult
+to define. For a thing that is mastered must be really perfect. To
+master vocal art, the singer must have so developed his voice that it is
+under complete control; then he can do with it whatsoever he wishes. He
+must be able to produce all he desires of power, pianissimo, accent,
+shading, delicacy and variety of color. Who is equal to the task?"
+
+Miss Farrar was silent a moment; then she said, answering her own
+question:
+
+"I can think of but two people who honestly can be said to possess vocal
+mastery: they are Caruso and McCormack. Those who have only heard the
+latter do little Irish tunes, have no idea of what he is capable. I have
+heard him sing Mozart as no one else I know of can. These two artists
+have, through ceaseless application, won vocal mastery. It is something
+we are all striving for!"
+
+
+
+
+III
+
+=VICTOR MAUREL=
+
+MIND IS EVERYTHING
+
+
+Mr. James Huneker, in one of his series of articles entitled "With the
+Immortals," in the New York _World_, thus, in his inimitable way
+characterizes Victor Maurel:
+
+"I don't suppose there is to be found in musical annals such diversity
+of aptitudes as that displayed by this French baritone. Is there an
+actor on any stage to-day who can portray both the grossness of Falstaff
+and the subtlety of Iago? Making allowance for the different art medium
+that the singing actor must work in, and despite the larger curves of
+operatic pose and gesture, Maurel kept astonishingly near to the
+characters he assumed. He was Shakespearian; his Falstaff was the most
+wonderful I ever saw."
+
+[Illustration: VICTOR MAUREL]
+
+And then Iago: "In the Maurel conception, Othello's Ancient was not
+painted black in black--the heart of darkness, but with many nuances,
+many gradations. He was economical of gesture, playing on the jealous
+Moor as plays a skillfully handled bow upon a finely attuned violin. His
+was truly an objective characterization. His Don Giovanni was broadly
+designed. He was the aristocrat to the life, courtly, brave, amorous,
+intriguing, cruel, superstitious and quick to take offense. In his best
+estate, the drinking song was sheer virtuosity. Suffice to add that
+Verdi intrusted to him the task of "originating" two such widely
+sundered roles as Iago and Falstaff. An extraordinary artist!"
+
+One evening we were discussing the merits of various famous singers of
+the past and present. My friend is an authority whose opinion I greatly
+respect. He is not only a singer himself but is rapidly becoming a
+singing master of renown.
+
+After we had conferred for a long time, my friend summed it all up with
+the remark:
+
+"You know who, in my opinion, is the greatest, the dean of them all, a
+past master of the art of song--Victor Maurel."
+
+Did I not know! In times gone by had we not discussed by the hour every
+phase of Maurel's mastery of voice and action? Did we not together
+listen to that voice and watch with breathless interest his investiture
+of Don Giovanni, in the golden days when Lilli Lehmann and the De
+Reszkes took the other parts. Was there ever a more elegant courtly Don,
+a greater Falstaff, a more intriguing Iago?
+
+In those youthful days, my friend's greatest ambition was to be able to
+sing and act like Maurel. To this end he labored unceasingly. Second
+only to this aim was another--to know the great baritone personally, to
+become his friend, to discuss the finest issues of art with him, to
+consult him and have the benefit of his experience. The consummation of
+this desire has been delayed for years, but it is one of the "all
+things" which will surely come to him who waits. Maurel is now once more
+on American soil, and doubtless intends remaining for a considerable
+period. My friend is also established in the metropolis. The two have
+met, not only once but many times--indeed they have become fast friends.
+
+"I will take you to him," promised friend Jacque,--knowing my desire to
+meet the "grand old man"; "but don't ask for too many of his opinions
+about singers, as he does not care to be quoted."
+
+Late one afternoon we arrived at his residence. At the moment he was in
+his music room, where, for the last hour he had been singing
+_Falstaff_! If we could only have been hidden away in some quiet corner
+to listen! He came running down the stairway with almost the agility of
+a boy, coming to meet us with simple dignity and courtesy. After the
+first greetings were over we begged permission to examine the many
+paintings which met the eye everywhere. There was a large panel facing
+us, representing a tall transparent vase, holding a careless bunch of
+summer flowers, very artistically handled. Near it hung an out-of-door
+sketch, a garden path leading into the green. Other bits of landscape
+still-life and portraits made up the collection. They had all been
+painted by the same artist--none other than Maurel himself. As we
+examined the flower panel, he came and stood by us.
+
+"Painting is a great art," he said; "an art which requires profound
+study. I have been a close student of this art for many years and love
+it more and more."
+
+"M. Maurel aims now to express himself through the art of color and
+form, as he has always done through voice and gesture," remarked my
+friend.
+
+"Art is the highest means of expression," went on the master, "whether
+through music, painting, sculpture, architecture or the theater. The
+effort to express myself through another art-medium, painting, has long
+been a joy to me. I have studied with no teacher but myself, but I have
+learned from all the great masters; they have taught me everything."
+
+He then led the way to his music room on the floor above. Here were more
+paintings, many rare pieces of furniture and his piano. A fine portrait
+of Verdi, with an affectionate autograph, stood on a table; one of
+Ambroise Thomas, likewise inscribed, hung near. "A serious man, almost
+austere," said Maurel, regarding the portrait of Verdi thoughtfully,
+"but one of the greatest masters of all time."
+
+Praying us to be seated, he placed himself on an ottoman before us. The
+talk easily drifted into the subject of the modern operatic stage, and
+modern operas of the Italian school, in which one is so often tempted to
+shout rather than sing. The hero of Mozart's Don Giovanni, who could
+sing his music as perhaps no one else has ever done, would not be likely
+to have much patience with the modern style of explosive vocal
+utterance.
+
+"How do you preserve your voice and your repertoire?" I questioned.
+
+M. Maurel gazed before him thoughtfully.
+
+"It is entirely through the mind that I keep both. I know so exactly
+how to produce tone qualities, that if I recall those sensations which
+accompany tone production, I can induce them at will. How do we make
+tones, sing an aria, impersonate a role? Is not all done with the mind,
+with thought? I must think the tone before I produce it--before I sing
+it; I must mentally visualize the character and determine how I will
+represent it, before I attempt it. I must identify myself with the
+character I am to portray before I can make it _live_. Does not then all
+come from thinking--from thought?
+
+"Again: I can think out the character and make a mental picture of it
+for myself, but how shall I project it for others to see? I have to
+convince myself first that I am that character--I must identify myself
+with it; then I must convince those who hear me that I am really that
+character." Maurel rose and moved to the center of the room.
+
+"I am to represent some character--Amonasro, let us say. I must present
+the captive King, bound with chains and brought before his captors. I
+must feel with him, if I am really going to represent him. I must
+believe myself bound and a prisoner; then I must, through pose and
+action, through expression of face, gesture, voice, everything--I must
+make this character real to the audience."
+
+And as we looked, he assumed the pose of the man in chains, his hands
+seemed tied, his body bent, his expression one in which anger and
+revenge mingled; in effect, he was for the moment Amonasro.
+
+"I have only made you see my mental concept of Amonasro. If I have once
+thoroughly worked out a conception, made it my own, then it is mine. I
+can create it at any moment. If I feel well and strong I can sing the
+part now in the same way as I have always sung it, because my thought is
+the same and thought produces. Whether I have a little more voice, or
+less voice, what does it matter? I can never lose my conception of a
+character, for it is in my mind, and mind projects it. So there is no
+reason to lose the voice, for that also is in mind and can be thought
+out at will.
+
+"Suppose I have an opposite character to portray,--the elegant Don
+Giovanni, for example"; and drawing himself up and wrapping an imaginary
+cloak about him, with the old well-remembered courtly gesture, his face
+and manner were instantly transformed at the thought of his favorite
+character. He turned and smiled on us, his strong features lighted, and
+his whole appearance expressed the embodiment of Mozart's hero.
+
+"You see I must have lived, so to say, in these characters and made them
+my own, or I could not recall them at a moment's notice. All
+impersonation, to be artistic, to be vital, must be a part of one's
+self; one must get into the character. When I sing Iago I am no longer
+myself--I am another person altogether; self is quite forgotten; I am
+Iago, for the time being.
+
+"In Paris, at the Sorbonne, I gave a series of lectures; the first was
+on this very subject, the identification of one's self with the
+character to be portrayed. The large audience of about fifteen hundred,
+contained some of the most famous among artists and men of letters"; and
+Maurel, with hands clasped about his knee, gazed before him into space,
+and we knew he was picturing in mental vision, the scene at the
+Sorbonne, which he had just recalled.
+
+After a moment, he resumed. "The singer, though trying to act out the
+character he assumes, must not forget to _sing_. The combination of fine
+singing and fine acting is rare. Nowadays people think if they can act,
+that atones for inartistic singing; then they yield to the temptation
+to shout, to make harsh tones, simply for effect." And the famous
+baritone caricatured some of the sounds he had recently heard at an
+operatic performance with such gusto, that a member of the household
+came running in from an adjoining room, thinking there must have been an
+accident and the master of the house was calling for help. He hastily
+assured her all was well--no one was hurt; then we all had a hearty
+laugh over the little incident.
+
+And now we begged to be allowed to visit the atelier, where the
+versatile artist worked out his pictures. He protested that it was in
+disorder, that he would not dare to take us up, and so on. After a
+little he yielded to persuasion, saying, however, he would go up first
+and arrange the room a little. As soon as he had left us my friend
+turned to me:
+
+"What a remarkable man! So strong and vigorous, in spite of his advanced
+age. No doubt he travels those stairs twenty times a day. He is as alert
+as a young man; doubtless he still has his voice, as he says. And what a
+career he has had. You know he was a friend of Edward the Seventh; they
+once lived together. Then he and Verdi were close friends; he helped
+coach singers for Verdi's operas. He says it was a wonderful
+experience, when the composer sat down at the piano, put his hands on
+the keys and showed the singers how he wanted his music sung!
+
+"Early in his career Maurel sang in Verdi's opera, _Simone Boccanegra_,
+which one never hears now, but it has a fine baritone part, and a couple
+of very dramatic scenes, especially the final scene at the close. This
+is the death scene. Maurel had sung and acted so wonderfully on a
+certain occasion that all the singers about him were in tears. Verdi was
+present at this performance and was deeply moved by Maurel's singing and
+acting. He came upon the stage when all was over, and exclaimed, in a
+voice trembling with emotion: 'You have created the role just as I would
+have it; I shall write an opera especially _for you_!' This he did; it
+was _Othello_, and the Iago was composed for Maurel. In his later years,
+when he seldom left his home, the aged composer several times expressed
+the wish that he might go to Paris, just to hear Maurel sing once more.
+
+"It is very interesting that he was led to speak to us as he did just
+now, about mental control, and the part played by mind in the singer's
+study, equipment and career. It is a side of the question which every
+young singer must seriously consider, first, last and always. But here
+he comes."
+
+Again protesting about the appearance of his simple studio, the master
+led the way up the stairways till we reached the top of the house, where
+a north-lighted room had been turned into a painter's atelier. With
+mingled feelings we stepped within this modest den of a great artist,
+which held his treasures. These were never shown to the casual observer,
+nor to the merely curious; they were reserved for the trusted few.
+
+The walls were lined with sketches; heads, still life, landscapes, all
+subjects alike interested the painter. A rugged bust of Verdi, over life
+size, modeled in plaster, stood in one corner. On an easel rested a
+spirited portrait of Maurel, done by himself.
+
+"My friends tell me I should have a larger studio, with better light;
+but I am content with this, for here is quiet and here I can be alone,
+free to commune with myself. Here I can study my art undisturbed,--for
+Art is my religion. If people ask if I go to church, I say No, but I
+worship the immortality which is within, which I feel in my soul, the
+reflection of the Almighty!"
+
+In quiet mood a little later we descended the white stairway and passed
+along the corridors of this house, which looks so foreign to American
+eyes, and has the atmosphere of a Paris home.
+
+The artist accompanied us to the street door and bade us farewell, in
+his kindly dignified manner.
+
+As the door closed and we were in the street, my friend said:
+
+"A wonderful man and a rare artist. Where shall we find his like
+to-day?"
+
+
+
+
+IV
+
+A VISIT TO MME. LILLI LEHMANN
+
+
+A number of years before the great war, a party of us were spending a
+few weeks in Berlin. It was midsummer; the city, filled as it was for
+one of us at least, with dear memories of student days, was in most
+alluring mood. Flowers bloomed along every balcony, vines festooned
+themselves from windows and doorways, as well as from many unexpected
+corners. The parks, large and small, which are the delight of a great
+city, were at their best and greenest--gay with color. Many profitable
+hours were spent wandering through the galleries and museums, hearing
+concerts and opera, and visiting the old quarters of the city, so
+picturesque and full of memories.
+
+Two of us, who were musicians, were anxious to meet the famous dramatic
+soprano, Lilli Lehmann, who was living quietly in one of the suburbs of
+the city. Notes were exchanged, and on a certain day we were bidden to
+come, out of the regular hours for visitors, by "special exception."
+
+How well I remember the drive through the newer residential section of
+Berlin. The path before long led us through country estates, past
+beautifully kept gardens and orchards. Our destination was the little
+suburb of Gruenewald, itself like a big garden, with villas nestling
+close to each other, usually set back from the quiet, shaded streets.
+Some of the villas had iron gratings along the pathway, through which
+one saw gay flowers and garden walks, often statuary and fountains.
+Other homes were secluded from the street by high brick walls,
+frequently decorated on top by urns holding flowers and drooping vines.
+
+Behind such a picturesque barrier, we found the gateway which led to
+Mme. Lehmann's cottage. We rang and soon a trim maid came to undo the
+iron gate. The few steps leading to the house door did not face us as we
+entered the inclosure, but led up from the side. We wanted to linger and
+admire the shrubs and flowering plants, but the maid hastened before us
+so we had to follow.
+
+From the wide entrance hall doors led into rooms on either hand. We were
+shown into a salon on the left, and bidden to await Madame's coming.
+
+In the few moments of restful quiet before she entered, we had time to
+glance over this sanctum of a great artist. To say it was filled with
+mementos and _objets d'art_ hardly expresses the sense of repleteness.
+Every square foot was occupied by some treasure. Let the eye travel
+around the room. At the left, as one entered the doorway, stood a fine
+bust of the artist, chiseled in pure white marble, supported on a
+pedestal of black marble. Then came three long, French windows, opening
+into a green garden. Across the farther window stood a grand piano,
+loaded with music. At the further end of the room, if memory serves,
+hung a large, full length portrait of the artist herself. A writing
+desk, laden with souvenirs, stood near. On the opposite side a divan
+covered with rich brocade; more paintings on the walls, one very large
+landscape by a celebrated German painter.
+
+Before we could note further details, Mme. Lehmann stood in the doorway,
+then came forward and greeted us cordially.
+
+How often I had seen her impersonate her great roles, both in Germany
+and America. They were always of some queenly character. Could it be
+possible this was the famous Lehmann, this simple housewife, in black
+skirt and white blouse, with a little apron as badge of home keeping.
+But there was the stately tread, the grand manner, the graceful
+movement. What mattered if the silver hair were drawn back severely from
+the face; there was the dignity of expression, classic features,
+penetrating glance and mobile mouth I remembered.
+
+After chatting a short time and asking many questions about America,
+where her experiences had been so pleasant, our talk was interrupted,
+for a little, by a voice trial, which Madame had agreed to give. Many
+young singers, from everywhere, were anxious to have expert judgment on
+their progress or attainments, so Lehmann was often appealed to and gave
+frequent auditions of this kind. The fee was considerable, but she never
+kept a penny of it for herself; it all went to one of her favorite
+charities. The young girl who on this day presented herself for the
+ordeal was an American, who, it seemed, had not carried her studies very
+far.
+
+
+EXAMINING A PUPIL
+
+Mme. Lehmann seated herself at the piano and asked for scales and
+vocalizes. The young girl, either from fright or poor training, did not
+make a very fortunate impression. She could not seem to bring out a
+single pure steady tone, much less sing scales acceptably.
+
+Madame with a resigned look finally asked for a song, which was given.
+It was a little song of Franz, I remember. Then Lehmann wheeled around
+on the stool and said to us, in German:
+
+"The girl cannot sing--she has little or no voice to begin with, and has
+not been rightly trained." Then to the young girl she said, kindly, in
+English:
+
+"My dear young lady, you have almost everything to learn about singing,
+for as yet you cannot even sing one tone correctly; you cannot even
+speak correctly. First of all you need physical development; you must
+broaden your chest through breathing exercises; you are too thin
+chested. You must become physically stronger if you ever hope to sing
+acceptably. Then you must study diction and languages. This is
+absolutely necessary for the singer. Above all you must know how to
+pronounce and sing in your own language. So many do not think it
+necessary to study their own language; they think they know that
+already; but one's mother tongue requires study as well as any other
+language.
+
+"The trouble with American girls is they are always in a hurry. They are
+not content to sit down quietly and study till they have developed
+themselves into something before they ever think of coming to Europe.
+They think if they can just come over here and sing for an artist, that
+fact alone will give them prestige in America. But that gives them quite
+the opposite reputation over here. American girls are too often looked
+upon as superficial, because they come over here quite unprepared. I say
+to all of them, as I say to you: Go home and study; there are plenty of
+good teachers of voice and piano in your own land. Then, when you can
+_sing_, come over here, if you wish; but do not come until you are
+prepared."
+
+After this little episode, we continued our talk for a while longer.
+Then, fearing to trespass on her time, we rose to leave. She came to the
+door with us, followed us down the steps into the front garden, and held
+the gate open for us, when we finally left. We had already expressed the
+hope that she might be able to return to America, at no very distant
+day, and repeat her former triumphs there. Her fine face lighted at the
+thought, and her last words to us were, as she held open the little iron
+wicket. "I have a great desire to go to your country again; perhaps, in
+a year or two--who knows--I may be able to do it."
+
+She stood there, a noble, commanding figure, framed in the green of her
+garden, and waved her handkerchief, till our cab turned a corner, and
+she was lost to our view.
+
+
+THE MOZART FESTIVAL
+
+Several years later, a year before the world war started, to be exact,
+we had the pleasure of meeting the artist again, and this time, of
+hearing her sing.
+
+It was the occasion of the Mozart Festival in Salzburg. It is well known
+that Lehmann, devoted as she has always been to the genius of Mozart,
+and one of the greatest interpreters of his music, had thrown her whole
+energy into the founding of a suitable memorial to the master in his
+native city. This memorial was to consist of a large music school, a
+concert hall and home for opera. The Mozarteum was not yet completed,
+but a Festival was held each year in Salzburg, to aid the project.
+Madame Lehmann was always present and sang on these occasions.
+
+We timed our visit to Mozart's birthplace, so that we should be able to
+attend the Festival, which lasted as usual five days. The concerts were
+held in the Aula Academica, a fine Saal in the old picturesque quarter
+of the city.
+
+At the opening concert, Lehmann sang a long, difficult Concert Aria of
+Mozart. We could not help wondering, before she began, how time had
+treated this great organ; whether we should be able to recognize the
+famous Lehmann who had formerly taken such high rank as singer and
+interpreter in America. We need not have feared that the voice had
+become impaired. Or, if it had been, it had become rejuvenated on this
+occasion. Mme. Lehmann sang with all her well-remembered power and
+fervor, all her exaltation of spirit, and of course she had a great
+ovation at the close. She looked like a queen in ivory satin and rare
+old lace, with jewels on neck, arms and in her silver hair. In the
+auditorium, three arm chairs had been placed in front of the platform.
+The Arch-duke, Prince Eugen, the royal patron of the Festival, occupied
+one. When Madame Lehmann had finished her Aria, she stepped down from
+the platform. The Prince rose at once and went to meet her. She gave him
+her hand with a graceful curtesy and he led her to the armchair next his
+own, which had evidently been placed in position for her special use.
+
+At the close of the concert we had a brief chat with her. The next day
+she was present at the morning concert. This time she was gowned in
+black, with an ermine cape thrown over her shoulders. The Arch-duke sat
+beside her in the arm chair, as he had done the evening before. We had a
+bow and smile as she passed down the aisle.
+
+We trust the Mozarteum in Salzburg, for which Mme. Lehmann has labored
+with such devotion, will one day fulfill its noble mission.
+
+
+LEHMANN THE TEACHER
+
+As a teacher of the art of singing Madame Lehmann has long been a
+recognized authority, and many artists now actively before the public,
+have come from under her capable hands. Her book, "How to
+Sing,"--rendered in English by Richard Aldrich--(Macmillan) has
+illumined the path, for many a serious student who seeks light on that
+strange, wonderful, hidden instrument--the voice. Madame Lehmann, by
+means of many explanations and numerous plates, endeavors to make clear
+to the young student how to begin and how to proceed in her vocal
+studies.
+
+
+BREATHING
+
+On the important subject of breathing she says: "No one can sing
+without preparing for it mentally and physically. It is not enough to
+sing well, one must know how one does it. I practice many breathing
+exercises without using tone. Breath becomes voice through effort of
+will and by use of vocal organs. When singing emit the smallest quantity
+of breath. Vocal chords are breath regulators; relieve them of all
+overwork.
+
+"At the start a young voice should be taught to begin in the middle and
+work both ways--that is, up and down. A tone should never be forced.
+Begin piano, make a long crescendo and return to piano. Another exercise
+employs two connecting half tones, using one or two vowels. During
+practice stand before a mirror, that one may see what one is doing.
+Practice about one hour daily. Better that amount each day than ten
+hours one day and none the next. The test will be; do you feel rested
+and ready for work each morning? If not you have done too much the day
+before."
+
+
+REGISTERS
+
+In regard to registers Madame Lehmann has this to say: "In the formation
+of the voice no registers should exist or be created. As long as the
+word is kept in use, registers will not disappear."
+
+
+PHYSIOLOGY
+
+In spite of the fact there are many drawings and plates illustrating the
+various organs of head and throat which are used in singing, Madame
+Lehmann says:
+
+"The singer is often worried about questions of physiology, whereas she
+need--must--know little about it.
+
+
+THE NASAL QUALITY
+
+"The singer must have some nasal quality, otherwise the voice sounds
+colorless and expressionless. We must sing toward the nose: (not
+necessarily through the nose).
+
+"For many ills of the voice and tone production, I use long, slow
+scales. They are an infallible cure.
+
+
+USE OF THE LIPS
+
+"The lips play a large part in producing variety of tone quality. Each
+vowel, every word can be colored, as by magic, by well controlled play
+of the lips. When lips are stiff and unresponsive, the singing is
+colorless. Lips are final resonators, through which tones must pass,
+and lip movements can be varied in every conceivable manner."
+
+
+POWER AND VELOCITY
+
+She humorously writes: "Singers without power and velocity are like
+horses without tails. For velocity, practice figures of five, six, seven
+and eight notes, first slowly, then faster and faster, up and down."
+
+
+
+
+V
+
+=AMELITA GALLI-CURCI=
+
+SELF-TEACHING THE GREAT ESSENTIAL
+
+
+No singer can rise to any distinction without the severest kind of
+self-discipline and hard work. This is the testimony of all the great
+vocalists of our time--of any time. This is the message they send back
+from the mountain top of victory to the younger ones who are striving to
+acquire the mastery they have achieved. Work, work and again--work! And
+if you have gained even a slight foothold on the hill of fame, then work
+to keep your place. Above all, be not satisfied with your present
+progress,--strive for more perfection. There are heights you have not
+gained--higher up! There are joys for you--higher up, if you will but
+labor to reach them.
+
+[Illustration: _Photo by De Strelecki, N.Y._ AMELITA GALLI-CURCI]
+
+Perhaps there is no singer who more thoroughly believes in the gospel of
+work, and surely not one who more consistently practices what she
+preaches, than Amelita Galli-Curci. She knows the value of work, and she
+loves it for its own sake. There is no long cessation for her, during
+summer months, "to rest her voice." There is no half-day seclusion after
+a performance, to recover from the fatigue of singing a role the night
+before. No, for her this event does not spell exhaustion but happiness,
+exhilaration. It is a pleasure to sing because it is not wearisome--it
+is a part of herself. And she enjoys the doing! Thus it happens that the
+morning after a performance, she is up and abroad betimes, ready to
+attend personally to the many calls upon her time and attention. She can
+use her speaking voice without fear, because she has never done anything
+to strain it; she is usually strong and well, buoyant and bright. Those
+soft, dark eyes are wells of intelligent thinking; the mouth smiles
+engagingly as she speaks; the slight figure is full of life and energy.
+Yet there is a deep sense of calm in her presence. A brave, bright
+spirit; a great, wonderful artist!
+
+These thoughts faintly glimpse my first impression of Mme. Galli-Curci,
+as she entered her big, sunny parlor, where I was waiting to see her.
+Her delicate, oval face was aglow with the flush of healthful exercise,
+for she had just come in from a shopping expedition and the wintry air
+was keen. "I love to go shopping," she explained, "so I always do it
+myself."
+
+She bade me sit beside her on a comfortable divan, and at once began to
+speak of the things I most wished to hear.
+
+"I am often asked," she began, "to describe how I create this or that
+effect, how I produce such and such tones, how I make the voice float to
+the farthest corner, and so on. I answer, that is my secret. In reality
+it is no secret at all, at least not to any one who has solved the
+problem. Any one possessing a voice and intelligence, can acquire these
+things, who knows how to go to work to get them. But if one has no
+notion of the process, no amount of mere talking will make it plain.
+Singing an opera role seems such an easy thing from the other side of
+the footlights. People seem to think, if you only know how to sing, it
+is perfectly natural and easy for you to impersonate a great lyric role.
+And the more mastery you have, the easier they think it is to do it. The
+real truth of the matter is that it requires years and years of
+study--constant study, to learn how to sing, before attempting a big
+part in opera.
+
+"There are so many organs of the body that are concerned in the process
+of breathing and tone production; and most of these organs must be, if
+not always, yet much of the time, relaxed and in an easy pliable
+condition when you sing. There is the diaphragm--then the throat,
+larynx, the lungs, nose, lips--all of them help to make the tone.
+Perhaps I might say the larynx is the most important factor of all. If
+you can manage that, you have the secret. But no human being can tell
+you exactly how to do it. Some singers before the public to-day have no
+notion of how to manage this portion of their anatomy. Others may do so
+occasionally, but it may only be by accident. They sometimes stumble
+upon the principle, but not understanding how they did so, they cannot
+reproduce the desired effects at will. The singer who understands her
+business must know just how she produces tones and vocal effects. She
+can then do them at all times, under adverse circumstances, even when
+nervous, or not in the mood, or indisposed.
+
+
+SELF-STUDY
+
+"How did I learn to know these things? By constant study, by constant
+listening--for I have very keen ears--by learning the sensations
+produced in throat and larynx when I made tones that were correctly
+placed, were pleasing and at the same time made the effects I was
+seeking.
+
+"Milan is my home city--beautiful Milano under the blue Italian skies,
+the bluest in the world. As a young girl, the daughter of well-to-do
+parents, I studied piano at the Royal Conservatory there, and also
+musical theory and counterpoint. I shall ever be grateful I started in
+this way, with a thorough musical foundation, for it has always been of
+great advantage to me in further study. When my father met with
+reverses, I made good use of my pianistic training by giving piano
+lessons and making a very fair income for a young girl.
+
+"But I longed to sing! Is it not the birthright of every Italian to have
+a voice? I began to realize I had a voice which might be cultivated. I
+had always sung a little--every one does; song is the natural,
+spontaneous expression of our people. But I wished to do more--to
+express myself in song. So I began to teach myself by singing scales and
+vocalizes between my piano lessons. Meanwhile I studied all the books on
+singing I could lay hands on, and then tried to put the principles I
+learned in this way in practice. In trying to do this I had to find out
+everything for myself. And that is why I know them! I know exactly what
+I am about when I sing, I know what muscles are being used, and in what
+condition they ought to be; what parts of the anatomy are called into
+action and why. Nature has given me two great gifts, a voice and good
+health; for both these gifts I am deeply grateful. The first I have
+developed through arduous toil; the second I endeavor to preserve
+through careful living, regular hours and plenty of exercise in the
+fresh air. I have developed the voice and trained it in the way that
+seemed to me best for it. There are as many kinds of voices as there are
+persons; it seems to me each voice should be treated in the way best
+suited to its possessor. How can any other person tell you how that
+should be done?" And the singer gave me a bright look, and made a pretty
+deprecating gesture. "You yourself must have the intelligence to
+understand your own case and learn how to treat it.
+
+
+NEVER STRAIN THE VOICE
+
+"A singer who would keep her voice in the best condition, should
+constantly and reasonably exercise it. I always do a half hour or so of
+exercises, vocalizes and scales every morning; these are never
+neglected. But I never do anything to strain the voice in any way. We
+are told many fallacies by vocal teachers. One is that the diaphragm
+must be held firmly in order to give support to the tone. It seems to me
+this is a serious mistake. I keep the diaphragm relaxed. Thus tone
+production, in my case, is made at all times with ease; there is never
+any strain. You ask if it is not very fatiguing to sing against a large
+orchestra, as we have to, and with a temperamental conductor, like
+Marinuzzi, for instance, I do not find it so; there is a pure, clear
+tone, which by its quality, placement and ease of production, will carry
+farther than mere power ever can. It can be heard above a great
+orchestra, and it _gets over_.
+
+
+USE OF THE VOWELS
+
+"Young singers ask me what vowels to use in vocal practice. In my own
+study I use them all. Of course some are more valuable than others. The
+O is good, the E needs great care; the Ah is the most difficult of all.
+I am aware this is contrary to the general idea. But I maintain that the
+Ah is most difficult; for if you overdo it and the lips are too wide
+apart, the result is a white tone. And on the other hand, if the lips
+are nearer--or too near together, or are not managed rightly, stiffness
+or a throaty quality is apt to result; then the tone cannot 'float.' I
+have found the best way is to use the mixed vowels, one melting into the
+other. The tone can be started with each vowel in turn, and then mingled
+with the rest of the vowels. Do you know, the feathered songster I love
+best--the nightingale--uses the mixed vowels too. Ah, how much I have
+learned from him and from other birds also! Some of them have harsh
+tones--real quacks--because they open their bills too far, or in a
+special way. But the nightingale has such a lovely dark tone, a 'covered
+tone,' which goes to the heart. It has the most exquisite quality in the
+world. I have learned much from the birds, about what not to do and what
+to do.
+
+
+MEMORIZING
+
+"In taking up a new role I begin with the story, the libretto, so I may
+first learn what it is about, its meaning and psychology. I take it to
+bed with me, or have it by me if lying down, because I understand
+musical composition and can get a clear idea of the composer's meaning
+without going to the instrument. After a short time I begin to work it
+out at the piano, in detail, words and music together. For a great role
+like the _Somnambula_ or _Traviata_, I must spend three or four years,
+perhaps more, in preparation, before bringing it to public performance.
+It takes a long time to master thoroughly an operatic role, to work it
+out from all sides, the singing, the acting, the characterization. To
+the lay mind, if you can sing, you can easily act a part and also
+memorize it. They little know the labor which must be bestowed on that
+same role before it can be presented in such a shape as to be adequate,
+in a way that will get it across. It does not go in a few weeks or even
+months; it is the work of years. And even then it is never really
+finished, for it can always be improved with more study, with more care
+and thought.
+
+
+THE NECESSITY FOR LANGUAGES
+
+"We hear much about need for study of languages by the singer, and
+indeed too much stress cannot be placed on this branch of the work. I
+realize that in America it is perhaps more difficult to impress people
+with this necessity, as they have not the same need to use other
+languages in every day life. The singer can always be considered
+fortunate who has been brought up from earliest years to more than one
+language. My mother was Spanish, my father Italian, so this gave me
+both languages at home. Then in school I learned French, German and
+English, not only a little smattering of each, but how to write and
+speak them."
+
+"You certainly have mastered English remarkably well," I could not help
+remarking, for she was speaking with great fluency, and with hardly any
+accent. This seemed to please her, for she gave me one of those flashing
+smiles.
+
+
+COLORATURA AND DRAMATIC
+
+"Would you be pleased," I asked, "if later on your voice should develop
+into a dramatic soprano?"
+
+Mme. Galli-Curci thought an instant.
+
+"No," she said, "I think I would rather keep the voice I have. I
+heartily admire the dramatic voice and the roles it can sing. Raisa's
+voice is for me the most beautiful I know. But after all I think, for
+myself, I prefer the lyric and coloratura parts, they are so beautiful.
+The old Italian composers knew well how to write for the voice. Their
+music has beauty, it has melody, and melodic beauty will always make its
+appeal. And the older Italian music is built up not only of melody and
+fioriture, but is also dramatic. For these qualities can combine, and
+do so in the last act of _Traviata_, which is so full of deep feeling
+and pathos.
+
+
+BREATH CONTROL
+
+"Perhaps, in Vocal Mastery, the greatest factor of all is the breathing.
+To control the breath is what each student is striving to learn, what
+every singer endeavors to perfect, what every artist should master. It
+is an almost endless study and an individual one, because each organism
+and mentality is different. Here, as in everything else, perfect ease
+and naturalness are to be maintained, if the divine song which is the
+singer's concept of beauty, is to be 'floated on the breath,' and its
+merest whisper heard to the farthest corner of the gallery.
+
+
+THE MATTER IN A NUTSHELL
+
+"To sum up then, the three requirements of vocal mastery are: a,
+Management of the Larynx; b, Relaxation of the Diaphragm; c, Control of
+the Breath. To these might be added a fourth; Mixed Vowels.
+
+"But when all these are mastered, what then? Ah, so much more it can
+never be put into words. It is self-expression through the medium of
+tone, for tone must always be a vital part of the singer's
+individuality, colored by feeling and emotion. Tone is the outlet, the
+expression of all one has felt, suffered and enjoyed. To perfect one's
+own instrument, one's medium of expression, must always be the singer's
+joy and satisfaction."
+
+"And you will surely rest when the arduous season is over?"
+
+"Yes, I will rest when the summer comes, and will return to Italy this
+year. But even though I seem to rest, I never neglect my vocal practice;
+that duty and pleasure is always performed."
+
+And with a charming smile and clasp of the hand, she said adieu.
+
+
+
+
+
+VI
+
+=GIUSEPPE DE LUCA=
+
+CEASELESS EFFORT NECESSARY FOR ARTISTIC PERFECTION
+
+
+"A Roman of Rome" is what Mr. Giuseppe De Luca has been named. The very
+words themselves call up all kinds of enchanting pictures. Sunny Italy
+is the natural home of beautiful voices: they are her birthright. Her
+blue sky, flowers and olive trees--her old palaces, hoary with age and
+romantic story, her fountains and marbles, her wonderful treasures of
+art, set her in a world apart, in the popular mind. Everything coming
+from Italy has the right to be romantic and artistic. If it happens to
+be a voice, it should of necessity be beautiful in quality, rich,
+smooth, and well trained.
+
+[Illustration: To Mrs. Harriette Brower cordially Giuseppe De Luca]
+
+While all singers who come from the sunny land cannot boast all these
+qualifications, Mr. De Luca, baritone of the Metropolitan Opera House,
+New York, can do so. Gifted with a naturally fine organ, he has
+cultivated it arduously and to excellent purpose. He began to study in
+early youth, became a student of Saint Cecilia in Rome when fifteen
+years of age, and made his debut at about twenty. He has sung in opera
+ever since.
+
+In 1915,--November 25th to be exact--De Luca came to the Metropolitan,
+and won instant recognition from critics and public alike. It is said of
+him that he earned "this success by earnest and intelligent work.
+Painstaking to a degree, there is no detail of his art that he neglects
+or slights--so that one hesitates to decide whether he is greater as a
+singer or as an actor." Perhaps, however, his most important quality is
+his mastery of "_bel canto_"--pure singing--that art which seems to
+become constantly rarer on the operatic and concert stage.
+
+"De Luca does such beautiful, finished work; every detail is carefully
+thought out until it is as perfect as can be." So remarked a member of
+the Metropolitan, and a fellow artist.
+
+Those who have listened to the Roman baritone in the various roles he
+has assumed, have enjoyed his fine voice, his true _bel canto_ style,
+and his versatile dramatic skill. He has never disappointed his public,
+and more than this, is ever ready to step into the breach should
+necessity arise.
+
+A man who has at least a hundred and twenty operas at his tongue's end,
+who has been singing in the greatest opera houses of the world for more
+than twenty years, will surely have much to tell which can help those
+who are farther down the line. If he is willing to do so, can speak the
+vernacular, and can spare a brief hour from the rush of constant study
+and engagement, a conference will be possible. It was possible, for time
+was made for it.
+
+
+THE MUSICAL GIFT
+
+Mr. De Luca, who speaks the English language remarkably well, greeted
+the writer with easy courtesy. His genial manner makes one feel at home
+immediately. Although he had just come from the Opera House, where he
+had sung an important role, he seemed as fresh and rested as though
+nothing had happened.
+
+"I think the ability to act, and also, in a measure, to sing, is a
+gift," began the artist. "I remember, even as a little child, I was
+always acting out in pantomime or mimicry what I had seen and felt. If I
+was taken to the theater, I would come home, place a chair for audience,
+and act out the whole story I had just seen before it. From my youngest
+years I always wanted to sing and act.
+
+
+A REMARKABLE TEACHER
+
+"As early as I could, at about the age of fifteen, I began to study
+singing, with a most excellent teacher; who was none other than Signor
+Wenceslao Persischini, who is now no longer living. He trained no fewer
+than seventy-four artists, of which I was the last. Battestini, that
+wonderful singer, whose voice to-day, at the age of sixty-five, is as
+remarkable as ever, is one of his pupils. We know that if a vocal
+teacher sings himself, and has faults, his pupils are bound to copy
+those faults instinctively and unconsciously. With Persischini this
+could not be the case; for, owing to some throat trouble, he was not
+able to sing at all. He could only whisper the tones he wanted,
+accompanying them with signs and facial grimaces." And Mr. De Luca
+illustrated these points in most amusing fashion. Then he continued:
+
+"But he had unerring judgment, together with the finest ear. He knew
+perfectly how the tone should be sung and the student was obliged to do
+it exactly right and must keep at it till it was right. He would let
+nothing faulty pass without correction. I also had lessons in acting
+from Madame Marini, a very good teacher of the art.
+
+
+THE ARTIST LIFE
+
+"After five years of hard study I made my debut at Piacenza, as
+Valentine, in _Faust_, November 6th, 1897. Then, you may remember, I
+came to the Metropolitan in the season of 1915-1916, where I have been
+singing continually ever since.
+
+"The artist should have good health, that he may be always able to sing.
+He owes this to his public, to be always ready, never to disappoint. I
+think I have never disappointed an audience and have always been in good
+voice. It seems to me when one is no longer able to do one's best it is
+time to stop singing."
+
+"It is because you study constantly and systematically that you are
+always in good voice."
+
+"Yes, I am always at work. I rise at eight in the morning, not later.
+Vocalizes are never neglected. I often sing them as I take my bath. Some
+singers do not see the necessity of doing exercises every day; I am not
+one of those. I always sing my scales, first with full power, then
+taking each tone softly, swelling to full strength, then dying away--in
+mezza voce. I use many other exercises also--employing full power.
+English is also one of the daily studies, with lessons three times a
+week.
+
+
+CONSTANTLY ON THE WATCH
+
+"When singing a role, I am always listening--watching--to be conscious
+of just what I am doing. I am always criticizing myself. If a tone or a
+phrase does not sound quite correct to me as to placement, or
+production, I try to correct the fault at once. I can tell just how I am
+singing a tone or phrase by the feeling and sensation. Of course I
+cannot hear the full effect; no singer ever can actually hear the effect
+of his work, except on the records. There he can learn, for the first
+time, just how his voice sounds.
+
+
+LEARNING A NEW ROLE
+
+"How do I begin a new part? I first read over the words and try to get a
+general idea of their meaning, and how I would express the ideas. I try
+over the arias and get an idea of those. Then comes the real work--the
+memorizing and working out the conception. I first commit the words, and
+know them so well I can write them out. Next I join them to the music.
+So far I have worked by myself. After this much has been done, I call in
+the accompanist, as I do not play the piano very well; that is to say,
+my right hand will go but the left lags behind!
+
+
+ALWAYS BEING SURE OF THE WORDS
+
+"Yes, as you say, it requires constant study to keep the various roles
+in review, especially at the Metropolitan, where the operas are changed
+from day to day. Of course at performance the prompter is always there
+to give the cue--yet the words must always be in mind. I have never yet
+forgotten a word or phrase. On one occasion--it was in the _Damnation of
+Faust_, a part I had already sung a number of times--I thought of a word
+that was coming, and seemed utterly unable to remember it. I grew quite
+cold with fear--I am inclined to be a little nervous anyway--but it was
+quite impossible to think of the word. Luckily at the moment when I
+needed the word I was so fearful about, it suddenly came to me.
+
+
+NATURAL ANXIETY
+
+"Of course there is always anxiety for the artist with every public
+appearance. There is so much responsibility--one must always be at
+one's best; and the responsibility increases as one advances, and begins
+to realize more and more keenly how much is expected and what depends on
+one's efforts. I can assure you we all feel this, from the least to the
+greatest. The most famous singers perhaps suffer most keenly.
+
+"I have always sung in Italian opera, in which the language is easy for
+me. Latterly I have added French operas to my list. _Samson and
+Delilah_, which I had always done in Italian, I had to relearn in
+French; this for me was very difficult. I worked a long time on it, but
+mastered it at last.
+
+"This is my twenty-second season in opera. I have a repertoire of about
+one hundred and twenty roles, in most of which I have sung many times in
+Italy. Some I wish might be brought out at the Metropolitan. Verdi's
+_Don Carlos_, for instance, has a beautiful baritone part; it is really
+one of the fine operas, though it might be considered a bit
+old-fashioned to-day. Still I think it would be a success here. I am
+preparing several new parts for this season; one of them is the
+Tschaikowsky work--_Eugene Onegin_. So you see I am constantly at work.
+
+"My favorite operas? I think they are these"; and Mr. De Luca hastily
+jotted down the following: _Don Carlos, Don Giovanni, Hamlet, Rigoletto,
+Barbier, Damnation of Faust_, and last, but not least, _Tannhauser_.
+
+
+GROWTH OF MUSICAL APPRECIATION IN AMERICA
+
+Asked if he considered appreciation for music had advanced during his
+residence in America, his answer was emphatically in the affirmative.
+
+"The other evening I attended a reception of representative American
+society, among whom were many frequenters of the Metropolitan. Many of
+them spoke to me of the opera _Marouf_. I was surprised, for this modern
+French opera belongs to the new idiom, and is difficult to understand.
+'Do you really like the music of _Marouf_?' I asked. 'Oh, yes indeed,'
+every one said. It is one of my longest parts, but not one of my special
+favorites.
+
+"In the summer! Ah, I go back to my beloved Italy almost as soon as the
+Metropolitan season closes. I could sing in Buenos Aires, as the season
+there follows the one here. But I prefer to rest the whole time until I
+return. I feel the singer needs a period of rest each year. To show you
+how necessary it is for the singer to do daily work on the voice, I
+almost feel I cannot sing at all during the summer, as I do no
+practicing, and without vocalizes one cannot keep in trim. If I am asked
+to sing during vacation, I generally refuse. I tell them I cannot sing,
+for I do not practice. It takes me a little while after I return, to get
+the vocal apparatus in shape again.
+
+"Thus it means constant study, eternal vigilance to attain the goal,
+then to hold what you have attained and advance beyond it if possible."
+
+
+
+
+VII
+
+=LUISA TETRAZZINI=
+
+THE COLORATURA VOICE
+
+
+Luisa Tetrazzini has been called the greatest exponent of coloratura
+singing that we have at the present time. Her phenomenal successes in
+various quarters of the globe, where she has been heard in both opera
+and concert, are well known, and form pages of musical history, full of
+interest. This remarkable voice, of exquisite quality and development,
+is another proof that we have as beautiful voices to-day, if we will but
+realize the fact, as were ever known or heard of in the days of famous
+Italian songsters.
+
+[Illustration: LOUISA TETRAZZINI]
+
+Portraits often belie the artist, by accentuating, unduly, some
+individuality of face or figure, and Tetrazzini is no exception. From
+her pictures one would expect to find one of the imperious, dominating
+order of prima donnas of the old school. When I met the diva, I was at
+once struck by the simplicity of her appearance and attire. There was
+nothing pompous about her; she did not carry herself with the air of
+one conscious of possessing something admired and sought after by all
+the world, something which set her on a high pedestal apart from other
+singers. Not at all. I saw a little lady of plump, comfortable figure, a
+face which beamed with kindliness and good humor, a mouth wreathed with
+smiles. Her manner and speech were equally simple and cordial, so that
+the visitor was put at ease at once, and felt she had known the great
+singer for years.
+
+Before the conference could begin a pretty episode happened, which
+showed the human side of the singer's character, and gave a glimpse into
+her every day life. Mme. Tetrazzini was a little late for her
+appointment, as she had been out on a shopping expedition, an occupation
+which she greatly enjoys. Awaiting her return was a group of
+photographers, who had arranged their apparatus, mirrors and flash-light
+screen, even to the piano stool on which the singer was to be placed.
+She took in the situation at a glance, as she entered, and obediently
+gave herself into the hands of the picture makers.
+
+"Ah, you wish to make me beautiful," she exclaimed, with her pretty
+accent; "I am not beautiful, but you may try to make me look so." With
+patience she assumed the required poses, put her head on this side or
+that, drew her furs closer about her or allowed them to fall away from
+the white throat, with its single string of pearls. The onlooker
+suggested she be snapped with a little black "Pom," who had found his
+way into the room and was now an interested spectator, on his vantage
+ground, a big sofa. So little "Joy" was gathered up and held in
+affectionate, motherly arms, close against his mistress' face. It was
+all very human and natural, and gave another side to the singer's
+character from the side she shows to the public.
+
+At last the ordeal was over, and Madame was free to leave her post and
+sit in one of the arm chairs, where she could be a little more
+comfortable. The secretary was also near, to be appealed to when she
+could not make herself intelligible in English. "My English is very
+bad," she protested; "I have not the time now to learn it properly; that
+is why I speak it so very bad. In the summer, or next year, I will
+really learn it. Now, what is it I can tell you? I am ready."
+
+
+FOR THE DEBUTANTE
+
+To ask such a natural born singer how she studies and works, is like
+asking the fish swimming about in the ocean, to tell you where is the
+sea! She could not tell you how she does it. Singing is as the breath of
+life to Tetrazzini--as natural as the air she breathes. Realizing this,
+I began at the other end.
+
+"What message have you, Madame, for the young singer, who desires to
+make a career?"
+
+"Ah, yes, the debutante. Tell her she must practice much--very much--"
+and Madame spread out her hands to indicate it was a large subject; "she
+must practice several hours every day. I had to practice very much when
+I began my study--when I was sixteen; but now I do not have to spend
+much time on scales and exercises; they pretty well go of themselves";
+and she smiled sweetly.
+
+"You say," she continued, "the debutante--the young singer--does not
+know--in America--how much she needs the foreign languages. But she
+should learn them. She should study French, Italian and Spanish, and
+know how to speak them. Because, if she should travel to those
+countries, she must make herself understood, and she must be able to
+sing in those languages, too.
+
+"Besides the languages, it is very good for her to study piano also;
+she need not know it so well as if she would be a pianist, but she
+should know it a little; yet it is better to know more of the piano--it
+will make her a better musician."
+
+
+THE COLORATURA VOICE
+
+"You love the coloratura music, do you not, Madame?"
+
+"Ah, yes, I love the coloratura,--it suits me; I have always studied for
+that--I know all the old Italian operas. For the coloratura music you
+must make the voice sound high and sweet--like a bird--singing and
+soaring. You think my voice sounds something like Patti's? Maybe. She
+said so herself. Ah, Patti was my dear friend--my very dear friend--I
+loved her dearly. She only sang the coloratura music, though she loved
+Wagner and dramatic music. Not long before she died she said to me:
+'Luisa, always keep to the coloratura music, and the beautiful _bel
+canto_ singing; do nothing to strain your voice; preserve its velvety
+quality.' Patti's voice went to C sharp, in later years; mine has
+several tones higher. In the great aria in Lucia, she used to substitute
+a trill at the end instead of the top notes; but she said to
+me--'Luisa, _you_ can sing the high notes!'"
+
+"Then the breathing, Madame, what would you say of that?"
+
+"Ah, the breathing, that is very important indeed. You must breathe from
+here, you know--what you call it--from the diaphragm, and from both
+sides; it is like a bellows, going in and out," and she touched the
+portions referred to. "One does not sing from the chest,--that would
+make queer, harsh tones." She sang a few tones just to show how harsh
+they would be.
+
+"You have shown such wonderful breath control in the way you sustain
+high tones, beginning them softly, swelling then diminishing them."
+
+"Ah, yes, the coloratura voice must always be able to do those things,"
+was the answer.
+
+"Should you ever care to become a dramatic singer?" she was asked.
+
+Tetrazzini grew thoughtful; "No, I do not think so," she said, after a
+pause; "I love my coloratura music, and I think my audience likes it
+too; it goes to the heart--it is all melody, and that is what people
+like. I sing lyric music also--I am fond of that."
+
+"Yes, and you sing songs in English, with such good diction, that we
+can all understand you--almost every word."
+
+Madame beamed.
+
+"I promise you I will learn English better next year; for I shall come
+back to my friends in America next autumn. I shall be in Italy in the
+summer. I have two homes over there, one in Italy and one in
+Switzerland.
+
+"Do I prefer to sing in opera or concert, you ask? I believe I like
+concert much better, for many reasons. I get nearer to the audience; I
+am freer--much freer, and can be myself and not some other person. There
+is no change of costume, either; I wear one gown, so it is easier; yes,
+I like it much more.
+
+"In traveling over your big country--you see I have just been out to
+California and back--I find your people have advanced so very much in
+appreciation of music; you know so much more than when I was here
+before; that was indeed a long time ago--about twelve years,--" and
+Madame made a pretty little gesture.
+
+"But in one way your great big country has scarcely advanced any if at
+all; you have not advanced in providing opera for your music lovers. You
+need permanent opera companies in all the larger cities. The opera
+companies of New York and Chicago are fine, oh yes,--but they cannot
+give opera to the whole country. There are a few traveling companies
+too, which are good. But what are they in your big country? You should
+have opera stock companies all over, which would give opera for the
+people. Then your fine American girls would have the chance to gain
+operatic experience in their own country, which they cannot get now.
+That is why the foreign singer has such a chance here, and that is why
+the native singer can hardly get a chance. All the American girls' eyes
+turn with longing to the Metropolitan Opera House; and with the best
+intentions in the world the Director can only engage a small number of
+those he would like to have, because he has no room for them. He can not
+help it. So I say, that while your people have grown so much in the
+liking and in the understanding of music, you do not grow on this side,
+because your young singers are obliged to travel to a foreign land to
+get the practice in opera they are unable to get at home. You need to do
+more for the permanent establishing of opera in the large and small
+cities of your country."
+
+Madame did not express her thoughts quite as consecutively as I have set
+them down, but I am sure she will approve, as these are her ideas of
+the musical situation in this country.
+
+As I listened to the words of this "second Patti," as she is called, and
+learned of her kindly deeds, I was as much impressed by her kindness of
+heart as I had been by her beautiful art of song. She does much to
+relieve poverty and suffering wherever she finds it. As a result of her
+"vocal mastery," she has been able to found a hospital in Italy for
+victims of tuberculosis, which accommodates between three and four
+hundred patients. The whole institution is maintained from her own
+private income. During the war she generously gave of her time and art
+to sing for the soldiers and aided the cause of the Allies and the Red
+Cross whenever possible. For her labors of love in this direction, she
+has the distinction of being decorated by a special gold medal of honor,
+by both the French and Italian Governments; a distinction only conferred
+on two others beside herself.
+
+After our conference, I thanked her for giving me an hour from her
+crowded day. She took my hand and pressed it warmly in both hers.
+
+"Please do not quite forget me, Madame."
+
+"Indeed not, will you forget me?"
+
+"No, I shall always remember this delightful hour."
+
+"Then, you see, I cannot forget you!" and she gave my hand a parting
+squeeze.
+
+
+
+
+VIII
+
+=ANTONIO SCOTTI=
+
+TRAINING AMERICAN SINGERS FOR OPERA
+
+
+A singer of finished art and ripe experience is Antonio Scotti. His
+operatic career has been rich in development, and he stands to-day at
+the top of the ladder, as one of the most admired dramatic baritones of
+our time.
+
+One of Naples' sons, he made a first appearance on the stage at Malta,
+in 1889. Successful engagements in Milan, Rome, Madrid, Russia and
+Buenos Aires followed. In 1899 he came to London, singing _Don Giovanni_
+at Covent Garden. A few months thereafter, he came to New York and began
+his first season at the Metropolitan. His vocal and histrionic gifts won
+instant recognition here and for the past twenty years he has been one
+of the most dependable artists of each regular season.
+
+
+CHARACTERIZATION
+
+[Illustration: [handwritten note] To Miss Harriette Brower Cordially A
+Scotti New York 1920]
+
+With all his varied endowments, it seldom or never falls to the lot of a
+baritone to impersonate the lover; on the contrary it seems to be his
+metier to portray the villain. Scotti has been forced to hide his true
+personality behind the mask of a Scarpia, a Tonio, an Iago, and last but
+not least, the most repulsive yet subtle of all his villains--Chim-Fang,
+in _L'Oracolo_. Perhaps the most famous of them all is Scarpia. But what
+a Scarpia, the quintessence of the polished, elegant knave! The
+refinement of Mr. Scotti's art gives to each role distinct
+characteristics which separate it from all the others.
+
+
+OPPORTUNITY FOR THE AMERICAN SINGER
+
+Mr. Scotti has done and is doing much for the young American singer, by
+not only drilling the inexperienced ones, but also by giving them
+opportunity to appear in opera on tour. To begin this enterprise, the
+great baritone turned impresario, engaged a company of young singers,
+most of them Americans, and, when his season at the Metropolitan was at
+an end, took this company, at his own expense, on a southern trip,
+giving opera in many cities.
+
+Discussing his venture on one occasion, Mr. Scotti said:
+
+"It was an experiment in several ways. First, I had an all-American
+company, which was indeed an experiment. I had some fine artists in the
+principal roles, with lesser known ones in smaller parts. With these I
+worked personally, teaching them how to act, thus preparing them for
+further career in the field of opera. I like to work with the younger
+and less experienced ones, for it gives me real pleasure to watch how
+they improve, when they have the opportunity.
+
+"Of course I am obliged to choose my material carefully, for many more
+apply for places than I can ever accept.
+
+
+ITALIAN OPERA IN AMERICA
+
+"So closely is Italy identified with all that pertains to opera," he
+continued, "that the question of the future of Italian opera in America
+interests me immensely. It has been my privilege to devote some of the
+best years of my life to singing in Italian opera in this wonderful
+country of yours. One is continually impressed with the great advance
+America has made and is making along all musical lines. It is marvelous,
+though you who live here may not be awake to the fact. Musicians in
+Europe and other parts of the world, who have never been here, can form
+no conception of the musical activities here.
+
+"It is very gratifying to me, as an Italian, to realize that the
+operatic compositions of my country must play an important part in the
+future of American musical art. It seems to me there is more intrinsic
+value--more variety in the works of modern Italian composers than in
+those of other nations. We know the operas of Mozart are largely founded
+on Italian models.
+
+"Of the great modern Italian composers, I feel that Puccini is the most
+important, because he has a more intimate appreciation of theatrical
+values. He seems to know just what kind of music will fit a series of
+words or a scene, which will best bring out the dramatic sense.
+Montemezzi is also very great in this respect. This in no way detracts
+from what Mascagni, Leoncavallo and others have accomplished. It is only
+my personal estimate of Puccini as a composer. The two most popular
+operas to-day are _Aida_ and _Madame Butterfly_, and they will always
+draw large audiences, although American people are prone to attend the
+opera for the purpose of hearing some particular singer and not for the
+sake of the work of the composer. In other countries this is not so
+often the case. We must hope this condition will be overcome in due
+time, for the reason that it now often happens that good performances
+are missed by the public who are only attracted when some much heralded
+celebrity sings."
+
+
+AMERICAN COMPOSERS
+
+Asked for his views regarding American operatic composers, Mr. Scotti
+said:
+
+"American composers often spoil their chances of success by selecting
+uninteresting and uninspired stories, which either describe some doleful
+historic incident or illustrate some Indian legend, in which no one of
+to-day is interested, and which is so far removed from actual life that
+it becomes at once artificial, academic and preposterous. Puccini spends
+years searching for suitable librettos, as great composers have always
+done. When he finds a story that is worthy he turns it into an opera.
+But he will wait till he discovers the right kind of a plot. No wonder
+he has success. In writing modern music dramas, as all young Americans
+endeavor to do, they will never be successful unless they are careful to
+pick out really dramatic stories to set to music."
+
+
+OPERATIC TRAINING
+
+On a certain occasion I had an opportunity to confer with this popular
+baritone, and learn more in regard to his experiences as impresario.
+This meeting was held in the little back office of the Metropolitan, a
+tiny spot, which should be--and doubtless is--dear to every member of
+the company. Those four walls, if they would speak, could tell many
+interesting stories of singers and musicians, famed in the world of art
+and letters, who daily pass through its doors, or sit chatting on its
+worn leather-covered benches, exchanging views on this performance or
+that, or on the desirability or difficulty of certain roles. Even while
+we were in earnest conference, Director Gatti-Casazza passed through the
+room, stopping long enough to say a pleasant word and offer a clasp of
+the hand. Mr. Guard, too, flitted by in haste, but had time to give a
+friendly greeting.
+
+Mr. Scotti was in genial mood and spoke with enthusiasm of his
+activities with a favorite project--his own opera company. To the
+question as to whether he found young American singers in too great
+haste to come before the public, before they were sufficiently prepared,
+thus proving they were superficial in their studies, he replied:
+
+"No, I do not find this to be the case. As a general rule, young
+American singers have a good foundation to build upon. They have good
+voices to start with; they are eager to learn and they study carefully.
+What they lack most--those who go in for opera I mean--is stage routine
+and a knowledge of acting. This, as I have said before, I try to give
+them. I do not give lessons in singing to these young aspirants, as I
+might in this way gain the enmity of vocal teachers; but I help the
+untried singers to act their parts. Of course all depends on the
+mentality--how long a process of training the singer needs. The
+coloratura requires more time to perfect this manner of singing than
+others need; but some are much quicker at it than others.
+
+"It is well I am blessed with good health, as my task is extremely
+arduous. When on tour, I sing every night, besides constantly rehearsing
+my company. We are ninety in all, including our orchestra. It is indeed
+a great undertaking. I do not do it for money, for I make nothing
+personally out of it, and you can imagine how heavy the expenses are;
+four thousand dollars a week, merely for transportation. But I do it for
+the sake of art, and to spread the love of modern Italian opera over
+this great, wonderful country, the greatest country for music that
+exists to-day. And the plan succeeds far beyond my hopes; for where we
+gave one performance in a place, we now, on our second visit, can give
+three--four. Next year we shall go to California.
+
+"So we are doing our part, both to aid the young singer who sorely needs
+experience and to educate the masses and general public to love what is
+best in modern Italian opera!"
+
+
+
+
+IX
+
+=ROSA RAISA=
+
+PATIENCE AND PERSEVERANCE WIN RESULTS
+
+
+To the present day opera goers the name of Rosa Raisa stands for a
+compelling force. In whatever role she appears, she is always a
+commanding figure, both physically, dramatically and musically. Her
+feeling for dramatic climax, the intensity with which she projects each
+character assumed, the sincerity and self forgetfulness of her
+naturalistic interpretation, make every role notable. Her voice is a
+rich, powerful soprano, vibrantly sweet when at its softest--like a
+rushing torrent of passion in intense moments. At such moments the
+listener is impressed with the belief that power and depth of tone are
+limitless; that the singer can never come to the end of her resources,
+no matter how deeply she may draw on them. There are such moments of
+tragic intensity, in her impersonation of the heroine in _Jewels of the
+Madonna_, in _Sister Angelica_, in _Norma_, as the avenging priestess,
+in which role she has recently created such a remarkable impression.
+
+[Illustration: Rosa Raisa]
+
+
+A PRIMA DONNA AT HOME
+
+If one has pictured to one's self that because the Russian prima donna
+can show herself a whirlwind of dynamic passion on the stage, therefore
+she must show some of these qualities in private life, one would quickly
+become disabused of such an impression when face to face with the
+artist. One would then meet a slender, graceful young woman, of gentle
+presence and with the simplest manners in the world. The dark, liquid
+eyes look at one with frankness and sincerity; the wide, low brow, from
+which the dark hair is softly drawn away, is the brow of a madonna. In
+repose the features might easily belong to one of Raphael's saints.
+However, they light up genially when their owner speaks.
+
+Mme. Raisa stood in the doorway of her New York apartment, ready to
+greet us as we were shown the way to her. Her figure, clad in
+close-fitting black velvet, looked especially slender; her manner was
+kind and gracious, and we were soon seated in her large, comfortable
+salon, deep in conference. Before we had really begun, the singer's pet
+dog came bounding to greet us from another room. The tiny creature, a
+Mexican terrier, was most affectionate, yet very gentle withal, and
+content to quietly cuddle down and listen to the conversation.
+
+"I will speak somewhat softly," began Mme. Raisa, "since speaking seems
+to tire me much more than singing, for what reason I do not know. We
+singers must think a little of our physical well being, you see. This
+means keeping regular hours, living very simply and taking a moderate
+amount of exercise.
+
+"Yes, I always loved to sing; even as a little child I was constantly
+singing. And so I began to have singing lessons when I was eight years
+old. Later on I went to Italy and lived there for a number of years,
+until I began to travel. I now make my home in Naples. My teacher there
+was Madame Marchesio, who was a remarkable singer, musician and
+teacher--all three. Even when she reached the advanced age of eighty,
+she could still sing wonderfully well. She had the real _bel canto_,
+understood the voice, how to use it and the best way to preserve it. I
+owe so much to her careful, artistic training; almost everything, I may
+say.
+
+
+THE SINGER'S LIFE
+
+"One cannot expect to succeed in the profession of music without giving
+one's best time and thought to the work of vocal training and all the
+other subjects that go with it. A man in business gives his day, or the
+most of it, to his office. My time is devoted to my art, and indeed I
+have not any too much time to study all the necessary sides of it.
+
+"During the season, I do regular vocal practice each day and keep the
+various roles in review. During the summer I study new parts, for then I
+have the time and the quiet. That is what the singer needs--quiet. I
+always return to Naples for the vacation, unless I go to South America
+and sing there. Then I must have a little rest too, that I may be ready
+for the labors of the following season.
+
+
+VOCAL TRAINING
+
+"Even during the busiest days technic practice is never neglected.
+Vocalizes, scales, terzetta--what you call them--broken thirds, yes, and
+long, slow tones in _mezza di voce_, that is, beginning softly, swelling
+to loud then gradually diminishing to soft, are part of the daily
+regime. One cannot omit these things if one would always keep in
+condition and readiness. When at work in daily study, I sing softly, or
+with medium tone quality; I do not use full voice except occasionally,
+when I am going through a part and wish to try out certain effects.
+
+
+"ONE VOICE"
+
+"I was trained first as a coloratura and taught to do all the old
+Italian operas of Bellini, Rosini, Donizetti and the rest of the florid
+Italian school. This gives the singer a thorough, solid training--the
+sort of training that requires eight or ten years to accomplish. But
+this is not too much time to give, if one wishes to be thoroughly
+prepared to sing all styles of music. In former days, when singers
+realized the necessity of being prepared in this way, there existed I
+might say--_one voice;_ for the soprano voice was trained to sing both
+florid and dramatic music. But in these days sopranos are divided into
+High, Lyric, Coloratura and Dramatic; singers choose which of these
+lines seems to suit best their voice and temperament.
+
+
+COLORATURA AND DRAMATIC
+
+"It is of advantage to the singer to be trained in both these arts. In
+the smaller opera houses of Italy, a soprano, if thus trained, can sing
+_Lucia_ one night and _Norma_ the next; _Traviata_ one night and
+_Trovatore_ the next.
+
+"Modern Italian opera calls for the dramatic soprano. She must be an
+actress just as well as a singer. She must be able to express in both
+voice and gesture intense passion and emotion. It is the period of storm
+and stress. Coloratura voices have not so much opportunity at the
+present time, unless they are quite out of the ordinary. And yet, for
+me, a singer who has mastery of the beautiful art of _bel canto,_ is a
+great joy. Galli-Curci's art is the highest I know of. For me she is the
+greatest singer. Melba also is wonderful. I have heard her often--she
+has been very kind to me. When I hear her sing an old Italian air, with
+those pure, bell-like tones of hers, I am lifted far up; I feel myself
+above the sky.
+
+
+DO NOT YIELD TO DISCOURAGEMENT
+
+"The younger singer need not yield to discouragement, for she must know
+from the start, that the mastery of a great art like singing is a long
+and arduous task. If the work seems too difficult at times, do not give
+up or say 'I cannot.' If I had done that, I should have really given up
+many times. Instead I say; 'I can do it, and not only I can but I will!'
+
+
+MUSICIANSHIP
+
+"There are so many sides to the singer's equipment, besides singing
+itself"; and Mme. Raisa lifted dark eyes and spread out her graceful
+hands as though to indicate the bigness of the subject. "Yes, there is
+the piano, for instance; the singer is much handicapped without a
+knowledge of that instrument, for it not only provides accompaniment but
+cultivates the musical sense. Of course I have learned the piano and I
+consider it necessary for the singer.
+
+"Then there are languages. Be not content with your own, though that
+language must be perfectly learned and expressed, but learn others."
+
+"You of course speak several languages?" questioned the listener.
+
+"Yes, I speak eight," she answered modestly. "Russian, of course, for I
+am Russian; then French, Italian, German, Spanish, Polish, Roumanian and
+English. Besides these I am familiar with a few dialects.
+
+
+HAVE PATIENCE
+
+"So many young singers are so impatient; they want to prepare themselves
+in three or four years for a career," and Madame frowned her
+disapproval. "Perhaps they may come before the public after that length
+of time spent in study; but they will only know a part--a little of all
+they ought to know. With a longer time, conscientiously used, they would
+be far better equipped. The singer who spends nine or ten years in
+preparation, who is trained to sing florid parts as well as those which
+are dramatic--she indeed can sing anything, the music of the old school
+as well as of the new. In Rome I gave a recital of old music, assisted
+by members of the Sistine Chapel choir. We gave much old music, some of
+it dating from the sixth century.
+
+"Do I always feel the emotions I express when singing a role? Yes, I can
+say that I endeavor to throw myself absolutely into the part I am
+portraying; but that I always do so with equal success cannot be
+expected. So many unforeseen occurrences may interfere, which the
+audience can never know or consider. One may not be exactly in the mood,
+or in the best of voice; the house may not be a congenial space, or the
+audience is unsympathetic. But if all is propitious and the audience
+with you--then you are lifted up and carry every one with you. Then you
+are inspired and petty annoyances are quite forgotten.
+
+
+VOCAL MASTERY
+
+"You ask a very difficult question when you ask of what vocal mastery
+consists. If I have developed perfect control throughout the two and a
+half octaves of my voice, can make each tone with pure quality and
+perfect evenness in the different degrees of loud and soft, and if I
+have perfect breath control as well, I then have an equipment that may
+serve all purposes of interpretation.
+
+"Together with vocal mastery must go the art of interpretation, in which
+all the mastery of the vocal equipment may find expression. In order to
+interpret adequately one ought to possess a perfect instrument,
+perfectly trained. When this is the case one can forget mechanism,
+because confident of the ability to express whatever emotion is
+desired."
+
+"Have you a message which may be carried to the young singers?" she was
+asked.
+
+"Tell them to have patience--patience to work and patience to wait for
+results. Vocal mastery is not a thing that can be quickly accomplished;
+it is not the work of weeks and months, but of years of consistent,
+constant effort. It cannot be hurried, but must grow with one's growth,
+both mentally and physically. But the reward of earnest effort is sure
+to come!"
+
+
+
+X
+
+=LOUISE HOMER=
+
+THE REQUIREMENTS OF A MUSICAL CAREER
+
+
+Madame Louise Homer is a native artist to whom every loyal American can
+point with pardonable pride. Her career has been a constant, steady
+ascent, from the start; it is a career so well known in America that
+there is hardly any need to review it, except as she herself refers to
+it on the rare occasions when she is induced to speak of herself. For
+Mme. Homer is one of the most modest artists in the world; nothing is
+more distasteful to her than to seek for publicity through ordinary
+channels. So averse is she to any self-seeking that it was with
+considerable hesitation that she consented to express her views to the
+writer, on the singer's art. As Mr. Sidney Homer, the well known
+composer and husband of Mme. Homer, remarked, the writer should prize
+this intimate talk, as it was the first Mme. Homer had granted in a very
+long time.
+
+[Illustration: LOUISE HOMER]
+
+The artist had lately returned from a long trip, crowded with many
+concerts, when I called at the New York residence of this ideal musical
+pair and their charming family. Mme. Homer was at home and sent down
+word she would see me shortly. In the few moments of waiting, I seemed
+to feel the genial atmosphere of this home, its quiet and cheer. A
+distant tinkle of girlish laughter was borne to me once or twice; then a
+phrase or two sung by a rich, vibrant voice above; then in a moment
+after, the artist herself descended and greeted me cordially.
+
+"We will have a cup of tea before we start in to talk," she said, and,
+as if by magic, the tea tray and dainty muffins appeared.
+
+How wholesome and fresh she looked, with the ruddy color in her cheeks
+and the firm whiteness of neck and arms. The Japanese robe of "midnight
+blue," embroidered in yellows, heightened the impression of vigorous
+health by its becomingness.
+
+
+FOR THE GIRL WHO WANTS TO MAKE A CAREER
+
+"There is so much to consider for the girl who desires to enter the
+profession," began Mme. Homer, in response to my first query. "First,
+she must have a voice, there is no use attempting a career without the
+voice; there must be something to develop, something worth while to
+build upon. And if she has the voice and the means to study, she must
+make up her mind to devote herself exclusively to her art; there is no
+other way to succeed. She cannot enter society, go to luncheons, dinners
+and out in the evening, and at the same time accomplish much in the way
+of musical development. Many girls think, if they attend two or three
+voice lessons a week and learn some songs and a few operatic arias, that
+is all there is to it. But there is far more. They must know many other
+things. The vocal student should study piano and languages; these are
+really essential. Not that she should strive to become a pianist; that
+would not be possible if she is destined to become a singer; but the
+more she knows of the piano and its literature, the more this will
+cultivate her musical sense and develop her taste.
+
+
+HOW AN ARTIST WORKS
+
+"I am always studying, always striving to improve what I have already
+learned and trying to acquire the things I find difficult, or that I
+have not yet attained to. I do vocal technic every day; this is
+absolutely essential, while one is in the harness. It is during the
+winter that I work so industriously, both on technic and repertoire,
+between tours. This is when I study. I believe in resting the voice part
+of the year, and I take this rest in the summer. Then, for a time, I do
+not sing at all. I try to forget there is such a thing as music in the
+world, so far as studying it is concerned. Of course I try over Mr.
+Homer's new songs, when they are finished, for summer is his time for
+composition.
+
+"Since the voice is such an intangible instrument, the singer needs
+regular guidance and criticism, no matter how advanced she may be. As
+you say, it is difficult for the singer to determine the full effect of
+her work; she often thinks it much better than it really is. That is
+human nature, isn't it?" she added with one of her charming smiles.
+
+
+THE START IN OPERA
+
+"How did you start upon an operatic career?" the singer was asked.
+
+Just here Mr. Homer entered and joined in the conference.
+
+"I do not desire to go into my life-history, as that would take too
+long. In a few words, this is how it happened--years ago.
+
+"We were living in Boston; I had a church position, so we were each busy
+with our musical work. My voice was said to be 'glorious,' but it was a
+cumbersome, unwieldy organ. I could only sing up to F; there were so
+many things I wanted to do with my voice that seemed impossible, that I
+realized I needed more training. I could have remained where I was; the
+church people were quite satisfied, and I sang in concert whenever
+opportunity offered. But something within urged me on. We decided to
+take a year off and spend it in study abroad. Paris was then the Mecca
+for singers and to Paris we went. I plunged at once into absorbing
+study; daily lessons in voice training and repertoire; languages, and
+French diction, several times a week, and soon acting was added, for
+every one said my voice was for the theater. I had no idea, when I
+started out, that I should go into opera. I had always loved to sing, as
+far back as I can remember. My father was a Presbyterian clergyman, and
+when we needed new hymn books for church or Sunday School, they used to
+come to our house. I would get hold of every hymn book I could find and
+learn the music. So I was always singing; but an operatic career never
+entered my thought, until the prospect seemed to unfold before me, as a
+result of my arduous study in Paris. Of course I began to learn
+important arias from the operas. Every contralto aspires to sing the
+grand air from the last act of _Le Prophete;_ you know it of course. I
+told my teacher I could never do it, as it demanded higher tones than I
+had acquired, going up to C. He assured me it would be perfectly easy in
+a little while, if I would spend a few moments daily on those high
+notes. His prediction was correct, for in a few months I had no trouble
+with the top notes.
+
+"I studied stage deportment and acting from one of the greatest singing
+actors of the French stage, Paul Lherie. What an artist he was! So
+subtle, so penetrating, so comprehensive. The principles he taught are a
+constant help to me now, and his remarks often come back to me as I
+study a new role.
+
+"As I say, I studied this line of work, not knowing what would grow out
+of it; I did it on faith, hoping that it might prove useful."
+
+"It seems to me," remarked the composer, "that young singers would do
+well to make a study of acting, along with languages and piano. Then, if
+the voice developed and an operatic career opened to them, they would be
+so much better prepared; they would have made a start in the right
+direction; there would not be so much to learn all at once, later on."
+
+"If the girl could only be sure she was destined for a stage career,"
+said Mme. Homer, thoughtfully, "she might do many things from the start
+that she doesn't think of doing before she knows.
+
+"To go on with my Paris story. I kept faithfully at work for a year,
+preparing myself for I knew not just what; I could not guess what was in
+store. Then I got my first opera engagement, quite unexpectedly. I was
+singing for some professional friends in a large _saale_. I noticed a
+man standing with his back to me, looking out of one of the long
+windows. When I finished, he came forward and offered me an engagement
+at Vichy, for the summer season. The name Vichy only suggested to my
+mind a kind of beverage. Now I learned the town had a flourishing Opera
+House, and I was expected to sing eight roles. Thus my stage career
+began."
+
+
+WHAT ARE THE ASSETS FOR A CAREER?
+
+"And what must the girl possess, who wishes to make a success with her
+singing?" was asked.
+
+"First of all, as I have already said, she must have a voice; she can
+never expect to get very far without that. Voice is a necessity for a
+singer, but it rests with her what she will do with it, how she will
+develop it.
+
+"The next asset is intelligence; that is as great a necessity as a
+voice. For through the voice we express what we feel, what we are;
+intelligence controls, directs, shines through and illumines everything.
+Indeed what can be done without intelligence? I could mention a young
+singer with a good natural voice, who takes her tones correctly, who
+studies well; indeed one can find no fault with the technical side of
+her work; but her singing has no meaning--it says absolutely nothing; it
+only represents just so many notes."
+
+"That is because she has not a musical nature," put in Mr. Homer. "To my
+mind that is the greatest asset any one can have who wishes to become a
+musician in any branch of the art. What can be done without a musical
+nature? Of course I speak of the young singer who wishes to make a
+career. There are many young people who take up singing for their own
+pleasure, never expecting to do much with it. And it is a good thing to
+do so. It gives pleasure to their family and friends--is a healthful
+exercise, and last but not least, is financially good for the teacher
+they employ.
+
+"But the trouble comes when these superficial students aspire to become
+opera singers, after a couple of seasons' study. Of course they all cast
+eyes at the Metropolitan, as the end and aim of all striving.
+
+"Just as if, when a young man enters a law office, it is going to lead
+him to the White House, or that he expects it will," said Mr. Homer.
+
+"Then," resumed the artist, "we have already three requirements for a
+vocal career; Voice, Intelligence and a Musical Nature. I think the
+Fourth should be a Capacity for Work. Without application, the gifts of
+voice, intelligence and a musical nature will not make an artist. To
+accomplish this task requires ceaseless labor, without yielding to
+discouragement. Perhaps the Fifth asset would be a cheerful optimism as
+proof against discouragement.
+
+"That is the last thing the student should yield to--discouragement, for
+this has stunted or impaired the growth of many singers possessed of
+natural talent. The young singer must never be down-hearted. Suppose
+things do not go as she would like to have them; she must learn to
+overcome obstacles, not be overcome by them. She must have backbone
+enough to stand up under disappointments; they are the test of her
+mettle, of her worthiness to enter the circle with those who have
+overcome. For she can be sure that none of us have risen to a place in
+art without the hardest kind of work, struggle and the conquering of all
+sorts of difficulties.
+
+"The sixth asset ought to be Patience, for she will need that in large
+measure. It is only with patient striving, doing the daily vocal task,
+and trying to do it each day a little better than the day before, that
+anything worth while is accomplished. It is a work that cannot be
+hurried. I repeat it; the student must have unlimited patience to labor
+and wait for results.
+
+
+COLORATURA AND DRAMATIC
+
+"I would advise every student to study coloratura first. Then, as the
+voice broadens, deepens and takes on a richer timbre, it will turn
+naturally to the more dramatic expression. The voice needs this
+background, or foundation in the old Italian music, in order to acquire
+flexibility and freedom. I was not trained to follow this plan myself,
+but my daughter Louise, who is just starting out in her public career,
+has been brought up to this idea, which seems to me the best.
+
+
+MEMORIZING
+
+"I memorize very easily, learning both words and music at the same time.
+In taking up a new role, my accompanist plays it for me and we go over
+it carefully noting all there is in language and notes. When I can take
+it to bed with me, and go over it mentally; when I can go through it as
+I walk along the street, then it has become a part of me; then I can
+feel I know it."
+
+"Mme. Homer holds the banner at the Metropolitan, for rapid memorizing,"
+said her husband. "On one occasion, when _Das Rheingold_ was announced
+for an evening performance, the Fricka was suddenly indisposed and
+unable to appear. Early in the afternoon, the Director came to Mme.
+Homer, begging her to do the part, as otherwise he would be forced to
+close the house that night. A singer had tried all forenoon to learn the
+role, but had now given it up as impossible. Mme. Homer consented. She
+started in at three o'clock and worked till six, went on in the evening,
+sang the part without rehearsal, and acquitted herself with credit. This
+record has never been surpassed at the Metropolitan." "I knew the other
+Frickas of the Ring," said Madame, "but had never learned the one in the
+_Rheingold_; it is full of short phrases and difficult to remember, but
+I came through all right. I may add, as you ask, that perhaps _Orfeo_ is
+my favorite role, one of the most beautiful works we have."
+
+
+VOCAL MASTERY
+
+"What do I understand by Vocal Mastery? The words explain themselves.
+The singer must master all difficulties of technic, of tone production,
+so as to be able to express the thought of the composer, and the meaning
+of the music."
+
+"Don't forget that the singer must have a musical nature," added Mr.
+Homer, "for without this true vocal mastery is impossible."
+
+
+
+
+XI
+
+=GIOVANNI MARTINELLI=
+
+"LET US HAVE PLENTY OF OPERA IN AMERICA"
+
+
+Said the Professor: "How well I remember the first time I heard
+Martinelli. We were traveling in Italy that summer, and had arrived in
+Verona rather late in the afternoon. The city seemed full of people,
+with many strangers, and we could not at first secure accommodations at
+the hotel. Inquiring the cause, the answer was: 'Does not the signer
+know that to-day is one holiday, and to-night, in the Amphitheater,
+_Aida_ will be sung, under the stars.' We finally secured rooms, and of
+course heard the opera that night. Young Martinelli was the Rhadames,
+and I shall never forget how splendidly his voice rang out over those
+vast spaces of the Arena. It was a most unusual experience to hear that
+music sung in the open--'under the stars,' and it was unforgettable."
+
+[Illustration: GIOVANNI MARTINELLI]
+
+Giovanni Martinelli, who has been for several years one of the leading
+tenors at the Metropolitan Opera House, New York, has warmly entrenched
+himself in the hearts of music lovers in America. To be a great singer,
+as some one has said, requires, first, voice; second, voice; third,
+voice. However, at the present hour a great singer must have more than
+voice; we demand histrionic ability also. We want singing actors as well
+as great singers.
+
+Mr. Martinelli is the possessor of a beautiful voice and, moreover, is a
+fine actor and an excellent musician. He was, first of all, a
+clarinetist before he became a singer, and so well did he play his
+chosen instrument that his services were in great demand in his home
+town in Italy. Then it was discovered he had a voice and he was told he
+could make a far greater success with that voice than he ever could
+playing the clarinet. He set to work at once to cultivate the voice in
+serious earnest and under good instruction. After a considerable time
+devoted to study, he made his debut in Milan, in Verdi's _Ernani_. His
+success won an engagement at Covent Garden and for Monte Carlo.
+
+A visit to the singer's New York home is a most interesting experience.
+He has chosen apartments perched high above the great artery of the
+city's life--Broadway. From the many sun-flooded windows magnificent
+views of avenue, river and sky are visible, while at night the
+electrical glamour that meets the eye is fairy-like. It is a sightly
+spot and must remind the singer of his own sun lighted atmosphere at
+home.
+
+The visitor was welcomed with simple courtesy by a kindly, unaffected
+gentleman, who insists he cannot speak "your English," but who, in spite
+of this assertion, succeeds in making himself excellently well
+understood. One feels his is a mentality that will labor for an object
+and will attain it through force of effort. There is determination in
+the firm mouth, which smiles so pleasantly when speaking; the thoughtful
+brow and serious eyes add their share to the forceful personality. The
+Titian-tinted hair indicates, it is said, a birthplace in northern
+Italy. This is quite true in the case of Mr. Martinelli, as he comes
+from a village not far from Padua and but fifty miles from Venice--the
+little town of Montagnana.
+
+
+DAILY STUDY
+
+"You ask about my daily routine of study. In the morning I practice
+exercises and vocalizes for one hour. These put the voice in good
+condition, tune up the vocal chords and oil up the mechanism, so to
+speak. After this I work on repertoire for another hour. I always
+practice with full voice, as with half voice I would not derive the
+benefit I need. At rehearsals I use half voice, but not when I study. In
+the afternoon I work another hour, this time with my accompanist; for I
+do not play the piano myself, only just enough to assist the voice with
+a few chords. This regime gives me three hours' regular study, which
+seems to me quite sufficient. The voice is not like the fingers of a
+pianist, for they can be used without limit. If we would keep the voice
+at its best, we must take care not to overwork it.
+
+
+TREATMENT OF THE VOICE
+
+"In regard to the treatment of the voice, each singer must work out his
+own salvation. A great teacher--one who understands his own voice and
+can sing as well as teach--may tell how he does things, may explain how
+he treats the voice, may demonstrate to the student his manner of
+executing a certain phrase or passage, or of interpreting a song. But
+when this is done he can do little more for the student, for each person
+has a different mentality and a different quality of voice--indeed
+there are as many qualities of voice as there are people. After general
+principles are thoroughly understood, a singer must work them out
+according to his own ability. This does not mean that he cannot be
+guided and helped by the greater experience of a master higher up, who
+can always criticize the _result_ of what the student is trying to do.
+The voice is a hidden instrument, and eventually its fate must rest with
+its possessor.
+
+
+A NEW ROLE
+
+"When I take up a new part I read the book very carefully to get a
+thorough idea of the story, the plot and the characters. Then comes the
+study of my own part, of which I memorize the words first of all. As
+soon as the words are committed I begin on the music. When these are
+both well in hand, work with the accompanist follows.
+
+"I have many tenor roles in my repertoire and am working on others. If
+you ask for my favorite opera, or operas, I would answer, as most
+Italians would do, that I enjoy singing the music of Verdi more than
+that of any composer. I love his _Aida_ perhaps best of all. _Ernani_ is
+a beautiful opera, but maybe would be thought too old-fashioned for New
+York. I sing various roles in French as well as Italian--_Faust, Sans
+Gene_, and many more. In Italy we know Wagner very well--_Lohengrin,
+Tannhauser, Tristan_ and _Meistersinger_,--but of course they are always
+sung in Italian.
+
+
+OPERA IN EVERY CITY
+
+"The Metropolitan is one of the greatest opera houses in the world--but
+it is only _one_. You have a wonderful country, yet most of its cities
+must do without opera. Do not forget that in Italy every city and town
+has its opera house and its season of opera, lasting ten weeks or more.
+Of course the works are not elaborately produced, the singers may not be
+so great or high-salaried, but the people are being educated to know and
+love the best opera music. Performances are given Wednesdays and
+Thursdays, Saturdays and Sundays; the singers resting the days between.
+They need to as they are obliged to sing at every performance.
+
+"Ah, if you would follow some such plan in America! It would create a
+great love for good music in the smaller cities and towns where people
+hear so little, and so seldom this kind of music. You do so much for
+music in every other style, but not for opera. Of course I must except
+the half dozen cities large enough and rich enough to be favored with a
+season of extended operatic performances; these are the real music
+centers of your country.
+
+"I will show you what we do for opera in Italy. Here is an Italian
+musical journal, which I have just received." Mr. Martinelli took up a
+single-sheet newspaper which lay upon his desk. "You will find all the
+large cities and most of the small ones reported here. Accordingly,
+accounts are given of what works are being performed, what artists are
+singing and where, and how long each season will last. Thus we can
+glance over the whole field and keep in touch with every singer.
+Naturally, the time and length of the seasons of performance differ
+widely in the different places. Thus a singer of reputation can make
+engagements in various places, then go from one town to another in a
+complete tour, without conflicting.
+
+"I have had the pleasure of singing a number of seasons at the
+Metropolitan. During the summer I do not always go back to Italy when
+the season is over here; last year I sang in Buenos Aires. This keeps
+me at work the whole year. Buenos Aires is a beautiful city, and reminds
+one of Milan. Yes, I like New York. It is more commercial, of course,
+but I have grown accustomed to that side of it."
+
+As the visitor was leaving, courteously conducted through the corridor
+by Mr. Martinelli, a small chariot was encountered, crammed with dolls
+and toys, the whole belonging to little Miss Martinelli, aged eleven
+months.
+
+"Shall you make a singer of the little lady?" the artist was asked.
+
+"Ah, no; one singer in a family is enough," was the quick response. "But
+who can tell? It may so happen, after all."
+
+
+
+
+XII
+
+=ANNA CASE=
+
+INSPIRED INTERPRETATION
+
+
+Anna Case, known from one end of our land to the other, in song recital,
+is surely one hundred per cent. American. She was born in the little
+State of New Jersey, and received her entire vocal training right here
+in New York City, of a single teacher. No running about from one
+instructor to another, "getting points" from each, for this singer. She
+knew from the first moment that she had found the right teacher, one who
+understood her, what she wanted to do, and could bring her to the goal.
+
+And when one has discovered just the right person to develop talent, one
+should have the good sense and loyalty to stick to that person. This is
+exactly what Miss Case has done, for along with other gifts she has the
+best gift of all--common sense. "Mme. Ostrom-Renard has been my only
+teacher," she says; "whatever I am or have accomplished I owe entirely
+to her. She has done everything for me; I feel she is the most wonderful
+teacher in the world."
+
+[Illustration: ANNA CASE]
+
+A life of constant travel and almost daily concerts and recitals, lies
+before Miss Case from early in the Autumn to the end of Spring, with but
+a few breathing places here and there, between the tours, when she
+returns home to rest up.
+
+During one of these oases it was a pleasant experience to meet and talk
+with the charming young singer, in her cozy New York apartment. She had
+just come in from a six weeks' trip, which had included concerts in
+Texas and Mexico, where the usual success had attended her everywhere.
+
+It must surely give a sense of relief to know that the quiet home is
+awaiting one's return; that there are to be found one's favorite books,
+music, piano, the silken divan, soft lights, pictures,--all the familiar
+comforts one is deprived of on the road.
+
+The visitor, coming in from the biting winds without, was impressed with
+the comfort and warmth of the small salon, as the mistress of it
+entered. Clad in soft draperies of dull blue, which but thinly veiled
+the white arms and fell away from the rounded throat, Miss Case was just
+as beautiful to look upon as when she stands in bewildering evening gown
+before a rapt audience. And, what is much more to the point, she is a
+thoroughly sensible, sincere American girl, with no frills and no
+nonsense about her.
+
+After greetings were over, the singer settled herself among the silken
+cushions of her divan ready for our talk.
+
+"I believe I always wanted to sing, rather than do anything else in the
+way of music. I studied the piano a little at first, but that did not
+exactly appeal to me. I also began the violin, because my father is fond
+of that instrument and wanted me to play it. But the violin was not just
+what I wanted either, for all the time I longed to sing. Singing is such
+a part of one's very self; I wanted to express myself through it. I had
+no idea, when I started, that I should ever make a specialty of it, or
+that, in a comparatively few years I should be singing all over the
+country. I did not know what was before me, I only wanted to learn to
+sing.
+
+"Now I cannot tell just how I do the different things one must do to
+sing correctly. I know that, if I have to master some subject, I just
+sit down and work at that thing till I can do it--till it is done. My
+teacher knows every organ in the anatomy, and can describe the muscles,
+bones and ligaments found in the head, face and throat. She can make a
+diagram of the whole or any part. Not that such knowledge is going to
+make a singer, but it may help in directing one's efforts."
+
+
+TONE PLACEMENT
+
+"Can you describe tone placement?" she was asked.
+
+"For the deeper tones--as one makes them--they seem to come from lower
+down: for the middle and higher tones, you feel the vibrations in facial
+muscles and about the eyes, always focused forward, just at the base of
+the forehead, between the eyes. It is something very difficult to put
+into words; the sensations have to be experienced, when making the
+tones. The singer must judge so much from sensation, for she cannot very
+well hear herself. I do not really hear myself; I mean by this I cannot
+tell the full effect of what I am doing."
+
+
+WHEN TO PRACTICE
+
+"No doubt you do much practice--or is that now necessary?"
+
+Miss Case considered this thoughtfully.
+
+"I never practice when I am tired, for then it does more harm than good.
+It is much better for the voice to rest and not use it at all, than to
+sing when not physically fit. One must be in good condition to make
+good tones; they will not be clear and perfect if one is not strong and
+in good health. I can really study, yet not sing at all. For the whole
+work is mental anyway.
+
+
+USING FULL VOICE
+
+"When I work on the interpretation of a song, in the quiet of my music
+room here, I try to sing it just as I would before an audience; I have
+not two ways of doing it, one way for a small room and another for a
+large one. If your tone placement is correct, and you are making the
+right effects, they will carry equally in a large space. At least this
+is my experience. But," she added, smiling, "you may find other artists
+who would not agree to this, who would think quite differently. Each one
+must see things her own way; and singing is such an individual thing
+after all.
+
+
+THE SUBJECT OF INTERPRETATION
+
+"The interpretation of a role, or song, is everything--of course. What
+are mere notes and signs compared to the thoughts expressed through
+them? Yet it is evident there are people who don't agree to this, for
+one hears many singers who never seem to look deeper than the printed
+page. They stand up and go through their songs, but the audiences
+remain cold; they are not touched. The audiences are blamed for their
+apathy or indifference, but how can they be warmed when the singer does
+not kindle them into life?
+
+"To me there is a wonderful bond of sympathy between the audience and
+myself. I feel the people, in a sense, belong to me--are part of my
+family. To them I pour out all my feelings--my whole soul. All the
+sorrow of the sad songs, all the joy of the gay ones, they share with
+me. In this spirit I come before them; they feel this, I am sure. It
+awakens a response at once, and this always inspires me. I put myself in
+a receptive mood; it has the desired effect; my interpretation becomes
+inspired through their sympathy and my desire to give out to them.
+
+
+THE WORDS OF A SONG PARAMOUNT
+
+"I feel the greatest thing about a song is the words. They inspired the
+music, they were the cause of its being. I cannot imagine, when once
+words have been joined to music, how other words can be put to the same
+music, without destroying the whole idea. The words must be made plain
+to the audience. Every syllable should be intelligible, and understood
+by the listener. I feel diction is so absolutely essential. How can a
+singer expect the audience will take an interest in what she is doing,
+if they have no idea what it is all about? And this applies not only to
+English songs but to those in French as well. In an audience there will
+be many who understand French. Shall the singer imagine she can
+pronounce a foreign tongue in any old way, and it will go--in these
+days? No, she must be equally careful about all diction and see that it
+is as nearly perfect as she can make it; that it is so correct that
+anybody can understand every word. When she can do this, she has gone a
+long way toward carrying her audience with her when she sings.
+
+"When the diction is satisfactory, there is yet something much deeper;
+it is the giving out of one's best thought, one's best self, which
+must animate the song and carry it home to the listener. It touches
+the heart, because it comes from one's very inmost being. I am a
+creature of mood. I cannot sing unless I feel like it. I must be
+inspired in order to give an interpretation that shall be worth
+anything.
+
+
+GROWTH OF APPRECIATION
+
+"In traveling over the country, I have found such wonderful musical
+growth, and it seems to increase each year. Even in little places the
+people show such appreciation for what is good. And I only give them
+good music--the best songs, both classical and modern. Nothing but the
+best would interest me. In my recent trip, down in Mexico and Oklahoma,
+there are everywhere large halls, and people come from all the country
+round to attend a concert. Men who look as though they had driven a
+grocery wagon, or like occupation, sit and listen so attentively and
+with such evident enjoyment. I am sure the circulation of the phonograph
+records has much to do with America's present wonderful advancement in
+musical understanding."
+
+Just here a large cat slipped through the doorway; such a beautiful
+creature, with long gray and white fur and big blue eyes.
+
+"It is a real chinchilla, of high degree," said Miss Case, caressing her
+pet. "I call her Fochette. I am so fond of all animals, especially dogs
+and cats."
+
+"You must know the country well, having been over it so much."
+
+"Yes, but oh, the long distances! It often takes so many hours to go
+from one place to another. I think there is a reason why foreign singers
+are apt to be rather stout; they are not worn out by traveling great
+distances, as cities are so much nearer together than over here!" And
+Miss Case smiled in amusement. "But, in spite of all discomforts of
+transportation and so on, the joy of bringing a message to a waiting
+audience is worth all it costs. I often think, if one could just fly to
+Chicago or Philadelphia, for instance, sing one's program and return
+just as quickly, without all these hours of surface travel, how
+delightful it would be! I had a wonderful experience in an airplane last
+summer. Flying has the most salutary effect on the voice. After sailing
+through the air for awhile, you feel as though you could sing anything
+and everything, the exhilaration is so great. One takes in such a
+quantity of pure air that the lungs feel perfectly clear and free. One
+can learn a lesson about breathing from such an experience."
+
+Before parting a final question was asked:
+
+"What, in your opinion, are the vital requisites necessary to become a
+singer?"
+
+Almost instantly came the reply:
+
+"Brains, Personality, Voice."
+
+With this cryptic answer we took leave of the fair artist.
+
+
+
+
+XIII
+
+=FLORENCE EASTON=
+
+PROBLEMS CONFRONTING THE YOUNG SINGER
+
+
+English by birth, American by marriage, beloved in every country where
+her art is known, Florence Easton, after ten years of activity in the
+music centers of Europe, is now making her home in America. Mme. Easton
+is a singer whose attitude towards music is one of deepest sincerity. No
+one could witness her beautiful, sympathetic investiture of the Saint
+Elizabeth, of Liszt, or some of her other important roles, without being
+impressed with this complete, earnest sincerity. It shines out of her
+earnest eyes and frank smile, as she greets the visitor; it vibrates in
+the tones of her voice as she speaks. What can even a whole hour's talk
+reveal of the deep undercurrents of an artist's thought? Yet in sixty
+minutes many helpful things may be said, and Mme. Easton, always serious
+in every artistic thing she undertakes, will wish the educational side
+of our talk to be uppermost.
+
+
+THE YOUNG SINGER
+
+"I have a deep sympathy for the American girl who honestly wishes to
+cultivate her voice. Of course, in the first place, she must have a
+voice to start with; there is no use trying to train something which
+doesn't exist. Given the voice and a love for music, it is still
+difficult to tell another how to begin. Each singer who has risen, who
+has found herself, knows by what path she climbed, but the path she
+found might not do for another.
+
+"There are quantities of girls in America with good voices, good looks
+and a love for music. And there are plenty of good vocal teachers, too,
+not only in New York, but in other large cities of this great country.
+There is always the problem, however, of securing just the right kind of
+a teacher. For a teacher may be excellent for one voice but not for
+another.
+
+
+THE STUDIO VERSUS THE CONCERT ROOM
+
+[Illustration: FLORENCE EASTON]
+
+"The American girl, trained in the studio, has little idea of what it
+means to sing in a large hall or opera house. In the small room her
+voice sounds very pretty, and she can make a number of nice effects; she
+may also have a delicate pianissimo. These things are mostly lost when
+she tries them in a large space. It is like beginning all over again.
+She has never been taught any other way but the studio way. If young
+singers could only have a chance to try their wings frequently in large
+halls, it would be of the greatest benefit. If they could sing to a
+public who only paid a nominal sum and did not expect great things; a
+public who would come for the sake of the music they were to hear,
+because they wanted the enjoyment and refreshment of it, not for the
+sake of some singers with big names, they would judge the young aspirant
+impersonally, which would be one of the best things for her.
+
+
+VALUE OF HONEST CRITICISM
+
+"Frequently the trouble with the young singer is that her friends too
+often tell her how wonderful she is. This is a hindrance instead of a
+help. She should always have some one who will criticize her honestly.
+The singer cannot really hear herself, that is, not until she is well
+advanced in her work. Therefore she should always have the guidance of a
+teacher. I never think of giving a program without going through it for
+criticism. The office of critic is a very difficult one, especially if
+you are to criticize some one you are fond of. Mr. Maclennan and I try
+to do it for each other. I assure you it is no easy task to sing a
+program knowing some one is listening who will not spare you, and will
+tell you all your faults. I know this is all very salutary, but it is
+human nature to wish to hear one's good points rather than the poor
+ones. I sometimes say: 'Do tell me the good things I did.' But he says
+he does not need to speak of those; I only need to know my faults in
+order that they may be corrected.
+
+"It is so easy to overdo a little, one way or the other. For instance,
+you make a certain effect,--it goes well. You think you will make it a
+little more pronounced next time. And so it goes on, until before you
+know it you have acquired a definite habit, which the critics will call
+a mannerism and advise you to get rid of. So the artist has to be
+constantly on the watch, to guard against these incipient faults."
+
+
+BREATHING EXERCISES
+
+Asked what kind of breathing exercises she used, Mme. Easton continued:
+"No doubt each one has her own exercises for the practice and teaching
+of breath control. For myself, I stand at the open window, for one
+should always breathe pure air, and I inhale and exhale slowly, a
+number of times, till I feel my lungs are thoroughly clear and filled
+with fresh air. Then I frequently sing tones directly after these long
+inhalations. A one-octave scale, sung slowly in one breath, or at most
+in two, is an excellent exercise. You remember Lilli Lehmann's talks
+about the 'long scale'? But the way in which she uses it perhaps no one
+but a Lehmann could imitate. What a wonderful woman she was--and is! She
+has such a remarkable physique, and can endure any amount of effort and
+fatigue. Every singer who hopes to make a success in any branch of the
+musical profession, should look after the physical side, and see that it
+is cared for and developed.
+
+
+"STUDY THE PIANO!"
+
+"If a girl is fond of music, let her first of all study the piano, for a
+knowledge of the piano and its music is really at the bottom of
+everything. If I have a word of advice to mothers, it should be: 'Let
+your child study the piano.' All children should have this opportunity,
+whether they greatly desire it or not. The child who early begins to
+study the piano, will often--almost unconsciously--follow the melody
+she plays with her voice. Thus the love of song is awakened in her, and
+a little later it is discovered she has a voice that is worth
+cultivating. How many of our great singers began their musical studies
+first at the piano.
+
+"On the other hand, the girl with a voice, who has never worked at the
+piano, is greatly handicapped from the start, when she begins her vocal
+studies. As she knows nothing of the piano, everything has to be played
+for her,--she can never be independent of the accompanist; she loses
+half the pleasure of knowing and doing things herself."
+
+
+FULL OR HALF VOICE
+
+Asked if she used full or half voice for practice, Mme. Easton replied:
+
+"I do not, as a rule, use full voice when at work. But this admission,
+if followed, might prove injurious to the young singer. In the earlier
+stages of study, one should use full voice, for half voice might result
+in very faulty tone production. The advanced singer, who has passed the
+experimental stage can do many things the novice may not attempt, and
+this is one of them.
+
+
+IN REGARD TO MEMORIZING
+
+"Here again my particular method of work can hardly be of value to
+others, as I memorize with great rapidity. It is no effort for me; I
+seem to be able to visualize the whole part. Music has always been very
+easy to remember and with sufficient concentration I can soon make the
+words my own. I always concentrate deeply on what I am doing. Lately I
+was asked to prepare a leading role in one of the season's new operas,
+to replace a singer at short notice, should this be necessary. I did so
+and accomplished the task in four days. Mr. Caruso laughingly remarked I
+must have a camera in my head. I know my own parts, both voice and
+accompaniment. In learning a song, I commit both voice and words at the
+same time.
+
+
+FEELING DEEPLY DURING PERFORMANCE
+
+"I feel the meaning of the music, the tragedy or comedy, the sadness or
+gayety of it each time I perform it, but not, as a rule, to the extent
+of being entirely worn out with emotion. It depends, however, on the
+occasion. If you are singing in a foreign language, which the audience
+does not understand, you make every effort to 'put it over,' to make
+them see what you are trying to tell them. You strive to make the song
+intelligible in some way. You may add facial expression and gesture,
+more than you would otherwise do. All this is more wearing because of
+the effort involved.
+
+
+LANGUAGE
+
+"This brings us to another point, the study of languages. The Italian
+sings nearly all his roles in his own tongue, with a few learned in
+French. With the Frenchman, it is the same: he sings in his own tongue
+and learns some parts in Italian. But we poor Americans are forced to
+learn our parts in all three languages. This, of itself, greatly adds to
+our difficulties. We complain that the American sings his own language
+so carelessly. An Italian, singing his own language for his own people,
+may not be any more careful than we are, but he will make English, if he
+attempts it, more intelligible than we do, because he takes extra care
+to do so. The duty is laid upon Americans to study other languages, if
+they expect to sing. I know how often this study is neglected by the
+student. It is another phase of that haste to make one's way which is
+characteristic of the young student and singer.
+
+"Take, for example, the girl in the small town, who is trying to do
+something with her voice. She believes if she can get to New York, or
+some other music center, and have six months' lessons with some well
+known teacher, she will emerge a singer. She comes and finds living
+expenses so great that only one lesson a week with the professor is
+possible. There is no chance for language or diction study, or piano
+lessons; yet all these she ought to have. And one vocal lesson a week is
+entirely inadequate. The old way of having daily lessons was far more
+successful. The present way vocal teachers give lessons is not conducive
+to the best development. The pupils come in a hurry, one after another,
+to get their fifteen or twenty minutes of instruction. Yet one cannot
+blame the teacher for he must live.
+
+
+THE IDEAL WAY
+
+"The ideal way is to have several lessons a week, and not to take them
+in such haste. If the pupil arrives, and finds, on first essay, that her
+voice is not in the best of trim, how much better to be able to wait a
+bit, and try again; it might then be all right. But, as I said, under
+modern conditions, this course seems not to be possible, for the teacher
+must live. If only vocal lessons could be free, at least to the
+talented ones! It seems sad that a gifted girl must pay to learn to
+sing, when it is a very part of her, as much as the song of the bird.
+Ah, if I had plenty of money, I would see that many of them should have
+this privilege, without always looking at the money end of it.
+
+
+AMOUNT OF DAILY PRACTICE
+
+"It seems to me the young singer should not practice more than two
+periods of fifteen or twenty minutes each. At most one should not use
+the voice more than an hour a day. We hear of people practicing hours
+and hours daily, but that is probably in books. The voice cannot be
+treated as the pianist or violinist does his fingers. One must handle
+the voice with much more care.
+
+
+OPPORTUNITIES FOR THE YOUNG SINGER IN AMERICA
+
+"The chances for the American singer to make a career in concert and
+recital are abundant. In no other country in the world do such
+opportunities exist. If she can meet the requirements, she can win both
+fame and fortune on the concert stage.
+
+"In opera, on the other hand, opportunities are few and the outlook
+anything but hopeful. Every young singer casts longing eyes at the
+Metropolitan, or Chicago Opera, as the goal of all ambition. But that is
+the most hopeless notion of all. No matter how beautiful the voice, it
+is drill, routine, experience one needs. Without these, plus musical
+reputation, how is one to succeed in one of the two opera houses of the
+land? And even if one is accepted 'for small parts,' what hope is there
+of rising, when some of the greatest artists of the world hold the
+leading roles? What the American singer needs is opportunity to gain
+experience and reputation in smaller places. Several years' drill and
+routine would fit the aspirant for a much broader field. This would give
+her command over her resources and herself, and perfect her voice and
+impersonations, if she has the gifts and constantly studies to improve
+them. Even England, so small compared to America, has seven opera
+companies that travel up and down the land, giving opera; they have done
+this during all the years of the war.
+
+"This question of providing opportunity for operatic experience in
+America, is one which has long been discussed and many experiments have
+been tried, without arriving at satisfactory results. What is needed is
+to awaken interest in opera in small places--just little out-of-the-way
+towns. My idea would be to have a regular stock local opera company, and
+have the standard operas studied. Have a little orchestra of about
+twenty and a small chorus. The small parts to be learned by the most
+competent singers in the place. Then have the few principal roles taken
+by 'guest artists,' who might make these engagements in regular route
+and succession. It seems to me such a plan could be carried out, and
+what a joy it would be to any small community! But people must gradually
+awake to this need: it will take time."
+
+
+
+
+XIV
+
+=MARGUERITE D'ALVAREZ=
+
+THE MESSAGE OF THE SINGER
+
+
+A great podium backed with green, reminding one of a forest of palms;
+dim lights through the vast auditorium; a majestic, black-robed figure
+standing alone among the palms, pouring out her voice in song; a voice
+at once vibrant, appealing, powerful, filled now with sweeping passion,
+again with melting tenderness; such was the stage setting for my first
+impression of Mme. Marguerite d'Alvarez, and such were some of the
+emotions she conveyed.
+
+Soon after this experience, I asked if I might have a personal talk with
+the artist whose singing had made such a deep impression upon me. It was
+most graciously granted, and at the appointed hour I found myself in a
+charmingly appointed yet very home-like salon, chatting with this
+Spanish lady from Peru, who speaks such beautiful English and is
+courtesy itself.
+
+This time it was not a somber, black-robed figure who came forward so
+graciously to greet me, for above a black satin walking skirt, Madame
+had added a blouse of soft creamy lace, which revealed the rounded
+curves of neck and arms; the only ornament being a string of pearls
+about the full throat. Later in our talk I ventured to express my
+preference for creamy draperies instead of black, for the concert room;
+but the singer thought otherwise. "No," she said; "my gown must be
+absolutely unobtrusive--negative. I must not use it to heighten effect,
+or to attract the audience to me personally. People must be drawn to me
+by what I express, by my art, by what I have to give them."
+
+But to begin at the beginning. In answer to my first question, "What
+must one do to become a singer?" Madame said:
+
+[Illustration: MARGUERITE D'ALVAREZ]
+
+"To become a singer, one must have a voice; that is of the first
+importance. In handling and training that voice, breathing is perhaps
+the most vital thing to be considered. To some breath control seems to
+be second nature; others must toil for it. With me it is intuition; it
+has always been natural. Breathing is such an individual thing. With
+each person it is different, for no two people breathe in just the same
+way, whether natural or acquired. Just as one pianist touches the keys
+of the instrument in his own peculiar way, unlike the ways of all other
+pianists. For instance, no two singers will deliver the opening phrase
+of 'My heart at thy sweet voice,' from _Samson_, in exactly the same
+way. One will expend a little more breath on some tones than on others;
+one may sing it softer, another louder. Indeed how can two people ever
+give out a phrase in the same way, when they each feel it differently?
+The great thing is to control the management of the breath through
+intelligent study. But alas,"--with a pretty little deprecating
+gesture,--"many singers do not seem to use their intelligence in the
+right way. They need to study so many things besides vocalizes and a few
+songs. They ought to broaden themselves in every way. They should know
+books, pictures, sculpture, acting, architecture,--in short everything
+possible in the line of art, and of life. For all these things will help
+them to sing more intelligently. They should cultivate all these means
+of self-expression. For myself, I have had a liberal education in
+music--piano, harmony, theory, composition and kindred subjects. And
+then I love and study art in all its forms and manifestations."
+
+"Your first recital in New York was a rich and varied feast," I
+remarked.
+
+"Indeed I feel I gave the audience too much; there was such a weight of
+meaning to each song, and so many! I cannot sing indifferent or
+superficial songs. I must sing those which mean much, either of sadness
+or mirth, passion or exaltation. No one knows (who has not been through
+it) what it means to face a great audience of strangers, knowing that
+something in you must awake those people and draw them toward you: you
+must bare your very soul to them and bring theirs to you, in answering
+response, just by your voice. It is a wonderful thing, to bring to
+masses of people a message in this way. I feel this strongly, whenever I
+stand before a large audience, that with every note I sing I am
+delivering something of the God-given gift which has been granted to
+me--that I can do some good to each one who hears. If they do not care
+for me, or if they misunderstand my message, they may hate me--at first.
+When they do understand, then they adore me.
+
+
+SENTIMENT VERSUS TEMPERAMENT
+
+"You can well believe it is far more difficult to sing a recital program
+than to do an operatic role. In the recital you are absolutely alone,
+and entirely responsible for your effect on the audience. You must be
+able to express every variety of emotion and feeling, must make them
+realize the difference between sorrow and happiness, revenge or disdain;
+in short, make them, for the moment, experience these things. The artist
+who can best vivify these varying emotions must have temperament. On the
+piano, you may hear players who express sentiment, feeling, fine
+discrimination in tone color and shading; but comparatively few possess
+real temperament. There is great difference between that quality and
+sentiment. The one can be learned, to a certain extent; but temperament
+is one's very life and soul, and is bound to sweep everything before it.
+Of this one thing I am very sure; the singer cannot express all these
+emotions without feeling them to the full during performance. I always
+feel every phrase I sing--live it. That is why, after a long and
+exhausting program, I am perfectly limp and spent. For I have given all
+that was in me. Friends of Sara Bernhardt say that after a performance,
+they would find her stretched prone on a couch in her dressing room,
+scarcely able to move or speak. The strain of a public appearance, when
+one gives one's heart's blood, is beyond words"; and Madame's upturned
+face and expressive gesture denoted how keenly alive she was to this
+experience.
+
+After a little pause, I said: "Let us come down to earth, while you tell
+me just how you study. No doubt you do some daily technical practice."
+
+
+MASSAGE THE VOICE
+
+"Oh, yes, technic is most important; one can do nothing without it. When
+I begin to study in the morning, I give the voice what I call a massage.
+One's voice cannot be driven, it must be coaxed, enticed. This massage
+consists of humming exercises, with closed lips. Humming is the sunshine
+of the voice." The singer illustrated the idea with a short musical
+figure, consisting of three consecutive tones of the diatonic scale,
+ascending and descending several times; on each repetition the phrase
+began on the next higher note of the scale. "You see," she continued,
+"this little exercise brings the tone fully forward. As you feel the
+vibration, it should be directly between the eyes.
+
+"Now, after you have coaxed the voice forward in this way, and then
+opened your lips to sing a full tone, this tone should, indeed must, be
+right in the same place where the humming tones were,--it cannot be
+anywhere else." Madame illustrated again, first humming on one tone,
+then letting it out with full resonance, using the vowel Ah, which
+melted into O, and later changed into U, as the tone died away. "This
+vibration in the voice should not be confounded with a tremolo, which
+is, of course, very undesirable. A voice without vibrato, would be cold
+and dead, expressionless. There must be this pulsing quality in the
+tone, which carries waves of feeling on it.
+
+"Thus the singer entices the voice to come forward and out, never
+treating it roughly or harshly, never forcing or straining it. Take
+pleasure in every tone you make; with patience and pleasure much is
+accomplished. I could not give you a more useful tip than this."
+
+"Will you tell me how you learn a song?" she was asked.
+
+"I first read over the text and get a good idea of its meaning. When I
+begin to study the song, I never separate the music from the words, but
+learn both together. I play the piano of course, and thus can get a good
+idea of the accompaniment, and of the whole _ensemble_.
+
+"I feel so strongly that real art, the highest art, is for those who
+truly understand it and its mission. A dream of mine is one day to found
+a school of true art. Everything in this school shall be on a high plane
+of thought. The instructors shall be gifted themselves and have only
+lofty ideals. And it will be such a happiness to watch the development
+of talent which may blossom into genius through having the right
+nurture. I shall watch this work from a distance, for I might be too
+anxious if I allowed myself to be in the midst of the work. But this is
+my dream, and I hope it will one day come true."
+
+
+
+
+XV
+
+=MARIA BARRIENTOS=
+
+BE YOUR OWN CRITIC
+
+
+It is often remarked that the world has grown far away from coloratura
+singing; that what we want to-day is the singing actor, the dramatic
+singer, who can portray passion--tear it to tatters if need be--but at
+least throw into voice gesture and action all the conflicting emotions
+which arise when depicting a modern dramatic character. It is said, with
+much truth, composers do not write coloratura parts in these days, since
+audiences do not care to listen to singers who stand in the middle of
+the stage, merely to sing beautiful arias and tonal embroideries.
+Therefore there are very few coloratura singers at present, since their
+opportunities are so limited.
+
+To the last objection it can be answered that audiences do still flock
+to hear a great coloratura artist, for they know they will hear pure,
+beautiful melodies when they listen to the old Italian operas. And
+melody proves to be a magnet every time; it always touches the heart.
+
+Again, the coloratura singer is not obliged to stand in the middle of
+the stage, while she warbles beautiful tones, with seemingly little
+regard for the role she is enacting. The coloratura singer, who is an
+artist, can act as well as sing. Tetrazzini, as she moves about the
+room, greeting her guests, as she does in _Traviata_ or _Lucia_, can at
+the same time keep right on with her florid song, proving she can think
+of both arts at once.
+
+It is quite true there are not many coloratura singers of the first rank
+to-day. When you have mentioned Galli-Curci, Tetrazzini, Barrientos, and
+Frieda Hempel--the last is both lyric and coloratura--you have named all
+the great ones who are known to us here in America. There are a couple
+of younger artists, Garrison and Macbeth, who are rapidly gaining the
+experience which will one day place them in the charmed circle.
+
+[Illustration: MARIA BARRIENTOS]
+
+Consider for an instant the three first named singers. They stand at the
+very top of their profession; they are each and all great in their
+chosen line, to which they are fitted by reason of their special vocal
+gifts. Yet how absolutely different is each from the other! They cannot
+even be compared. They all sing the great florid arias, but each with
+her own peculiar timbre of voice, her individual nuance and manner of
+expression. And it is well this should be so. We would not have all
+coloratura singing of the same pattern of sameness or quality, for we
+find uniformity is monotonous. There is one peculiar mode of mastery for
+Galli-Curci, another for Tetrazzini, still another for Barrientos; each
+in her particular _genre_ is unique, apart.
+
+Perhaps this is especially the case with the Spanish prima donna,
+Barrientos, who has for several years past come to the Metropolitan for
+part of the season. She lives very quietly--almost in seclusion--in the
+great city, keeping very much to herself, with her mother and the
+members of her household, and does not care to have the simple routine
+she plans for herself interrupted by any outside demands on her crowded
+days.
+
+Thus it happens that very few come face to face with the Spanish artist
+except her personal friends. But once in a while she breaks the strict
+rule, and will consent to speak with a serious questioner about her
+manner of study, how she happened to take up a musical career, also some
+of the characteristics of her country, its people and its musical art.
+
+As her own art of song is most delicate and pure, as her instrument is
+the most fragile and ethereal of any of the voices of her class, so the
+singer herself is of slight and delicate physique. Her oval face, with
+its large luminous eyes, has a charm more pronounced than when seen on
+the other side of the footlights. Her manner is simple and sincere, in
+common with that of all great artists.
+
+"Although I always loved singing, I never expected to become a singer,"
+began Mme. Barrientos, as we were seated on a comfortable divan in her
+artistic music room. "As a very young girl, hardly more than a child, my
+health became delicate. I had been working very hard at the Royal
+Conservatory of Music, in Barcelona, my native city, studying piano,
+violin and theory, also composition. I was always a delicate child, and
+the close application required for these studies was too much for me.
+Singing was prescribed in order to develop my chest and physique; I took
+it up as a means of health and personal pleasure, without the slightest
+idea to what it might lead.
+
+"You speak of the responsibility of choosing a good and reliable vocal
+instructor. This is indeed a difficult task, because each teacher is
+fully persuaded that his method is the only correct one. But there are
+so _many teachers_, and some of them do not even sing themselves at
+all. Can you imagine a vocal teacher who cannot sing himself, who is so
+to say voiceless, unable to demonstrate what he teaches? A piano or
+violin teacher must play his instrument, or he will not be able to show
+the pupils how it ought to be done. But the vocal teacher thinks to
+instruct without demonstrating what he is trying to impart.
+
+
+BEGINNING VOCAL STUDY WITH OPERA
+
+"So I did not begin my studies with a regular vocal teacher, but with a
+dilettante--I do not know just how you say that in English. This
+gentleman was not a professional; he was a business man who at the same
+time was a good musician. Instead of starting me with a lot of scales
+and exercises, we began at once with the operas. I was twelve years old
+when I began, and after one year of this kind of study, made my debut in
+the role of Inez, in _L'Africaine_. About this time I lost my kind
+instructor, who passed away. I then worked by myself until I was
+sixteen, when I began to study technic systematically. As you see, then,
+I am practically self-taught. It seems to me, if one has voice and
+intelligence, one can and should be one's own teacher. No one else can
+do as much for you as you can do for yourself. You can tell what the
+sensations are, what parts are relaxed and what parts are firm, better
+than any one else. You can listen and work on tone quality until it
+reaches the effect you desire. I do not neglect vocal technic now, for I
+know its value. I do about three quarters of an hour technical practice
+every day--scales and exercises.
+
+
+MEMORIZING
+
+"I memorize very easily; it only takes a few weeks to learn an operatic
+role. I spent three weeks on _Coq d'Or_, and that is a difficult part,
+so many half tones and accidentals. But I love that music, it is so
+beautiful; it is one of my favorite roles. Some parts are longer and
+more difficult than others. Of course I know most of the Italian operas
+and many French ones. I should like to sing _Mireille_ and _Lakme_ here,
+but the Director may wish to put on other works instead.
+
+
+SPANISH OPERA
+
+"Yes, we have native opera in Spain, but the works of our operatic
+composers are little known in other lands. The Spanish people are
+clannish, you see, and seem to lack the ambition to travel abroad to
+make their art known to others; they are satisfied to make it known to
+their own people. Casals and I--we are perhaps the ones who regularly
+visit you, though you have several Spanish singers in the opera who
+reside here permanently.
+
+"As for Spanish composers of instrumental music, you are here somewhat
+familiar with the names of Grovelez and Albeniz; Granados you know also,
+both his opera, _Goyescas_, which was performed at the Metropolitan, and
+his personality. He came to America to witness the premier of his opera,
+and while here proved he was a most excellent pianist as well as a
+composer of high merit, which fact was revealed in his piano and vocal
+compositions. The American people were most kind and appreciative to
+him. When the disaster came and he was lost at sea, the testimonial they
+sent his orphaned children was a goodly sum, though I hardly think the
+children appreciated your goodness.
+
+"Among the composers in Spain who have turned their gifts toward
+operatic channels I can mention Pedrell, Morea, Falla, Vives and Breton.
+Vives is now writing an opera for me, entitled _Abanico_. Gradually, no
+doubt, the music of our country, especially its opera, will find its
+way to other lands. Even in England, I am told, Spanish music is very
+little known; our many distinguished modern musicians are hardly even
+names. Of course the world knows our Toreador songs, our castanet
+dances, and the like; perhaps they think we have little or no serious
+music, because it is still unknown. Spanish music is peculiar to the
+country; it is permeated with the national spirit and feeling."
+
+Asked if she would sing in South America during the vacation, the singer
+answered:
+
+"I have sung there with great success. But I shall not be able to go
+there this summer. My little boy has been placed in a school in France;
+it is the first time we have been separated, and it has been very hard
+for me to have the ocean between us. I shall sing at Atlanta, the first
+week of May, and then sail the middle of the month for France. Yes,
+indeed, I hope to return to America next season.
+
+"I trust you have been able to understand my poor English," she said
+smiling, as she parted with her visitor; "we speak several languages
+here in my home--Spanish with my mother and friends, French and Italian
+with others in the household. But there seems little necessity for using
+English, even though I am living in the heart of the metropolis.
+Perhaps next year, I shall master your language better."
+
+And the picture of her, as she stood in her artistic, home-like salon,
+with its lights, its pictures and flowers, is even more lasting than any
+to be remembered on the operatic stage.
+
+
+
+
+XVI
+
+=CLAUDIA MUZIO=
+
+A CHILD OF THE OPERA
+
+[Illustration: CLAUDIA MUZIO]
+
+In tales of romance one reads sometimes of a gifted girl who lives in a
+musical atmosphere all her life, imbibing artistic influences as
+naturally and almost as unconsciously as the air she breathes. At the
+right moment, she suddenly comes out into the light and blossoms into a
+full fledged singer, to the surprise and wonder of all her friends. Or
+she is brought up behind the scenes in some great Opera House of the
+world, where, all unnoticed by her elders, she lives in a dream world of
+her own, peopled by the various characters in the operas to which she
+daily listens. She watches the stage so closely and constantly that she
+unconsciously commits the roles of the heroines she most admires, to
+memory. She knows what they sing, how they act the various parts, how
+they impersonate the characters. Again, at the right moment, the leading
+prima donna is indisposed, there is no one to take her place; manager
+is in despair, when the slip of a girl, who is known to have a voice,
+but has never sung in opera, offers to go on in place of the absent one.
+She is finally permitted to do so; result, a popular success.
+
+Some pages of Claudia Muzio's musical story read like the romantic
+experiences of a novel-heroine. She, too, was brought up in great opera
+houses, and it seemed natural, that in due course of time, she should
+come into her own, in the greatest lyric theater of the land of her
+adoption.
+
+When she returned to America, a couple of years ago, after gaining
+experience in Europe, she arrived toward the end of the season preceding
+her scheduled debut here, to prepare herself more fully for the coming
+appearance awaiting her.
+
+I was asked to meet and talk with the young singer, to ascertain her
+manner of study, and some of her ideas regarding the work which lay
+before her.
+
+       *       *       *       *       *
+
+"It was always my dream to sing at the Metropolitan, and my dream has
+come true."
+
+Claudia Muzio said the words with her brilliant smile, as her great soft
+dark eyes gazed luminously at the visitor.
+
+The day was cold and dreary without, but the singer's apartment was of
+tropical warmth. A great bowl of violets on the piano exhaled delicious
+fragrance; the young Italian in the bloom of her oriental beauty, seemed
+like some luxuriant tropical blossom herself.
+
+Claudia Muzio, who was just about to take her place among the personnel
+of the Metropolitan, is truly to the manner born,--a real child of the
+opera. She has lived in opera all her life, has imbibed the operatic
+atmosphere from her earliest remembrance. It must be as necessary for a
+singer who aspires to fill a high place in this field of artistic
+endeavor, to live amid congenial surroundings, as for a pianist,
+violinist or composer to be environed by musical influences.
+
+"Yes, I am an Italian," she began, "for I was born in Italy; but when I
+was two years old I was taken to London, and my childhood was passed in
+that great city. My father was stage manager at Covent Garden, and has
+also held the same post at the Manhattan and Metropolitan Opera Houses
+in New York. So I have grown up in the theater. I have always listened
+to opera--daily, and my childish imagination was fired by seeing the art
+of the great singers. I always hoped I should one day become a singer,
+so I always watched the artists in action, noting how they did
+everything. As a result, I do not now have to study acting as a separate
+branch of the work, for acting comes to me naturally. I am very
+temperamental; I feel intuitively how the role should be enacted.
+
+"All tiny children learn to sing little songs, and I was no exception. I
+acquired quite a number, and at the age of six, exhibited my
+accomplishments at a little recital. But I never had singing lessons
+until I began to study seriously at about the age of sixteen. Although I
+did not study the voice till I reached that age, I was always occupied
+with music, for I learned as a little girl to play both harp and piano.
+
+"We lived in London, of which city I am very fond, from the time I was
+two, till I was fourteen, then we came to America. After residing here a
+couple of years, it was decided I should make a career, and we went to
+Italy. I was taken to Madame Anna Casaloni at Turino. She was quite
+elderly at that time, but she had been a great singer. When she tried my
+voice, she told me it was quite properly placed--so I had none of that
+drudgery to go through.
+
+"At first my voice was a very light soprano, hardly yet a coloratura. It
+became so a little later, however, and then gradually developed into a
+dramatic soprano. I am very happy about this fact, for I love to portray
+tears as well as laughter--sorrow and tragedy as well as lightness and
+gayety. The coloratura manner of singing is all delicacy and lightness,
+and one cannot express deep emotion in this way.
+
+"We subsequently went to Milano, where I studied with Madame Viviani, a
+soprano who had enjoyed great success on the operatic stage.
+
+"After several years of serious study I was ready to begin my career. So
+I sang in Milan and other Italian cities, then at Covent Garden, and now
+I am in the Metropolitan. In Italy I created the role of Fiora in _Amore
+del tre Re_, and sang with Ferrari-Fontana. I also created Francesca in
+_Francesca da Rimini_, under its composer, Zandonai. I have a repertoire
+of about thirty operas, and am of course adding to it constantly, as one
+must know many more than thirty roles. Since coming to New York, I have
+learned _Aida_, which I did not know before, and have already appeared
+in it. It was learned thoroughly in eight days. Now I am at work on
+_Madame Butterfly_.
+
+
+TECHNICAL PRACTICE
+
+"I work regularly every morning on vocal technic. Not necessarily a
+whole hour at a stretch, as some do; but as much time as I feel I need.
+I give practically my whole day to study, so that I can make frequent
+short pauses in technical practice. If technic is studied with complete
+concentration and vigor, as it always should be, it is much more
+fatiguing than singing an opera role.
+
+"You ask about the special forms of exercises I use. I sing all the
+scales, one octave each--once slow and once fast--all in one breath.
+Then I sing triplets on each tone, as many as I can in one breath. I can
+sing about fifteen now, but I shall doubtless increase the number. For
+all these I use full power of tone. Another form of exercise is to take
+one tone softly, then go to the octave above, which tone is also sung
+softly, but there is a large crescendo made between the two soft tones.
+My compass is three octaves--from C below middle C, to two octaves above
+that point. I also have C sharp, but I do not practice it, for I know I
+can reach it if I need it, and I save my voice. Neither do I work on the
+final tones of the lowest octave, for the same reason--to preserve the
+voice.
+
+
+BREATH CONTROL
+
+"Every singer knows how important is the management of the breath. I
+always hold the chest up, taking as long breaths as I can conveniently
+do. The power to hold the breath, and sing more and more tones with one
+breath, grows with careful, intelligent practice. There are no rules
+about the number of phrases you can sing with a single breath. A teacher
+will tell you; if you can sing two phrases with one breath, do so; if
+not, take breath between. It all rests with the singer.
+
+
+MEMORIZING
+
+"I learn words and music of a role at the same time, for one helps the
+other. When I have mastered a role, I know it absolutely, words, music
+and accompaniment. I can always play my accompaniments, for I understand
+the piano. I am always at work on repertoire, even at night. I don't
+seem to need very much sleep, I think, and I often memorize during the
+night; that is such a good time to work, for all is so quiet and still.
+I lie awake thinking of the music, and in this way I learn it. Or,
+perhaps it learns itself. For when I retire the music is not yet
+mastered, not yet my own, but when morning comes I really know it.
+
+"Of course I must know the words with great exactness, especially in
+songs. I shall do English songs in my coming song recital work, and the
+words and diction must be perfect, or people will criticize my English.
+I always write out the words of my roles, so as to be sure I understand
+them and have them correctly memorized.
+
+
+KEEPING UP REPERTOIRE
+
+"Most singers, I believe, need a couple of days--sometimes longer--in
+which to review a role. I never use the notes or score when going over a
+part in which I have appeared, for I know them absolutely, so there is
+no occasion to use the notes. Other singers appear frequently at
+rehearsal with their books, but I never take mine. My intimate knowledge
+of score, when I assisted my father in taking charge of operatic scores,
+is always a great help to me. I used to take charge of all the scores
+for him, and knew all the cuts, changes and just how they were to be
+used. The singers themselves often came to me for stage directions about
+their parts, knowing I had this experience.
+
+"Yes, as you suggest, I could sing here in winter, then in South America
+in summer." (Miss Muzio accomplished this recently, with distinguished
+success and had many thrilling adventures incident to travel.) "This
+would mean I would have no summer at all, for that season with them is
+colder than we have it here. No, I want my summer for rest and study.
+During the season at the Metropolitan I give up everything for my art. I
+refuse all society and the many invitations I receive to be guest of
+honor here and there. I remain quietly at home, steadfastly at work. My
+art means everything to me, and I must keep myself in the best condition
+possible, to be ready when the call comes to sing. One cannot do both,
+you know; art and society do not mix well. I have never disappointed an
+audience; it would be a great calamity to be obliged to do so."
+
+
+
+
+XVII
+
+=EDWARD JOHNSON=
+
+(=EDOUARDO DI GIOVANNI=)
+
+THE EVOLUTON OF AN OPERA STAR
+
+
+The story of Edward Johnson's musical development should prove an
+incentive, nay more, a beacon light along the path of consistent
+progress toward the goal of vocal and operatic achievement. Indeed as a
+tiny child he must have had the desire to become a singer. A friend
+speaks of musical proclivities which began to show themselves at an
+early age, and describes visits of the child to their home, where, in a
+little Lord Fauntleroy suit, he would stand up before them all and sing
+a whole recital of little songs, to the delight of all his relatives.
+The singer's progress, from the musical child on and up to that of an
+operatic artist, has been rational and healthy, with nothing hectic or
+overwrought about it; a constant, gradual ascent of the mountain. And
+while an enviable vantage ground has been reached, such an artist must
+feel there are yet other heights to conquer. For even excellence,
+already achieved, requires constant effort to be held at high water
+mark. And the desire for greater perfection, which every true artist
+must feel, is a never-ending urge to continued struggle.
+
+In a recent conversation with the tenor, Mr. Johnson spoke of early
+days, when he desired above everything else to become a musician and
+follow a musical career, though his family expected him to enter the
+business world. He came to New York to look the ground over, hoping
+there might be opportunity to continue his studies and make his way at
+the same time. He was fortunate enough to secure a church position, and
+sang subsequently in some of the best New York and Brooklyn churches.
+After this period he did much concert work, touring through the Middle
+West with the Chicago Symphony Orchestra and singing in many Music
+Festivals throughout the country.
+
+[Illustration: Edward Johnson]
+
+But church and concert singing did not entirely satisfy; he longed to
+try his hand at opera,--in short to make an operatic career. He was well
+aware that he would not find this field nor gain the necessary
+experience in America; he must go to Italy, the land of song, to gain
+the required training and experience. He was also fully aware of the
+fact that there was plenty of hard work, and probably many
+disappointments before him, but he did not shrink from either.
+
+"Fortunately, I have a fund of humor," he said, and there was a twinkle
+in his eye as he spoke. "It is a saving grace, as you say; without it I
+believe I should have many times given up in sheer despair."
+
+Mr. Johnson went to Italy in 1909, beginning at once his studies with
+Lombardi, in Florence. In the ten years of his absence from his home
+land he has built up a reputation and made a career in the great
+operatic centers of Italy, Spain and South America. After his debut in
+Padua, he became leading tenor at La Scala, Milan, for five consecutive
+seasons. In Rome he spent four seasons at the Costanzi Theater, in the
+meantime making two visits to the Colon Theater, Buenos Aires, and
+filling engagements in Madrid, Bologna, Florence and Genoa.
+
+"How could I stay away from America for such a length of time? you ask.
+For various reasons. I was getting what I had come to Italy for,
+experience and reputation. I was comfortable and happy in my work. I
+loved the beautiful country, and the life suited me. The people were
+kind. I had my own home in Florence, which is still there and to which I
+can return when my season is over here. Best of all I had the
+opportunity of creating all the new tenor roles in the recent operas of
+Puccini, Montemezzi, Pizzetti and Gratico. I also created the role of
+_Parsifal_ in Italian, and the first season at La Scala, it was
+performed twenty-seven times."
+
+"With your permission let us go a little into detail in regard to the
+needs of the young singer and his method of study, so that he may
+acquire vocal mastery. What do you consider the most important and
+necessary subject for the young singer, or any one who wishes to enter
+the profession, to consider?"
+
+"A musical education," was the prompt, unhesitating reply. "So many
+think if they have a good natural voice and take singing lessons, that
+is quite sufficient; they will soon become singers. But a singer should
+also be a musician. He should learn the piano by all means and have some
+knowledge of theory and harmony. These subjects will be of the greatest
+benefit in developing his musicianship; indeed he cannot well get on
+without them. A beautiful voice with little musical education, is not of
+as much value to its possessor as one not so beautiful, which has been
+well trained and is coupled with solid musical attainments.
+
+
+A MUSICAL CAREER
+
+"If one goes in for a musical career, one should realize at the start,
+something of what it means, what is involved, and what must go with it.
+Singing itself is only a part, perhaps even the smaller part, of one's
+equipment. If opera be the goal, there are languages, acting, make up,
+impersonation, interpretation, how to walk, how to carry oneself, all to
+be added to the piano and harmony we have already spoken of. The art of
+the singer is a profession--yes, and a business too. You prepare
+yourself to fill a public demand; you must prove yourself worthy, you
+must come up to the standard, or there will not be a demand for what you
+have to offer. And it is right this should be so. We should be willing
+to look the situation fairly in the eye, divesting it of all those rose
+colored dreams and fancies; then we should get right down to work.
+
+
+NOT MANY RULES
+
+"If you get right down to the bottom, there are in reality not so many
+singing rules to learn. You sing on the five vowels, and when you can
+do them loudly, softly, and with mezzo voce, you have a foundation upon
+which to build vocal mastery. And yet some people study eight, ten years
+without really laying the foundation. Why should it take the singer such
+a long time to master the material of his equipment? A lawyer or doctor,
+after leaving college, devotes three or four years only to preparing
+himself for his profession, receives his diploma, then sets up in
+business. It ought not to be so much more difficult to learn to sing
+than to learn these other professions.
+
+
+THE EAR
+
+"Of course the ear is the most important factor, our greatest ally. It
+helps us imitate. Imitation forms a large part of our study. We hear a
+beautiful tone; we try to imitate it; we try in various ways, with
+various placements, until we succeed in producing the sound we have been
+seeking. Then we endeavor to remember the sensations experienced in
+order that we may repeat the tone at will. So you see Listening,
+Imitation and Memory are very important factors in the student's
+development.
+
+
+BEL CANTO
+
+"I have just spoken of a beautiful tone. The old Italian operas
+cultivate the _bel canto_, that is--beautiful singing. Of course it is
+well for the singer to cultivate this first of all, for it is excellent,
+and necessary for the voice. But modern Italian opera portrays the real
+men and women of to-day, who live, enjoy, suffer, are angry and
+repentant. _Bel canto_ will not express these emotions. When a man is
+jealous or in a rage, he will not stand quietly in the middle of the
+stage and sing beautiful tones. He does not think of beautiful tones at
+all. Hatred and jealousy should be expressed in the voice as well as in
+action and gesture; they are far from lovely in themselves, and to be
+natural and true to life, they will not make lovely tones in the voice.
+We want singing actors to-day, men and women who can adequately portray
+the characters they impersonate through both voice and action.
+
+
+LEARNING A ROLE
+
+"In taking up a new part I vocalize the theme first, to get an idea of
+the music; then I learn the words. After this I work with the
+accompanist who comes to me every morning. Of course, besides this, I do
+daily vocalizes and vocal exercises; one must always keep up one's
+vocal technic.
+
+"But learning words and music is only a part of the work to be done on a
+role. It must then be interpreted; more than this it must be visualized.
+This part of the work rests largely with the singer, and gives
+opportunity for his individuality to assert itself. Of course the
+general idea of the characterization is given us, the make-up, posturing
+and so on. To work out these ideas, to make the part our own, to feel at
+home in it, so that it shall not seem like acting, but appear perfectly
+natural--all this takes a great deal of thought, time and study. It is
+all a mental process, as every one knows; we must project our thought
+out to the audience, we must 'get it over,' or it will never strike
+fire!"
+
+
+INTERPRETATION
+
+On the subject of individuality in interpretation, Mr. Johnson was
+convincing. "I feel that if I have worked out a characterization, I must
+stick to my idea, in spite of what others say. It is my own conception,
+and I must either stand or fall by it. At times I have tried to follow
+the suggestions of this or that critic and have changed my
+interpretation to suit their taste. But it always rendered me self
+conscious, made my work unnatural and caused me speedily to return to my
+own conception.
+
+
+LEARNING BY DOING
+
+"The singer finds the stage a great teacher. Before the footlights he
+has constant opportunity to try out this or that effect, to note which
+placement of the voice best fits the tones he wishes to produce. Then,
+too, he soon learns to feel whether he has made the impression he had
+hoped, whether he has the audience with him. If he cannot win the
+audience, he takes careful thought to see why. In order to win his
+hearers, to get his work across the footlights, there are certain things
+he must have, virtues he must possess. For instance,"--and the artist
+counted them off on his finger tips,--"he must have Accent, Diction,
+Characterization, and above all, Sincerity. No matter what other good
+qualities he may possess, he must be sincere before anything else. If he
+lack this the audience soon finds it out. There's nothing that wins its
+way like the grace of sincerity. You see I give prominent place to
+accent and diction. Whatever fault the critics found with me, they have
+always conceded to me both these virtues.
+
+"But time passes and soon the work of the night will begin. I trust that
+our informal conference may contain a few points of personal experience
+which may be helpful to those who are striving to enter the field of
+opera." And with his pleasant smile and genial greeting, Mr. Johnson
+closed the conference.
+
+
+
+
+XVIII
+
+=REINALD WERRENRATH=
+
+ACHIEVING SUCCESS ON THE CONCERT STAGE
+
+
+At the close of a recital by Reinald Werrenrath, the listener feels he
+has something to carry away, a tangible impression, a real message. What
+is the impression--can it be defined? Perhaps it is more the complete
+effect as a whole that makes the deepest impression. The voice is always
+agreeable, the diction so clear and distinct that every syllable can be
+followed from the topmost corner of Carnegie Hall, so there is no need
+to print a program book for this singer. Different qualities of voice
+render the picture or mood more vivid, and all is accomplished with
+perfect ease, in itself a charm. People settle in their seats as if
+certain that a song recital by Werrenrath is sure to bring enjoyment and
+satisfaction.
+
+And Mr. Werrenrath has proven, through season after season of concert
+giving in America, that he is filling his own special niche in the
+scheme of the country's musical life; that he has his own message of
+the beautiful--the natural--in vocal art to deliver to the people all
+over the land, and he is accomplishing this with ever increasing ability
+and success.
+
+To go through a season filled with concert tours, such as a popular
+singer has laid out for him, means so many weeks and months of strenuous
+toil and travel. There may be a few brief hours or days here and there,
+when he can be at home among family and friends; but soon he is off
+again--"on the road."
+
+Mr. Werrenrath is the sort of singer who is generally on the wing, or if
+not exactly that, is so rushed with work, record making and rehearsing
+for occasional opera appearances, that it is very difficult to get a
+word with him. I was exceedingly fortunate however, one day recently, to
+catch a glimpse of him between a Metropolitan rehearsal on the one hand,
+and some concert business on the other. He entered the room where I
+waited, tall, vigorous, his fine face lighted by a rapid walk in the
+fresh air; he seemed the embodiment of mental vigor and alertness.
+
+
+VOCAL CONTROL
+
+[Illustration: REINALD WERRENRATH]
+
+I plunged at once into the subject I had come for, telling him I wanted
+to know how he had worked to bring about such results as were noted in
+his recent recital in Carnegie Hall; in what way he had studied, and
+what, in his opinion, were the most important factors, from an
+educational point of view, for the young singer to consider.
+
+"That is entirely too difficult a question to be answered briefly, even
+in a half hour, or in an hour's talk. There are too many angles;" his
+clear gray eyes looked at me frankly as he spoke. "Voice culture, voice
+mastery, what is it? It is having control of your instrument to such an
+extent that you put it out of your thought completely when you sing. The
+voice is your servant and must do your bidding. This control is arrived
+at through a variety of means, and can be considered from a thousand
+angles, any one of which would be interesting to follow up. I have been
+on the concert stage for nearly a score of years, and ought to know
+whereof I speak; yet I can say I have not learned it all even now, not
+by any means. Vocal technic is something on which you are always
+working, something which is never completed, something which is
+constantly improving with your mental growth and experience--if you are
+working along the right lines. People talk of finishing their vocal
+technic; how can that ever be done? You are always learning how to do
+better. If you don't make the effect you expected to, in a certain
+place, when singing in public, you take thought of it afterward,
+consider what was the matter, _why_ you couldn't put it over--why it had
+no effect on the audience. Then you work on it, learn how to correct and
+improve it.
+
+
+EARLY EXPERIENCES
+
+"As you may know, my father was a great singer; he was my first teacher.
+After I lost him I studied for several years with Dr. Carl Duft and
+later with Arthur Mees. In all this time I had learned a great deal
+about music from the intellectual and emotional sides, music in the
+abstract and so on. In fact, I thought I knew about all there was to be
+learned about the art of song; I settled back on my oars and let the
+matter go at that. At last, however, I awoke to see that I didn't know
+it all yet; I discovered I couldn't put the feeling and emotion which
+surged within me across to others in the way I wanted to--in the way
+which could move and impress them; I could not make the effects I
+wanted; I was getting into a rut. This was seven years ago. At that time
+I went to Percy Rector Stevens, who has done me an immense amount of
+good, and with whom I constantly keep in touch, in case there should be
+anything wrong with my instrument anywhere. Mr. Stevens understands the
+mechanics of the voice perhaps better than any one I know of. If I go to
+him and say: 'I made some tones last night that didn't sound right to
+me,' or 'I couldn't seem to put over this or that effect; I want you to
+tell me what is the matter.' He will say: 'Sing for me, show me the
+trouble and we'll see what we can do for it.' So I sing and he will say:
+'You are tightening your throat at that place,' or 'your diaphragm is
+not working properly,' or there is some other defect. He can always put
+his finger directly on the weak spot. He is my vocal doctor. Your whole
+vocal apparatus must work together in entire harmony. We hear of
+teachers who seem to specialize on some one part of the anatomy to the
+exclusion of other parts. They are so particular about the diaphragm,
+for instance; that must be held with exactly the right firmness to
+support the tone. That is all very well; but what about the chest, the
+larynx, the throat, the head and all the rest of the anatomy? The truth
+is the whole trunk and head of the body are concerned in the act of tone
+production; they form the complete instrument, so to say. When the
+singer is well and strong and in good condition, all the parts respond
+and do their work easily and efficiently.
+
+
+DAILY PRACTICE
+
+"I do not go through a routine of scales and exercises daily--at least
+not in the season, for I have no time. If you are going to take your
+automobile out for a spin you don't ride it around for half an hour in
+the yard to see whether it will go. No, you first look after the
+machinery, to see if all is in working order, and then you start out,
+knowing it will go. I do a lot of gymnastics each day, to exercise the
+voice and limber up the anatomy. These act as a massage for the voice;
+they are in the nature of humming, mingled with grunts, calls,
+exclamations, shouts, and many kinds of sounds--indeed so many and
+various they cannot be enumerated. But they put the voice in condition,
+so there is no need for all these other exercises which most singers
+find so essential to their vocal well-being. I will say right here that
+I am working with two masters; the first for the mechanics of the voice,
+the second who helps me from quite an opposite angle--interpretation and
+finish.
+
+
+WITH MAUREL
+
+"The master from whom I have learned so much that it cannot be estimated
+is Victor Maurel. He is a most remarkable man, a great thinker and
+philosopher. If he had turned his attention to any other art or science,
+or if he had been but a day laborer, he would be a great man anywhere,
+in any capacity.
+
+"I have been with him, whenever possible, for two years now. He has
+shown me the philosophy, the psychology of singing. He has taught me the
+science of intense diction. By means of such diction, I can sing _mezza
+voce_, and put it over with less effort and much more artistic effect
+than I ever used to do, when I employed much more voice. You hear it
+said this or that person has a big voice and can sing with great power.
+A brass band can make a lot of noise. I have stood beside men, who in a
+smaller space, could make much more noise than I could. But when they
+got out on the stage you couldn't hear them at the back of the hall. It
+is the knowing how to use the voice with the least possible effort,
+coupled with the right kind of diction, that will make the greatest
+effect. Now I can express myself, and deliver the message I feel I have
+to give.
+
+
+THE SINGER BEFORE AN AUDIENCE
+
+"You ask if I hear myself, when I am singing for an audience. In a
+general way, yes. Of course I do not get the full effect of what I am
+doing; a singer never does. It takes the records to tell me that, and I
+have been making records for a good number of years. But I know the
+sensations which accompany correct tone production, and if I feel they
+are different in any place or passage, I try to make a mental note of
+the fact and the passage, that I may correct it afterwards. But I must
+emphasize the point that when I sing, I cast away all thought of _how_ I
+do anything technical; I want to get away from the mechanics of the
+voice; I must keep my thought clear for the interpretation, for the
+message I have brought to the audience. To be constantly thinking--how
+am I doing this or that--would hamper me terribly. I should never get
+anywhere. I must have my vocal apparatus under such control that it goes
+of itself. A pianist does not think of technic when playing in public,
+neither should a singer think of his vocal technic. Of course there may
+be occasions when adverse circumstances thrust conditions upon me. If I
+have a slight cold, or tightness of throat, I have to bring all my
+resources to bear, to rise above the seeming handicap, and sing as well
+as I can in spite of it. I can say gratefully, without any desire to
+boast, that during the past eleven years, I have never once missed an
+engagement or disappointed an audience. Of course I have had to keep
+engagements when I did not feel in the mood, either physically or
+mentally. Many singers would have refused under like conditions. But it
+does not seem fair to the audience to disappoint, or to the manager
+either; it puts him in a very difficult and unpleasant position. It
+seems to me the artist should be more considerate of both manager and
+audience, than to yield to a slight indisposition and so break his
+engagement.
+
+
+THE SINGER IN HIS STUDIO
+
+"It makes such a difference--in quality of tone and in effect--whether
+you sing in a small or large space. Things you do in the studio and
+which may sound well there, are quite different or are lost altogether
+in a large hall. You really cannot tell what the effect will be in a
+great space, by what you do in your studio. In rehearsing and study, I
+use half voice, and only occasionally do I use full voice, that is when
+I wish to get a better idea of the effect."
+
+
+VOCAL MASTERY
+
+As we stood at the close of the conference, I asked the supreme
+question--What do you understand by Vocal Mastery? The artist looked as
+though I were making an impossible demand in requiring an answer to so
+comprehensive a subject. He took a few strides and then came back.
+
+"I can answer that question with one word--Disregard. Which means, that
+if you have such control of your anatomy, such command of your vocal
+resources that they will always do their work, that they can be depended
+upon to act perfectly, then you can disregard mechanism, and think only
+of the interpretation--only of your vocal message. Then you have
+conquered the material--then you have attained Vocal Mastery!"
+
+
+
+
+XIX
+
+=SOPHIE BRASLAU=
+
+MAKING A CAREER IN AMERICA
+
+
+A fact, often overlooked when considering the career of some of our
+great singers of to-day, is the fact that they started out to become an
+instrumentalist rather than a singer. In other words they become
+proficient on some instrument before taking up serious study of the
+voice. In this connection one thinks of Mme. Sembrich, who was both
+pianist and violinist before becoming known as a singer. It would be
+interesting to follow up this idea and enumerate the vocalists who have
+broadened their musicianship through the study of other instruments than
+their own voices. But this delightful task must be reserved for future
+leisure. For the present it can be set down here that Miss Sophie
+Braslau, probably the youngest star in the constellation of the
+Metropolitan artists, is an accomplished pianist, and intended to make
+her career with the aid of that instrument instead of with her voice.
+
+But we will let the young artist speak for herself. On the occasion in
+question, she had just returned from a walk, her arms full of rosebuds.
+"I never can resist flowers," she remarked, as she had them placed in a
+big silver vase. Then she carried the visitor off to her own special
+rooms, whose windows overlooked an inner garden, where one forgot one
+was in the heart of New York. "Indeed it is not like New York at all,
+rather like Paris," said Miss Braslau, answering my thought.
+
+On a _chaise longue_ in this ivory and rose sanctum, reposed a big,
+beautiful doll, preserved from childish days. The singer took it up; "I
+don't play with it now," she said with a smile, "but I used to." She
+placed it carefully in a chair, then settled herself to talk.
+
+[Illustration: SOPHIE BRASLAU]
+
+"Yes, I intended to make the piano my instrument and began my studies at
+the age of six. Before long it was seen that I had something of a voice,
+but no one gave it much thought, supposing I was to be a pianist; indeed
+I have the hand of one," holding it up. "I don't think, in those early
+years, I was so very anxious to become a player. I did not love
+scales--do not now, and would quite as soon have sat at the piano with a
+book in my lap, while my fingers mechanically did their stunts. But my
+mother looked after my practice, and often sat near me. She required a
+regular amount of time given to music study each day. I am so grateful
+that she was strict with me, for my knowledge of piano and its
+literature is the greatest joy to me now. To my thinking all children
+should have piano lessons; the cost is trifling compared to the benefits
+they receive. They should be made to study, whether they wish to or not.
+They are not prepared to judge what is good for them, and if they are
+given this advantage they will be glad of it later on.
+
+"In due time I entered the Institute of Musical Art, taking the full
+piano course. Arthur Hochmann was my teacher for piano, and I found him
+an excellent master. He did a great deal for me; in interpretation, in
+fineness of detail, in artistic finish I owe him very much. Later I
+studied several years with Alexander Lambert.
+
+"While at work with my piano, it grew more apparent that I had a voice
+that should be cultivated. So I began. Afterwards I worked three years
+with Signor Buzzi Peccia, who started me on an operatic career and
+finally brought me to the Metropolitan.
+
+"It was a great ordeal for a young singer, almost a beginner, to start
+at our greatest Opera House! It meant unremitting labor for me. I worked
+very hard, but I am not afraid of work. Toscanini held sway when I
+began, and he was a marvelous musician and conductor. Such exactness,
+such perfection of detail; he required perfection of every one. He did
+not at first realize how much of a beginner I was, though I had really
+learned a large number of roles. He was so strict in every detail that I
+wept many bitter tears for fear I would not come up to the mark. I knew
+the music, but had not gained experience through routine. It seems to me
+every singer should gain this experience in some smaller places before
+attempting the highest. My advice would be to go and get experience in
+Europe first. I have never been in Germany, but in Italy and France
+there are many small opera houses where one may learn routine.
+
+"Another thing. There is a mistaken notion that one cannot reach any
+height in opera without 'pull' and great influence. I am sure this is
+not true; for while a pull may help, one must be able to deliver the
+goods. If one cannot, all the backing in the world will not make one a
+success. The singer must have the ability to 'put it over.' Think of
+the artists who can do it--Farrar, Gluck, Schumann-Heink. There is never
+any doubt about them; they always win their audiences. What I have done
+has been accomplished by hard work, without backing of any kind. Really
+of what use is backing anyway? The public can judge--or at least it can
+_feel_. I know very well that when my chance came to sing _Shanewis_, if
+I had not been able to do it, no amount of influence would have helped
+the situation. I had it in my own hand to make or mar my career. I often
+wonder whether audiences really know anything about what you are trying
+to do; whether they have any conception of what is right in singing, or
+whether they are merely swayed by the temperament of the singer.
+
+"Whether we are, or are not to be a musical nation should be a question
+of deep interest to all music lovers. If we really become a great
+musical people, it will be largely due to the work of the records. We
+certainly have wonderful advantages here, and are doing a tremendous lot
+for music.
+
+"I had an interesting experience recently. It was in a little town in
+North Carolina, where a song recital had never before been given. Can
+you fancy a place where there had never even been a concert? The people
+in this little town were busy producing tobacco and had never turned
+their thought toward music. In the face of the coming concert what did
+those people do? They got a program, studied what pieces I had sung on
+the Victor, got the music of the others; so they had a pretty good idea
+of what I was going to sing. When I stepped on the platform that night
+and saw the little upright piano (no other instrument could be secured)
+and looked into those eager faces, I wondered how they would receive my
+work. My first number was an aria from _Orfeo_. When I finished, the
+demonstration was so deafening I had to wait minutes before I could go
+on. And so it continued all the evening.
+
+"How do I work? Very hard, at least six hours a day. Of these I actually
+sing perhaps three hours. I begin at nine and give the first hour to
+memory work on repertoire. I give very thorough study to my programs;
+for I must know every note in them, both for voice and piano. I make it
+a point to know the accompaniments, for in case I am ever left without
+an accompanist, I can play for myself, and it has a great effect on
+audiences. They may not know or care whether you can play Beethoven or
+Chopin, but the fact that you can play while you sing, greatly impresses
+them.
+
+"In committing a song, I play it over and sing it sufficiently to get a
+good idea of its construction and meaning; then I work in detail,
+learning words and music at the same time, usually. Certain things are
+very difficult for me, things requiring absolute evenness of passage
+work, or sustained calm. Naturally I have an excess of temperament; I
+feel things in a vivid, passionate way. So I need to go very slowly at
+times. To-day I gave several hours to only three lines of an aria by
+Haendel, and am not yet satisfied with it. Indeed, can we ever rest
+satisfied, when there is so much to learn, and we can always improve?
+
+"The second hour of my day is given to vocalizes. Of course there are
+certain standard things that one must do; but there are others that need
+not be done every day. I try to vary the work as much as I can.
+
+"The rest of the day is given to study on repertoire and all the things
+that belong to it. There is so much more to a singer's art than merely
+to sing. And it is a sad thing to find that so many singers lack
+musicianship. They seem to think if they can sing some songs, or even a
+few operas, that is all there is to it. But one who would become an
+artist must work most of the time. I am sure Charles Hackett knows the
+value of work; so does Mabel Garrison and many other Americans. And when
+you think of it, there are really a brave number of our own singers who
+are not only making good, but making big names for themselves and
+winning the success that comes from a union of talent and industry."
+
+
+
+
+XX
+
+=MORGAN KINGSTON=
+
+THE SPIRITUAL SIDE OF THE SINGER'S ART
+
+
+"A man who has risen to his present eminence through determined effort
+and hard work, who has done it all in America, is a unique figure in the
+world of art. He can surely give much valuable information to students,
+for he has been through so much himself." Thus I was informed by one who
+was in a position to understand how Morgan Kingston had achieved
+success. The well known tenor was most kind in granting an audience to
+one seeking light on his ideas and experiences. He welcomed the visitor
+with simple, sincere courtesy, and discussed for an hour and a half
+various aspects of the singer's art.
+
+"In what way may I be of service to you?" began Mr. Kingston, after the
+first greetings had been exchanged.
+
+"There are many questions to ask," was the answer; "perhaps it were best
+to propound the most difficult one first, instead of reserving it till
+the last. What, in your opinion, goes into the acquiring of Vocal
+Mastery?"
+
+"That is certainly a difficult subject to take up, for vocal mastery
+includes so many things. First and foremost it includes vocal technic.
+One must have an excellent technic before one can hope to sing even
+moderately well. The singer can do nothing without technic, though of
+course there are many people who try to sing without it. They, however,
+never get anywhere when hampered by such a lack of equipment. Technic
+furnishes the tools with which the singer creates his vocal art work;
+just as the painter's brushes enable him to paint his picture.
+
+
+RULES OF TECHNIC
+
+[Illustration: MORGAN KINGSTON]
+
+"I said the singer should have a finished technic in order to express
+the musical idea aright, in order to be an artist. But technic is never
+finished; it goes on developing and broadening as we ourselves grow and
+develop. We learn by degrees what to add on and what to take away, in
+our effort to perfect technic. Students, especially in America, are too
+apt to depend on rules merely. They think if they absolutely follow the
+rules, they must necessarily become singers; if they find that you
+deviate from rule they tell you of it, and hold you up to the letter of
+the law, rather than its meaning and spirit. I answer, rules should be
+guides, not tyrants. Rules are necessary in the beginning; later we get
+beyond them,--or rather we work out their spirit and are not hide-bound
+by the letter.
+
+
+EARLY STRUGGLES
+
+"As you may know, I was born in Nottinghamshire, England. I always sang,
+as a small boy, just for the love of it, never dreaming I would one day
+make it my profession. In those early days I sang in the little church
+where Lord Byron is buried. How many times I have walked over the slab
+which lies above his vault. When I was old enough I went to work in the
+mines, so you see I know what hardships the miners endure; I know what
+it means to be shut away from the sun for so many hours every day. And I
+would lighten their hardships in every way possible. I am sure, if it
+rested with me, to choose between having no coal unless I mined it
+myself, I would never dig a single particle. But this is aside from the
+subject in hand.
+
+"I always sang for the love of singing, and I had the hope that some day
+I could do some good with the gift which the good God had bestowed on
+me. Then, one day, the opportunity came for me to sing in a concert in
+London. Up to that time I had never had a vocal lesson in my life; my
+singing was purely a natural product. On this occasion I sang, evidently
+with some little success, for it was decided that very night that I
+should become a singer. Means were provided for both lessons and living,
+and I now gave my whole time and attention toward fitting myself for my
+new calling. The lady who played my accompaniments at that concert
+became my teacher. And I can say, with gratitude to a kind Providence,
+that I have never had, nor wished to have any other. When I hear young
+singers in America saying they have been to Mr. S. to get his points,
+then they will go to Mr. W. to learn his point of view, I realize afresh
+that my experience has been quite different and indeed unique; I am
+devoutly thankful it has been so.
+
+
+WHAT THE TEACHER SHOULD DO FOR THE STUDENT
+
+"My teacher made a study of me, of my characteristics, mentality and
+temperament. That should be the business of every real teacher, since
+each individual has different characteristics from every other.
+
+"It is now ten years since I began to study the art of singing. I came
+to America soon after the eventful night which changed my whole career;
+my teacher also came to this country. I had everything to learn; I could
+not even speak my own language; my speech was a dialect heard in that
+part of the country where I was brought up. I have had to cultivate and
+refine myself. I had to study other languages, Italian, French and
+German. I learned them all in America. So you see there is no need for
+an American to go out of his own country for vocal instruction or
+languages; all can be learned right here at home. I am a living proof of
+this. What I have done others can do.
+
+
+THE TECHNICAL SIDE
+
+"As for technical material, I have never used a great quantity. Of
+course I do scales and vocalizes for a short time each day; such things
+are always kept up. Then I make daily use of about a dozen exercises by
+Rubini. Beyond these I make technical studies out of the pieces. But,
+after one has made a certain amount of progress on the technical side,
+one must work for one's self--I mean one must work on one's moral
+nature.
+
+
+THE MORAL SIDE
+
+"I believe strongly that a singer cannot adequately express the
+beautiful and pure in music while cherishing at the same time, a bad
+heart and a mean nature behind it. Singing is such a personal thing,
+that one's mentality, one's inner nature, is bound to reveal itself.
+Each one of us has evil tendencies to grapple with, envy, jealousy,
+hatred, sensuality and all the rest of the evils we are apt to harbor.
+If we make no effort to control these natural tendencies, they will
+permanently injure us, as well as impair the voice, and vitiate the good
+we might do. I say it in all humility, but I am earnestly trying to
+conquer the errors in myself, so that I may be able to do some good with
+my voice. I have discovered people go to hear music when they want to be
+soothed and uplifted. If they desire to be amused and enjoy a good
+laugh, they go to light opera or vaudeville; if they want a soothing,
+quieting mental refreshment, they attend a concert, opera or oratorio.
+Therefore I want to give them, when I sing, what they are in need of,
+what they are longing for. I want to have such control of myself that I
+shall be fitted to help and benefit every person in the audience who
+listens to me. Until I have thus prepared myself, I am not doing my
+whole duty to myself, to my art or to my neighbor.
+
+"We hear about the petty envy and jealousy in the profession, and it is
+true they seem to be very real at times. Picture two young women singing
+at a concert; one receives much attention and beautiful flowers, the
+other--none of these things. No doubt it is human nature, so-called, for
+the neglected one to feel horribly jealous of the favored one. Now this
+feeling ought to be conquered, for I believe, if it is not, it will
+prevent the singer making beautiful, correct tones, or from voicing the
+beauty and exaltation of the music. We know that evil thoughts react on
+the body and result in diseases, which prevent the singer from reaching
+a high point of excellence. We must think right thoughts for these are
+the worth while things of life. Singing teachers utterly fail to take
+the moral or metaphysical side into consideration in their teaching.
+They should do this and doubtless would, did they but realize what a
+large place right thinking occupies in the development of the singer.
+
+"One could name various artists who only consider their own
+self-aggrandizement; one is compelled to realize that, with such low
+aims, the artist is bound to fall short of highest achievement. It is
+our right attitude towards the best in life and the future, that is of
+real value to us. How often people greet you with the words: 'Well, how
+is the world treating you to-day?' Does any one ever say to you--'How
+are you treating the world to-day?' That is the real thing to consider.
+
+"As I said a few moments ago, I have studied ten years on vocal technic
+and repertoire. I have not ventured to say so before, but I say it
+to-night--I can sing! Of course most of the operatic tenor roles are in
+my repertoire. This season I am engaged for fourteen roles at the
+Metropolitan. These must be ready to sing on demand, that is at a
+moment's notice,--or say two hours' notice. That means some memory work
+as well as constant practice.
+
+"Would I rather appear in opera, recital or oratorio? I like them all. A
+recital program must contain at least a dozen songs, which makes it as
+long as a leading operatic role.
+
+"The ten years just passed, filled as they have been with close study
+and public work, I consider in the light of preparation. The following
+ten years I hope to devote to becoming more widely known in various
+countries. And then--" a pleasant smile flitted over the fine, clean-cut
+features,--"then another ten years to make my fortune. But I hasten to
+assure you the monetary side is quite secondary to the great desire I
+have to do some good with the talent which has been given me. I realize
+more and more each day, that to develop the spiritual nature will mean
+happiness and success in this and in a future existence, and this is
+worth all the effort and striving it costs."
+
+
+
+
+XXI
+
+=FRIEDA HEMPEL=
+
+A LESSON WITH A PRIMA DONNA
+
+
+There is no need to say that Frieda Hempel is one of the most admired
+artists on the opera and concert stage to-day. Every one knows the fact.
+Miss Hempel has endeared herself to all through her lovely voice, her
+use of it, her charm of manner and the sincerity of her art.
+
+[Illustration: _Photo by Alfred Chancy Johnston_ FRIEDA HEMPEL]
+
+It is seven years since Miss Hempel first came to sing at the
+Metropolitan. America has advanced very greatly in musical appreciation
+during this period. Miss Hempel herself has grown in artistic stature
+with each new character she has assumed. This season she has exchanged
+the opera field for that of the concert room, to the regret of opera
+patrons and all music lovers, who desired to see her at the
+Metropolitan. Being so constantly on the wing, it has been extremely
+difficult to secure a word with the admired artist. Late one afternoon,
+however, toward the end of her very successful concert season, she was
+able to devote an hour to a conference with the writer on the
+principles of vocal art.
+
+How fair, slender and girlish she looked, ensconced among the cushions
+of a comfortable divan in her music room, with a favorite pet dog
+nestling at her side.
+
+"And you ask how to master the voice; it seems then, I am to give a
+vocal lesson," she began, with an arch smile, as she caressed the little
+creature beside her.
+
+
+BREATHING
+
+"The very first thing for the singer to consider is breath control;
+always the breathing--the breathing. She thinks of it morning, noon and
+night. Even before rising in the morning, she has it on her mind, and
+may do a few little stunts while still reclining. Then, before beginning
+her vocal technic in the morning, she goes through a series of breathing
+exercises. Just what they are is unnecessary to indicate, as each
+teacher may have his own, or the singer has learned for herself what
+forms are most beneficial.
+
+
+VOCAL TECHNIC
+
+"The pianist before the public, or the player who hopes to master the
+instrument in the future, never thinks of omitting the daily task of
+scales and exercises; he knows that his chances for success would soon
+be impaired, even ruined, if he should neglect this important and
+necessary branch of study.
+
+"It is exactly the same thing with the singer. She cannot afford to do
+without scales and exercises. If she should, the public would soon find
+it out. She must be in constant practice in order to produce her tones
+with smoothness and purity; she must also think whether she is producing
+them with ease. There should never be any strain, no evidence of effort.
+Voice production must always seem to be the easiest thing in the world.
+No audience likes to see painful effort in a singer's face or throat.
+
+
+VOCAL PRACTICE
+
+"The young singer should always practice with a mirror--do not forget
+that; she must look pleasant under all circumstances. No one cares to
+look at a singer who makes faces and grimaces, or scowls when she sings.
+This applies to any one, young or older. Singing must always seem easy,
+pleasant, graceful, attractive, winning. This must be the mental
+concept, and, acted upon, the singer will thus win her audience. I do
+not mean that one should cultivate a grin when singing; that would be
+going to the other extreme.
+
+"Let the singer also use a watch when she practices, in order not to
+overdo. I approve of a good deal of technical study, taken in small
+doses of ten to fifteen minutes at a time. I myself do about two hours
+or more, though not all technic; but I make these pauses for rest, so
+that I am not fatigued. After all, while we must have technic, there is
+so much more to singing than its technic. Technic is indeed a means to
+an end, more in the art of song than in almost any other form of art.
+Technic is the background for expressive singing, and to sing
+expressively is what every one should be striving for.
+
+
+WHAT IT MEANS TO BE A SINGER
+
+"A beautiful voice is a gift from heaven, but the cultivation of it
+rests with its possessor. Here in America, girls do not realize the
+amount of labor and sacrifice involved, or they might not be so eager to
+enter upon a career. They are too much taken up with teas, parties and
+social functions to have sufficient time to devote to vocal study and
+all that goes with it. There are many other things to study; some piano
+if possible, languages of course, physical culture and acting, to make
+the body supple and graceful. I say some piano should be included, at
+least enough to play accompaniments at sight. But when she has mastered
+her song or role, she needs an accompanist, for she can never play the
+music as it should be played while she endeavors to interpret the song
+as that should be sung. One cannot do complete justice to both at the
+same time.
+
+"In order to study all the subjects required, the girl with a voice must
+be willing to give most of her day to the work. This means sacrificing
+the social side and being willing to throw herself heart and soul into
+the business of adequately preparing for her career.
+
+
+AMERICAN VOICES
+
+"I find there are quantities of lovely voices here in America. The
+quality of the American female voice is beautiful; in no country is it
+finer, not even in Italy. You have good teachers here, too. Then why are
+there so few American singers who are properly prepared for a career?
+Why do we hear of so few who make good and amount to something? If the
+girl has means and good social connections, she is often not ready to
+sacrifice social gayeties for the austere life of the student. If she
+is a poor girl, she frequently cannot afford to take up the subjects
+necessary for her higher development. Instruction is expensive here, and
+training for opera almost impossible. The operatic coach requires a
+goodly fee for his services. And when the girl has prepared several
+roles where shall she find the opportunity to try them out?
+Inexperienced singers cannot be accepted at the Metropolitan; that is
+not the place for them. At the prices charged for seats the management
+cannot afford to engage any but the very best artists. Until there are
+more opera houses throughout the country, the American girl will still
+be obliged to go to Europe for experience and routine. In Europe it is
+all so much easier. Every little city and town has its own opera house,
+where regular performances are given and where young singers can try
+their wings and gain experience. The conductor will often help and coach
+the singer and never expect a fee for it.
+
+
+THE YOUNG SINGER BEFORE AN AUDIENCE
+
+"The singer who wishes to make a career in concert, should constantly
+study to do things easily and gracefully. She is gracious in manner,
+and sings to the people as though it gave her personal pleasure to stand
+before them. She has a happy expression of countenance; she is simple,
+unaffected and sincere. More than all this her singing must be filled
+with sentiment and soul; it must be deeply felt or it will not touch
+others. Of what use will be the most elaborate technic in the world if
+there is no soul back of it. So the young singer cultivates this power
+of expression, which grows with constant effort. The artist has learned
+to share her gift of song with her audience, and sings straight across
+into the hearts of her listeners. The less experienced singer profits by
+her example.
+
+"Shall the singer carry her music in a song recital, is a much discussed
+question. Many come on with nothing in hand. What then happens? The
+hands are clasped in supplication, as though praying for help. This
+attitude becomes somewhat harrowing when held for a whole program. Other
+singers toy with chain or fan, movements which may be very inappropriate
+to the sentiment of the song they are singing. For myself I prefer to
+hold in hand a small book containing the words of my songs, for it seems
+to be more graceful and Jess obtrusive than the other ways I have
+mentioned. I never refer to this little book, as I know the words of my
+songs backward; I could rise in the middle of the night and go through
+the program without a glance at words or music, so thoroughly do I know
+what I am singing. Therefore I do not need the book of words, but I
+shall always carry it, no matter what the critics may say. And why
+should not the executive artist reassure himself by having his music
+with him? It seems to me a pianist would feel so much more certain of
+himself if he had the notes before him; he of course need not look at
+them, but their presence would take away the fear that is often an
+obsession. With the notes at hand he could let himself go, give free
+reign to fancy, without the terrible anxiety he must often feel.
+
+
+OPERA OR CONCERT
+
+"People often ask whether I prefer to sing in opera or concert. I always
+answer, I love both. I enjoy opera for many reasons; I love the concert
+work, and I am also very fond of oratorio. Of course in the opera I am
+necessarily restrained; I can never be Frieda Hempel, I must always be
+some one else; I must always think of the others who are playing with
+me. In concert I can be myself and express myself. I get near the
+people; they are my friends and I am theirs. I am much in spirit with
+oratorio also.
+
+
+COLORATURA OR DRAMATIC
+
+"Do I think the coloratura voice will ever become dramatic? It depends
+on the quality of the voice. I think every dramatic singer should
+cultivate coloratura to some extent--should study smooth legato scales
+and passages. To listen to some of the dramatic roles of to-day, one
+would think that smooth legato singing was a lost art. Nothing can take
+its place, however, and singers should realize this fact."
+
+Miss Hempel believes that every singer, no matter how great, should
+realize the advantage of constant advice from a capable teacher, in
+order to prevent the forming of undesirable habits. She also considers
+Vocal Mastery implies the perfection of everything connected with
+singing; that is to say, perfect breath control, perfect placement of
+the voice, perfect tone production, together with all requisite grace,
+feeling and expressiveness.
+
+
+
+
+WITH THE MASTER TEACHERS
+
+
+
+
+XXII
+
+=DAVID BISPHAM=
+
+THE MAKING OF ARTIST SINGERS
+
+
+If we were asked to name one of the best known, and best loved of
+American singers, the choice would surely fall on David Bispham. This
+artist, through his vocal, linguistic and histrionic gifts, his serious
+aims and high ideals, has endeared himself to musicians and music lovers
+alike. We are all proud of him as an American, and take a sort of
+personal pride in his achievements.
+
+Mr. Bispham has been before the public as actor-singer for many years.
+There is no other artist in the English-speaking world who has had
+greater experience in all kinds of vocal work than this "Quaker Singer,"
+as he calls himself, for he comes from Philadelphia, and is of old
+English, Quaker, Colonial stock. His professional debut was made in
+London, in 1891, with the Royal English Opera Company, as the Duc De
+Longueville, in the beautiful Opera Comique, _The Basoche_, by Messager.
+The following year he appeared in Wagnerian Music Drama at the Royal
+Opera, Covent Garden, performing the part of Kurwenal, in _Tristan and
+Isolde_, without rehearsal. His adaptability to music in English,
+French, Italian and German, caused him to be at once accepted as a
+member of that distinguished company.
+
+In 1896, Mr. Bispham joined the forces of the Metropolitan Opera House,
+New York, and remained there for a number of years, singing each season
+alternately on both sides of the ocean. Of recent years he has devoted
+most of his time to concerts, though he is one of the founders and
+officers of the Society of American Singers, with which artistic body he
+frequently appears in the classic operas of Mozart, Pergolesi, Donizetti
+and others.
+
+My first conference with Mr. Bispham was held in his New York studio.
+Here, in this artistic retreat where absolute quiet reigns, though
+located in the heart of the great city's busy life, the noted singer
+teaches and works out his programs and various characterizations.
+
+
+THE PROBLEM OF BREATH CONTROL
+
+"The singer should breathe as easily and naturally as animals and people
+do when they sleep," he began. "But we are awake when we sing; correct
+breath control, therefore, must be carefully studied, and is the result
+of understanding and experience. The best art conceals art. The aim is
+to produce tones with the utmost ease and naturalness, though these must
+be gained with patient toil. A child patting the keyboard with his tiny
+hands, is _unconsciously_ natural and at ease, though he does not know
+what he is doing; the great pianist is _consciously_ at ease because he
+understands principles of ease and relaxation, and has acquired the
+necessary control through years of training.
+
+"The singer acquires management of the breath through correct position
+and action of his anatomy. The body is held erect, chest active; the
+network of abdominal muscles constantly gain strength as they learn to
+push, push, push the air up through the lungs to the windpipe, then
+through the mouth and nasal cavities." Mr. Bispham illustrated each
+point in his own person as he described it.
+
+"When the manner of taking breath, and the way to develop the diaphragm
+and abdominal muscles, is understood, that is only a beginning.
+Management of the breath is an art in itself. The singer must know what
+to do with the breath once he has taken it in, or he may let it out in
+quarts the moment he opens his mouth. He has to learn how much he needs
+for each phrase. He learns how to conserve the breath; and while it is
+not desirable to hold one tone to attenuation, that the gallery may gasp
+with astonishment, as some singers do, yet it is well to learn to do all
+one conveniently can with one inhalation, provided the phrase permits
+it.
+
+
+TECHNICAL MATERIAL
+
+"I give many vocalizes and exercises, which I invent to fit the needs of
+each pupil. I do not require them to be written down, simply remembered.
+At the next lesson quite a different set of exercises may be
+recommended. I also make exercises out of familiar tunes or themes from
+operatic airs. It will be found that technical material in the various
+manuals is often chosen from such sources, so why not use them in their
+original form. Thus while the student is studying technic he is also
+acquiring much beautiful material, which will be of great value to him
+later on.
+
+
+THE STUDY OF REPERTOIRE
+
+"Repertoire is a wide subject and offers a fascinating study to the
+vocal student. He must have both imagination and sentiment, also the
+ability to portray, through movement and facial expression, the various
+moods and states of feeling indicated by words and music.
+
+"In taking up a new role, I read the story to get at the kernel or plot,
+and see what it means. The composer first saw the words of poem or
+libretto, and these suggested to him suitable music. So the singer
+begins his work by carefully reading the words.
+
+"I then have the music of the whole work played for me on the piano, so
+as to discover its trend and meaning--its content. If the composer is
+available I ask him to do this. I next begin to study my own part in
+detail, not only the important sections but the little bits, which seem
+so small, but are often so difficult to remember."
+
+
+CHARACTERIZATION
+
+Under this head the singer spoke at length of the difficulty some
+singers encounter when they endeavor to portray character, or
+differentiate emotions. There is endless scope in this line, to exercise
+intelligence and imagination.
+
+"Some singers," continued the artist, "seem incapable of characterizing
+a role or song. They can do what I call 'flat work,' but cannot
+individualize a role. A singer may have a beautiful voice yet not be
+temperamental; he may have no gift for acting, nor be able to do
+character work.
+
+"At the present moment I am preparing several new roles, three of them
+are of old men. It rests with me to externalize these three in such a
+way that they shall all be different, yet consistent with the characters
+as I understand them. Each make-up must be distinctive, and my work is
+to portray the parts as I see and feel them. I must get into the skin of
+each character, so to say, then act as I conceive that particular person
+would behave under like circumstances. Many singers cannot act, and most
+actors cannot sing. When the two are combined we have a singing actor,
+or an actor-singer. Once there was a popular belief that it was not
+necessary for the singer to know much about acting--if he only had a
+voice and could sing. The present is changing all that. Many of us
+realize how very much study is required to perfect this side of our art.
+
+"In this connection I am reminded of my London debut. I was to make it
+with the Royal English Opera Company. They heard me three times before
+deciding to take me on. With this formality over, rehearsals began. I
+soon found that my ideas of how my role--an important one--was to be
+acted, did not always coincide with the views of the stage director, and
+there were ructions. The manager saw how things were going, and advised
+me to accept seemingly the ideas of the stage director during
+rehearsals, but to study acting with the highest authorities and then
+work out the conception after my own ideas. Accordingly, I spent an hour
+daily, before the morning rehearsal, with one of the finest actors of
+comedy to be found in London. Later in the day, after rehearsal, I spent
+another hour with a great tragic actor. Thus I worked in both lines, as
+my part was a mixture of the tragic and the comic. I put in several
+weeks of very hard work in this way, and felt I had gained greatly. Of
+course this was entirely on the histrionic side, but it gives an idea of
+the preparation one needs.
+
+"When the day of the dress rehearsal arrived, I appeared on the scene in
+full regalia, clean shaven (I had been wearing a beard until then), and
+performed my role as I had conceived it, regardless of the peculiar
+ideas of the stage director. At the first performance I made a hit, and
+a little later was engaged for grand opera at Covent Garden, where I
+remained for ten years.
+
+
+KNOWLEDGE OF ANATOMY
+
+"While I believe in understanding one's anatomy sufficiently for proper
+tone production, and all that goes with it, there are many peculiar and
+unnecessary fads and tricks resorted to by those who call themselves
+teachers of singing. The more fantastic the theories inculcated by these
+people, the more the unwary students seem to believe in them. People
+like to be deluded, you know. But I am not able to gratify their desires
+in this direction; for I can't lie about music!
+
+"I was present at a vocal lesson given by one of these so-called
+instructors. 'You must sing in such a way that the tone will seem to
+come out of the back of your head,' he told the pupil, and he waved his
+arms about his head as though he were drawing the tone out visibly.
+Another pupil was placed flat on his back, then told to breathe as
+though he were asleep, and then had to sing in that position. Another
+teacher I know of makes pupils eject spit-balls of tissue paper at the
+ceiling, to learn the alleged proper control of the breath. What
+criminal nonsense this is!
+
+"As I have said, I believe in knowing what is necessary about anatomy,
+but not in too great measure. A new book will soon be issued, I am told,
+which actually dissects the human body, showing every bone and muscle in
+any way connected with breath or voice. All this may be of interest as a
+matter of research, but must one go into such minutiae in order to teach
+singing? I think the answer must ever be in the negative. You might as
+well talk to a gold-fish in a bowl-and say: 'If you desire to proceed
+laterally to the right, kindly oscillate gently your sinister dorsal
+fin, and you will achieve the desired result.' Oh, Art, what sins are
+committed in thy name!"
+
+
+IN THE STUDIO
+
+It is often affirmed that an artist finds experience the best teacher.
+It must be equally true that the artist-teacher of wide experience in
+both performance and instruction, should be a safe guide, just because
+of this varied experience.
+
+I was impressed with this fact when I recently had the privilege of
+visiting Mr. Bispham's studio during lesson hours, and listening to his
+instruction. A most interesting sanctum is this studio, filled as it is
+with souvenirs and pictures of the artist's long career on the operatic
+stage. Here hangs a drawing in color of Bispham as Telramund, in shining
+chain armor; there a life-size portrait as "Beethoven," and again as
+himself. In the midst of all is the master, seated at a table. In front
+of him, at the piano, stands the student. It is an English song she is
+at work on, for Mr. Bispham thoroughly believes in mastering English as
+well as other languages.
+
+How alert he is as he sits there; how keen of eye and ear. Not the
+slightest fault escapes him. He often sings the phrase himself, then
+calls for its repetition.
+
+"Sing that passage again; there is a tone in it that is not
+pleasant--not well-sounding; make it beautiful!" "Careful of your
+consonants there, they are not distinct; let them be clearer, but don't
+make them over distinct." "Don't scoop up the ends of the phrases; make
+the tones this way"; and he illustrates repeatedly. "Sing this phrase in
+one breath if you can, if not, breathe here--" indicating the place.
+
+The student now takes up an Italian aria. Of course the master teacher
+has no need of printed score; he knows the arias by heart. He merely
+jots down a few remarks on a slip of paper, to be referred to later.
+
+The aria goes quite well. At its close the singer goes to her seat and
+another takes her place. A voice of rich, warm timbre. More English--and
+it must be most exact, to suit Mr. Bispham's fastidious ear.
+
+"Make the word _fire_ in _one_ syllable, not _two_. Do not open the
+mouth quite so wide on the word _desire_, for, by doing so you lose the
+balance and the tone is not so good."
+
+
+VOCALIZES
+
+Another student--with a fine tenor--was asked to vocalize for a number
+of minutes. He sang ascending and descending tone-figures, sometimes
+doing them in one breath, at others taking a fresh breath at top. Some
+of the syllables used were: la, ma, may, and mi. He then sang single
+tones, swelling and diminishing each. It was found that passing from
+_forte_ to _piano_ was much more difficult than swelling from soft to
+loud.
+
+The aria "Be not afraid," was now taken up; it was pronounced one of the
+most difficult solos ever written, and a very valuable composition for
+vocal training.
+
+"You sing that phrase too loud," cautioned the instructor. "This is not
+a human being who is speaking, rather it is a heavenly voice. That high
+note of the phrase should be made softer, more ethereal. Make it a
+_young tone_--put the quality of Spring into it. The whole thing should
+be more spiritual or spiritualized. Now go through it again from
+beginning to end."
+
+When this was finished a halt was called; there had been enough work
+done for that day. Soon the class was dismissed. The young singers--some
+if not all of them known upon the concert stage--filed out. One young
+woman remained; she was to have a drama lesson. The master of singing
+showed himself equally efficient as master of English diction for the
+spoken drama.
+
+And here, for a time, we must leave him at his work.
+
+
+
+
+XXIII
+
+OSCAR SAENGER
+
+USE OF RECORDS IN VOCAL STUDY
+
+
+Mr. Oscar Saenger has been termed "maker of artists," since a number of
+our great singers have come from under his capable hands. He has a rare
+gift for imparting instruction in a way that is concise and convincing.
+A man of wide experience, profound knowledge of his subject, commanding
+personality and winning courtesy, he impresses all who come within his
+radius that he knows whereof he speaks. A man who "knows what he knows"
+is one to be followed.
+
+Mr. Saenger had just returned from a season of travel over America as
+far as the Coast. A most profitable trip he called it, filled with many
+interesting and unique experiences. He had been lecturing also, in a
+number of cities, on his new method of vocal study with the aid of the
+Victor Talking Machine. When he learned I had come expressly to ask for
+his ideas on vocal technic and study, he said:
+
+"I think you will be interested to hear about my latest hobby, the
+study of singing with the aid of records." Then he plunged at once into
+the most absorbingly interesting account of his ideas and achievements
+in this line I had ever listened to.
+
+
+TEACHER, ARTIST AND ACCOMPANIST IN ONE
+
+"This is my own idea, of combining the teacher, artist and accompanist
+in one trinity," he began. "And, by the way, my idea is now patented in
+Washington. It is the result of nine years' thought and labor, before
+the idea could be brought out in its finished form. The design has been
+to make the method and its elucidation so simple that the girl from a
+small town can understand it.
+
+"The method consists of twenty lessons for each of the five kinds of
+voices: Soprano, Mezzo-Soprano, Tenor, Baritone and Bass. Each portfolio
+holds twenty records, together with a book containing minute directions
+for studying and using the records. I believe that any one, with good
+intelligence, who wishes to learn to sing, can take the book and records
+and begin his studies, even though he has never sung before. He can thus
+prepare himself for future lessons. For you must understand this method
+is not meant to replace the teacher, but to aid the teacher. I can
+assure you it aids him in ways without number. It gives him a perfect
+exemplar to illustrate his principles. If he be fatigued, or unable to
+sing the passage in question, here is an artist who is never wearied,
+who is always ready to do it for him. I myself constantly use the
+records in my lessons. If I have taught a number of consecutive hours,
+it is a relief to turn to the artist's record and save my own voice.
+
+
+SIMPLICITY
+
+"As I have said, the design has been to make everything plain and
+simple. I wrote the book and sent it to the Victor people. They returned
+it, saying I had written an excellent book, but it was not simple
+enough. They proposed sending a man to me who was neither a musician nor
+a singer. If I could make my meaning clear enough for him to understand,
+it was likely the girl from a little Western town could grasp it.
+
+"So this man came and we worked together. If I talked about head tones,
+he wanted to know what I meant; if about throaty tones, I had to make
+these clear to him. When he understood, I was sure any one could
+understand.
+
+"Thus the books as they stand came into being. The records themselves
+represent an immense amount of care and effort. Will you believe we had
+to make over two thousand in order to secure the one hundred needed for
+the present series? The slightest imperfection is enough to render an
+otherwise perfect record useless. Even the artists themselves would
+sometimes become discouraged at the enormous difficulties. It is
+nerve-racking work, for one must be on tension all the time.
+
+
+IMITATION A FUNDAMENTAL PRINCIPLE
+
+"If you are interested, I will go a little more into detail. The main
+idea of this unique method of study, is imitation. Every human being
+likes to imitate--from the tiny child to the adult. Acting upon this
+idea, we take the artist as model. Everything the model does, the
+student strives to imitate. By means of the record, it is possible for
+the student to do this over and over again, until he has learned to copy
+it as accurately as it is possible. And here is where the knowledge and
+experience of the teacher come in. During the lesson he tests each tone,
+each phrase, advising the pupil how nearly he approaches the perfect
+model, or showing him his faults and why he does not succeed in
+imitating the model more correctly."
+
+
+FOR BEGINNERS
+
+"Do you mean to say, Mr. Saenger, that this method of vocal study can be
+taken up by one who knows really nothing of the voice, or singing, and
+can be used with success; that such a person can become a singer through
+self-study?"
+
+"It is indeed possible," was the answer; "and it is being done every
+day. If the student has much intelligence, determination and
+concentration, she can learn to sing from these directions and these
+records. They are a great boon to young aspirants in small towns, where
+there are really no good teachers. In such places local teachers can
+study and teach from these records.
+
+"Again, you often find people too shy, or too ashamed to go to a teacher
+for a voice trial or lessons. They want to sing--every one would like to
+do that; but they don't know how to go at it. With these records they
+can begin to study, and thus get ready for later lessons. With these
+records those who are far from a music center can have the benefit of
+expert instruction at small cost. I might work with a pupil for several
+months in the ordinary way--without the records--and not be able to
+teach him even with half the accuracy and quickness obtainable by the
+new method.
+
+
+THE ACCOMPANIST
+
+"All singers know how important, how necessary it is to have services of
+an expert accompanist. The student of this method has one at hand every
+hour of the day; a tireless accompanist, who is willing to repeat
+without complaint, as often as necessary.
+
+
+THE SPEAKING VOICE
+
+"A very important branch of the work, for the would-be singer, is to
+cultivate the speaking voice. Tones in speaking should always be made
+beautiful and resonant. Even in children a pleasant quality of voice in
+speaking can be acquired. Mothers and teachers can be trained to know
+and produce beautiful tones. The ear must be cultivated to know a pure,
+beautiful tone and to love it.
+
+
+BREATHING EXERCISES
+
+"The management of the breath is a most important factor, as the life of
+the tone depends on the continuance of the breath. The student must
+cultivate the power of quickly inhaling a full breath and of exhaling it
+so gradually that she can sing a phrase lasting from ten to twenty
+seconds. This needs months of arduous practice. In all breathing, inhale
+through the nose. The lower jaw during singing should be entirely
+relaxed.
+
+"The tone should be focused just back of the upper front teeth. The way
+to place the tone forward is to _think_ it forward. The student must
+think the tone into place.
+
+"To 'attack' a tone is to sing it at once, without any scooping, and
+with free open throat. When the throat is tightened the student loses
+power to attack her tones in the right way.
+
+
+PHRASING
+
+"Phrasing, in a limited sense, is simply musical punctuation. In its
+broader sense it is almost synonymous with interpretation. For it has to
+do not only with musical punctuation but with the grouping of tones and
+words in such a way that the composition is rendered intelligible as a
+whole, so as to express the ideas of the composer. This is where the
+intellectual and musical qualities of the singer are brought into
+requisition. She must grasp the content, whether it be song or aria, in
+order to effect this grouping intelligently. _Accent, crescendo_ and
+_diminuendo_ are the most important factors in phrasing. From the very
+beginning the student should be careful how and where she takes breath
+and gives accent; there must always be a reason, and thought will
+generally make the reason clear.
+
+
+TONE PRODUCTION
+
+"The first thing to be considered is the position of the body; for
+beauty of tone cannot be obtained unless all efforts harmonize to
+produce the desired result. An easy, graceful, buoyant position is
+essential; it can be cultivated in front of a mirror, from the first
+lesson.
+
+"Tone production is the result of thought. Picture to yourself a
+beautiful tone; sing it on the vowel Ah. If you stood in rapture before
+an entrancing scene you would exclaim, Ah, how beautiful. Producing a
+beautiful tone rests on certain conditions. First, breath control;
+Second, Freedom of throat; Third, Correct focus of tone.
+
+"We know that a stiff jaw and tongue are the greatest hindrances to the
+emission of good tone. Muscles of chin and tongue must be trained to
+become relaxed and flexible. Do not stiffen the jaw or protrude the
+chin, else your appearance will be painful and your tones faulty.
+
+"To think the tone forward is quite as important as to sing it forward.
+Without the mental impression of correct placing, the reality cannot
+exist. It is much better to think the tone forward for five minutes and
+sing one minute, than to practice the reverse. One should practice in
+fifteen-minute periods and rest at least ten minutes between. The
+student should never sing more than two hours a day--one in the morning
+and one in the afternoon. As most singers love their work, many are
+inclined to overdo.
+
+"Do not tamper with the two or three extreme upper or lower tones of
+your voice lest you strain and ruin it permanently. Never practice when
+suffering from a cold.
+
+"Ideal attack is the tone which starts without any scooping, breathiness
+or explosiveness. Breathe noiselessly, the secret of which is to breathe
+from down, up. Faulty emissions of tone are: nasal, guttural, throaty
+and tremulous. I will give you examples of all these from the record No.
+33, which will show you first the fault and then the perfect example. If
+the pupil studies these perfect emissions of tone and tries to imitate
+them, there is no need for her to have the common faults mentioned.
+
+
+SUSTAINED TONES
+
+"The next step is to study sustained tones. As you see the artist begins
+in the middle of her voice--always the best way--and sings a whole tone
+on A, with the syllable Ah, always waiting a whole measure for the pupil
+to imitate the tone. Next she sings A flat and so on down to lower A,
+the pupil imitating each tone. She now returns to middle A and ascends
+by half steps to E natural, the pupil copying each tone after it is sung
+by the artist.
+
+"The tone should be free, round and full, but not loud, and the aim be
+to preserve the same quality throughout. Do not throw or push the tone,
+_but spin it_.
+
+
+UNITING SEVERAL TONES
+
+"We first begin by uniting two tones, smoothly and evenly, then three in
+the same way. After each pair or group of tones, the accompaniment is
+repeated and the pupil imitates what the artist has just sung. Now comes
+the uniting of five tones, up and down; after this the scale of one
+octave. The scale should be sung easily with moderate tone quality. A
+slight accent can be given to the first and last tones of the scale. We
+all realize the scale is one of the most important exercises for the
+building of the voice; the preceding exercises have prepared for it.
+
+
+ARPEGGIOS
+
+"For imparting flexibility to the voice, nothing can exceed the
+Arpeggio, but like all vocal exercises, it must be produced with
+precision of tone, singing each interval clearly, with careful
+intonation, always striving for beauty of tone.
+
+"There are various forms of arpeggios to be used. The second form is
+carried a third above the octave; the third form a fifth above. This
+makes an exercise which employs every tone in the scale save one, and
+gives practice in rapid breathing. Remember, that the note before,
+taking breath is slightly shortened, in order to give time for taking
+breath, without disturbing the rhythm.
+
+
+THE TRILL
+
+"The trill is perhaps the most difficult of all vocal exercises, unless
+the singer is blessed with a natural trill, which is a rare gift. We
+begin with quarter notes, then add eighths and sixteenths. This
+exercise, if practiced daily, will produce the desired result. It is
+taken on each tone of the voice--trilling in major seconds.
+
+
+VOCALIZES
+
+"The purpose of vocalizes is to place and fix the voice accurately and
+to develop taste, while singing rhythmically and elegantly. The records
+give some Concone exercises, ably interpreted by one of our best known
+voices. You hear how even and beautiful are the tones sung, and you note
+the pauses of four measures between each phrase, to allow the student to
+repeat the phrase, as before.
+
+"I firmly believe this method of study is bound to revolutionize vocal
+study and teaching. You see it goes to the very foundation, and trains
+the student to imitate the best models. It even goes farther back, to
+the children, teaching them how to speak and sing correctly, always
+making beautiful tones, without harshness or shouting. Young children
+can learn to sing tones and phrases from the records. Furthermore, I
+believe the time is coming when the _technic and interpretation of every
+instrument will be taught in this way_.
+
+"It is my intention to follow up this set of foundational records by
+others which will demonstrate the interpretation of songs and arias as
+they are sung by our greatest artists. The outlook is almost limitless.
+
+"And now, do you think I have answered your questions about tone
+production, breath control and the rest? Perhaps I have, as convincingly
+as an hour's talk can do."
+
+
+
+
+XXIV
+
+=HERBERT WITHERSPOON=
+
+MEMORY, IMAGINATION, ANALYSIS
+
+
+No doubt the serious teacher, who may be occupied in any branch of
+musical activity, has often pictured to himself what an ideal
+institution of musical art might be like, if all students assembled
+should study thoroughly their particular instrument, together with all
+that pertained to it. They should by all means possess talent,
+intelligence, industry, and be far removed from a superficial attitude
+toward their chosen field. The studio used for instruction in this
+imagined institution, should also be ideal, quiet, airy, home-like,
+artistic.
+
+Some such vision perhaps floats before the minds of some of us teachers,
+when we are in the mood to dream of ideal conditions under which we
+would like to see our art work conducted.
+
+It has been possible for Mr. Herbert Witherspoon, the distinguished
+basso and teacher, to make such a dream-picture come true. For he has
+established an institution of vocal art--in effect if not in
+name--where all the subjects connected with singing, are considered and
+taught in the order of their significance. Not less ideal is the
+building which contains these studios, for Mr. Witherspoon has fitted up
+his private home as a true abiding place for the muse.
+
+At the close of a busy day, marked like all the rest with a full
+complement of lessons, the master teacher was willing to relax a little
+and speak of the work in which he is so deeply absorbed. He apologized
+for having run over the time of the last lesson, saying he never could
+teach by the clock.
+
+"I do not like to call this a school," he began, "although it amounts to
+one in reality, but only in so far as we take up the various subjects
+connected with vocal study. I consider languages of the highest
+importance; we have them taught here. There are classes in analysis, in
+pedagogy--teaching teachers how to instruct others. We have an excellent
+master for acting and for stage deportment: I advise that students know
+something of acting, even if they do not expect to go in for opera; they
+learn how to carry themselves and are more graceful and self-possessed
+before an audience.
+
+"The work has developed far beyond my expectations. There are over two
+hundred students, and I have eight assistants, who have been trained by
+me and know my ways and methods. Some of these give practice lessons to
+students, who alternate them with the lessons given by me. These lessons
+are quite reasonable, and in combination with my work, give the student
+daily attention.
+
+"My plan is not to accept every applicant who comes, but to select the
+most promising. The applicants must measure up to a certain standard
+before they can enter. To this one fact is due much of our success."
+
+"And what are these requirements?"
+
+"Voice, to begin with; youth (unless the idea is to teach), good looks,
+musical intelligence, application. If the candidate possesses these
+requisites, we begin to work. In three months' time it can be seen
+whether the student is making sufficient progress to come up to our
+standard. Those who do not are weeded out. You can readily see that as a
+result of this weeding process, we have some very good material and fine
+voices to work with.
+
+"We have many musicals and recitals, both public and private, where
+young singers have an opportunity to try their wings. There is a most
+generous, unselfish spirit among the students; they rejoice in each
+others' success, with never a hint of jealousy. We have had a number of
+recitals in both Aeolian and Carnegie Halls, given by the artist
+students this season. On these occasions the other students always
+attend and take as much interest as though they were giving the recital
+themselves."
+
+
+BEL CANTO
+
+"You have remarked lately that 'singers are realizing that the lost art
+of _bel canto_ is the thing to strive for and they are now searching for
+it.' Can you give a little more light on this point?"
+
+"I hardly meant to say that in any sense the art of bel canto was lost;
+how could it be? Many singers seem to attach some uncanny significance
+to the term. Bel canto means simply _beautiful singing_. When you have
+perfect breath control, and distinct, artistic enunciation, you will
+possess bel canto, because you will produce your tones and your words
+beautifully.
+
+"Because these magic words are in the Italian tongue does not mean that
+they apply to something only possessed by Italians. Not at all. Any one
+can sing beautifully who does so with ease and naturalness, the American
+just as well as those of any other countries. In fact I consider
+American voices, in general, better trained than those of Italy, Germany
+or France. The Italian, in particular, has very little knowledge of the
+scientific side; he usually sings by intuition.
+
+"We ought to have our own standards in judging American voices; until we
+do so, we will be constantly comparing them with the voices of foreign
+singers. The quality of the American voice is different from the quality
+found in the voices of other countries. To my mind the best women's
+voices are found right here in our midst.
+
+
+MEMORY
+
+"I have also said that there are three great factors which should form
+the foundation stones upon which the singer should rear his structure of
+musical achievement. These factors are Memory, Imagination, Analysis. I
+have put memory first because it is the whole thing, so to say. The
+singer without memory--a cultivated memory--does not get far. Memory
+lies at the very foundation of his work, and must continue with it the
+whole journey through, from the bottom to the top. In the beginning you
+think a beautiful tone, you try to reproduce it. When you come to it
+again you must remember just how you did it before. Each time you repeat
+the tone this effort of memory comes in, until at last it has become
+second nature to remember and produce the result; you now begin to do so
+automatically.
+
+"As you advance there are words to remember as well as notes and tones.
+Memory, of course, is just as necessary for the pianist. He must be able
+to commit large numbers of notes, phrases and passages. In his case
+there are a number of keys to grasp at once, but the singer can sing but
+one tone at a time. Both notes and words should be memorized, so the
+singer can come before the audience without being confined to the
+printed page. When acting is added there is still more to remember. Back
+of memory study lies concentration; without concentration little can be
+accomplished in any branch of art.
+
+
+IMAGINATION
+
+"The central factor is imagination; what can be done without it! Can you
+think of a musician, especially a singer, without imagination? He may
+acquire the letter--that is, execute the notes correctly, but the
+performance is dead, without life or soul. With imagination he
+comprehends what is the inner meaning of the text, the scene; also what
+the composer had in mind when he wrote. Then he learns to express these
+emotions in his own voice and action, through the imaginative power,
+which will color his tones, influence his action, render his portrayal
+instinct with life. Imagination in some form is generally inherent in
+all of us. If it lies dormant, it can be cultivated and brought to bear
+upon the singer's work. This is absolutely essential.
+
+
+ANALYSIS
+
+"I have put analysis last because it is the crowning virtue, the prime
+necessity. We study analysis here in the studios, learning how to
+separate music into its component parts, together with simple chord
+formations, general form and structure of the pieces, and so on. Can you
+comprehend the dense ignorance of many music students on these subjects?
+They will come here to me, never having analyzed a bit of music in their
+lives, having not an inkling of what chord structure and form in music
+mean. If they played piano even a little, they could hardly escape
+getting a small notion of chord formation. But frequently vocal
+students know nothing of the piano. They are too apt to be superficial.
+It is an age of superficiality--and cramming: we see these evils all the
+way from the college man down. I am a Yale man and don't like to say
+anything about college government, yet I cannot shut my eyes to the fact
+that men may spend four years going through college and yet not be
+educated when they come out. Most of us are in too much of a hurry, and
+so fail to take time enough to learn things thoroughly; above all we
+never stop to analyze.
+
+"Analysis should begin at the very outset of our vocal or instrumental
+study. We analyze the notes of the music we are singing, and a little
+later its form. We analyze the ideas of the composer and also our own
+thoughts and ideas, to try and bring them in harmony with his. After
+analyzing the passage before us, we may see it in a totally different
+light, and so phrase and deliver it with an entirely different idea from
+what we might have done without this intelligent study."
+
+
+CONSCIOUS OR UNCONSCIOUS CONTROL
+
+"Do you advise conscious action of the parts comprising the vocal
+instrument, or do you prefer unconscious control of the instrument, with
+thought directed to the ideal quality in tone production and delivery?"
+was asked.
+
+"By all means unconscious control," was the emphatic answer. "We wish to
+produce beautiful sounds; if the throat is open, the breathing correct,
+and we have a mental concept of that beautiful sound, we are bound to
+produce it. It might be almost impossible to produce correct tones if we
+thought constantly about every muscle in action. There is a great deal
+of nonsense talked and written about the diaphragm, vocal chords and
+other parts of the anatomy. It is all right for the teacher who wishes
+to be thoroughly trained, to know everything there is to know about the
+various organs and muscles; I would not discourage this. But for the
+young singer I consider it unnecessary. Think supremely of the beautiful
+tones you desire to produce; listen for them with the outer ear--and the
+inner ear--that is to say--mentally--and you will hear them. Meanwhile,
+control is becoming more and more habitual, until it approaches
+perfection and at last becomes automatic. When that point is reached,
+your sound producing instrument does the deed, while your whole
+attention is fixed on the interpretation of a master work, the
+performance of which requires your undivided application. If there is
+action, you control that in the same way until it also becomes
+automatic; then both singing and acting are spontaneous."
+
+
+DOES THE SINGER HEAR HIMSELF?
+
+This question was put to Mr. Witherspoon, who answered:
+
+"The singer of course hears himself, and with study learns to hear
+himself better. In fact I believe the lack of this part of vocal
+training is one of the greatest faults of the day, and that the singer
+should depend more upon hearing the sound he makes than upon feeling the
+sound. In other words, train the _ear_, the court of ultimate resort,
+and the only judge--and forget sensation as much as possible, for the
+latter leads to a million confusions.
+
+"Undoubtedly a singer hears in his own voice what his auditors do not
+hear, for he also hears with his inner ear, but the singer must learn to
+hear his own voice as others hear it, which he can do perfectly well.
+Here we come to analysis again.
+
+"The phonograph records teach us much in this respect, although I never
+have considered that the phonograph reproduces the human voice. It
+comes near it in some cases, utterly fails in others, and the best
+singers do not always make the best or most faithful reproductions."
+
+
+
+
+XXV
+
+=YEATMAN GRIFFITH=
+
+CAUSATION
+
+
+"The causation of beautiful singing can only be found through a pure and
+velvety production of the voice, and this is acquired in no other way
+than by a thorough understanding of what constitutes a perfect
+beginning--that is the attack or start of the tone. If the tone has a
+perfect beginning it must surely have a perfect ending."
+
+Thus Mr. Yeatman Griffith began a conference on the subject of vocal
+technic and the art of song. He had had a day crowded to the brim with
+work--although all days were usually alike filled--yet he seemed as
+fresh and unwearied as though the day had only just begun. One felt that
+here was a man who takes true satisfaction in his work of imparting to
+others; his work is evidently not a tiresome task but a real joy. Mrs.
+Griffith shares this joy of work with her husband. "It is most ideal,"
+she says; "we have so grown into it together; we love it."
+
+As is well known, this artist pair returned to their home land at the
+outbreak of the war, after having resided and taught for five years in
+London, and previous to that for one year in Florence, Italy. Of course
+they were both singers, giving recitals together, like the Henschels,
+and appearing in concert and oratorio. But constant public activity is
+incompatible with a large teaching practice. One or the other has to
+suffer. "We chose to do the teaching and sacrifice our public career,"
+said Mr. Griffith. During the five years in which these artists have
+resided in New York, they have accomplished much; their influence has
+been an artistic impulse toward the ideals of beautiful singing. Among
+their many artist pupils who are making names for themselves, it may be
+mentioned that Florence Macbeth, a charming coloratura soprano, owes
+much of her success to their careful guidance.
+
+"Michael Angelo has said," continued Mr. Griffith, "that 'a perfect
+start is our first and greatest assurance of a perfect finish.' And
+nowhere is this precept more truly exemplified than in vocal tone
+production. The tone must have the right beginning, then it will be
+right all through. A faulty beginning is to blame for most of the vocal
+faults and sins of singers. Our country is full of beautiful natural
+voices; through lack of understanding many of them, even when devoting
+time and money to study, never become more than mediocre, when they
+might have developed into really glorious voices if they had only had
+the right kind of treatment.
+
+
+TONE PLACEMENT
+
+"We hear a great deal about tone placement in these days; the world
+seems to have gone mad over the idea. But it is an erroneous idea. How
+futile to attempt to place the tone in any particular spot in the
+anatomy. You can focus the tone, but you cannot place it. There is but
+one place for it to come from and no other place. It is either emitted
+with artistic effect or it is not. If not, then there is stiffness and
+contraction, and the trouble ought to be remedied at once.
+
+"Every one agrees that if the vocal instrument were something we could
+see, our task would be comparatively easy. It is because the instrument
+is hidden that so many false theories about it have sprung up. One
+teacher advocates a high, active chest; therefore the chest is held high
+and rigid, while the abdominal muscles are deprived of the strength
+they should have. Another advises throwing the abdomen forward; still
+another squares the shoulders and stiffens the neck. These things do not
+aid in breath control in the least; on the contrary they induce rigidity
+which is fatal to easy, natural tone emission.
+
+
+IN THE BEGINNING
+
+"When the pupil comes to me, we at once establish natural, easy
+conditions of body and an understanding of the causes which produce good
+tone. We then begin to work on the vowels. They are the backbone of good
+singing. When they become controlled, they are then preceded by
+consonants. Take the first vowel, A; it can be preceded by all the
+consonants of the alphabet one after another, then each vowel in turn
+can be treated in the same way. We now have syllables; the next step is
+to use words. Here is where difficulties sometimes arise for the
+student. The word becomes perfectly easy to sing if vowels and
+consonants are properly produced. When they are not, words become
+obstacles. Correct understanding will quickly obviate this.
+
+
+BREATH CONTROL
+
+"Breath control is indeed a vital need, but it should not be made a
+bugbear to be greatly feared. The young student imagines he must inflate
+the lungs almost to bursting, in order that he may take a breath long
+enough to sing a phrase. Then, as soon as he opens his lips, he allows
+half the air he has taken in to escape, before he has uttered a sound.
+With such a beginning he can only gasp a few notes of the phrase. Or he
+distends the muscles at the waist to the fullest extent and fancies this
+is the secret of deep breathing. In short, most students make the
+breathing and breath control a very difficult matter indeed, when it is,
+or should be an act most easy and natural. They do not need the large
+quantity of breath they imagine they do; for a much smaller amount will
+suffice to do the work. I tell them, 'Inhale simply and naturally, as
+though you inhaled the fragrance of a flower. And when you open your
+lips after this full natural breath, do not let the breath escape; the
+vocal chords will make the tone, if you understand how to make a perfect
+start. If the action is correct, the vocal chords will meet; they will
+not be held apart nor will they crowd each other. Allow the diaphragm
+and respiratory muscles to do their work, never forcing them; then you
+will soon learn what breath control in singing means. Remember again,
+not a particle of breath should be allowed to escape. Every other part
+of the apparatus must be permitted to do its work, otherwise there will
+be interference somewhere.'
+
+
+CAUSATION
+
+"Everything pertaining to the study of vocal technic and the art of
+singing may be summed up in the one word--Causation. A cause underlies
+every effect. If you do not secure the quality of tone you desire, there
+must be a reason for it. You evidently do not understand the cause which
+will produce the effect. That is the reason why singers possessing
+really beautiful voices produce uneven effects and variable results.
+They may sing a phrase quite perfectly at one moment. A short time after
+they may repeat the same phrase in quite a different way and not at all
+perfectly. One night they will sing very beautifully; the next night you
+might hardly recognize the voice, so changed would be its quality. This
+would not be the case if they understood causation. A student, rightly
+taught, should know the cause for everything he does, how he does thus
+and so and why he does it. A singer should be able to produce the voice
+correctly, no matter in what position the role he may be singing may
+require the head or body to be in. In opera the head or body may be
+placed in difficult unnatural positions, but these should not interfere
+with good tone production.
+
+
+REGISTERS
+
+"I am asked sometimes if I teach registers of the voice. I can say
+decidedly no, I do not teach registers. The voice should be one and
+entire, from top to bottom, and should be produced as such, no matter in
+what part of the voice you sing. Throughout the voice the same
+instrument is doing the work. So, too, with voices of different caliber,
+the coloratura, lyric and dramatic. Each and all of these may feel the
+dramatic spirit of the part, but the lighter quality of the voice may
+prevent the coloratura from expressing it. The world recognizes the
+dramatic singer in the size of the voice and of the person. From an
+artistic point of view, however, there are two ways of looking at the
+question, since the lyric voice may have vivid dramatic instincts, and
+may be able to bring them out with equal or even greater intensity than
+the purely dramatic organ.
+
+
+VOCAL MASTERY
+
+"Vocal Mastery is acquired through correct understanding of what
+constitutes pure vowel sounds, and such control of the breath as will
+enable one to convert every atom of breath into singing tone. This
+establishes correct action of the vocal chords and puts the singer in
+possession of the various tints of the voice.
+
+"When the diaphragm and respiratory muscles support the breath
+sufficiently and the vocal chords are permitted to do their work, you
+produce pure tone. Many singers do not understand these two vital
+principles. They either sing with too much relaxation of the diaphragm
+and respiratory muscles, or too much rigidity. Consequently the effort
+becomes local instead of constitutional, which renders the tone hard and
+strident and variable to pitch. Again the vocal chords are either forced
+apart or pinched together, with detriment to tone production.
+
+"The real value of control is lost when we attempt to control the
+singing instrument and the breath by seeking a place for the tone the
+singing instrument produces. When the vocal chords are allowed to
+produce pure vowels, correct action is the result and with proper breath
+support, Vocal Mastery can be assured."
+
+
+
+
+XXVI
+
+=J.H. DUVAL=
+
+SOME SECRETS OF BEAUTIFUL SINGING
+
+
+A young French girl had just sung a group of songs in her own language
+and had won acclaim from the distinguished company present. They admired
+the rich quality of her voice, her easy, spontaneous tone production and
+clear diction. A brilliant future was predicted for the young singer.
+One critic of renown remarked: "It is a long time since I have heard a
+voice so well placed and trained."
+
+"And who is your teacher?" she was asked.
+
+"It is Mr. Duval; I owe everything to him. He has really made my voice;
+I have never had another teacher and all my success will be due to him,"
+she answered.
+
+We at once expressed a desire to meet Mr. Duval and hear from his own
+lips how such results were attained.
+
+A meeting was easily arranged and we arrived at the appointed hour, just
+in time to hear one of the brilliant students of this American-French
+singing master.
+
+Mr. Duval is young, slim and lithe of figure, with sensitive, refined
+features, which grow very animated as he speaks. He has a rich fund of
+humor and an intensity of utterance that at once arrests the listener.
+He came forward to greet the visitor with simple cordiality, saying he
+was pleased we could hear one of his latest "finds."
+
+The young tenor was at work on an air from _Tosca_. His rich, vibrant
+voice, of large power and range and of real Caruso-like quality, poured
+forth with free and natural emission. With what painstaking care this
+wise teacher aided him to mold each tone, each phrase, till it attained
+the desired effect. Being a singer himself, Mr. Duval is able to show
+and demonstrate as well as explain. He does both with the utmost
+clearness and with unfailing interest and enthusiasm. Indeed his
+interest in each pupil in his charge is unstinted.
+
+The lesson over, Mr. Duval came over to us. "There is a singer I shall
+be proud of," he said. "Several years ago I taught him for a few months,
+giving him the principles of voice placement and tone production. This
+was in Europe. I had not seen him since then till recently, when
+circumstances led him to New York. He never forgot what he had
+previously learned with me. He now has a lesson every day and is a most
+industrious worker. I believe he has a fortune in that voice. Next
+season will see him launched, and he will surely make a sensation."
+
+"Will you give some idea of the means by which you accomplish such
+results?"
+
+"The means are very simple and natural. So many students are set on the
+wrong track by being told to do a multitude of things that are
+unnecessary, even positively harmful. For instance, they are required to
+sing scales on the vowels, A, E, I, O, U. I only use the vowel Ah, for
+exercises, finding the others are not needed, especially excluding E and
+U as injurious. Indeed one of the worst things a young voice can do is
+to sing scales on E and U, for these contract the muscles of the lips.
+Another injurious custom is to sing long, sustained tones in the
+beginning. This I do not permit.
+
+"After telling you the things I forbid, I must enlighten you as to our
+plan of study.
+
+"The secret of correct tone emission is entire relaxation of the lips. I
+tell the pupil, the beginner, at the first lesson, to sing the vowel Ah
+as loudly and as deeply as possible, thinking constantly of relaxed lips
+and loose lower jaw. Ah is the most natural vowel and was used
+exclusively in the old Italian school of Bel Canto. Long sustained tones
+are too difficult. One should sing medium fast scales at first. If we
+begin with the long sustained tone, the young singer is sure to hold the
+voice in his throat, or if he lets go, a tremolo will result. Either a
+throaty, stiff tone or a tremolo will result from practicing the single
+sustained tone.
+
+"Singing pianissimo in the beginning is another fallacy. This is one of
+the most difficult accomplishments and should be reserved for a later
+period of development.
+
+"The young singer adds to scales various intervals, sung twice in a
+breath, beginning, not at the extreme of the lower voice, but carried up
+as high as he can comfortably reach. I believe in teaching high tones
+early, and in showing the pupil how to produce the head voice. Not that
+I am a high tone specialist," he added smiling, "for I do not sacrifice
+any part of the voice to secure the upper notes. But after all it is the
+high portion of the voice that requires the most study, and that is
+where so many singers fail.
+
+"The young student practices these first exercises, and others, two half
+hours daily, at least two hours after eating, and comes to me three
+times a week. I suggest she rest one day in each week, during which she
+need not sing at all, but studies other subjects connected with her art.
+As the weeks go by, the voice, through relaxed lips and throat and
+careful training, grows richer and more plentiful. One can almost note
+its development from day to day.
+
+
+WORDS IN THE VOICE
+
+"When the time comes to use words, the important thing is to put _the
+words in the voice, not the voice in the words_, to quote Juliani, the
+great teacher, with whom I was associated in Paris. More voices have
+been ruined by the stiff, exaggerated use of the lips in pronouncing,
+than in any other way. When we put the words in the voice, in an easy,
+natural way, we have bel canto.
+
+"Another thing absolutely necessary is breath support. Hold up the
+breath high in the body, for high tones, though always with the throat
+relaxed. This point is not nearly enough insisted upon by teachers of
+singing.
+
+"The points I have mentioned already prove that a vocal teacher who
+desires the best results in his work with others, must know how to sing
+himself; he should have had wide experience in concert and opera before
+attempting to lead others along these difficult paths. Because a man can
+play the organ and piano and has accompanied singers is not the
+slightest cause for thinking he can train voices in the art of song. I
+have no wish to speak against so-called teachers of singing, but say
+this in the interests of unsuspecting students.
+
+"It is impossible," continued Mr. Duval, "to put the whole method of
+vocal training into a few sentences. The student advances gradually and
+naturally, but surely, from the beginnings I have indicated, to the
+trill, the pizzicati, to more rapid scales, to learning the attack, and
+so on. Of course diction plays a large part in the singer's development.
+With the first song the student learns to put other vowels in the same
+voice with which the exercises on Ah have been sung, and to have them
+all of the same size, easily and loosely pronounced. Never permit the
+pronunciation to be too broad for the voice. The pronunciation should
+never be mouthed, but should flow into the stream of the breath without
+causing a ripple. This is bel canto!
+
+"In teaching I advise two pupils sharing the hour, for while one is
+singing the other can rest the voice and observe what is being taught.
+It is too fatiguing to a young voice to expect it to work a full half
+hour without rest.
+
+"I was teaching in my Paris studio for a number of months after the war
+started, before coming to America. It is my intention, in future, to
+divide my time between New York and Paris. I like teaching in the French
+capital for the reason I can bring out my pupils in opera there. I am
+also pleased to teach in my own land, for the pleasant connections I
+have made here, and for the fresh, young American voices which come to
+me to be trained."
+
+
+VOCAL MASTERY
+
+"What is Vocal Mastery? There are so many kinds! Every great artist has
+his own peculiar manner of accomplishing results--his own vocal mastery.
+Patti had one kind, Maurel another, Lehmann still another. Caruso also
+may be considered to have his own vocal mastery, inasmuch as he commands
+a vocal technic which enables him to interpret any role that lies within
+his power and range. The greatest singer of to-day, Shalyapin, has also
+his individual vocal mastery, closely resembling the sort that enabled
+Maurel to run such a gamut of emotions with such astonishing command and
+resource.
+
+"In fine, as every great artist is different from his compeers, there
+can be no fixed and fast standard of vocal mastery, except the mastery
+of doing a great thing convincingly."
+
+
+
+
+XXVII
+
+=THE CODA=
+
+A RESUME
+
+
+The student, seeking light on the many problems of vocal technic, the
+training for concert and opera, how to get started in the profession,
+and kindred subjects of vital importance, has doubtless found, in the
+foregoing talks a rich fund of help and suggestion. It is from such high
+sources that a few words of personal experience and advice, have often
+proved to be to the young singer a beacon light, showing what to avoid
+and what to follow. It were well to gather up these strands of
+suggestion from great artists and weave them into a strong bulwark of
+precept and example, so that the student may be kept within the narrow
+path of sound doctrine and high endeavor.
+
+At the very outset, two points must be borne in mind:
+
+1. Each and every voice and mentality is individual.
+
+2. The artist has become a law unto himself; it is not possible for him
+to make rules for others.
+
+First, as to difference in voices. When it is considered that the human
+instrument, unlike any fabricated by the hand of man, is a purely
+personal instrument, subject to endless variation through variety in
+formation of mouth and throat cavities, also physical conditions of the
+anatomy, it is no cause for wonder that the human instrument should
+differ in each individual. Then think of all sorts and conditions of
+mentality, environment, ambitions and ideals. It is a self evident fact
+that the vocal instrument must be a part of each person, of whom there
+are "no two alike."
+
+Artists in general have strongly expressed themselves on this point:
+most of them agree with Galli-Curci, when she says: "There are as many
+kinds of voices as there are persons; therefore it seems to me each
+voice should be treated in the manner best suited to its possessor."
+"Singing is such an individual thing, after all," says Anna Case; "it is
+a part of one's very self." "Each person has a different mentality and a
+different kind of voice," says Martinelli; "indeed there are as many
+qualities of voice as there are people."
+
+Granting, then, that there are no two voices and personalities in the
+world, exactly alike, it follows, as a natural conclusion, that the
+renowned vocalist, who has won his or her way from the beginning up to
+fame and fortune, realizes that her instrument and her manner of
+training and handling it are peculiarly personal. As she has won success
+through certain means and methods, she considers those means belong to
+her, in the sense that they especially suit her particular instrument.
+She is then a law unto herself and is unwilling to lay down any laws for
+others. Geraldine Farrar does not imply there is only one right way to
+train the voice, and she has found that way. In speaking of her method
+of study, she says: "These things seem best for my voice, and this is
+the way I work. But, since each voice is different, my ways might not
+suit any one else. I have no desire to lay down rules for others; I can
+only speak of my own experience."
+
+Galli-Curci says: "The singer who understands her business must know
+just how she produces tones and vocal effects. She can then do them at
+all times, even under adverse circumstances, when nervous or not in the
+mood. I have developed the voice and trained it in the way that seemed
+to me best for it. How can any other person tell you how that is to be
+done?"
+
+"It rests with the singer what she will do with her voice--how she will
+develop it," remarks Mme. Homer. Martinelli says: "The voice is a hidden
+instrument and eventually its fate must rest with its possessor. After
+general principles are understood, a singer must work them out according
+to his ability." Florence Easton remarks: "Each singer who has risen,
+who has found herself, knows by what path she climbed, but the path she
+found might not do for another."
+
+Instead of considering this reticence on the part of the successful
+singer, to explain the ways and means which enabled him to reach
+success, in the light of a selfish withholding of advice which would
+benefit the young student, we rather look upon it as a worthy and
+conscientious desire not to lead any one into paths which might not be
+best for his or her instrument.
+
+In the beginning the student needs advice from an expert master, and is
+greatly benefited by knowing how the great singers have achieved. Later
+on, when principles have become thoroughly understood, the young singers
+learn what is best for their own voices; they, too, become a law unto
+themselves, capable of continuing the development of their own voices in
+the manner best suited to this most individual of all instruments.
+
+
+AMERICAN VOICES
+
+We often hear slighting things said of the quality of American voices,
+especially the speaking voice. They are frequently compared to the
+beauty of European voices, to the disparagement of those of our own
+country. Remembering the obloquy cast upon the American voice, it is a
+pleasure to record the views of some of the great singers on this point.
+"There are quantities of girls in America with good voices, good looks
+and a love for music," asserts Mme. Easton. Mme. Hempel says: "I find
+there are quantities of lovely voices here in America. The quality of
+the American female voice is beautiful; in no country is it finer, not
+even in Italy." Herbert Witherspoon, who has such wonderful experience
+in training voices, states: "We ought to have our own standards in
+judging American voices; until we do so, we will be constantly comparing
+them with the voices of foreign singers. The quality of the American
+voice is different from the quality found in the voices of other
+countries. To my mind, the best women's voices are found right here in
+our midst." And he adds: "Any one can sing beautifully who does so with
+ease and naturalness, the American just as well as those of any other
+country. In fact I consider American voices, in general, better trained
+than those of Italy, Germany or France. The Italian, in particular, has
+very little knowledge of the scientific side; he usually sings by
+intuition."
+
+
+AMERICAN VOICE TEACHERS
+
+If this be accepted, that American voices are better trained than those
+of other countries, and there is no reason to doubt the statement of
+masters of such standing, it follows there must be competent instructors
+in the art of song right in our own land. Mme. Easton agrees with this.
+"There are plenty of good vocal teachers in America," she says, "not
+only in New York City, but in other large cities of this great country.
+There is always the problem, however, of securing just the right kind of
+a teacher. For a teacher may be excellent for one voice but not for
+another." Morgan Kingston asserts: "There is no need for an American to
+go out of his own country for vocal instruction or languages; all can be
+learned right here at home. I am a living proof of this. What I have
+done others can do." "You have excellent vocal teachers right here in
+America," says Mme. Hempel. Then she marvels, that with all these
+advantages at her door, there are not more American girls who make good.
+She lays it to the fact that our girls try to combine a social life with
+their musical studies, to the great detriment of the latter.
+
+
+ARE AMERICAN VOCAL STUDENTS SUPERFICIAL?
+
+It is doubtless a great temptation to the American girl who possesses a
+voice and good looks, who is a favorite socially, to neglect her studies
+at times, for social gaiety. She is in such haste to make something of
+herself, to get where she can earn a little with her voice; yet by
+yielding to other calls she defeats the very purpose for which she is
+striving by a lowered ideal of her art. Let us see how the artists and
+teachers view this state of things. Lehmann says:
+
+"The trouble with American girls is they are always in a hurry. They are
+not content to sit down quietly and study till they have developed
+themselves into something before they ever think of coming to Europe.
+They think if they can only come over here and sing for an artist, that
+fact alone will give them prestige in America. With us American girls
+are too often looked upon as superficial because they come over here
+quite unprepared. I say to them: Go home and study; there are plenty of
+good teachers of voice and piano in your own land. Then, when you can
+_sing_, come here if you wish."
+
+Frieda Hempel speaks from close observation when she says: "Here in
+America, girls do not realize the amount of labor and sacrifice
+involved, or they might not be so eager to enter upon a musical career.
+They are too much taken up with teas, parties, and social functions to
+have sufficient time to devote to vocal study and to all that goes with
+it. In order to study all the subjects required, the girl with a voice
+must be willing to give most of her day to work. This means sacrificing
+the social side, and being willing to throw herself heart and soul into
+the business of adequately preparing herself for her career."
+
+
+THE VOCAL STUDENT MUST NOT BE AFRAID TO WORK
+
+In the words of Caruso's message to vocal students, they must be willing
+"to work--to work always--and to sacrifice." But Geraldine Farrar does
+not consider this in the light of sacrifice. Her message to the young
+singer is:
+
+"Stick to your work and study systematically, whole-heartedly. If you do
+not love your work enough to give it your best thought, to make
+sacrifices for it, then there is something wrong with you. Better choose
+some other line of work, to which you can give undivided attention and
+devotion. For music requires both. As for sacrifices, they really do not
+exist, if they promote the thing you honestly love most. You must never
+stop studying, for there is always so much to learn." "I have developed
+my voice through arduous toil," to quote Mme. Galli-Curci. Raisa says:
+"One cannot expect to succeed in the profession of music without giving
+one's best time and thought to the work of vocal training and all the
+other subjects that go with it. A man in business gives his day, or the
+most of it, to his office. My time is devoted to my art, and indeed I
+have not any too much time to study all the necessary sides of it."
+
+"I am always studying, always striving to improve what I have already
+learned and trying to acquire the things I find difficult, or have not
+yet attained to," testifies Mme. Homer.
+
+
+THE REQUIREMENTS FOR A VOCAL CAREER
+
+Those who have been through the necessary drudgery and struggle and have
+won out, should be able to give an authoritative answer to this all
+important question. They know what they started with, what any singer
+must possess at the beginning, and what she must acquire.
+
+Naturally the singer must have a voice, for there is no use trying to
+cultivate something which does not exist. All artists subscribe to this.
+They also affirm she should have good looks, a love for music and a
+musical nature. Let us hear from Mme. Homer on this subject.
+
+"1. Voice, first of all. 2. Intelligence; for intelligence controls,
+directs, shines through and illumines everything. What can be done
+without it? 3. Musical nature. 4. Capacity for Work. Without
+application, the gifts of voice, intelligence and a musical nature will
+not make an artist. 5. A cheerful optimism, which refuses to yield to
+discouragement. 6. Patience. It is only with patient striving, doing the
+daily vocal task, and trying to do it each day a little better than the
+day before, that anything worth while is accomplished. The student must
+have unlimited patience to labor and wait for results."
+
+Mr. Witherspoon states, that students coming to him must possess "Voice,
+to begin with; youth, good looks, musical intelligence and application.
+If the candidate possess these requisites, we begin to work." Anna Case
+answers the question as to the vital requisites necessary to become a
+singer: "Brains, Personality, Voice."
+
+Quotations could be multiplied to prove that all artists fully concur
+with those already mentioned. There must be a promising voice to
+cultivate, youth, good looks, (for a public career) and the utmost
+devotion to work.
+
+
+WHAT BRANCHES OF STUDY MUST BE TAKEN UP?
+
+All agree there are many other subjects to study besides singing; that
+alone is far from sufficient. Edward Johnson says: "Singing itself is
+only a part, perhaps the smaller part of one's equipment. If opera be
+the goal, there are languages, acting, make up, impersonation,
+interpretation, how to walk, all to be added to piano, harmony and
+languages. The most important of all is a musical education."
+
+Most of the great singers have emphatically expressed themselves in
+favor of piano study. Indeed, many were pianists in the beginning,
+before they began to develop the voice. Among those who had this
+training are: Galli-Curci, Lehmann, Raisa, D'Alvarez, Barrientos,
+Braslau, Case. Miss Braslau says: "I am so grateful for my knowledge of
+the piano and its literature; it is the greatest help to me now. To my
+thinking all children should have piano lessons; the cost is trifling
+compared with the benefits they receive. They should be made to study,
+whether they wish it or not, for they do not know what is best for
+them."
+
+Mme. Raisa says: "There are so many sides to the singer's equipment
+besides singing itself. The piano is a necessity; the singer is greatly
+handicapped without a knowledge of that instrument, for it not only
+provides accompaniment but cultivates musical sense." "The vocal student
+should study piano as well as languages," asserts Mme. Homer; "both are
+the essentials. Not that she need strive to become a pianist; that would
+not be possible if she is destined to be a singer. But the more she
+knows of the piano and its literature, the more this will cultivate her
+musical sense and develop her taste."
+
+Florence Easton is even more emphatic. "If a girl is fond of music, let
+her first study the piano, for a knowledge of the piano and its music is
+at the bottom of everything. All children should have this opportunity,
+whether they desire it or not. The child who early begins to study
+piano, will often unconsciously follow the melody with her voice. Thus
+the love of song is awakened in her, and a little later it is discovered
+she has a voice worth cultivating."
+
+On the subject of languages, artists are equally specific. Languages are
+an absolute necessity, beginning with one's mother tongue. The student
+should not imagine that because he is born to the English language, it
+does not require careful study. Galli-Curci remarks: "The singer can
+always be considered fortunate who has been brought up to more than one
+language. I learned Spanish and Italian at home. In school I learned
+French, German and English, not only a little smattering of each, but
+how to write and speak them."
+
+Rosa Raisa speaks eight languages, according to her personal statement.
+Russian, of course, as she is Russian, then French, Italian, German,
+Spanish, Polish, Roumanian and English.
+
+"The duty is laid upon Americans to study other languages, if they
+expect to sing," says Florence Easton. "I know how often this study is
+neglected by the student. It is only another phase of that haste which
+is characteristic of the young student and singer."
+
+
+BREATH CONTROL
+
+Following the subject of requirements for a vocal career, let us get
+right down to the technical side, and review the ideas of artists on
+Breath Control, How to Practice, What are the Necessary Exercises, What
+Vowels Should be Used, and so on.
+
+All admit that the subject of Breath Control is perhaps the most
+important of all. Lehmann says: "I practice many breathing exercises
+without using tone. Breath becomes voice through effort of will and by
+use of vocal organs. When singing, emit the smallest quantity of breath.
+Vocal chords are breath regulators; relieve them of all overwork."
+
+Mme. Galli-Curci remarks: "Perhaps, in vocal mastery, the greatest
+factor of all is the breathing. To control the breath is what each
+student is striving to learn, what every singer endeavors to perfect,
+what every artist should master. It is an almost endless study and an
+individual one, because each organism and mentality is different."
+
+Marguerite d'Alvarez: "In handling and training the voice, breathing is
+perhaps the most vital thing to be considered. To some breath control
+seems second nature; others must toil for it. With me it is intuition.
+Breathing is such an individual thing. With each person it is different,
+for no two people breathe in just the same way."
+
+Claudia Muzio: "Every singer knows how important is the management of
+breath. I always hold up the chest, taking as deep breaths as I can
+conveniently. The power to hold the breath and sing more and more tones
+with one breath, grows with careful, intelligent practice."
+
+Frieda Hempel: "The very first thing for a singer to consider is breath
+control--always the breathing, the breathing. She thinks of it morning,
+noon and night. Even before rising in the morning she has it on her
+mind, and may do a few little stunts while still reclining. Then, before
+beginning vocal technic in the morning, she goes through a series of
+breathing exercises."
+
+David Bispham: "Correct breath control must be carefully studied and is
+the result of understanding and experience. When the manner of taking
+breath and the way to develop the diaphragm and abdominal muscles, is
+understood, that is only a beginning. Management of the breath is an art
+in itself. The singer must know what to do with the breath once he has
+taken it in, or he may let it out in quarts when he opens his mouth. He
+learns how much he needs for each phrase; he learns how to conserve the
+breath."
+
+Oscar Saenger: "The management of the breath is a most important factor,
+as the life of the tone depends on a continuance of the breath. The
+student must cultivate the power of quickly inhaling a full breath, and
+exhaling it so gradually that she can sing a phrase lasting from ten to
+twenty seconds. This needs months of arduous practice. In all breathing,
+inhale through the nose."
+
+Yeatman Griffith: "Breath control is indeed a vital need, but should not
+be made a bugbear to be greatly feared. Most students make breathing and
+breath control a difficult matter, when it should be a natural and easy
+act. They do not need the large amount of breath they imagine they do,
+for a much smaller quantity will suffice. When you open the lips after a
+full, natural breath, do not let the breath escape; the vocal chords
+will make the tone, if you understand how to make a perfect start."
+
+
+SPECIFIC EXERCISES
+
+Great singers are chary of giving out vocal exercises which they have
+discovered, evolved, or have used so constantly as to consider them a
+part of their own personal equipment, for reasons stated earlier in this
+chapter. However, a few artists have indicated certain forms which they
+use. Mme. d'Alvarez remarks: "When I begin to study in the morning, I
+give the voice what I call a massage. This consists of humming
+exercises, with closed lips. Humming is the sunshine of the voice. One
+exercise is a short figure of four consecutive notes of the diatonic
+scale, ascending and descending several times; on each repetition of the
+group of phrases, the new set begins on the next higher note of the
+scale. This exercise brings the tone fully forward."
+
+Lehmann counsels the young voice to begin in the middle and work both
+ways. Begin single tones piano, make a long crescendo and return to
+piano. Another exercise employs two connecting half tones, using one or
+two vowels. During practice stand before a mirror.
+
+Raisa assures us she works at technic every day. "Vocalizes, scales,
+broken thirds, long, slow tones in mezza di voce--that is beginning
+softly, swelling to loud, then diminuendo to soft, are part of the daily
+regime." Farrar works on scales and single tones daily. Muzio says: "I
+sing all the scales, one octave each, once slow and once fast--all in
+one breath. Then I sing triplets on each tone, as many as I can in one
+breath. Another exercise is to take one tone softly, then go to the
+octave above; this tone is always sung softly, but there is a large
+crescendo between the two soft tones." Kingston says: "As for technical
+material, I have never used a great quantity. I do scales and vocalizes
+each day. I also make daily use of about a dozen exercises by Rubini.
+Beyond these I make technical exercises out of the pieces." De Luca
+sings scales in full power, then each tone alone, softly, then swelling
+to full strength and dying away. Bispham: "I give many vocalizes and
+exercises, which I invent to fit the need of each student. They are not
+written down, simply remembered. I also make exercises out of familiar
+tunes or themes from opera. Thus, while the student is studying technic,
+he is acquiring much beautiful material."
+
+Oscar Saenger: "We begin by uniting two tones smoothly and evenly, then
+three in the same way; afterwards four and five. Then the scale of one
+octave. Arpeggios are also most important. The trill is the most
+difficult of all vocal exercises. We begin with quarter notes, then
+eighths and sixteenths. The trill is taken on each tone of the voice, in
+major seconds." Werrenrath: "I do a lot of gymnastics each day, to
+exercise the voice and limber up the anatomy. These act as a massage for
+the voice; they are in the nature of humming, mingled with grunts,
+calls, exclamations, shouts, and many kinds of sounds. They put the
+voice in condition, so there is no need for all these other exercises
+which most singers find so essential to their vocal well being."
+
+Duval asserts: "Long, sustained tones are too difficult for the young
+voice. One should sing medium fast scales at first."
+
+
+LENGTH OF TIME FOR DAILY PRACTICE
+
+It may be helpful to know about how much time the artists devote to
+daily study, especially to technical practice. It is understood all
+great singers work on vocalizes and technical material daily.
+
+Caruso is a constant worker. Two or three hours in the forenoon, and
+several more later in the day, whenever possible. Farrar devotes between
+one and two hours daily to vocalizes, scales and tone study, Lehmann
+counsels one hour daily on technic. Galli-Curci gives a half hour or so
+to vocalizes and scales every morning. Martinelli practices exercises
+and vocalizes one hour each morning; then another hour on repertoire. In
+the afternoon an hour more--three hours daily. Easton says: "It seems to
+me a young singer should not practice more than an hour a day, at most,
+beginning with two periods of fifteen or twenty minutes each." Anna Case
+says: "I never practice when I am tired, for then it does more harm than
+good. One must be in good condition to make good tones. I can study and
+not sing at all, for the work is all mental anyway." Muzio states she
+gives practically her whole day to study, dividing it into short
+periods, with rest between.
+
+Frieda Hempel says: "I do about two hours or more, though not all of
+this for technic. I approve of a good deal of technical study, taken in
+small doses of ten to fifteen minutes at a time. Technic is a means to
+an end, more in the art of song than in almost any other form of art.
+Technic is the background of expressive singing."
+
+Sophie Braslau is an incessant worker,--"at least six hours a day. Of
+these I actually sing three hours. The first hour to memory work on
+repertoire. The second hour to vocalizes. The rest of the time is given
+to repertoire and the things that belong to it." Barrientos states she
+gives about three-quarters of an hour to vocal technic--scales and
+exercises--each day. Duval advises the young student to practice two
+half hours daily, two hours after eating, and rest the voice one day
+each week, during which she studies other subjects connected with her
+art. Oscar Saenger says: "One should practice in fifteen-minute periods,
+and rest at least ten minutes between. Sing only two hours a day, one in
+the morning and one in afternoon."
+
+
+WHAT VOWELS TO USE
+
+There seems a divergence of opinion as to what vowels are most
+beneficial in technical practice and study. Galli-Curci says: "In my own
+study I use them all, though some are more valuable than others. The Ah
+is the most difficult of all. The O is good; E needs great care. I have
+found the best way is to use mixed vowels, one melting into the other.
+The tone can be started with each vowel in turn, then mingled with the
+rest of the vowels." Mme. d'Alvarez often starts the tone with Ah, which
+melts into O and later changes to U, as the tone dies away. Bispham has
+the student use various vowel syllables, as: Lah, Mah, May, and Mi. With
+Oscar Saenger the pupil in early stages at least, uses Ah for vocalizes.
+Duval requires students to use the vowel Ah, for exercises and scales,
+finding the others are not needed, especially excluding E and U as
+injurious. Griffith uses each vowel in turn, preceded by all the
+consonants of the alphabet, one after another.
+
+
+HALF OR FULL VOICE?
+
+Shall the young singer practice with half or full voice seems a matter
+depending on one's individual attainments. De Luca uses full power
+during practice, while Raisa sings softly, or with medium, tone, during
+study hours, except occasionally when she wishes to try out certain
+effects. Martinelli states he always practices with full voice, as with
+half voice he would not derive the needed benefit. Mme. Easton admits
+she does not, as a rule, use full voice when at work; but adds, this
+admission might prove injurious to the young singer, for half voice
+might result in faulty tone production. Anna Case says when at work on
+a song in her music room, she sings it with the same power as she would
+before an audience. She has not two ways of doing it, one for a small
+room and another for a large one. Mr. Duval advises the young pupil to
+sing tones as loudly and deeply as possible. Singing pianissimo is
+another fallacy for a young voice. This is one of the most difficult
+accomplishments, and should be reserved for a later period. Oscar
+Saenger: "The tone should be free, round and full, but not loud."
+
+
+HEARING YOURSELF
+
+Does the singer really hear himself is a question which has been put to
+nearly every artist. Many answered in a comparative negative, though
+with qualifications. Miss Farrar said:
+
+"No, I do not actually hear my voice, except in a general way, but we
+learn to know the sensations produced in throat, head, face, lips and
+other parts of the anatomy, which vibrate in a certain manner to correct
+tone production. We learn the _feeling_ of the tone." "I can tell just
+how I am singing a tone or phrase," says De Luca, "by the feeling and
+sensation; for of course I cannot hear the full effect; no singer can
+really hear the effect of his work, except on the records." "The singer
+must judge so much from sensation, for she cannot very well hear
+herself, that is, she cannot tell the full effect of what she is doing,"
+says Anna Case. Mr. Witherspoon says: "The singer of course hears
+himself and with study learns to hear himself better. The singer should
+depend more on hearing the sound he makes than on feeling the sound. In
+other words, train the _ear_, the court of ultimate resort, and the only
+judge, and forget sensation as much as possible, for the latter leads to
+a million confusions."
+
+
+VOCAL MASTERY, FROM THE ARTISTS' VIEWPOINT
+
+Farrar: "A thing that is mastered must be really perfect. To master
+vocal art, the singer must have so developed his voice that it is under
+complete control; then he can do with it what he wishes. He must be able
+to produce all he desires of power, pianissimo, accent, shading,
+delicacy and variety of color."
+
+Galli-Curci: "To sum up: the three requirements of vocal mastery are:
+Management of the Larynx; Relaxation of the Diaphragm; Control of the
+Breath. To these might be added a fourth: Mixed Vowels. But when these
+are mastered, what then? Ah, so much more it can never be put into
+words. It is self-expression through the medium of tone, for tone must
+always be a vital part of the singer's individuality, colored by feeling
+and emotion. To perfect one's own instrument, must always be the
+singer's joy and satisfaction."
+
+Raisa: "If I have developed perfect control throughout the two and a
+half octaves of my voice, can make each tone with pure quality and
+perfect evenness in the different degrees of loud and soft, and if I
+have perfect breath control as well, I then have an equipment that may
+serve all purposes of interpretation. For together with vocal mastery
+must go the art of interpretation, in which all the mastery of the vocal
+equipment may find expression. In order to interpret adequately one
+ought to possess a perfect instrument, perfectly trained. When this is
+the case one can forget mechanism, because confident of the ability to
+express any desired emotion."
+
+Homer: "The singer must master all difficulties of technic, of tone
+production in order to be able to express the thought of the composer,
+and the meaning of the music."
+
+Werrenrath: "I can answer the question in one word--Disregard. For if
+you have complete control of your anatomy and such command of your
+vocal resources that they will always do their work; that they can be
+depended on to act perfectly, then you can disregard mechanism and think
+only of the interpretation--only of your vocal message. Then you have
+conquered the material and have attained Vocal Mastery."
+
+Kingston: "Vocal Mastery includes so many things. First and foremost,
+vocal technic. One must have an excellent technic before one can hope to
+sing even moderately well. Technic furnishes the tool with which the
+singer creates his vocal art work. Then the singer must work on his
+moral nature so that he shall express the beautiful and pure in music.
+Until I have thus prepared myself, I am not doing my whole duty to
+myself, my art or to my neighbor."
+
+Griffith: "Vocal Mastery is acquired through correct understanding of
+what constitutes pure vowel sounds, and such control of the breath as
+will enable one to convert every atom of breath into singing tone. This
+establishes correct action of the vocal chords and puts the singer in
+possession of the various tints of the voice.
+
+"When the vocal chords are allowed to produce pure vowels, correct
+action is the result, and with proper breath support, Vocal Mastery can
+be assured."
+
+Duval: "What is Vocal Mastery? Every great artist has his own peculiar
+manner of accomplishing results--has his own vocal mastery. Patti had
+one kind, Maurel another, Lehmann still another. Caruso may also be said
+to have his own vocal mastery.
+
+"In fine, as every great artist is different from his compeers, there
+can be no fixed and fast standard of vocal mastery, except the mastery
+of doing a great thing greatly and convincingly."
+
+
+THE END
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Vocal Mastery, by Harriette Brower
+
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