Mme. Bernice de Pasquali.Mme. Bernice de Pasquali.
In no land is song so much a part of the daily life of the individual as in Italy. The Italian peasant literally wakes up singing and goes to bed singing. Naturally a kind of respect, honor and even reverence attaches to the art of beautiful voice production in the land of Scarlatti, Palestrina and Verdi, that one does not find in other countries. When the Italian singing teachers looked for a word to describe their vocal methods they very naturally selected the most appropriate, "Bel Canto," which means nothing more or less than "Beautiful Singing."
Probably no words have been more abused in music teaching than "bel canto," and probably no words have a more direct meaning or a wider significance. What then is "good singing" as the Italians understand it? Principally the production of a perfectly controlled and exquisitely beautiful tone. Simple as this may seem and simple as it really is, the laws underlying the best way of teaching how to secure a beautiful tone are the evolution of empirical experiences coming down through the centuries.
It is a significant fact that practically all of the great singers in Wagner rôles have first been trainedin what is so loosely termed "bel canto" methods. Lilli Lehmann, Schumann-Heink, Nordica and others were capable of singing fine coloratura passages before they undertook the works of the great master of Beyreuth.
In the mass of traditions, suggestions and advice which go to make the "bel canto" style, probably nothing is so important to American students as that which pertains to conserving the voice. Whether our girls are inordinately fond of display or whether they are unable to control their vocal organs I do not know, but one is continually treated to instances of the most ludicrous prodigality of voice. The whole idea of these young singers seems to be to make a "hit" by shouting or even screeching. There can be no milder terms for the straining of the tones so frequently heard. This prodigality has only one result—loss of voice.
The great Rubini once wrote to his friend, the tenor Duprez, "You lost your voice because you always sang with your capital. I have kept mine because I have used only the interest." This historical epigram ought to be hung in all the vocal studios of America. Our American voices are too beautiful, too rare to be wasted, practically thrown away by expending the capital before it has been able to earn any interest.
Moreover, the thing which has the most telling effect upon any audience is the beauty of tone quality.People will stop at any time to listen to the wonderful call of the nightingale. In some parts of Europe it is the custom to make parties to go at nights to the woods to hear that wonderful singer of the forests. Did you ever hear of any one forming a party for the express purpose of listening to the crowing of a rooster? One is a treat to the ear, the other is a shock. When our young singers learn that people do not attend concerts to have their ears shocked but to have them delighted with beautiful sound, they will be nearer the right idea in voice culture.
The student's first effort, then, should be to preserve the voice. From the very first lesson he must strive to learn how to make the most with little.
How is the student to know when he is straining the voice? This is simple enough to ascertain. At the very instant that the slightest constriction or effort is noticed strain is very likely to be present. Much of this depends upon administering exactly the right amount of breath to the vocal cords at the moment of singing. Too much breath or too little breath is bad. The student finds by patient experiment under the direction of the experienced teacher just how much breath to use. All sorts of devices are employed to test the breath, but it is probable that the best devices of all are those which all singers use as the ultimate test, the ear and the feeling of delightful relaxation surrounding the vocal organs during the process of singing.
Much of the student's early work is marred by fear. He fears to do this and he fears to do that, until he feels himself walled in by a set of rules that make his singing stilted. From the very start the singer, particularly the one who aspires to become an operatic singer, should endeavor to discard fear entirely. Think that if you fail in your efforts, thousands of singers have failed in a similar manner in their student days. Success in singing is at the end of a tall ladder, the rungs of which are repeated failures. We climb up over our failures to success. Learn to fear nothing, the public least of all. If the singer gives the audience the least suspicion that she is in fear of their verdict, the audience will detect it at once and the verdict will be bad. Also do not fear the criticism of jealous rivals.
Affirm success. Say to yourself, "I will surely succeed if I persevere." In this way you will acquire those habits of tranquillity which are so essential for the singer to possess.
There are abundant opportunities just now for finely trained singers. In fact there is a real dearth of "well-equipped" voices. Managers are scouring the world for singers with ability as well as the natural voice. Why does this dearth exist? Simply because the trend of modern musical work is far too rapid. Resultsare expected in an impossible space of time. The pupil and the maestro work for a few months and, lo and behold! a prima donna! Can any one who knows anything about the art of singing fail to realize how absurd this is? More voices are ruined by this haste than by anything else. It is like expecting the child to do the feats of the athlete without the athlete's training. There are singers in opera now who have barely passed the, what might be called, rudimentary stage.
With the decline of the older operas, singers evidently came to the conclusion that it was not necessary to study for the perfection of tone-quality, evenness of execution and vocal agility. The modern writers did not write such fioratura passages, then why should it be necessary for the student to bother himself with years of study upon exercises and vocalises designed to prepare him for the operas of Bellini, Rossini, Spontini, Donizetti, Scarlatti, Carissimi or other masters of the florid school? What a fatuous reasoning. Are we to obliterate the lessons of history which indicate that voices trained in such a school as that of Patti, Jenny Lind, Sembrich, Lehmann, Malibran, Rubini and others, have phenomenal endurance, and are able to retain their freshness long after other voices have faded? No, if we would have the wonderful vitality and longevity of the voices of the past we must employ the methods of the past.
Of all instruments the human voice is by far the most delicate and the most fragile. The wonder is that it will stand as much "punishment" as is constantly given to it. Some novices seem to treat it with as little respect as though it were made out of brass like a tuba or a trombone. The voice is subject to physical and psychical influences. Every singer knows how acutely all human emotions are reflected in the voice; at the same time all physical ailments are immediately active upon the voice of the singer.
There is a certain freshness or "edge" which may be worn off the voice by ordinary conversation on the day of the concert or the opera. Some singers find it necessary to preserve the voice by refraining from all unnecessary talking prior to singing. Long-continued practice is also very bad. An hour is quite sufficient on the day of the concert. During the first years of study, half an hour a day is often enough practice. More practice should only be done under special conditions and with the direction of a thoroughly competent teacher.
Singing in the open air, when particles of dust are blowing about, is particularly bad. The throat seems to become irritated at once. In my mind tobacco smoke is also extremely injurious to the voice, notwithstanding the fact that some singers apparently resist its effects for years. I once suffered severely from the effects of being in a room filled with tobacco smoke andwas unable to sing for at least two months. I also think that it is a bad plan to sing immediately after eating. The peristaltic action of the stomach during the process of digestion is a very pronounced function and anything which might tend to disturb it might affect the general health.
The singer must lead an exceedingly regular life, but the exaggerated privations and excessive care which some singers take are quite unnecessary. The main thing is to determine what is a normal life and then to live as close to this as possible. If you find that some article of diet disagrees with you, remember to avoid that food; for an upset stomach usually results in complete demoralization of the entire vocal system.
No matter how great the artist, daily practice, if even not more than forty minutes a day, is absolutely necessary. There is a deep philosophical and physiological principle underlying this and it applies particularly to the vocal student. Each minute spent in intelligent practice makes the voice better and the task easier. The power to do comes with doing. Part of each day's practice should be devoted to singing the scale softly and slowly with perfect intonation. Every tone should be heard with the greatest possible acuteness. The ears should analyze the tone quality with the same scrutiny with which a botanist would examine the petals of a newly discovered specimen. As the singer does this he will notice that his sense of tonecolor will develop; and this is a very vital part of every successful singer's equipment. He will become aware of beauties as well as defects in his voice which may never have been even suspected if he will only listen "microscopically" enough.
Much of the singer's progress depends upon the mental model he keeps before him. The singer who constantly hears the best of singing naturally progresses faster than one surrounded by inferior singing. This does not recommend that the student should imitate blindly but that he should hear as much fine singing as possible. Those who have not the means to attend concerts and the opera may gain immensely from hearing fine records. Little Adelina Patti, playing as a child on the stage of the old Academy of Music in New York, was really attending the finest kind of a conservatory unawares.
The old Italian teachers and writers upon voice, knowing the florid style in which their pupils would be expected to sing, did not have much to do with fanciful exercises. They gave their lives to the quest of the "bel canto"; and many of them had difficulty in convincing their pupils that the simplest exercises were often the hardest. Take for instance this invaluable scale exercise sung with the marks of expression carefully observed.
This exercise is one of the most difficult to sing properly. Nevertheless, some student will rush on to florid exercises before he can master this exercise. To sing it right it must be regarded with almost devotional reverence. Indeed, it may well be practiced diligentlyfor years. Every tone is a problem, a problem which must be solved in the brain and in the body of the singer and not in the mind of any teacher. The student must hold up every tone for comparison with his ideal tone. Every note must ring sweet and clear, pure and free. Every tone must be even more susceptible to the emotions than the expression upon the most mobile face. Every tone must be made the means of conveying some human emotion. Some singers practice their exercises in such a perfunctory manner that they get as a result voices so stiff and hard that they sound as though they came from metallic instruments which could only be altered in a factory instead of from throats lined with a velvet-like membrane.
Sing with great attention to intonation.musical notation: Sing with great attention to intonation.
musical notation
Flexibility, mobility and susceptibility to expression are quite as important as mere sweetness. After the above exercise has been mastered the pupil may pass to the chromatic scale (scala semitonata sostenuto); and this scale should be sung in the same slow sustained manner as the foregoing illustration.
Mme. Marcella Sembrich (Praxede Marcelline Kochanska) was born in Wisnewczyk, Galicia, February 15, 1858. Sembrich was her mother's name. Her father was a music teacher and she tells with pleasure how she watched her father make a little violin for her to practice upon. At the age of seven she was taken to Wilhelm Stengel at Lemberg for further instruction. Later she went to study with the famous pedagogue, Julius Epstein, at Vienna, who was amazed by the child's prodigious talent as a pianist and as a violinist. He asked, "Is there anything else she can do?" "Yes," replied Stengel, "I think she can sing." Sing she did; and Epstein was not long in determining that she should follow the career of the singer. Her other teachers were Victor Rokitansky, Richard Lewy and G. B. Lamperti and a few months with the elder Francesco Lamperti. Her début was made in Athens in 1877, inI Puritani. Thereafter she toured all of the European art centers with invariable success. Her first American appearance was in 1883. She came again in 1898 and for years sang with immense success in all parts of America. America has since become her home, where she has devoted much time to teaching.
Mme. Marcella Sembrich. © Dupont.Mme. Marcella Sembrich.© Dupont.
Few accomplishments are more delight-giving than that of being able to sing. I would most enthusiastically advise anyone possessing a fair voice to have it trained by some reliable singing teacher. European peoples appreciate the great privilege of being able to sing for their own amusement, and the pleasure they get from their singing societies is inspiring.
If Americans took more time for the development of accomplishments of this kind their journey through life would be far more enjoyable and perhaps more profitable. I believe that all should understand the art of singing, if only to become amateurs.
That music makes the soul more beautiful I have not the least doubt. Because some musicians have led questionable lives does not prove the contrary. What might these men have been had they not been under the benign influence of music?
One has only to watch people who are under the magic spell of beautiful music to understand what a power it has for the good. I believe that good vocal music should be a part of all progressive educational work. The more music we have, the more beautifulthis world will be, the more kindly people will feel toward each other and the more life will be worth living.
But when I say that everyone who possesses a voice should learn to sing I do not by any means wish to convey the idea that anyone who desires may become a great singer. That is a privilege that is given to but a very few fortunate people. So many things go together to make a great singer that the one who gives advice should be very circumspect in encouraging young people to undertake a professional career—especially an operatic career. Giving advice under any conditions is often thankless.
I have been appealed to by hundreds of girls who have wanted me to hear them sing. I have always told them what seemed to me the truth, but I have been so dismayed at the manner in which this has been received that I hesitate greatly before hearing aspiring singers.
It is the same way with the teachers. I know that some teachers are blamed for taking voiceless pupils, but the pupils are more often to blame than the teacher. I have known pupils who have been discouraged by several good teachers to persist until they finally found a teacher who would take them.
Most teachers are conscientious—often too conscientious for their pocketbooks. If a representative teacher or a prominent singer advises you not to attempta public career you should thank him, as he is doubtless trying to save you from years of miserable failure. It is a very serious matter for the pupil, and one that should be given almost sacred consideration by those who have the pupil's welfare at heart.
Wise, indeed, is the young singer who can so estimate her talents that she will start along the right path. There are many positions which are desirable and laudable which can be ably filled by competent singers. If you have limitations which will prevent your ever reaching that "will-o'-the-wisp" known as "fame," do not waste money trying to achieve what is obviously out of your reach.
If you can fill the position of soloist in a small choir creditably, do so and be contented. Don't aspire for operatic heights if you are hopelessly shackled by a lack of natural qualifications.
It is a serious error to start vocal instruction too early. I do not believe that the girl's musical education should commence earlier than at the age of sixteen. It is true that in the cases of some very healthy girls no very great damage may be done, but it is a risk I certainly would not advise.
Much money and time are wasted upon voice training of girls under the age of sixteen. If the girl is destined for a great career she will have the comprehension, the grasp, the insight that will lead her to learn very rapidly. Some people can take in the whole meaning of a picture at a glance; others are obliged to regard the picture for hours to see the same points ofartistic interest. Quick comprehension is a great asset, and the girl who is of the right sort will lose nothing by waiting until she reaches the above age.
Ambition, faithfulness to ideals and energy are the only hopes left open to the singer who is not gifted with a wonderfully beautiful natural voice. It is true that some singers of great intelligence and great energy have been able to achieve wide fame with natural voices that under other conditions would only attract local notice. These singers deserve great credit for their efforts.
While the training of the voice may be deferred to the age of sixteen, the early years should by no means be wasted. The general education of the child, the fortification of the health and the study of music through the medium of some instrument are most important. The young girl who commences voice study with the ability to play either the violin or the piano has an enormous advantage over the young girl who has had no musical training.
I found the piano training of my youth of greatest value, and through the study of the violin I learned certain secrets that I later applied to respiration and phrasing. Although my voice was naturally flexible, I have no doubt that the study of these instruments assisted in intonation and execution in a manner that I cannot over-estimate.
A beautiful voice is not so great a gift, unless itspossessor knows how to employ it to advantage. The musical training that one receives from the study of an instrument is of greatest value. Consequently, I advise parents who hope to make their children singers to give them the advantage of a thorough musical training in either violin study or the piano. Much wasted money and many blasted ambitions can be spared by such a course.
The singer whose general education has been neglected is in a most unfortunate plight. And by general education I do not mean only those academic studies that people learn in schools. The imagination must be stimulated, the heartfelt love for the poetical must be cultivated, and above all things the love for nature and mankind must be developed.
I can take the greatest joy in a walk through a great forest. It is an education to me to be with nature. Unfortunately, only too many Americans go rushing through life neglecting those things which make life worth living.
There has been a most marvelous advance in this respect, however, in America. Not only in nature love but in art it has been my pleasure to watch a wonderful growth. When I first came here in 1883 things were entirely different in many respects. Now the great operatic novelties of Europe are presented herein magnificent style, and often before they are heard in many European capitals.
In this respect America to-day ranks with the best in the world. Will you not kindly permit me to digress for a moment and say to the music lovers of America that I appreciate in the deepest manner the great kindnesses that have been shown to me everywhere? For this reason, I know that my criticisms, if they may be called such, will be received as they are intended.
The singer should make a serious study of languages. French, German, English and Italian are the most necessary ones. I include English as I am convinced that it is only a matter of a short time when a school of opera written by English-speaking composers will arise. The great educational and musical advance in America is an indication of this.
As for voice exercises, I have always been of the opinion that it is better to leave that matter entirely to the discretion of the teacher. There can be no universal voice exercise that will apply to all cases. Again, it is more a matter of how the exercise is sung than the exercise itself.
The simplest exercise can become valuable in the hands of the great teacher. I have no faith in the teachers who make each and every pupil go through one and the same set of exercises in the same way. The voice teacher is like the physician. He must originate and prescribe certain remedies to suit certain cases. Much money is wasted by trying to do without a good teacher. If the pupil really has a greatvoice and the requisite talent, it is economical to take her to the best teacher obtainable.
American women have wonderful voices. Moreover, they have great energy, talent and temperament. Their accomplishments in the operatic world are matters of present musical history. With such splendid effort and such generosity, it is easy to prophesy a great future for musical America. This is the land of great accomplishments.
With time Americans will give more attention to the cultivation of details in art, they will acquire more repose perhaps, and then the tremendous energy which has done so much to make the country what it is will be a great factor in establishing a school of music in the new world which will rank with the greatest of all times.
Mme. Ernestine Schumann-Heink (née Roessler) was born near the city of Prague, July 15, 1861. She relates that her father was a Czech and her mother was of Italian extraction. She was educated in Ursuline Convent and studied singing with Mme. Marietta von Leclair in Graz. Her first appearance was at the age of 15, when she is reported to have taken a solo part in a performance of the Beethoven Ninth Symphony, at an important concert in Graz. Her operatic début was made at the Royal Opera, Dresden, inTrovatore. There she studied under Krebs and Franz Wüllner. It is impossible to detail Mme. Schumann-Heink's operatic successes here, since her numerous appearances at the leading operatic houses of the world have been followed by such triumphs that she is admittedly the greatest contralto soloist of her time. At Bayreuth, Covent Garden, and at the Metropolitan her appearances have drawn multitudes. In concert she proved one of the greatest of all singers of art songs. In 1905 she became an American citizen, her enthusiasm for this country leading her to name one of her sons George Washington. During the great war (in which four of her sons served with the American colors) she toured incessantly from camp to camp, giving her services for the entertainment of the soldiers and winning countless admirers in this way. Her glorious voice extends from D on the third line of the bass clef to C on the second leger line above the treble clef.
Mme. Ernestine Schumann-Heink.Mme. Ernestine Schumann-Heink.
Would you have me give the secret of my success at the very outstart? It is very simple and centers around this subject of the artist's responsibility to the audience. My secret is absolute devotion to the audience. I love my audiences. They are all my friends. I feel a bond with them the moment I step before them. Whether I am singing in blasé New York or before an audience of farmer folk in some Western Chautauqua, my attitude toward my audience is quite the same. I take the same care and thought with every audience. This even extends to my dress. The singer, who wears an elaborate gown before a Metropolitan audience and wears some worn-out old rag of a thing when singing at some rural festival, shows that she has not the proper respect in her mind. Respect is everything.
Therefore it is necessary for me to have my voice in the best of condition every day of the year. It is my duty to my audience. The woman who comes to a country Chautauqua and brings her baby with her and perchance nurses the little one during the concert gets a great deal closer to my heart than the stiff-backed aristocrat who has just left a Pekingese spaniel outside of the opera house door in a $6000.00 limousine. Thatlittle country woman expects to hear the singer at her best. Therefore, I practice just as carefully on the day of the Chautauqua concert as I would if I were to singOrtrudthe same night at the Metropolitan in New York.
American audiences are becoming more and more discriminating. Likewise they are more and more responsive. As an American citizen, I am devoted to all the ideals of the new world. They have accepted me in the most whole-souled manner and I am grateful to the land of my adoption.
Whether or not the voice keeps in prime condition to-day depends largely upon the early training of the singer. If that training is a good one, a sound one, a sensible one, the voice will, with regular practice, keep in good condition for a remarkably long time. The trouble is that the average student is too impatient in these days to take time for a sufficient training. The voice at the outstart must be trained lightly and carefully. There must not be the least strain. I believe that at the beginning two lessons a week should be sufficient. The lessons should not be longer than one-half an hour and the home practice should not exceed at the start fifty minutes a day. Even then the practice should be divided into two periods. The young singer should practicemezza voce, which simply means nothing more or less than "half voice." Never practice with full voice unless singing under the direction of awell-schooled teacher with years of practical singing experience.
It is easy enough to shout. Some of the singers in modern opera seem to employ a kind of megaphone method. They stand stock still on the stage and bawl out the phrases as though they were announcing trains in a railroad terminal. Such singers disappear in a few years. Their voices seem torn to shreds. The reason is that they have not given sufficient attention tobel cantoin their early training. They seem to forget that voice must first of all be beautiful.Bel canto,—beautiful singing,—not the singing of meaningless Italian phrases, as so many insist, but the gloriousbel cantowhich Bach, Haydn and Mozart demand,—abel cantothat cultivates the musical taste, disciplines the voice and trains the singer technically to do great things. Please understand that I am not disparaging the good and beautiful in Italian masterpieces. The musician will know what I mean. The singer can gain little, however, from music that intellectually and vocally is better suited to a parrot than a human being.
Some of the older singers madebel cantosuch an art that people came to hear them for their voices alone, and not for their intellectual or emotional interpretations of a rôle. Perhaps you never heard Patti in her prime. Ah! Patti—the wonderful Adelina with the glorious golden voice. It was she who made me ambitious to study breathing until it became an art. To hear her as she trippingly left the stage in Verdi'sTraviatasinging runs with ease and finish that othersingers slur or stumble over,—ah! that was an art!
musical notation: Ex. 1 il mio pen sier, il mio pen-sier___ il mio pen-sier.
Volumes have been written on breathing and volumes more could be written. This is not the place to discuss the singer's great fundamental need. Need I say more than that I practice deep breathing every day of my life?
It is my opinion that no girl who wishes to keep her voice in the prime of condition all the time in after years should start to study much earlier than seventeen or eighteen years of age. In the case of a man I do not believe that he should start until he is past twenty or even twenty-two. I know that this is contrary to what many singers think, but the period of mutation in both sexes is a much slower process than most teachers realize, and I have given this matter a great deal of serious thought.
Can I digress long enough to say that I think that everybody should sing? That is, they should learn tosing under a good singing instructor. This does not mean that they should look forward toward a professional career. God forbid! There are enough half-baked singers in the world now who are striving to become professionals. But the public should know that singing is the healthiest kind of exercise imaginable. When one sings properly one exercises nearly all of the important muscles of the torso. The circulation of the blood is improved, the digestion bettered, the heart promoted to healthy action—in fact, everything is bettered. Singers as a rule are notoriously healthy and often very long lived. The new movement for community singing in the open air is a magnificent one. Let everybody sing!
A great singing teacher with a reputation as big as Napoleon's or George Washington's is not needed. There are thousands and thousands of unknown teachers who are most excellent. Often the advice or the instruction is very much the same. What difference does it make whether I buy Castile soap in a huge Broadway store or a little country store, if the soap is the same? Many people hesitate to study because they can not study with a great teacher. Nonsense! Pick out some sensible, well-drilled teacher and then use your own good judgment to guide yourself. Remember that Schumann-Heink did not study with a world-famed teacher. Whoever hears of Marietta von Leclair in these days? Yet I do not think that I could have done any more with my voice if I had had every famous teacher from Niccolo Antonio Porpora downto the present day. The individual singer must have ideals, and then leave nothing undone to attain those ideals. One of my ideals was to be able to sing pianissimo with the kind of resonance that makes it carry up to the farthest gallery. That is one of the most difficult things I had to learn, and I attained it only after years of faithful practice.
To keep the voice in prime condition the singer's first consideration is physical and mental health. If the body or the mind is over-taxed singing becomes an impossibility. It is amazing what the healthy body and the busy mind can really stand. I take but three weeks' vacation during the year and find that I am a great deal better for it. Long terms of enforced indolence do not mean rest. The real artist is happiest when at work, and I want to work. Fortunately I am never at loss for opportunity. The ambitious vocal student can benefit as much by studying a good book on hygiene or the conservation of the health as from a book on the art of singing.
First of all comes diet. Americans as a rule eat far too much. Why do some of the good churchgoing people raise such an incessant row about over-drinking when they constantly injure themselves quite as much by over-eating? What difference does it make whether you ruin your stomach, liver or kidneys by too much alcohol or too much roast beef? One vice is as bad as another. The singer must live upon a light diet. Aheavy diet is by no means necessary to keep up a robust physique. I am rarely ill, am exceedingly strong in every way, and yet eat very little indeed. I find that my voice is in the best of condition when I eat very moderately. My digestion is a serious matter with me, and I take every precaution to see that it is not congested in any way. This is most important to the singer. Here is an average ménu for my days when I am on tour:
BREAKFASTTwo or more glasses of Cold Water(not ice water)Ham and EggsCoffeeToast.MID-DAY DINNERSoupSome Meat OrderA VegetablePlenty of SaladFruit.SUPPERA SandwichFruit.
Such a ménu I find ample for the heaviest kind of professional work. If I eat more, my work may deteriorate, and I know it.
Fresh air, sunshine, sufficient rest and daily baths in tepid water night and morning are a part of my regularroutine. I lay special stress upon the baths. Nothing invigorates the singer as much as this. Avoid very cold baths, but see to it that you have a good reaction after each bath. There is nothing like such a routine as this to avoid colds. If you have a cold try the same remedies to try to get rid of it. To me, one day at Atlantic City is better for a cold than all the medicine I can take. I call Atlantic City my cold doctor. Of course, there are many other shore resorts that may be just as helpful, but when I can do so I always make a bee line for Atlantic City the moment I feel a serious cold on the way.
Sensible singers know now that they must avoid alcohol, even in limited quantities, if they desire to be in the prime of condition and keep the voice for a long, long time. Champagne particularly is poison to the singer just before singing. It seems to irritate the throat and make good vocal work impossible. I am sorry for the singer who feels that some spur like champagne or a cup of strong coffee is desirable before going upon the stage.
It amuses me to hear girls say, "I would give anything to be a great singer"; and then go and lace themselves until they look like Jersey mosquitoes. The breath is the motive power of the voice. Without it under intelligent control nothing can be accomplished. One might as well try to run an automobile without gasoline as sing without breath. How can a girl breathe when she has squeezed her lungs to one-half their normal size?
The voice can never be kept in prime condition if it is obliged to carry a load that it has not been prepared to carry. Most voices that wear out are voices that have been overburdened. Either the singer does not know how to sing or the rôle is too heavy. I think that I may be forgiven for pointing out that I have repeatedly sung the heaviest and most exacting rôles in opera. My voice would have been shattered years ago if I had not prepared myself for these rôles and sung them properly. A man may be able to carry a load of fifty pounds for miles if he carries it on his back, but he will not be able to carry it a quarter of a mile if he holds it out at arm's length from the body, with one arm. Does this not make the point clear?
Some rôles demand maturity. It is suicidal for the young singer to attempt them. The composer and the conductor naturally think only of the effect at the performance. The singer's welfare with them is a secondary consideration. I have sung under the great composers and conductors, from Richard Wagner to Richard Strauss. Some of the Strauss rôles are even more strenuous than those of Wagner. They call for great energy as well as great vocal ability. Young singers essay these heavy rôles and the voices go to pieces. Why not wait a little while? Why not be patient?
The singer is haunted by the delusion that success can only come to her if she sings great rôles. If shecan not ape Melba inTraviata, Emma Eames as Elizabeth inTannhäuseror Geraldine Farrar inButterfly, she pouts and refuses to do anything. Offer her a small part and she sneers at it. Ha! Ha! All my earliest successes were made in the smallest kinds of parts. I realized that I had only a little to do and only very little time to do it in. Consequently, I gave myself heart and soul to that part. It must be done so artistically, so intelligently, so beautifully that it would command success. Imagine the rôles of Erda and Norna, and Marie inFlying Dutchman. They are so small that they can hardly be seen. Yet these rôles were my first door to success and fame. Wagner did not think of them as little things. He was a real master and knew that in every art-work a small part is just as important as a great part. It is a part of a beautiful whole. Don't turn up your nose at little things. Take every opportunity, and treat it as though it were the greatest thing in your life. It pays.
Everything that amounts to anything in my entire career has come through struggle. At first a horrible struggle with poverty. No girl student in a hall bedroom to-day (and my heart goes out to them now) endures more than I went through. It was work, work, work, from morning to night, with domestic cares and worries enough all the time to drive a woman mad. Keep up your spirits, girls. If you have the right kind of fight in you, success will surely come. Never think of discouragement, no matter what happens. Keep working every day and always hoping. It will comeout all right if you have the gift and the perseverance. Compulsion is the greatest element in the vocalist's success. Poverty has a knout in its hand driving you on. Well, let it,—and remember that under that knout you will travel twice as fast as the rich girl possibly can with her fifty-horse-power automobile. Keep true to the best.Muss—"I MUST," "I will," the mere necessity is a help not a hindrance, if you have the right stuff in you. Learn to depend upon yourself, and know that when you have something that the public wants it will not be slow in running after you. Don't ask for help. I never had any help. Tell that to the aspiring geese who think that I have some magic power whereby I can help a mediocre singer to success by the mere twist of the hand.
Daily vocal exercises are the daily bread of the singer. They should be practiced just as regularly as one sits down to the table to eat, or as one washes one's teeth or as one bathes. As a rule the average professional singer does not resort to complicated exercises and great care is taken to avoid strain. It is perfectly easy for me, a contralto, to sing C in alt
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but do you suppose I sing it in my daily exercises? It is one of the extreme notes in my range and itmight be a strain. Consequently I avoid it. I also sing most of my exercisesmezza voce.
There should always be periods of intermission between practice. I often go about my routine work while on tour, walking up and down the room, packing my trunk, etc., and practicing gently at the same time. I enjoy it and it makes my work lighter.
Of course I take great pains to practice carefully. My exercises are for the most part simple scales, arpeggios or trills. For instance, I will start with the following:
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This I sing in middle voice and very softly. Thereby I do not become tired and I don't bother the neighborhood. If I sang this in the big, full lower tones and sang loud, my voice would be fatigued rather than benefited and the neighbors would hate me. This I continue up toDorEflat.
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Above this I invariably use what is termed the head tone. Female singers should always begin the head tone on this degree of the staff and not onFandF♯, as is sometimes recommended.
I always use the Italian vowelahin my exercises. It seems best to me. I know thatooandueare recommendedfor contraltos, but I have long had the firm conviction that one should first perfect the natural vocal color through securing good tones by means of the most open vowel. After this is done the voice may be further colored by the judicious employment of other vowels. Sopranos, for instance, can help their head tones by singingee(Italiani).
I know nothing better for acquiring a flexible tone than to sing trills like the following:
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and at the same time preserve a gentle, smiling expression. Smile naturally, as though you were genuinely amused at something,—smile until your upper teeth are uncovered. Then, try these exercises with the vowelah. Don't be afraid of getting a trivial, colorless tone. It is easy enough to make the tone sombre by willing it so, when the occasion demands. You will be amazed what this smiling, genial,liebenswürdigexpression will do to relieve stiffness and help you in placing your voice right. The old Italians knew about it and advocated it strongly. There is nothing like it to keep the voice youthful, fresh and in the prime of condition.
Probably more voices are ruined by strain than through any other cause. The singer must relax allthe time. This does not mean flabbiness. It does not mean that the singer should collapse before singing. Relaxation in the singer's sense is a delicious condition of buoyancy, of lightness, of freedom, of ease and entire lack of tightening in any part. When I relax I feel as though every atom in my body were floating in space. There is not one single little nerve on tension. The singer must be particularly careful when approaching a climax in a great work of art. Then the tendency to tighten up is at its greatest. This must be anticipated.
Take such a case as the following passage from the famous aria from Saint-Saëns'Samson et Delila, "Mon coeur s'ouvre à ta voix." The climax is obviously on the words "Ah!—verse moi." The climax is the note marked by a star (fon the top line).