[Illustration: To Miss Harriette Brower Very Sincerely Enrico CarusoN. 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 MusicStudy, " "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 withfamous Singers, which should have an equal aim with Talks with MasterPianists, namely, to obtain from the artists their personal ideasconcerning their art and its mastery, and, when possible, some inklingas to the methods by which they themselves have arrived at the goal. 

There have been unexpected and untold difficulties in the way of such anundertaking. The greater the artist the more numerous the body-guardwhich surrounds him--or her; the more stringent the watch over theartist's time and movements. If one is able to penetrate this barrierand is permitted to see the artist, one finds usually an affablegentleman, a charming woman, with simple manners and kindly intentions. 

However, when one is fortunate enough to come in touch with greatsingers, one finds it difficult to draw from them a definite idea of theprocess by which they have achieved victory. A pianist can describe hismanner of tone production, methods of touch, fingering, pedaling; theviolinist can discourse on the bow arm, use of left hand, on staccatoand pizzicati; but the singer is loath to describe his own instrument. And even if singers could analyze, the description might not fit anycase but their own. For the art of singing is an individual art, theperfecting an instrument hidden from sight. Each artist must achievemastery by overcoming difficulties which beset his own personal path. 

Despite these obstacles, every effort has been put forth to induceartists to speak from an educational standpoint. It is hoped the varioushints and precepts they have given, may prove of benefit to singers andteachers. Limitations of space prevent the inclusion of many otherartists and teachers. 

HARRIETTE BROWER. 

150 West 80 Street, New York City. 

CONTENTS

FOREWORD

ENRICO CARUSO ... The Value of Work

GERALDINE FARRAR ... The Will to Succeed a Compelling Force

VICTOR MAUREL ... Mind Is Everything

A VISIT TO MME. LILLI LEHMANN

AMELITA GALLI-CURCI ... Self-teaching the Great Essential

GIUSEPPE DE LUCA ... Ceaseless Effort Necessary for Artistic Perfection

LUISA TETRAZZINI ... The Coloratura Voice

ANTONIO SCOTTI ... Training American Singers for Opera

ROSA RAISA ... Patience and Perseverance Win Results

LOUISE HOMER ... The Requirements of a Musical Career

GIOVANNI MARTINELLI ... "Let Us Have Plenty of Opera in America"

ANNA CASE ... Inspired Interpretation

FLORENCE EASTON ... Problems Confronting the Young Singer

MARGUERITE D'ALVAREZ ... The Message of the Singer

MARIA BARRIENTOS ... Be Your Own Critic

CLAUDIA MUZIO ... A Child of the Opera

EDWARD JOHNSON (EDOUARDO DI GIOVANNI) ... The Evolution of an Opera Star

REINALD WERRENRATH ... Achieving Success on the Concert Stage

SOPHIE BRASLAU ... Making a Career in America

MORGAN KINGSTON ... The Spiritual Side of the Singer's Art

FRIEDA HEMPEL ... A Lesson with a Prima Donna

WITH THE MASTER TEACHERS

DAVID BISPHAM ... The Making of Artist Singers

OSCAR SAENGER ... Use of Records in Vocal Study

HERBERT WITHERSPOON ... Memory, Imagination, Analysis

YEATMAN GRIFFITH ... Causation

J. H. DUVAL ... Some Secrets of Beautiful Singing

THE CODA ... A Resumé

ILLUSTRATIONS

Enrico Caruso _Frontispiece_

Geraldine Farrar

Victor Maurel

Amelita Galli-Curci

Giuseppe de Luca

Luisa Tetrazzini

Antonio Scotti

Rosa Raisa

Louise Homer

Giovanni Martinelli

Anna Case

Florence Easton

Marguerite d'Alvarez

Maria Barrientos

Claudia Muzio

Edward Johnson

Reinald Werrenrath

Sophie Braslau

Morgan Kingston

Frieda Hempel

VOCAL MASTERY

I

=ENRICO CARUSO=

THE VALUE OF WORK

Enrico Caruso! The very name itself calls up visions of the greatestoperatic tenor of the present generation, to those who have both heardand seen him in some of his many rôles. Or, to those who have onlylistened to his records, again visions of the wonderful voice, with itspenetrating, vibrant, ringing quality, the impassioned delivery, whichstamps every note he sings with the hall mark of genius, the tremendous, unforgettable climaxes. Not to have heard Caruso sing is to have missedsomething out of life; not to have seen him act in some of his bestparts is to have missed the inspiration of great acting. As Mr. Hunekeronce wrote: "The artistic career of Caruso is as well known as that ofany great general or statesman; he is a national figure. He is a greatartist, and, what is rarer, a genuine man. "

And how we have seen his art grow and ripen, since he first began tosing for us. The date of his first appearance at the Metropolitan OperaHouse, New York, was November 23rd, 1903. Then the voice was marvelousin its freshness and beauty, but histrionic development lagged farbehind. The singer seemed unable to make us visualize the characters heendeavored to portray. It was always Caruso who sang a certain part; wecould never forget that. But constant study and experience haveeliminated even this defect, so that to-day the singer and actor arejustly balanced; both are superlatively great. Can any one who hears andsees Caruso in the rôle of Samson, listen unmoved to the throbbing wailof that glorious voice and the unutterable woe of the blind man'spoignant impersonation?

IN EARLY DAYS

Enrico Caruso was born in Naples, the youngest of nineteen children. Hisfather was an engineer and the boy was taught the trade in his father'sshop, and was expected to follow in his father's footsteps. But destinydecreed otherwise. As he himself said, to one listener:

"I had always sung as far back as I can remember, for the pure love ofit. My voice was contralto, and I sang in a church in Naples fromfourteen 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 ayoung officer of my company said to me: 'You will spoil your voice ifyou keep on singing like that'--for I suppose I was fond of shouting inthose days. 'You should learn _how_ to sing, ' he said to me; 'you muststudy. ' He introduced me to a young man who at once took an interest inme and brought me to a singing master named Vergine. I sang for him, buthe was very discouraging. His verdict was it would be hopeless to try tomake a singer out of me. As it was, I might possibly earn a few lire anight with my voice, but according to his idea I had far better stick tomy 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 tohear me again. Things went a little better with me the second time andVergine consented to teach me. 

RIGID DISCIPLINE

"And now began a period of rigid discipline. In Vergine's idea I hadbeen singing too loud; I must reverse this and sing everything softly. I felt as though in a strait-jacket; all my efforts at expression weremost carefully repressed; I was never allowed to let out my voice. Atlast came a chance to try my wings in opera, at ten lire a night($2. 00). In spite of the régime of repression to which I had beensubjected for the past three years, there were still a few traces of mynatural feeling left. The people were kind to me and I got a fewengagements. Vergine had so long trained me to sing softly, neverpermitting me to sing out, that people began to call me the BrokenTenor. 

THE FIRST REAL CHANCE

"A better chance came before long. In 1896 the Opera House in Salernodecided to produce _I Puritani_. At the last moment the tenor they hadengaged to sing the leading rôle became ill, and there was no one tosing the part. Lombardi, conductor of the orchestra, told the directorsthere was a young singer in Naples, about eighteen miles away, who heknew could help them out and sing the part. When they heard the nameCaruso, they laughed scornfully. 'What, the Broken Tenor?' they asked. But Lombardi pressed my claim, assured them I could be engaged, and nodoubt would be glad to sing for nothing. 

"So I was sent for. Lombardi talked with me awhile first. He explainedby means of several illustrations, that I must not stand cold and stiffin the middle of the stage, while I sang nice, sweet tones. No, I mustlet out my voice, I must throw myself into the part, I must be alive toit--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 howabsolutely necessary it was to act out the character I attempted. So Isang _I Puritani_, with as much success as could have been expected of ayoung singer with so little experience. Something awoke in me at thatmoment. From that night I was never called a 'Broken Tenor' again. Imade a regular engagement at two thousand lire a month. Out of this Ipaid regularly to Vergine the twenty-five per cent which he alwaysdemanded. He was somewhat reconciled to me when he saw that I had a realengagement and was making a substantial sum, though he still insistedthat I would lose my voice in a few years. But time passes and I amstill singing. 

RESULTS OF THE REVELATION

"The fact that I could secure an opera engagement made me realize I hadwithin me the making of an artist, if I would really labor for such anend. When I became thoroughly convinced of this, I was transformed froman amateur into a professional in a single day. I now began to take careof myself, learn good habits, and endeavored to cultivate my mind aswell as my voice. The conviction gradually grew upon me that if Istudied and worked, I would be able one day to sing in such a way as tosatisfy myself. "

THE VALUE OF WORK TO THE SINGER

Caruso believes in the necessity for work, and sends this message to allambitious students: "To become a singer requires work, work, and againwork! It need not be in any special corner of the earth; there is no onespot that will do more for you than other places. It doesn't matter somuch where you are, if you have intelligence and a good ear. Listen toyourself; your ear will tell you what kind of tones you are making. Ifyou will only use your own intelligence you can correct your ownfaults. "

CEASELESS STUDY

This is no idle speech, voiced to impress the reader. Caruso practiceswhat he preaches, for he is an incessant worker. Two or three hours inthe forenoon, and several more later in the day, whenever possible. Hedoes not neglect daily vocal technic, scales and exercises. There arealways many rôles to keep in rehearsal with the accompanist. He has arepertoire of seventy rôles, some of them learned in two languages. Among the parts he has prepared but has never sung are: _Othello, FraDiavolo, Eugen Onegin, Pique Dame, Falstaff_ and _Jewels of theMadonna_. 

Besides the daily review of opera rôles, Caruso examines many new songs;every day brings a generous supply. Naturally some of these find theirway into the waste basket; some are preserved for reference, while thefavored ones which are accepted must be studied for use in recital. 

I had the privilege, recently, of spending a good part of one forenoonin Mr. Caruso's private quarters at his New York Hotel, examining awhole book full of mementos of the Jubilee celebration of March, 1919, on the occasion when the great tenor completed twenty-five years ofactivity on the operatic stage. Here were gathered telegrams andcablegrams from all over the world. Many letters and cards of greetingand congratulation are preserved in this portly volume. Among them onenoticed messages from Mme. Schumann-Heink, the Flonzaley Quartet, Cleofonte Campanini and hosts of others. Here, too, is preserved theJubilee Programme booklet, also the libretto used on that gala occasion. Music lovers all over the world will echo the hope that this wonderfulvoice may be preserved for many years to come!

A LAST WORD

The above article was shown to Mr. Caruso, at his request, and I wasasked a few days later to come to him. There had been the usualrehearsal at the Opera House that day. "Ah, those rehearsals, " exclaimedthe secretary, stopping his typewriter for an instant; "no one who hasnever been through it has any idea of what a rehearsal means. " And helifted hands and eyes expressively. "Mr. Caruso rose at eight, went torehearsal 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 alounging coat of oriental silk, red bordered, and on the left handgleamed 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 itwas quite correct and had his entire approval. 

"And have you a final message to the young singers who are strugglingand 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 doubtlessrecalled 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 MetropolitanOpera House, New York) one has only to think of the void there wouldhave 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 isinconceivable! Farrar, more than any other singer, has been thetriumphant living symbol of the new day for the American artist at theMetropolitan. She paved the way. Since that night, in 1906, when herJuliette stirred the staid old house, American singers have been addedyear by year to the personnel. Among these younger singers there arethose who will admit at once that it was the success of Geraldine Farrarwhich 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 aquick response from young singers all over the country, who have beeninspired by the career of this representative artist, and by thethousands who have enjoyed her singing and her many characterizations. 

I was present on the occasion of Miss Farrar's début at the greatestopera house of her home land. I, too, was thrilled by the fresh youngvoice in the girlish and charming impersonation of Juliette. It is amatter of history that from the moment of her auspicious return toAmerica she has been constantly before the public, from the beginning toend of each operatic season. Other singers often come for part of theseason, step out and make room for others. But Miss Farrar, as well asMr. Caruso, can be depended on to remain. 

Any one who gives the question a moment's thought, knows that such acareer, carried through a score of years, means constant, unremittinglabor. There must be daily work on vocal technic; repertoire must bekept up to opera pitch, and last and perhaps most important of all, newworks must be sought, studied and assimilated. 

The singer who can accomplish these tasks will have little or no timefor society and the gay world, inasmuch as her strength must be devotedto the service of her art. She must keep healthy hours, be always readyto appear, and never disappoint her audiences. And such, according toMiss Farrar's own words is her record in the service of art. 

While zealously guarding her time from interruption from the merelycurious, Miss Farrar does not entrench herself behind insurmountablebarriers, as many singers seem to do, so that no honest seeker for herviews of study and achievement can find her. While making a rule not totry voices of the throng of young singers who would like to have herverdict on their ability and prospects, Miss Farrar is very gracious tothose who really need to see her. Again--unlike others--she will make anappointment a couple of weeks in advance, and one can rest assured shewill keep that appointment to the day and hour, in spite of manypressing calls on her attention. 

To meet and talk for an hour with an artist who has so often charmed youfrom 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'sprivate sanctum, at the top of her New York residence. Though this isher den, where she studies and works, it is a spacious parlor, where allis light, color, warmth and above all, _quiet_. A thick crimson carpethushes the footfall. A luxurious couch piled with silken cushions, andcomfortable arm chairs are all in the same warm tint; over the grandpiano is thrown a cover of red velvet, gold embroidered. Portraits ofartists and many costly trifles are scattered here and there. The younglady who acts as secretary happened to be in the room and spoke withenthusiasm of the singer's absorption in her work, her delight in it, her never failing energy and good spirits. "From the day I heard MissFarrar sing I felt drawn to her and hoped the time would come when Icould serve her in some way. I did not know then that it would be inthis way. Her example is an inspiration to all who come in touch withher. "

In a few moments Miss Farrar herself appeared, and the young girlwithdrew. 

And was this Farrar who stood before me, in the flush of vigorouswomanhood, and who welcomed me so graciously? The first impression wasone of friendliness and sincerity, which caused the artist for themoment to be forgotten in the unaffected simplicity of the woman. 

Miss Farrar settled herself comfortably among the red silk cushions andwas ready for our talk. The simplicity of manner was reflected in herwords. She did not imply--there is only one right way, and I have foundit. "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. Ihave no desire to lay down rules for others; I can only speak of my ownexperience. "

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 mywork. I have always loved to sing, as far back as I can remember. Musicmeans everything to me--it is my life. As a child and young girl, I wasthe despair of my playmates because I would not join their games; I didnot care to skate, play croquet or tennis, or such things. I neverwanted to exercise violently, and, to me, unnecessarily, because itinterfered with my singing; took energy which I thought might be betterapplied. As I grew older I did not care to keep late hours and be in anatmosphere where people smoked and perhaps drank, for these things werebad for my voice and I could not do my work next day. My time is alwaysregularly laid out. I rise at half past seven, and am ready to work atnine. I do not care to sit up late at night, either, for I think latehours react on the voice. Occasionally, if we have a few guests fordinner, I ask them, when ten thirty arrives, to stay as long as theywish and enjoy themselves, but I retire. 

TECHNICAL STUDY

"There are gifted people who may be called natural born singers. Melbais one of these. Such singers do not require much technical practice, orif they need a little of it, half an hour a day is sufficient. I am notone of those who do not need to practice. I give between one and twohours daily to vocalizes, scales and tone study. But I love it! A scaleis beautiful to me, if it is rightly sung. In fact it is not merely asuccession of notes; it represents color. I always translate sound intocolor. It is a fascinating study to make different qualities of tonalcolor in the voice. Certain rôles require an entirely different range ofcolors 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 anothertimbre 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 welearn to know the sensations produced in muscles of throat, head, face, lips and other parts of the anatomy, which vibrate in a certain mannerto correct tone production. We learn the _feeling_ of the tone. Therefore every one, no matter how advanced, requires expert advice asto the results. 

WITH LEHMANN

"I have studied for a long time with Lilli Lehmann in Berlin; in fact Imight say she is almost my only teacher, though I did have someinstruction before going to her, both in America and Paris. You see, Ialways sang, even as a very little girl. My mother has excellent tasteand knowledge in music, and finding I was in danger of straining myvoice through singing with those older than myself, she placed me with avocal 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 intensitythere is in everything she does. She used to say: 'Remember, these fourwalls which inclose you, make a very different space to fill compared toan opera house; you must take this fact into consideration and studyaccordingly. ' No one ever said a truer word. If one only studies orsings in a room or studio, one has no idea of what it means to fill atheater. It is a distinct branch of one's work to gain power and controland to adapt one's self to large spaces. One can only learn this bydoing it. 

"It is sometimes remarked by listeners at the opera, that we sing tooloud, or that we scream. They surely never think of the great size ofthe 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 thatwithin recent years the size of the orchestra has been largelyincreased, so that we are obliged to sing against this great number ofinstruments, which are making every possible kind of a noise except thatof 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 consideris to make the greatest possible effect with the least possibleexertion. 

"Lehmann is the most painstaking, devoted teacher a young singer canhave. It is proof of her excellent method and her perfect understandingof vocal mastery, that she is still able to sing in public, if not withher old-time power, yet with good tone quality. It shows what an artistshe really is. I always went over to her every summer, until the warcame. We would work together at her villa in Gruenewald, which youyourself know. Or we would go for a holiday down nearer Salzburg, andwould work there. We always worked wherever we were. 

MEMORIZING

"How do I memorize? I play the song or rôle through a number of times, concentrating on both words and music at once. I am a pianist anyway;and committing to memory is very easy for me. I was trained to learn byheart 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 songsby heart. And so I learned them quite naturally. To me singing was liketalking to people. 

CONTRASTING COLORATURA AND DRAMATIC SINGING

"You ask me to explain the difference between the coloratura and thedramatic organ. I should say it is a difference of timbre. Thecoloratura voice is bright and brilliant in its higher portion, butbecomes weaker and thinner as it descends; whereas the dramatic voicehas a thicker, richer quality all through, especially in its lowerregister. The coloratura voice will sing upper C, and it will sound veryhigh 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 yourwork and study systematically, whole-heartedly. If you do not love yourwork 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 musicrequires this. As for sacrifices, they really do not exist, if theypromote the thing you honestly love most. 

"Do not fancy you can properly prepare yourself in a short time toundertake a musical career, for the path is a long and arduous one. Youmust never stop studying, for there is always so much to learn. If Ihave sung a rôle a hundred times, I always find places that can beimproved; indeed I never sing a rôle twice exactly in the same way. So, from whatever side you consider the singer's work and career, both areof absorbing interest. 

"Another thing; do not worry, for that is bad for your voice. If youhave 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; butdon't become discouraged. Go right on! I knew a beautiful American inParis who possessed a lovely voice. But she had a very sensitive nature, which could not endure hard knocks. She began to worry over littlefailures and disappointments, with the result that in three years hervoice was quite gone. We must not give way to disappointments, butconquer them, and keep right along the path we have started on. 

MODERN MUSIC

"Modern music requires quite a different handling of the voice and makesentirely different demands upon it than does the older music. The oldItalian operas required little or no action, only beautiful singing. Theopera houses were smaller and so were the orchestras. The singer couldstand 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. Themusic is declamatory; the singer must throw his whole soul into hispart, must act as well as sing. Things are all on a larger scale. It isa far greater strain on the voice to interpret one of the modern Italianoperas than to sing one of those quietly beautiful works of the oldschool. 

"America's growth in music has been marvelous on the appreciative andinterpretive side. With such a musical awakening, we can look forward tothe appearance of great creative genius right here in this country, perhaps in the near future. Why should we not expect it? We have not yetproduced a composer who can write enduring operas or symphonies. MacDowell is our highest type as yet; but others will come who willcarry the standard higher. 

VOICE LIMITATIONS

"The singer must be willing to admit limitations of voice and style andnot attempt parts which do not come within the compass of herattainments. Neither is it wise to force the voice up or down when itseems a great effort to do so. We can all think of singers whose naturalquality is mezzo--let us say--who try to force the voice up into ahigher register. There is one artist of great dramatic gifts, who notcontent with the rich quality of her natural organ, tried to add severalhigh notes to the upper portion. The result was disastrous. Again, someof our young singers who possess beautiful, sweet voices, should notforce them to the utmost limit of power, simply to fill, or try to filla great space. The life of the voice will be impaired by such injuriouspractice. 

VOCAL MASTERY

"What do I understand by vocal mastery? It is something very difficultto define. For a thing that is mastered must be really perfect. Tomaster vocal art, the singer must have so developed his voice that it isunder complete control; then he can do with it whatsoever he wishes. Hemust 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 ownquestion:

"I can think of but two people who honestly can be said to possess vocalmastery: they are Caruso and McCormack. Those who have only heard thelatter do little Irish tunes, have no idea of what he is capable. I haveheard him sing Mozart as no one else I know of can. These two artistshave, through ceaseless application, won vocal mastery. It is somethingwe are all striving for!"

III

=VICTOR MAUREL=

MIND IS EVERYTHING

Mr. James Huneker, in one of his series of articles entitled "With theImmortals, " in the New York _World_, thus, in his inimitable waycharacterizes Victor Maurel:

"I don't suppose there is to be found in musical annals such diversityof aptitudes as that displayed by this French baritone. Is there anactor on any stage to-day who can portray both the grossness of Falstaffand the subtlety of Iago? Making allowance for the different art mediumthat the singing actor must work in, and despite the larger curves ofoperatic pose and gesture, Maurel kept astonishingly near to thecharacters he assumed. He was Shakespearian; his Falstaff was the mostwonderful I ever saw. "

[Illustration: VICTOR MAUREL]

And then Iago: "In the Maurel conception, Othello's Ancient was notpainted black in black--the heart of darkness, but with many nuances, many gradations. He was economical of gesture, playing on the jealousMoor as plays a skillfully handled bow upon a finely attuned violin. Hiswas truly an objective characterization. His Don Giovanni was broadlydesigned. He was the aristocrat to the life, courtly, brave, amorous, intriguing, cruel, superstitious and quick to take offense. In his bestestate, the drinking song was sheer virtuosity. Suffice to add thatVerdi intrusted to him the task of "originating" two such widelysundered rôles as Iago and Falstaff. An extraordinary artist!"

One evening we were discussing the merits of various famous singers ofthe past and present. My friend is an authority whose opinion I greatlyrespect. He is not only a singer himself but is rapidly becoming asinging master of renown. 

After we had conferred for a long time, my friend summed it all up withthe remark:

"You know who, in my opinion, is the greatest, the dean of them all, apast master of the art of song--Victor Maurel. "

Did I not know! In times gone by had we not discussed by the hour everyphase of Maurel's mastery of voice and action? Did we not togetherlisten to that voice and watch with breathless interest his investitureof Don Giovanni, in the golden days when Lilli Lehmann and the DeReszkes 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 tosing and act like Maurel. To this end he labored unceasingly. Secondonly to this aim was another--to know the great baritone personally, tobecome his friend, to discuss the finest issues of art with him, toconsult him and have the benefit of his experience. The consummation ofthis desire has been delayed for years, but it is one of the "allthings" which will surely come to him who waits. Maurel is now once moreon American soil, and doubtless intends remaining for a considerableperiod. My friend is also established in the metropolis. The two havemet, not only once but many times--indeed they have become fast friends. 

"I will take you to him, " promised friend Jacque, --knowing my desire tomeet the "grand old man"; "but don't ask for too many of his opinionsabout singers, as he does not care to be quoted. "

Late one afternoon we arrived at his residence. At the moment he was inhis music room, where, for the last hour he had been singing_Falstaff_! If we could only have been hidden away in some quiet cornerto listen! He came running down the stairway with almost the agility ofa boy, coming to meet us with simple dignity and courtesy. After thefirst greetings were over we begged permission to examine the manypaintings which met the eye everywhere. There was a large panel facingus, representing a tall transparent vase, holding a careless bunch ofsummer flowers, very artistically handled. Near it hung an out-of-doorsketch, a garden path leading into the green. Other bits of landscapestill-life and portraits made up the collection. They had all beenpainted by the same artist--none other than Maurel himself. As weexamined the flower panel, he came and stood by us. 

"Painting is a great art, " he said; "an art which requires profoundstudy. I have been a close student of this art for many years and loveit more and more. "

"M. Maurel aims now to express himself through the art of color andform, as he has always done through voice and gesture, " remarked myfriend. 

"Art is the highest means of expression, " went on the master, "whetherthrough music, painting, sculpture, architecture or the theater. Theeffort to express myself through another art-medium, painting, has longbeen a joy to me. I have studied with no teacher but myself, but I havelearned 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 morepaintings, many rare pieces of furniture and his piano. A fine portraitof Verdi, with an affectionate autograph, stood on a table; one ofAmbroise Thomas, likewise inscribed, hung near. "A serious man, almostaustere, " 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. Thetalk easily drifted into the subject of the modern operatic stage, andmodern operas of the Italian school, in which one is so often tempted toshout rather than sing. The hero of Mozart's Don Giovanni, who couldsing his music as perhaps no one else has ever done, would not be likelyto have much patience with the modern style of explosive vocalutterance. 

"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 exactlyhow to produce tone qualities, that if I recall those sensations whichaccompany tone production, I can induce them at will. How do we maketones, sing an aria, impersonate a rôle? Is not all done with the mind, with thought? I must think the tone before I produce it--before I singit; I must mentally visualize the character and determine how I willrepresent it, before I attempt it. I must identify myself with thecharacter I am to portray before I can make it _live_. Does not then allcome from thinking--from thought?

"Again: I can think out the character and make a mental picture of itfor myself, but how shall I project it for others to see? I have toconvince myself first that I am that character--I must identify myselfwith it; then I must convince those who hear me that I am really thatcharacter. " Maurel rose and moved to the center of the room. 

"I am to represent some character--Amonasro, let us say. I must presentthe captive King, bound with chains and brought before his captors. Imust feel with him, if I am really going to represent him. I mustbelieve myself bound and a prisoner; then I must, through pose andaction, through expression of face, gesture, voice, everything--I mustmake this character real to the audience. "

And as we looked, he assumed the pose of the man in chains, his handsseemed tied, his body bent, his expression one in which anger andrevenge mingled; in effect, he was for the moment Amonasro. 

"I have only made you see my mental concept of Amonasro. If I have oncethoroughly worked out a conception, made it my own, then it is mine. Ican create it at any moment. If I feel well and strong I can sing thepart now in the same way as I have always sung it, because my thought isthe same and thought produces. Whether I have a little more voice, orless voice, what does it matter? I can never lose my conception of acharacter, for it is in my mind, and mind projects it. So there is noreason to lose the voice, for that also is in mind and can be thoughtout at will. 

"Suppose I have an opposite character to portray, --the elegant DonGiovanni, for example"; and drawing himself up and wrapping an imaginarycloak about him, with the old well-remembered courtly gesture, his faceand manner were instantly transformed at the thought of his favoritecharacter. He turned and smiled on us, his strong features lighted, andhis whole appearance expressed the embodiment of Mozart's hero. 

"You see I must have lived, so to say, in these characters and made themmy own, or I could not recall them at a moment's notice. Allimpersonation, to be artistic, to be vital, must be a part of one'sself; one must get into the character. When I sing Iago I am no longermyself--I am another person altogether; self is quite forgotten; I amIago, for the time being. 

"In Paris, at the Sorbonne, I gave a series of lectures; the first wason this very subject, the identification of one's self with thecharacter to be portrayed. The large audience of about fifteen hundred, contained some of the most famous among artists and men of letters"; andMaurel, with hands clasped about his knee, gazed before him into space, and we knew he was picturing in mental vision, the scene at theSorbonne, which he had just recalled. 

After a moment, he resumed. "The singer, though trying to act out thecharacter he assumes, must not forget to _sing_. The combination of finesinging and fine acting is rare. Nowadays people think if they can act, that atones for inartistic singing; then they yield to the temptationto shout, to make harsh tones, simply for effect. " And the famousbaritone caricatured some of the sounds he had recently heard at anoperatic performance with such gusto, that a member of the householdcame running in from an adjoining room, thinking there must have been anaccident and the master of the house was calling for help. He hastilyassured her all was well--no one was hurt; then we all had a heartylaugh over the little incident. 

And now we begged to be allowed to visit the atelier, where theversatile artist worked out his pictures. He protested that it was indisorder, that he would not dare to take us up, and so on. After alittle he yielded to persuasion, saying, however, he would go up firstand arrange the room a little. As soon as he had left us my friendturned to me:

"What a remarkable man! So strong and vigorous, in spite of his advancedage. No doubt he travels those stairs twenty times a day. He is as alertas a young man; doubtless he still has his voice, as he says. And what acareer he has had. You know he was a friend of Edward the Seventh; theyonce lived together. Then he and Verdi were close friends; he helpedcoach singers for Verdi's operas. He says it was a wonderfulexperience, when the composer sat down at the piano, put his hands onthe 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 coupleof very dramatic scenes, especially the final scene at the close. Thisis the death scene. Maurel had sung and acted so wonderfully on acertain occasion that all the singers about him were in tears. Verdi waspresent at this performance and was deeply moved by Maurel's singing andacting. He came upon the stage when all was over, and exclaimed, in avoice trembling with emotion: 'You have created the rôle just as I wouldhave it; I shall write an opera especially _for you_!' This he did; itwas _Othello_, and the Iago was composed for Maurel. In his later years, when he seldom left his home, the aged composer several times expressedthe 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 justnow, about mental control, and the part played by mind in the singer'sstudy, equipment and career. It is a side of the question which everyyoung singer must seriously consider, first, last and always. But herehe comes. "

Again protesting about the appearance of his simple studio, the masterled the way up the stairways till we reached the top of the house, wherea north-lighted room had been turned into a painter's atelier. Withmingled 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, allsubjects alike interested the painter. A rugged bust of Verdi, over lifesize, modeled in plaster, stood in one corner. On an easel rested aspirited 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, --forArt is my religion. If people ask if I go to church, I say No, but Iworship the immortality which is within, which I feel in my soul, thereflection of the Almighty!"

In quiet mood a little later we descended the white stairway and passedalong the corridors of this house, which looks so foreign to Americaneyes, and has the atmosphere of a Paris home. 

The artist accompanied us to the street door and bade us farewell, inhis 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 liketo-day?"

IV

A VISIT TO MME. LILLI LEHMANN

A number of years before the great war, a party of us were spending afew weeks in Berlin. It was midsummer; the city, filled as it was forone of us at least, with dear memories of student days, was in mostalluring mood. Flowers bloomed along every balcony, vines festoonedthemselves from windows and doorways, as well as from many unexpectedcorners. The parks, large and small, which are the delight of a greatcity, were at their best and greenest--gay with color. Many profitablehours were spent wandering through the galleries and museums, hearingconcerts and opera, and visiting the old quarters of the city, sopicturesque and full of memories. 

Two of us, who were musicians, were anxious to meet the famous dramaticsoprano, Lilli Lehmann, who was living quietly in one of the suburbs ofthe city. Notes were exchanged, and on a certain day we were bidden tocome, out of the regular hours for visitors, by "special exception. "

How well I remember the drive through the newer residential section ofBerlin. The path before long led us through country estates, pastbeautifully kept gardens and orchards. Our destination was the littlesuburb of Gruenewald, itself like a big garden, with villas nestlingclose to each other, usually set back from the quiet, shaded streets. Some of the villas had iron gratings along the pathway, through whichone 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 toMme. Lehmann's cottage. We rang and soon a trim maid came to undo theiron gate. The few steps leading to the house door did not face us as weentered the inclosure, but led up from the side. We wanted to linger andadmire the shrubs and flowering plants, but the maid hastened before usso we had to follow. 

From the wide entrance hall doors led into rooms on either hand. We wereshown 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 toglance over this sanctum of a great artist. To say it was filled withmementos and _objets d'art_ hardly expresses the sense of repleteness. Every square foot was occupied by some treasure. Let the eye travelaround the room. At the left, as one entered the doorway, stood a finebust of the artist, chiseled in pure white marble, supported on apedestal of black marble. Then came three long, French windows, openinginto 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 writingdesk, laden with souvenirs, stood near. On the opposite side a divancovered with rich brocade; more paintings on the walls, one very largelandscape by a celebrated German painter. 

Before we could note further details, Mme. Lehmann stood in the doorway, then came forward and greeted us cordially. 

How often I had seen her impersonate her great rôles, both in Germanyand America. They were always of some queenly character. Could it bepossible this was the famous Lehmann, this simple housewife, in blackskirt and white blouse, with a little apron as badge of home keeping. But there was the stately tread, the grand manner, the gracefulmovement. What mattered if the silver hair were drawn back severely fromthe 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. Manyyoung singers, from everywhere, were anxious to have expert judgment ontheir progress or attainments, so Lehmann was often appealed to and gavefrequent auditions of this kind. The fee was considerable, but she neverkept a penny of it for herself; it all went to one of her favoritecharities. The young girl who on this day presented herself for theordeal was an American, who, it seemed, had not carried her studies veryfar. 

EXAMINING A PUPIL

Mme. Lehmann seated herself at the piano and asked for scales andvocalizes. The young girl, either from fright or poor training, did notmake a very fortunate impression. She could not seem to bring out asingle 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 aroundon the stool and said to us, in German:

"The girl cannot sing--she has little or no voice to begin with, and hasnot been rightly trained. " Then to the young girl she said, kindly, inEnglish:

"My dear young lady, you have almost everything to learn about singing, for as yet you cannot even sing one tone correctly; you cannot evenspeak correctly. First of all you need physical development; you mustbroaden your chest through breathing exercises; you are too thinchested. You must become physically stronger if you ever hope to singacceptably. Then you must study diction and languages. This isabsolutely necessary for the singer. Above all you must know how topronounce and sing in your own language. So many do not think itnecessary to study their own language; they think they know thatalready; but one's mother tongue requires study as well as any otherlanguage. 

"The trouble with American girls is they are always in a hurry. They arenot content to sit down quietly and study till they have developedthemselves into something before they ever think of coming to Europe. They think if they can just come over here and sing for an artist, thatfact alone will give them prestige in America. But that gives them quitethe opposite reputation over here. American girls are too often lookedupon as superficial, because they come over here quite unprepared. I sayto all of them, as I say to you: Go home and study; there are plenty ofgood 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 areprepared. "

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 thedoor with us, followed us down the steps into the front garden, and heldthe gate open for us, when we finally left. We had already expressed thehope that she might be able to return to America, at no very distantday, and repeat her former triumphs there. Her fine face lighted at thethought, and her last words to us were, as she held open the little ironwicket. "I have a great desire to go to your country again; perhaps, ina year or two--who knows--I may be able to do it. "

She stood there, a noble, commanding figure, framed in the green of hergarden, and waved her handkerchief, till our cab turned a corner, andshe 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, ofhearing her sing. 

It was the occasion of the Mozart Festival in Salzburg. It is well knownthat Lehmann, devoted as she has always been to the genius of Mozart, and one of the greatest interpreters of his music, had thrown her wholeenergy into the founding of a suitable memorial to the master in hisnative city. This memorial was to consist of a large music school, aconcert 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 toattend the Festival, which lasted as usual five days. The concerts wereheld in the Aula Academica, a fine Saal in the old picturesque quarterof the city. 

At the opening concert, Lehmann sang a long, difficult Concert Aria ofMozart. We could not help wondering, before she began, how time hadtreated this great organ; whether we should be able to recognize thefamous Lehmann who had formerly taken such high rank as singer andinterpreter in America. We need not have feared that the voice hadbecome impaired. Or, if it had been, it had become rejuvenated on thisoccasion. Mme. Lehmann sang with all her well-remembered power andfervor, all her exaltation of spirit, and of course she had a greatovation at the close. She looked like a queen in ivory satin and rareold lace, with jewels on neck, arms and in her silver hair. In theauditorium, three arm chairs had been placed in front of the platform. The Arch-duke, Prince Eugen, the royal patron of the Festival, occupiedone. When Madame Lehmann had finished her Aria, she stepped down fromthe platform. The Prince rose at once and went to meet her. She gave himher hand with a graceful curtesy and he led her to the armchair next hisown, 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 dayshe was present at the morning concert. This time she was gowned inblack, with an ermine cape thrown over her shoulders. The Arch-duke satbeside her in the arm chair, as he had done the evening before. We had abow and smile as she passed down the aisle. 

We trust the Mozarteum in Salzburg, for which Mme. Lehmann has laboredwith 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 arecognized authority, and many artists now actively before the public, have come from under her capable hands. Her book, "How toSing, "--rendered in English by Richard Aldrich--(Macmillan) hasillumined the path, for many a serious student who seeks light on thatstrange, wonderful, hidden instrument--the voice. Madame Lehmann, bymeans of many explanations and numerous plates, endeavors to make clearto the young student how to begin and how to proceed in her vocalstudies. 

BREATHING

On the important subject of breathing she says: "No one can singwithout preparing for it mentally and physically. It is not enough tosing well, one must know how one does it. I practice many breathingexercises without using tone. Breath becomes voice through effort ofwill and by use of vocal organs. When singing emit the smallest quantityof breath. Vocal chords are breath regulators; relieve them of alloverwork. 

"At the start a young voice should be taught to begin in the middle andwork both ways--that is, up and down. A tone should never be forced. Begin piano, make a long crescendo and return to piano. Another exerciseemploys two connecting half tones, using one or two vowels. Duringpractice stand before a mirror, that one may see what one is doing. Practice about one hour daily. Better that amount each day than tenhours one day and none the next. The test will be; do you feel restedand ready for work each morning? If not you have done too much the daybefore. "

REGISTERS

In regard to registers Madame Lehmann has this to say: "In the formationof the voice no registers should exist or be created. As long as theword is kept in use, registers will not disappear. "

PHYSIOLOGY

In spite of the fact there are many drawings and plates illustrating thevarious organs of head and throat which are used in singing, MadameLehmann says:

"The singer is often worried about questions of physiology, whereas sheneed--must--know little about it. 

THE NASAL QUALITY

"The singer must have some nasal quality, otherwise the voice soundscolorless and expressionless. We must sing toward the nose: (notnecessarily through the nose). 

"For many ills of the voice and tone production, I use long, slowscales. They are an infallible cure. 

USE OF THE LIPS

"The lips play a large part in producing variety of tone quality. Eachvowel, every word can be colored, as by magic, by well controlled playof the lips. When lips are stiff and unresponsive, the singing iscolorless. 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 likehorses without tails. For velocity, practice figures of five, six, sevenand 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 ofself-discipline and hard work. This is the testimony of all the greatvocalists of our time--of any time. This is the message they send backfrom the mountain top of victory to the younger ones who are striving toacquire the mastery they have achieved. Work, work and again--work! Andif you have gained even a slight foothold on the hill of fame, then workto keep your place. Above all, be not satisfied with your presentprogress, --strive for more perfection. There are heights you have notgained--higher up! There are joys for you--higher up, if you will butlabor 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 ofwork, and surely not one who more consistently practices what shepreaches, than Amelita Galli-Curci. She knows the value of work, and sheloves it for its own sake. There is no long cessation for her, duringsummer months, "to rest her voice. " There is no half-day seclusion aftera performance, to recover from the fatigue of singing a rôle the nightbefore. No, for her this event does not spell exhaustion but happiness, exhilaration. It is a pleasure to sing because it is not wearisome--itis a part of herself. And she enjoys the doing! Thus it happens that themorning after a performance, she is up and abroad betimes, ready toattend personally to the many calls upon her time and attention. She canuse her speaking voice without fear, because she has never done anythingto strain it; she is usually strong and well, buoyant and bright. Thosesoft, dark eyes are wells of intelligent thinking; the mouth smilesengagingly 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, brightspirit; 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 airwas keen. "I love to go shopping, " she explained, "so I always do itmyself. "

She bade me sit beside her on a comfortable divan, and at once began tospeak of the things I most wished to hear. 

"I am often asked, " she began, "to describe how I create this or thateffect, how I produce such and such tones, how I make the voice float tothe farthest corner, and so on. I answer, that is my secret. In realityit is no secret at all, at least not to any one who has solved theproblem. Any one possessing a voice and intelligence, can acquire thesethings, who knows how to go to work to get them. But if one has nonotion of the process, no amount of mere talking will make it plain. Singing an opera rôle seems such an easy thing from the other side ofthe footlights. People seem to think, if you only know how to sing, itis perfectly natural and easy for you to impersonate a great lyric rôle. And the more mastery you have, the easier they think it is to do it. Thereal truth of the matter is that it requires years and years ofstudy--constant study, to learn how to sing, before attempting a bigpart in opera. 

"There are so many organs of the body that are concerned in the processof breathing and tone production; and most of these organs must be, ifnot always, yet much of the time, relaxed and in an easy pliablecondition 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. Ifyou can manage that, you have the secret. But no human being can tellyou exactly how to do it. Some singers before the public to-day have nonotion of how to manage this portion of their anatomy. Others may do sooccasionally, but it may only be by accident. They sometimes stumbleupon the principle, but not understanding how they did so, they cannotreproduce the desired effects at will. The singer who understands herbusiness must know just how she produces tones and vocal effects. Shecan then do them at all times, under adverse circumstances, even whennervous, or not in the mood, or indisposed. 

SELF-STUDY

"How did I learn to know these things? By constant study, by constantlistening--for I have very keen ears--by learning the sensationsproduced in throat and larynx when I made tones that were correctlyplaced, were pleasing and at the same time made the effects I wasseeking. 

"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-doparents, I studied piano at the Royal Conservatory there, and alsomusical theory and counterpoint. I shall ever be grateful I started inthis way, with a thorough musical foundation, for it has always been ofgreat advantage to me in further study. When my father met withreverses, I made good use of my pianistic training by giving pianolessons and making a very fair income for a young girl. 

"But I longed to sing! Is it not the birthright of every Italian to havea voice? I began to realize I had a voice which might be cultivated. Ihad always sung a little--every one does; song is the natural, spontaneous expression of our people. But I wished to do more--toexpress myself in song. So I began to teach myself by singing scales andvocalizes between my piano lessons. Meanwhile I studied all the books onsinging I could lay hands on, and then tried to put the principles Ilearned in this way in practice. In trying to do this I had to find outeverything for myself. And that is why I know them! I know exactly whatI am about when I sing, I know what muscles are being used, and in whatcondition they ought to be; what parts of the anatomy are called intoaction and why. Nature has given me two great gifts, a voice and goodhealth; for both these gifts I am deeply grateful. The first I havedeveloped through arduous toil; the second I endeavor to preservethrough careful living, regular hours and plenty of exercise in thefresh air. I have developed the voice and trained it in the way thatseemed to me best for it. There are as many kinds of voices as there arepersons; it seems to me each voice should be treated in the way bestsuited to its possessor. How can any other person tell you how thatshould be done?" And the singer gave me a bright look, and made a prettydeprecating gesture. "You yourself must have the intelligence tounderstand your own case and learn how to treat it. 

NEVER STRAIN THE VOICE

"A singer who would keep her voice in the best condition, shouldconstantly and reasonably exercise it. I always do a half hour or so ofexercises, vocalizes and scales every morning; these are neverneglected. But I never do anything to strain the voice in any way. Weare told many fallacies by vocal teachers. One is that the diaphragmmust be held firmly in order to give support to the tone. It seems to methis is a serious mistake. I keep the diaphragm relaxed. Thus toneproduction, in my case, is made at all times with ease; there is neverany strain. You ask if it is not very fatiguing to sing against a largeorchestra, as we have to, and with a temperamental conductor, likeMarinuzzi, for instance, I do not find it so; there is a pure, cleartone, which by its quality, placement and ease of production, will carryfarther than mere power ever can. It can be heard above a greatorchestra, and it _gets over_. 

USE OF THE VOWELS

"Young singers ask me what vowels to use in vocal practice. In my ownstudy I use them all. Of course some are more valuable than others. TheO 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 theAh is most difficult; for if you overdo it and the lips are too wideapart, the result is a white tone. And on the other hand, if the lipsare nearer--or too near together, or are not managed rightly, stiffnessor a throaty quality is apt to result; then the tone cannot 'float. ' Ihave found the best way is to use the mixed vowels, one melting into theother. The tone can be started with each vowel in turn, and then mingledwith the rest of the vowels. Do you know, the feathered songster I lovebest--the nightingale--uses the mixed vowels too. Ah, how much I havelearned from him and from other birds also! Some of them have harshtones--real quacks--because they open their bills too far, or in aspecial way. But the nightingale has such a lovely dark tone, a 'coveredtone, ' which goes to the heart. It has the most exquisite quality in theworld. I have learned much from the birds, about what not to do and whatto do. 

MEMORIZING

"In taking up a new rôle I begin with the story, the libretto, so I mayfirst learn what it is about, its meaning and psychology. I take it tobed with me, or have it by me if lying down, because I understandmusical composition and can get a clear idea of the composer's meaningwithout going to the instrument. After a short time I begin to work itout at the piano, in detail, words and music together. For a great rôlelike the _Somnambula_ or _Traviata_, I must spend three or four years, perhaps more, in preparation, before bringing it to public performance. It takes a long time to master thoroughly an operatic rôle, to work itout from all sides, the singing, the acting, the characterization. Tothe lay mind, if you can sing, you can easily act a part and alsomemorize it. They little know the labor which must be bestowed on thatsame rôle before it can be presented in such a shape as to be adequate, in a way that will get it across. It does not go in a few weeks or evenmonths; it is the work of years. And even then it is never reallyfinished, for it can always be improved with more study, with more careand thought. 

THE NECESSITY FOR LANGUAGES

"We hear much about need for study of languages by the singer, andindeed too much stress cannot be placed on this branch of the work. Irealize that in America it is perhaps more difficult to impress peoplewith this necessity, as they have not the same need to use otherlanguages in every day life. The singer can always be consideredfortunate who has been brought up from earliest years to more than onelanguage. My mother was Spanish, my father Italian, so this gave meboth languages at home. Then in school I learned French, German andEnglish, not only a little smattering of each, but how to write andspeak them. "

"You certainly have mastered English remarkably well, " I could not helpremarking, for she was speaking with great fluency, and with hardly anyaccent. This seemed to please her, for she gave me one of those flashingsmiles. 

COLORATURA AND DRAMATIC

"Would you be pleased, " I asked, "if later on your voice should developinto a dramatic soprano?"

Mme. Galli-Curci thought an instant. 

"No, " she said, "I think I would rather keep the voice I have. Iheartily admire the dramatic voice and the rôles it can sing. Raisa'svoice is for me the most beautiful I know. But after all I think, formyself, I prefer the lyric and coloratura parts, they are so beautiful. The old Italian composers knew well how to write for the voice. Theirmusic has beauty, it has melody, and melodic beauty will always make itsappeal. And the older Italian music is built up not only of melody andfioriture, but is also dramatic. For these qualities can combine, anddo so in the last act of _Traviata_, which is so full of deep feelingand 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, whatevery singer endeavors to perfect, what every artist should master. Itis an almost endless study and an individual one, because each organismand mentality is different. Here, as in everything else, perfect easeand naturalness are to be maintained, if the divine song which is thesinger's concept of beauty, is to be 'floated on the breath, ' and itsmerest 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 ofthe Breath. To these might be added a fourth; Mixed Vowels. 

"But when all these are mastered, what then? Ah, so much more it cannever be put into words. It is self-expression through the medium oftone, for tone must always be a vital part of the singer'sindividuality, colored by feeling and emotion. Tone is the outlet, theexpression of all one has felt, suffered and enjoyed. To perfect one'sown instrument, one's medium of expression, must always be the singer'sjoy 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 thisyear. 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 verywords themselves call up all kinds of enchanting pictures. Sunny Italyis the natural home of beautiful voices: they are her birthright. Herblue sky, flowers and olive trees--her old palaces, hoary with age andromantic story, her fountains and marbles, her wonderful treasures ofart, set her in a world apart, in the popular mind. Everything comingfrom Italy has the right to be romantic and artistic. If it happens tobe 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 thesequalifications, Mr. De Luca, baritone of the Metropolitan Opera House, New York, can do so. Gifted with a naturally fine organ, he hascultivated it arduously and to excellent purpose. He began to study inearly youth, became a student of Saint Cecilia in Rome when fifteenyears of age, and made his début at about twenty. He has sung in operaever 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 ofhim that he earned "this success by earnest and intelligent work. Painstaking to a degree, there is no detail of his art that he neglectsor slights--so that one hesitates to decide whether he is greater as asinger or as an actor. " Perhaps, however, his most important quality ishis mastery of "_bel canto_"--pure singing--that art which seems tobecome constantly rarer on the operatic and concert stage. 

"De Luca does such beautiful, finished work; every detail is carefullythought out until it is as perfect as can be. " So remarked a member ofthe Metropolitan, and a fellow artist. 

Those who have listened to the Roman baritone in the various rôles hehas 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 shouldnecessity 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 morethan twenty years, will surely have much to tell which can help thosewho are farther down the line. If he is willing to do so, can speak thevernacular, and can spare a brief hour from the rush of constant studyand engagement, a conference will be possible. It was possible, for timewas made for it. 

THE MUSICAL GIFT

Mr. De Luca, who speaks the English language remarkably well, greetedthe writer with easy courtesy. His genial manner makes one feel at homeimmediately. Although he had just come from the Opera House, where hehad sung an important rôle, he seemed as fresh and rested as thoughnothing had happened. 

"I think the ability to act, and also, in a measure, to sing, is agift, " began the artist. "I remember, even as a little child, I wasalways acting out in pantomime or mimicry what I had seen and felt. If Iwas 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 youngestyears I always wanted to sing and act. 

A REMARKABLE TEACHER

"As early as I could, at about the age of fifteen, I began to studysinging, with a most excellent teacher; who was none other than SignorWenceslao Persischini, who is now no longer living. He trained no fewerthan seventy-four artists, of which I was the last. Battestini, thatwonderful singer, whose voice to-day, at the age of sixty-five, is asremarkable as ever, is one of his pupils. We know that if a vocalteacher sings himself, and has faults, his pupils are bound to copythose faults instinctively and unconsciously. With Persischini thiscould not be the case; for, owing to some throat trouble, he was notable to sing at all. He could only whisper the tones he wanted, accompanying them with signs and facial grimaces. " And Mr. De Lucaillustrated these points in most amusing fashion. Then he continued:

"But he had unerring judgment, together with the finest ear. He knewperfectly how the tone should be sung and the student was obliged to doit exactly right and must keep at it till it was right. He would letnothing faulty pass without correction. I also had lessons in actingfrom Madame Marini, a very good teacher of the art. 

THE ARTIST LIFE

"After five years of hard study I made my début at Piacenza, asValentine, in _Faust_, November 6th, 1897. Then, you may remember, Icame to the Metropolitan in the season of 1915-1916, where I have beensinging 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. Ithink I have never disappointed an audience and have always been in goodvoice. It seems to me when one is no longer able to do one's best it istime to stop singing. "

"It is because you study constantly and systematically that you arealways 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. Somesingers do not see the necessity of doing exercises every day; I am notone of those. I always sing my scales, first with full power, thentaking each tone softly, swelling to full strength, then dying away--inmezza voce. I use many other exercises also--employing full power. English is also one of the daily studies, with lessons three times aweek. 

CONSTANTLY ON THE WATCH

"When singing a rôle, I am always listening--watching--to be consciousof just what I am doing. I am always criticizing myself. If a tone or aphrase does not sound quite correct to me as to placement, orproduction, I try to correct the fault at once. I can tell just how I amsinging a tone or phrase by the feeling and sensation. Of course Icannot hear the full effect; no singer ever can actually hear the effectof his work, except on the records. There he can learn, for the firsttime, just how his voice sounds. 

LEARNING A NEW RÔLE

"How do I begin a new part? I first read over the words and try to get ageneral idea of their meaning, and how I would express the ideas. I tryover the arias and get an idea of those. Then comes the real work--thememorizing and working out the conception. I first commit the words, andknow 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 inthe 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 rôlesin review, especially at the Metropolitan, where the operas are changedfrom day to day. Of course at performance the prompter is always thereto give the cue--yet the words must always be in mind. I have never yetforgotten a word or phrase. On one occasion--it was in the _Damnation ofFaust_, a part I had already sung a number of times--I thought of a wordthat was coming, and seemed utterly unable to remember it. I grew quitecold with fear--I am inclined to be a little nervous anyway--but it wasquite impossible to think of the word. Luckily at the moment when Ineeded 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 publicappearance. There is so much responsibility--one must always be atone's best; and the responsibility increases as one advances, and beginsto realize more and more keenly how much is expected and what depends onone's efforts. I can assure you we all feel this, from the least to thegreatest. The most famous singers perhaps suffer most keenly. 

"I have always sung in Italian opera, in which the language is easy forme. Latterly I have added French operas to my list. _Samson andDelilah_, which I had always done in Italian, I had to relearn inFrench; this for me was very difficult. I worked a long time on it, butmastered it at last. 

"This is my twenty-second season in opera. I have a repertoire of aboutone hundred and twenty rôles, in most of which I have sung many times inItaly. Some I wish might be brought out at the Metropolitan. Verdi's_Don Carlos_, for instance, has a beautiful baritone part; it is reallyone of the fine operas, though it might be considered a bitold-fashioned to-day. Still I think it would be a success here. I ampreparing several new parts for this season; one of them is theTschaikowsky work--_Eugene Onegin_. So you see I am constantly at work. 

"My favorite operas? I think they are these"; and Mr. De Luca hastilyjotted 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 hisresidence in America, his answer was emphatically in the affirmative. 

"The other evening I attended a reception of representative Americansociety, among whom were many frequenters of the Metropolitan. Many ofthem spoke to me of the opera _Marouf_. I was surprised, for this modernFrench 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 specialfavorites. 

"In the summer! Ah, I go back to my beloved Italy almost as soon as theMetropolitan season closes. I could sing in Buenos Aires, as the seasonthere follows the one here. But I prefer to rest the whole time until Ireturn. I feel the singer needs a period of rest each year. To show youhow necessary it is for the singer to do daily work on the voice, Ialmost feel I cannot sing at all during the summer, as I do nopracticing, and without vocalizes one cannot keep in trim. If I am askedto 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 getthe 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 coloraturasinging that we have at the present time. Her phenomenal successes invarious quarters of the globe, where she has been heard in both operaand concert, are well known, and form pages of musical history, full ofinterest. This remarkable voice, of exquisite quality and development, is another proof that we have as beautiful voices to-day, if we will butrealize the fact, as were ever known or heard of in the days of famousItalian songsters. 

[Illustration: LOUISA TETRAZZINI]

Portraits often belie the artist, by accentuating, unduly, someindividuality of face or figure, and Tetrazzini is no exception. Fromher pictures one would expect to find one of the imperious, dominatingorder of prima donnas of the old school. When I met the diva, I was atonce struck by the simplicity of her appearance and attire. There wasnothing pompous about her; she did not carry herself with the air ofone conscious of possessing something admired and sought after by allthe world, something which set her on a high pedestal apart from othersingers. Not at all. I saw a little lady of plump, comfortable figure, aface which beamed with kindliness and good humor, a mouth wreathed withsmiles. Her manner and speech were equally simple and cordial, so thatthe visitor was put at ease at once, and felt she had known the greatsinger for years. 

Before the conference could begin a pretty episode happened, whichshowed the human side of the singer's character, and gave a glimpse intoher every day life. Mme. Tetrazzini was a little late for herappointment, as she had been out on a shopping expedition, an occupationwhich she greatly enjoys. Awaiting her return was a group ofphotographers, who had arranged their apparatus, mirrors and flash-lightscreen, 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 obedientlygave herself into the hands of the picture makers. 

"Ah, you wish to make me beautiful, " she exclaimed, with her prettyaccent; "I am not beautiful, but you may try to make me look so. " Withpatience she assumed the required poses, put her head on this side orthat, drew her furs closer about her or allowed them to fall away fromthe white throat, with its single string of pearls. The onlookersuggested she be snapped with a little black "Pom, " who had found hisway into the room and was now an interested spectator, on his vantageground, a big sofa. So little "Joy" was gathered up and held inaffectionate, motherly arms, close against his mistress' face. It wasall very human and natural, and gave another side to the singer'scharacter from the side she shows to the public. 

At last the ordeal was over, and Madame was free to leave her post andsit in one of the arm chairs, where she could be a little morecomfortable. The secretary was also near, to be appealed to when shecould not make herself intelligible in English. "My English is verybad, " she protested; "I have not the time now to learn it properly; thatis why I speak it so very bad. In the summer, or next year, I willreally learn it. Now, what is it I can tell you? I am ready. "

FOR THE DÉBUTANTE

To ask such a natural born singer how she studies and works, is likeasking the fish swimming about in the ocean, to tell you where is thesea! She could not tell you how she does it. Singing is as the breath oflife 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 tomake a career?"

"Ah, yes, the débutante. Tell her she must practice much--very much--"and Madame spread out her hands to indicate it was a large subject; "shemust practice several hours every day. I had to practice very much whenI began my study--when I was sixteen; but now I do not have to spendmuch time on scales and exercises; they pretty well go of themselves";and she smiled sweetly. 

"You say, " she continued, "the débutante--the young singer--does notknow--in America--how much she needs the foreign languages. But sheshould learn them. She should study French, Italian and Spanish, andknow how to speak them. Because, if she should travel to thosecountries, she must make herself understood, and she must be able tosing 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 sheshould know it a little; yet it is better to know more of the piano--itwill 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 forthat--I know all the old Italian operas. For the coloratura music youmust make the voice sound high and sweet--like a bird--singing andsoaring. You think my voice sounds something like Patti's? Maybe. Shesaid so herself. Ah, Patti was my dear friend--my very dear friend--Iloved her dearly. She only sang the coloratura music, though she lovedWagner and dramatic music. Not long before she died she said to me:'Luisa, always keep to the coloratura music, and the beautiful _belcanto_ singing; do nothing to strain your voice; preserve its velvetyquality. ' Patti's voice went to C sharp, in later years; mine hasseveral tones higher. In the great aria in Lucia, she used to substitutea trill at the end instead of the top notes; but she said tome--'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 fromhere, you know--what you call it--from the diaphragm, and from bothsides; it is like a bellows, going in and out, " and she touched theportions referred to. "One does not sing from the chest, --that wouldmake queer, harsh tones. " She sang a few tones just to show how harshthey would be. 

"You have shown such wonderful breath control in the way you sustainhigh 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 apause; "I love my coloratura music, and I think my audience likes ittoo; it goes to the heart--it is all melody, and that is what peoplelike. I sing lyric music also--I am fond of that. "

"Yes, and you sing songs in English, with such good diction, that wecan all understand you--almost every word. "

Madame beamed. 

"I promise you I will learn English better next year; for I shall comeback to my friends in America next autumn. I shall be in Italy in thesummer. I have two homes over there, one in Italy and one inSwitzerland. 

"Do I prefer to sing in opera or concert, you ask? I believe I likeconcert much better, for many reasons. I get nearer to the audience; Iam freer--much freer, and can be myself and not some other person. Thereis 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 toCalifornia and back--I find your people have advanced so very much inappreciation of music; you know so much more than when I was herebefore; that was indeed a long time ago--about twelve years, --" andMadame made a pretty little gesture. 

"But in one way your great big country has scarcely advanced any if atall; you have not advanced in providing opera for your music lovers. Youneed permanent opera companies in all the larger cities. The operacompanies of New York and Chicago are fine, oh yes, --but they cannotgive opera to the whole country. There are a few traveling companiestoo, which are good. But what are they in your big country? You shouldhave opera stock companies all over, which would give opera for thepeople. Then your fine American girls would have the chance to gainoperatic experience in their own country, which they cannot get now. That is why the foreign singer has such a chance here, and that is whythe native singer can hardly get a chance. All the American girls' eyesturn with longing to the Metropolitan Opera House; and with the bestintentions in the world the Director can only engage a small number ofthose he would like to have, because he has no room for them. He can nothelp it. So I say, that while your people have grown so much in theliking 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 toget the practice in opera they are unable to get at home. You need to domore for the permanent establishing of opera in the large and smallcities of your country. "

Madame did not express her thoughts quite as consecutively as I have setthem down, but I am sure she will approve, as these are her ideas ofthe musical situation in this country. 

As I listened to the words of this "second Patti, " as she is called, andlearned of her kindly deeds, I was as much impressed by her kindness ofheart as I had been by her beautiful art of song. She does much torelieve poverty and suffering wherever she finds it. As a result of her"vocal mastery, " she has been able to found a hospital in Italy forvictims of tuberculosis, which accommodates between three and fourhundred patients. The whole institution is maintained from her ownprivate income. During the war she generously gave of her time and artto sing for the soldiers and aided the cause of the Allies and the RedCross whenever possible. For her labors of love in this direction, shehas the distinction of being decorated by a special gold medal of honor, by both the French and Italian Governments; a distinction only conferredon two others beside herself. 

After our conference, I thanked her for giving me an hour from hercrowded 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 partingsqueeze. 

VIII

=ANTONIO SCOTTI=

TRAINING AMERICAN SINGERS FOR OPERA

A singer of finished art and ripe experience is Antonio Scotti. Hisoperatic career has been rich in development, and he stands to-day atthe top of the ladder, as one of the most admired dramatic baritones ofour time. 

One of Naples' sons, he made a first appearance on the stage at Malta, in 1889. Successful engagements in Milan, Rome, Madrid, Russia andBuenos Aires followed. In 1899 he came to London, singing _Don Giovanni_at Covent Garden. A few months thereafter, he came to New York and beganhis first season at the Metropolitan. His vocal and histrionic gifts woninstant recognition here and for the past twenty years he has been oneof the most dependable artists of each regular season. 

CHARACTERIZATION

[Illustration: [handwritten note] To Miss Harriette Brower Cordially AScotti New York 1920]

With all his varied endowments, it seldom or never falls to the lot of abaritone to impersonate the lover; on the contrary it seems to be hismétier to portray the villain. Scotti has been forced to hide his truepersonality behind the mask of a Scarpia, a Tonio, an Iago, and last butnot 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 whata Scarpia, the quintessence of the polished, elegant knave! Therefinement of Mr. Scotti's art gives to each rôle distinctcharacteristics 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, bynot only drilling the inexperienced ones, but also by giving themopportunity to appear in opera on tour. To begin this enterprise, thegreat baritone turned impresario, engaged a company of young singers, most of them Americans, and, when his season at the Metropolitan was atan 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-Americancompany, which was indeed an experiment. I had some fine artists in theprincipal rôles, with lesser known ones in smaller parts. With these Iworked personally, teaching them how to act, thus preparing them forfurther career in the field of opera. I like to work with the youngerand less experienced ones, for it gives me real pleasure to watch howthey improve, when they have the opportunity. 

"Of course I am obliged to choose my material carefully, for many moreapply for places than I can ever accept. 

ITALIAN OPERA IN AMERICA

"So closely is Italy identified with all that pertains to opera, " hecontinued, "that the question of the future of Italian opera in Americainterests me immensely. It has been my privilege to devote some of thebest years of my life to singing in Italian opera in this wonderfulcountry of yours. One is continually impressed with the great advanceAmerica 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 inEurope and other parts of the world, who have never been here, can formno conception of the musical activities here. 

"It is very gratifying to me, as an Italian, to realize that theoperatic compositions of my country must play an important part in thefuture of American musical art. It seems to me there is more intrinsicvalue--more variety in the works of modern Italian composers than inthose of other nations. We know the operas of Mozart are largely foundedon Italian models. 

"Of the great modern Italian composers, I feel that Puccini is the mostimportant, because he has a more intimate appreciation of theatricalvalues. He seems to know just what kind of music will fit a series ofwords or a scene, which will best bring out the dramatic sense. Montemezzi is also very great in this respect. This in no way detractsfrom what Mascagni, Leoncavallo and others have accomplished. It is onlymy personal estimate of Puccini as a composer. The two most popularoperas to-day are _Aïda_ and _Madame Butterfly_, and they will alwaysdraw large audiences, although American people are prone to attend theopera for the purpose of hearing some particular singer and not for thesake of the work of the composer. In other countries this is not sooften the case. We must hope this condition will be overcome in duetime, for the reason that it now often happens that good performancesare missed by the public who are only attracted when some much heraldedcelebrity sings. "

AMERICAN COMPOSERS

Asked for his views regarding American operatic composers, Mr. Scottisaid:

"American composers often spoil their chances of success by selectinguninteresting and uninspired stories, which either describe some dolefulhistoric incident or illustrate some Indian legend, in which no one ofto-day is interested, and which is so far removed from actual life thatit becomes at once artificial, academic and preposterous. Puccini spendsyears searching for suitable librettos, as great composers have alwaysdone. 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 wonderhe has success. In writing modern music dramas, as all young Americansendeavor to do, they will never be successful unless they are careful topick out really dramatic stories to set to music. "

OPERATIC TRAINING

On a certain occasion I had an opportunity to confer with this popularbaritone, and learn more in regard to his experiences as impresario. This meeting was held in the little back office of the Metropolitan, atiny spot, which should be--and doubtless is--dear to every member ofthe company. Those four walls, if they would speak, could tell manyinteresting stories of singers and musicians, famed in the world of artand letters, who daily pass through its doors, or sit chatting on itsworn leather-covered benches, exchanging views on this performance orthat, or on the desirability or difficulty of certain rôles. Even whilewe were in earnest conference, Director Gatti-Casazza passed through theroom, stopping long enough to say a pleasant word and offer a clasp ofthe hand. Mr. Guard, too, flitted by in haste, but had time to give afriendly greeting. 

Mr. Scotti was in genial mood and spoke with enthusiasm of hisactivities with a favorite project--his own opera company. To thequestion as to whether he found young American singers in too greathaste 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, youngAmerican singers have a good foundation to build upon. They have goodvoices 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 routineand a knowledge of acting. This, as I have said before, I try to givethem. I do not give lessons in singing to these young aspirants, as Imight in this way gain the enmity of vocal teachers; but I help theuntried singers to act their parts. Of course all depends on thementality--how long a process of training the singer needs. Thecoloratura requires more time to perfect this manner of singing thanothers need; but some are much quicker at it than others. 

"It is well I am blessed with good health, as my task is extremelyarduous. When on tour, I sing every night, besides constantly rehearsingmy company. We are ninety in all, including our orchestra. It is indeeda great undertaking. I do not do it for money, for I make nothingpersonally out of it, and you can imagine how heavy the expenses are;four thousand dollars a week, merely for transportation. But I do it forthe sake of art, and to spread the love of modern Italian opera overthis great, wonderful country, the greatest country for music thatexists to-day. And the plan succeeds far beyond my hopes; for where wegave one performance in a place, we now, on our second visit, can givethree--four. Next year we shall go to California. 

"So we are doing our part, both to aid the young singer who sorely needsexperience and to educate the masses and general public to love what isbest 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 acompelling force. In whatever rôle she appears, she is always acommanding figure, both physically, dramatically and musically. Herfeeling for dramatic climax, the intensity with which she projects eachcharacter assumed, the sincerity and self forgetfulness of hernaturalistic interpretation, make every rôle notable. Her voice is arich, powerful soprano, vibrantly sweet when at its softest--like arushing torrent of passion in intense moments. At such moments thelistener is impressed with the belief that power and depth of tone arelimitless; 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 oftragic intensity, in her impersonation of the heroine in _Jewels of theMadonna_, in _Sister Angelica_, in _Norma_, as the avenging priestess, in which rôle she has recently created such a remarkable impression. 

[Illustration: Rosa Raisa]

A PRIMA DONNA AT HOME

If one has pictured to one's self that because the Russian prima donnacan show herself a whirlwind of dynamic passion on the stage, thereforeshe must show some of these qualities in private life, one would quicklybecome disabused of such an impression when face to face with theartist. One would then meet a slender, graceful young woman, of gentlepresence and with the simplest manners in the world. The dark, liquideyes look at one with frankness and sincerity; the wide, low brow, fromwhich the dark hair is softly drawn away, is the brow of a madonna. Inrepose 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 togreet us as we were shown the way to her. Her figure, clad inclose-fitting black velvet, looked especially slender; her manner waskind and gracious, and we were soon seated in her large, comfortablesalon, deep in conference. Before we had really begun, the singer's petdog came bounding to greet us from another room. The tiny creature, aMexican terrier, was most affectionate, yet very gentle withal, andcontent to quietly cuddle down and listen to the conversation. 

"I will speak somewhat softly, " began Mme. Raisa, "since speaking seemsto tire me much more than singing, for what reason I do not know. Wesingers must think a little of our physical well being, you see. Thismeans keeping regular hours, living very simply and taking a moderateamount of exercise. 

"Yes, I always loved to sing; even as a little child I was constantlysinging. And so I began to have singing lessons when I was eight yearsold. 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 therewas Madame Marchesio, who was a remarkable singer, musician andteacher--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. Iowe so much to her careful, artistic training; almost everything, I maysay. 

THE SINGER'S LIFE

"One cannot expect to succeed in the profession of music without givingone's best time and thought to the work of vocal training and all theother subjects that go with it. A man in business gives his day, or themost of it, to his office. My time is devoted to my art, and indeed Ihave 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 thevarious rôles in review. During the summer I study new parts, for then Ihave the time and the quiet. That is what the singer needs--quiet. Ialways return to Naples for the vacation, unless I go to South Americaand sing there. Then I must have a little rest too, that I may be readyfor 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, andlong, slow tones in _mezza di voce_, that is, beginning softly, swellingto loud then gradually diminishing to soft, are part of the dailyrégime. One cannot omit these things if one would always keep incondition and readiness. When at work in daily study, I sing softly, orwith 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 oldItalian operas of Bellini, Rosini, Donizetti and the rest of the floridItalian school. This gives the singer a thorough, solid training--thesort of training that requires eight or ten years to accomplish. Butthis is not too much time to give, if one wishes to be thoroughlyprepared to sing all styles of music. In former days, when singersrealized the necessity of being prepared in this way, there existed Imight say--_one voice;_ for the soprano voice was trained to sing bothflorid and dramatic music. But in these days sopranos are divided intoHigh, Lyric, Coloratura and Dramatic; singers choose which of theselines 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. Inthe 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 anactress just as well as a singer. She must be able to express in bothvoice and gesture intense passion and emotion. It is the period of stormand stress. Coloratura voices have not so much opportunity at thepresent time, unless they are quite out of the ordinary. And yet, forme, a singer who has mastery of the beautiful art of _bel canto, _ is agreat joy. Galli-Curci's art is the highest I know of. For me she is thegreatest singer. Melba also is wonderful. I have heard her often--shehas been very kind to me. When I hear her sing an old Italian air, withthose pure, bell-like tones of hers, I am lifted far up; I feel myselfabove the sky. 

DO NOT YIELD TO DISCOURAGEMENT

"The younger singer need not yield to discouragement, for she must knowfrom the start, that the mastery of a great art like singing is a longand arduous task. If the work seems too difficult at times, do not giveup or say 'I cannot. ' If I had done that, I should have really given upmany 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 singingitself"; and Mme. Raisa lifted dark eyes and spread out her gracefulhands as though to indicate the bigness of the subject. "Yes, there isthe piano, for instance; the singer is much handicapped without aknowledge of that instrument, for it not only provides accompaniment butcultivates the musical sense. Of course I have learned the piano and Iconsider it necessary for the singer. 

"Then there are languages. Be not content with your own, though thatlanguage 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 Iam Russian; then French, Italian, German, Spanish, Polish, Roumanian andEnglish. Besides these I am familiar with a few dialects. 

HAVE PATIENCE

"So many young singers are so impatient; they want to prepare themselvesin three or four years for a career, " and Madame frowned herdisapproval. "Perhaps they may come before the public after that lengthof time spent in study; but they will only know a part--a little of allthey ought to know. With a longer time, conscientiously used, they wouldbe far better equipped. The singer who spends nine or ten years inpreparation, who is trained to sing florid parts as well as those whichare dramatic--she indeed can sing anything, the music of the old schoolas well as of the new. In Rome I gave a recital of old music, assistedby members of the Sistine Chapel choir. We gave much old music, some ofit dating from the sixth century. 

"Do I always feel the emotions I express when singing a rôle? Yes, I cansay that I endeavor to throw myself absolutely into the part I amportraying; but that I always do so with equal success cannot beexpected. So many unforeseen occurrences may interfere, which theaudience 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 theaudience is unsympathetic. But if all is propitious and the audiencewith you--then you are lifted up and carry every one with you. Then youare inspired and petty annoyances are quite forgotten. 

VOCAL MASTERY

"You ask a very difficult question when you ask of what vocal masteryconsists. If I have developed perfect control throughout the two and ahalf octaves of my voice, can make each tone with pure quality andperfect evenness in the different degrees of loud and soft, and if Ihave perfect breath control as well, I then have an equipment that mayserve all purposes of interpretation. 

"Together with vocal mastery must go the art of interpretation, in whichall the mastery of the vocal equipment may find expression. In order tointerpret 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 isdesired. "

"Have you a message which may be carried to the young singers?" she wasasked. 

"Tell them to have patience--patience to work and patience to wait forresults. 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 sureto come!"

X

=LOUISE HOMER=

THE REQUIREMENTS OF A MUSICAL CAREER

Madame Louise Homer is a native artist to whom every loyal American canpoint with pardonable pride. Her career has been a constant, steadyascent, from the start; it is a career so well known in America thatthere is hardly any need to review it, except as she herself refers toit on the rare occasions when she is induced to speak of herself. ForMme. Homer is one of the most modest artists in the world; nothing ismore distasteful to her than to seek for publicity through ordinarychannels. So averse is she to any self-seeking that it was withconsiderable hesitation that she consented to express her views to thewriter, on the singer's art. As Mr. Sidney Homer, the well knowncomposer and husband of Mme. Homer, remarked, the writer should prizethis intimate talk, as it was the first Mme. Homer had granted in a verylong time. 

[Illustration: LOUISE HOMER]

The artist had lately returned from a long trip, crowded with manyconcerts, when I called at the New York residence of this ideal musicalpair and their charming family. Mme. Homer was at home and sent downword she would see me shortly. In the few moments of waiting, I seemedto feel the genial atmosphere of this home, its quiet and cheer. Adistant tinkle of girlish laughter was borne to me once or twice; then aphrase or two sung by a rich, vibrant voice above; then in a momentafter, 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 cheeksand the firm whiteness of neck and arms. The Japanese robe of "midnightblue, " embroidered in yellows, heightened the impression of vigoroushealth 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 theprofession, " began Mme. Homer, in response to my first query. "First, she must have a voice, there is no use attempting a career without thevoice; there must be something to develop, something worth while tobuild upon. And if she has the voice and the means to study, she mustmake up her mind to devote herself exclusively to her art; there is noother way to succeed. She cannot enter society, go to luncheons, dinnersand out in the evening, and at the same time accomplish much in the wayof musical development. Many girls think, if they attend two or threevoice lessons a week and learn some songs and a few operatic arias, thatis all there is to it. But there is far more. They must know many otherthings. The vocal student should study piano and languages; these arereally essential. Not that she should strive to become a pianist; thatwould not be possible if she is destined to become a singer; but themore she knows of the piano and its literature, the more this willcultivate her musical sense and develop her taste. 

HOW AN ARTIST WORKS

"I am always studying, always striving to improve what I have alreadylearned and trying to acquire the things I find difficult, or that Ihave not yet attained to. I do vocal technic every day; this isabsolutely essential, while one is in the harness. It is during thewinter that I work so industriously, both on technic and repertoire, between tours. This is when I study. I believe in resting the voice partof the year, and I take this rest in the summer. Then, for a time, I donot sing at all. I try to forget there is such a thing as music in theworld, 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 forcomposition. 

"Since the voice is such an intangible instrument, the singer needsregular guidance and criticism, no matter how advanced she may be. Asyou say, it is difficult for the singer to determine the full effect ofher work; she often thinks it much better than it really is. That ishuman 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 toolong. 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 busywith our musical work. My voice was said to be 'glorious, ' but it was acumbersome, unwieldy organ. I could only sing up to F; there were somany things I wanted to do with my voice that seemed impossible, that Irealized I needed more training. I could have remained where I was; thechurch people were quite satisfied, and I sang in concert wheneveropportunity offered. But something within urged me on. We decided totake a year off and spend it in study abroad. Paris was then the Meccafor singers and to Paris we went. I plunged at once into absorbingstudy; daily lessons in voice training and repertoire; languages, andFrench diction, several times a week, and soon acting was added, forevery one said my voice was for the theater. I had no idea, when Istarted out, that I should go into opera. I had always loved to sing, asfar back as I can remember. My father was a Presbyterian clergyman, andwhen we needed new hymn books for church or Sunday School, they used tocome to our house. I would get hold of every hymn book I could find andlearn the music. So I was always singing; but an operatic career neverentered my thought, until the prospect seemed to unfold before me, as aresult of my arduous study in Paris. Of course I began to learnimportant arias from the operas. Every contralto aspires to sing thegrand air from the last act of _Le Prophete;_ you know it of course. Itold my teacher I could never do it, as it demanded higher tones than Ihad acquired, going up to C. He assured me it would be perfectly easy ina little while, if I would spend a few moments daily on those highnotes. His prediction was correct, for in a few months I had no troublewith the top notes. 

"I studied stage deportment and acting from one of the greatest singingactors of the French stage, Paul Lherie. What an artist he was! Sosubtle, so penetrating, so comprehensive. The principles he taught are aconstant help to me now, and his remarks often come back to me as Istudy a new rôle. 

"As I say, I studied this line of work, not knowing what would grow outof it; I did it on faith, hoping that it might prove useful. "

"It seems to me, " remarked the composer, "that young singers would dowell to make a study of acting, along with languages and piano. Then, ifthe voice developed and an operatic career opened to them, they would beso much better prepared; they would have made a start in the rightdirection; 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 startthat 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 instore. Then I got my first opera engagement, quite unexpectedly. I wassinging for some professional friends in a large _saale_. I noticed aman standing with his back to me, looking out of one of the longwindows. When I finished, he came forward and offered me an engagementat Vichy, for the summer season. The name Vichy only suggested to mymind a kind of beverage. Now I learned the town had a flourishing OperaHouse, and I was expected to sing eight rôles. Thus my stage careerbegan. "

WHAT ARE THE ASSETS FOR A CAREER?

"And what must the girl possess, who wishes to make a success with hersinging?" was asked. 

"First of all, as I have already said, she must have a voice; she cannever expect to get very far without that. Voice is a necessity for asinger, but it rests with her what she will do with it, how she willdevelop it. 

"The next asset is intelligence; that is as great a necessity as avoice. 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 youngsinger with a good natural voice, who takes her tones correctly, whostudies well; indeed one can find no fault with the technical side ofher work; but her singing has no meaning--it says absolutely nothing; itonly represents just so many notes. "

"That is because she has not a musical nature, " put in Mr. Homer. "To mymind that is the greatest asset any one can have who wishes to become amusician in any branch of the art. What can be done without a musicalnature? Of course I speak of the young singer who wishes to make acareer. There are many young people who take up singing for their ownpleasure, never expecting to do much with it. And it is a good thing todo so. It gives pleasure to their family and friends--is a healthfulexercise, and last but not least, is financially good for the teacherthey employ. 

"But the trouble comes when these superficial students aspire to becomeopera singers, after a couple of seasons' study. Of course they all casteyes 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 leadhim to the White House, or that he expects it will, " said Mr. Homer. 

"Then, " resumed the artist, "we have already three requirements for avocal career; Voice, Intelligence and a Musical Nature. I think theFourth should be a Capacity for Work. Without application, the gifts ofvoice, intelligence and a musical nature will not make an artist. Toaccomplish this task requires ceaseless labor, without yielding todiscouragement. Perhaps the Fifth asset would be a cheerful optimism asproof against discouragement. 

"That is the last thing the student should yield to--discouragement, forthis has stunted or impaired the growth of many singers possessed ofnatural talent. The young singer must never be down-hearted. Supposethings do not go as she would like to have them; she must learn toovercome obstacles, not be overcome by them. She must have backboneenough to stand up under disappointments; they are the test of hermettle, of her worthiness to enter the circle with those who haveovercome. For she can be sure that none of us have risen to a place inart without the hardest kind of work, struggle and the conquering of allsorts of difficulties. 

"The sixth asset ought to be Patience, for she will need that in largemeasure. 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, thatanything worth while is accomplished. It is a work that cannot behurried. I repeat it; the student must have unlimited patience to laborand wait for results. 

COLORATURA AND DRAMATIC

"I would advise every student to study coloratura first. Then, as thevoice broadens, deepens and takes on a richer timbre, it will turnnaturally to the more dramatic expression. The voice needs thisbackground, or foundation in the old Italian music, in order to acquireflexibility and freedom. I was not trained to follow this plan myself, but my daughter Louise, who is just starting out in her public career, has been brought up to this idea, which seems to me the best. 

MEMORIZING

"I memorize very easily, learning both words and music at the same time. In taking up a new rôle, my accompanist plays it for me and we go overit carefully noting all there is in language and notes. When I can takeit to bed with me, and go over it mentally; when I can go through it asI walk along the street, then it has become a part of me; then I canfeel I know it. "

"Mme. Homer holds the banner at the Metropolitan, for rapid memorizing, "said her husband. "On one occasion, when _Das Rheingold_ was announcedfor an evening performance, the Fricka was suddenly indisposed andunable to appear. Early in the afternoon, the Director came to Mme. Homer, begging her to do the part, as otherwise he would be forced toclose the house that night. A singer had tried all forenoon to learn therôle, but had now given it up as impossible. Mme. Homer consented. Shestarted in at three o'clock and worked till six, went on in the evening, sang the part without rehearsal, and acquitted herself with credit. Thisrecord has never been surpassed at the Metropolitan. " "I knew the otherFrickas of the Ring, " said Madame, "but had never learned the one in the_Rheingold_; it is full of short phrases and difficult to remember, butI came through all right. I may add, as you ask, that perhaps _Orfeo_ ismy favorite rôle, one of the most beautiful works we have. "

VOCAL MASTERY

"What do I understand by Vocal Mastery? The words explain themselves. The singer must master all difficulties of technic, of tone production, so as to be able to express the thought of the composer, and the meaningof 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 heardMartinelli. We were traveling in Italy that summer, and had arrived inVerona rather late in the afternoon. The city seemed full of people, with many strangers, and we could not at first secure accommodations atthe hotel. Inquiring the cause, the answer was: 'Does not the signerknow that to-day is one holiday, and to-night, in the Amphitheater, _Aïda_ will be sung, under the stars. ' We finally secured rooms, and ofcourse heard the opera that night. Young Martinelli was the Rhadames, and I shall never forget how splendidly his voice rang out over thosevast spaces of the Arena. It was a most unusual experience to hear thatmusic 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 leadingtenors at the Metropolitan Opera House, New York, has warmly entrenchedhimself 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 thanvoice; we demand histrionic ability also. We want singing actors as wellas great singers. 

Mr. Martinelli is the possessor of a beautiful voice and, moreover, is afine actor and an excellent musician. He was, first of all, aclarinetist before he became a singer, and so well did he play hischosen instrument that his services were in great demand in his hometown in Italy. Then it was discovered he had a voice and he was told hecould make a far greater success with that voice than he ever couldplaying the clarinet. He set to work at once to cultivate the voice inserious earnest and under good instruction. After a considerable timedevoted to study, he made his début in Milan, in Verdi's _Ernani_. Hissuccess 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 thecity's life--Broadway. From the many sun-flooded windows magnificentviews of avenue, river and sky are visible, while at night theelectrical glamour that meets the eye is fairy-like. It is a sightlyspot and must remind the singer of his own sun lighted atmosphere athome. 

The visitor was welcomed with simple courtesy by a kindly, unaffectedgentleman, who insists he cannot speak "your English, " but who, in spiteof this assertion, succeeds in making himself excellently wellunderstood. One feels his is a mentality that will labor for an objectand will attain it through force of effort. There is determination inthe firm mouth, which smiles so pleasantly when speaking; the thoughtfulbrow and serious eyes add their share to the forceful personality. TheTitian-tinted hair indicates, it is said, a birthplace in northernItaly. This is quite true in the case of Mr. Martinelli, as he comesfrom a village not far from Padua and but fifty miles from Venice--thelittle town of Montagnana. 

DAILY STUDY

"You ask about my daily routine of study. In the morning I practiceexercises and vocalizes for one hour. These put the voice in goodcondition, tune up the vocal chords and oil up the mechanism, so tospeak. After this I work on repertoire for another hour. I alwayspractice with full voice, as with half voice I would not derive thebenefit I need. At rehearsals I use half voice, but not when I study. Inthe afternoon I work another hour, this time with my accompanist; for Ido not play the piano myself, only just enough to assist the voice witha few chords. This régime gives me three hours' regular study, whichseems to me quite sufficient. The voice is not like the fingers of apianist, for they can be used without limit. If we would keep the voiceat 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 hisown salvation. A great teacher--one who understands his own voice andcan sing as well as teach--may tell how he does things, may explain howhe treats the voice, may demonstrate to the student his manner ofexecuting a certain phrase or passage, or of interpreting a song. Butwhen this is done he can do little more for the student, for each personhas a different mentality and a different quality of voice--indeedthere are as many qualities of voice as there are people. After generalprinciples are thoroughly understood, a singer must work them outaccording to his own ability. This does not mean that he cannot beguided and helped by the greater experience of a master higher up, whocan always criticize the _result_ of what the student is trying to do. The voice is a hidden instrument, and eventually its fate must rest withits possessor. 

A NEW RÔLE

"When I take up a new part I read the book very carefully to get athorough idea of the story, the plot and the characters. Then comes thestudy of my own part, of which I memorize the words first of all. Assoon as the words are committed I begin on the music. When these areboth well in hand, work with the accompanist follows. 

"I have many tenor rôles in my repertoire and am working on others. Ifyou ask for my favorite opera, or operas, I would answer, as mostItalians would do, that I enjoy singing the music of Verdi more thanthat of any composer. I love his _Aïda_ perhaps best of all. _Ernani_ isa beautiful opera, but maybe would be thought too old-fashioned for NewYork. I sing various rôles in French as well as Italian--_Faust, SansGene_, and many more. In Italy we know Wagner very well--_Lohengrin, Tannhauser, Tristan_ and _Meistersinger_, --but of course they are alwayssung in Italian. 

OPERA IN EVERY CITY

"The Metropolitan is one of the greatest opera houses in the world--butit is only _one_. You have a wonderful country, yet most of its citiesmust do without opera. Do not forget that in Italy every city and townhas 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 beso great or high-salaried, but the people are being educated to know andlove the best opera music. Performances are given Wednesdays andThursdays, 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 agreat love for good music in the smaller cities and towns where peoplehear so little, and so seldom this kind of music. You do so much formusic in every other style, but not for opera. Of course I must exceptthe half dozen cities large enough and rich enough to be favored with aseason of extended operatic performances; these are the real musiccenters of your country. 

"I will show you what we do for opera in Italy. Here is an Italianmusical journal, which I have just received. " Mr. Martinelli took up asingle-sheet newspaper which lay upon his desk. "You will find all thelarge cities and most of the small ones reported here. Accordingly, accounts are given of what works are being performed, what artists aresinging and where, and how long each season will last. Thus we canglance over the whole field and keep in touch with every singer. Naturally, the time and length of the seasons of performance differwidely in the different places. Thus a singer of reputation can makeengagements in various places, then go from one town to another in acomplete tour, without conflicting. 

"I have had the pleasure of singing a number of seasons at theMetropolitan. During the summer I do not always go back to Italy whenthe season is over here; last year I sang in Buenos Aires. This keepsme at work the whole year. Buenos Aires is a beautiful city, and remindsone 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 corridorby Mr. Martinelli, a small chariot was encountered, crammed with dollsand toys, the whole belonging to little Miss Martinelli, aged elevenmonths. 

"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. "Butwho 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 littleState of New Jersey, and received her entire vocal training right herein New York City, of a single teacher. No running about from oneinstructor to another, "getting points" from each, for this singer. Sheknew from the first moment that she had found the right teacher, one whounderstood 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, oneshould have the good sense and loyalty to stick to that person. This isexactly what Miss Case has done, for along with other gifts she has thebest gift of all--common sense. "Mme. Ostrom-Renard has been my onlyteacher, " she says; "whatever I am or have accomplished I owe entirelyto her. She has done everything for me; I feel she is the most wonderfulteacher in the world. "

[Illustration: ANNA CASE]

A life of constant travel and almost daily concerts and recitals, liesbefore Miss Case from early in the Autumn to the end of Spring, with buta few breathing places here and there, between the tours, when shereturns home to rest up. 

During one of these oases it was a pleasant experience to meet and talkwith the charming young singer, in her cozy New York apartment. She hadjust come in from a six weeks' trip, which had included concerts inTexas and Mexico, where the usual success had attended her everywhere. 

It must surely give a sense of relief to know that the quiet home isawaiting one's return; that there are to be found one's favorite books, music, piano, the silken divan, soft lights, pictures, --all the familiarcomforts one is deprived of on the road. 

The visitor, coming in from the biting winds without, was impressed withthe comfort and warmth of the small salon, as the mistress of itentered. Clad in soft draperies of dull blue, which but thinly veiledthe white arms and fell away from the rounded throat, Miss Case was justas beautiful to look upon as when she stands in bewildering evening gownbefore a rapt audience. And, what is much more to the point, she is athoroughly sensible, sincere American girl, with no frills and nononsense about her. 

After greetings were over, the singer settled herself among the silkencushions of her divan ready for our talk. 

"I believe I always wanted to sing, rather than do anything else in theway of music. I studied the piano a little at first, but that did notexactly appeal to me. I also began the violin, because my father is fondof that instrument and wanted me to play it. But the violin was not justwhat I wanted either, for all the time I longed to sing. Singing is sucha part of one's very self; I wanted to express myself through it. I hadno idea, when I started, that I should ever make a specialty of it, orthat, in a comparatively few years I should be singing all over thecountry. I did not know what was before me, I only wanted to learn tosing. 

"Now I cannot tell just how I do the different things one must do tosing correctly. I know that, if I have to master some subject, I justsit down and work at that thing till I can do it--till it is done. Myteacher knows every organ in the anatomy, and can describe the muscles, bones and ligaments found in the head, face and throat. She can make adiagram of the whole or any part. Not that such knowledge is going tomake 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 lowerdown: for the middle and higher tones, you feel the vibrations in facialmuscles and about the eyes, always focused forward, just at the base ofthe forehead, between the eyes. It is something very difficult to putinto words; the sensations have to be experienced, when making thetones. The singer must judge so much from sensation, for she cannot verywell hear herself. I do not really hear myself; I mean by this I cannottell 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 tosing when not physically fit. One must be in good condition to makegood tones; they will not be clear and perfect if one is not strong andin good health. I can really study, yet not sing at all. For the wholework is mental anyway. 

USING FULL VOICE

"When I work on the interpretation of a song, in the quiet of my musicroom here, I try to sing it just as I would before an audience; I havenot two ways of doing it, one way for a small room and another for alarge one. If your tone placement is correct, and you are making theright effects, they will carry equally in a large space. At least thisis my experience. But, " she added, smiling, "you may find other artistswho would not agree to this, who would think quite differently. Each onemust see things her own way; and singing is such an individual thingafter all. 

THE SUBJECT OF INTERPRETATION

"The interpretation of a rôle, or song, is everything--of course. Whatare mere notes and signs compared to the thoughts expressed throughthem? Yet it is evident there are people who don't agree to this, forone hears many singers who never seem to look deeper than the printedpage. They stand up and go through their songs, but the audiencesremain cold; they are not touched. The audiences are blamed for theirapathy or indifference, but how can they be warmed when the singer doesnot kindle them into life?

"To me there is a wonderful bond of sympathy between the audience andmyself. I feel the people, in a sense, belong to me--are part of myfamily. To them I pour out all my feelings--my whole soul. All thesorrow of the sad songs, all the joy of the gay ones, they share withme. In this spirit I come before them; they feel this, I am sure. Itawakens a response at once, and this always inspires me. I put myself ina receptive mood; it has the desired effect; my interpretation becomesinspired 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 themusic, they were the cause of its being. I cannot imagine, when oncewords have been joined to music, how other words can be put to the samemusic, without destroying the whole idea. The words must be made plainto the audience. Every syllable should be intelligible, and understoodby the listener. I feel diction is so absolutely essential. How can asinger 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 toEnglish songs but to those in French as well. In an audience there willbe many who understand French. Shall the singer imagine she canpronounce a foreign tongue in any old way, and it will go--in thesedays? No, she must be equally careful about all diction and see that itis as nearly perfect as she can make it; that it is so correct thatanybody can understand every word. When she can do this, she has gone along 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, whichmust animate the song and carry it home to the listener. It touchesthe heart, because it comes from one's very inmost being. I am acreature of mood. I cannot sing unless I feel like it. I must beinspired in order to give an interpretation that shall be worthanything. 

GROWTH OF APPRECIATION

"In traveling over the country, I have found such wonderful musicalgrowth, and it seems to increase each year. Even in little places thepeople show such appreciation for what is good. And I only give themgood music--the best songs, both classical and modern. Nothing but thebest would interest me. In my recent trip, down in Mexico and Oklahoma, there are everywhere large halls, and people come from all the countryround to attend a concert. Men who look as though they had driven agrocery wagon, or like occupation, sit and listen so attentively andwith such evident enjoyment. I am sure the circulation of the phonographrecords has much to do with America's present wonderful advancement inmusical understanding. "

Just here a large cat slipped through the doorway; such a beautifulcreature, with long gray and white fur and big blue eyes. 

"It is a real chinchilla, of high degree, " said Miss Case, caressing herpet. "I call her Fochette. I am so fond of all animals, especially dogsand 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 gofrom one place to another. I think there is a reason why foreign singersare apt to be rather stout; they are not worn out by traveling greatdistances, as cities are so much nearer together than over here!" AndMiss Case smiled in amusement. "But, in spite of all discomforts oftransportation and so on, the joy of bringing a message to a waitingaudience is worth all it costs. I often think, if one could just fly toChicago or Philadelphia, for instance, sing one's program and returnjust as quickly, without all these hours of surface travel, howdelightful it would be! I had a wonderful experience in an airplane lastsummer. Flying has the most salutary effect on the voice. After sailingthrough the air for awhile, you feel as though you could sing anythingand everything, the exhilaration is so great. One takes in such aquantity of pure air that the lungs feel perfectly clear and free. Onecan 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 asinger?"

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 whereher art is known, Florence Easton, after ten years of activity in themusic centers of Europe, is now making her home in America. Mme. Eastonis a singer whose attitude towards music is one of deepest sincerity. Noone could witness her beautiful, sympathetic investiture of the SaintElizabeth, of Liszt, or some of her other important rôles, without beingimpressed with this complete, earnest sincerity. It shines out of herearnest eyes and frank smile, as she greets the visitor; it vibrates inthe tones of her voice as she speaks. What can even a whole hour's talkreveal of the deep undercurrents of an artist's thought? Yet in sixtyminutes many helpful things may be said, and Mme. Easton, always seriousin every artistic thing she undertakes, will wish the educational sideof our talk to be uppermost. 

THE YOUNG SINGER

"I have a deep sympathy for the American girl who honestly wishes tocultivate her voice. Of course, in the first place, she must have avoice to start with; there is no use trying to train something whichdoesn't exist. Given the voice and a love for music, it is stilldifficult to tell another how to begin. Each singer who has risen, whohas found herself, knows by what path she climbed, but the path shefound might not do for another. 

"There are quantities of girls in America with good voices, good looksand 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 ofa teacher. For a teacher may be excellent for one voice but not foranother. 

THE STUDIO VERSUS THE CONCERT ROOM

[Illustration: FLORENCE EASTON]

"The American girl, trained in the studio, has little idea of what itmeans to sing in a large hall or opera house. In the small room hervoice sounds very pretty, and she can make a number of nice effects; shemay also have a delicate pianissimo. These things are mostly lost whenshe 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 youngsingers could only have a chance to try their wings frequently in largehalls, it would be of the greatest benefit. If they could sing to apublic who only paid a nominal sum and did not expect great things; apublic who would come for the sake of the music they were to hear, because they wanted the enjoyment and refreshment of it, not for thesake of some singers with big names, they would judge the young aspirantimpersonally, 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 toooften tell her how wonderful she is. This is a hindrance instead of ahelp. She should always have some one who will criticize her honestly. The singer cannot really hear herself, that is, not until she is welladvanced in her work. Therefore she should always have the guidance of ateacher. I never think of giving a program without going through it forcriticism. The office of critic is a very difficult one, especially ifyou are to criticize some one you are fond of. Mr. Maclennan and I tryto do it for each other. I assure you it is no easy task to sing aprogram knowing some one is listening who will not spare you, and willtell you all your faults. I know this is all very salutary, but it ishuman nature to wish to hear one's good points rather than the poorones. I sometimes say: 'Do tell me the good things I did. ' But he sayshe does not need to speak of those; I only need to know my faults inorder 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 alittle more pronounced next time. And so it goes on, until before youknow it you have acquired a definite habit, which the critics will calla mannerism and advise you to get rid of. So the artist has to beconstantly 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 teachingof breath control. For myself, I stand at the open window, for oneshould always breathe pure air, and I inhale and exhale slowly, anumber of times, till I feel my lungs are thoroughly clear and filledwith fresh air. Then I frequently sing tones directly after these longinhalations. A one-octave scale, sung slowly in one breath, or at mostin two, is an excellent exercise. You remember Lilli Lehmann's talksabout the 'long scale'? But the way in which she uses it perhaps no onebut a Lehmann could imitate. What a wonderful woman she was--and is! Shehas such a remarkable physique, and can endure any amount of effort andfatigue. Every singer who hopes to make a success in any branch of themusical profession, should look after the physical side, and see that itis cared for and developed. 

"STUDY THE PIANO!"

"If a girl is fond of music, let her first of all study the piano, for aknowledge of the piano and its music is really at the bottom ofeverything. If I have a word of advice to mothers, it should be: 'Letyour child study the piano. ' All children should have this opportunity, whether they greatly desire it or not. The child who early begins tostudy the piano, will often--almost unconsciously--follow the melodyshe plays with her voice. Thus the love of song is awakened in her, anda little later it is discovered she has a voice that is worthcultivating. How many of our great singers began their musical studiesfirst at the piano. 

"On the other hand, the girl with a voice, who has never worked at thepiano, is greatly handicapped from the start, when she begins her vocalstudies. As she knows nothing of the piano, everything has to be playedfor her, --she can never be independent of the accompanist; she loseshalf 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 earlierstages of study, one should use full voice, for half voice might resultin very faulty tone production. The advanced singer, who has passed theexperimental stage can do many things the novice may not attempt, andthis is one of them. 

IN REGARD TO MEMORIZING

"Here again my particular method of work can hardly be of value toothers, as I memorize with great rapidity. It is no effort for me; Iseem to be able to visualize the whole part. Music has always been veryeasy to remember and with sufficient concentration I can soon make thewords my own. I always concentrate deeply on what I am doing. Lately Iwas asked to prepare a leading rôle in one of the season's new operas, to replace a singer at short notice, should this be necessary. I did soand accomplished the task in four days. Mr. Caruso laughingly remarked Imust have a camera in my head. I know my own parts, both voice andaccompaniment. In learning a song, I commit both voice and words at thesame time. 

FEELING DEEPLY DURING PERFORMANCE

"I feel the meaning of the music, the tragedy or comedy, the sadness orgayety of it each time I perform it, but not, as a rule, to the extentof being entirely worn out with emotion. It depends, however, on theoccasion. If you are singing in a foreign language, which the audiencedoes not understand, you make every effort to 'put it over, ' to makethem see what you are trying to tell them. You strive to make the songintelligible in some way. You may add facial expression and gesture, more than you would otherwise do. All this is more wearing because ofthe effort involved. 

LANGUAGE

"This brings us to another point, the study of languages. The Italiansings nearly all his rôles in his own tongue, with a few learned inFrench. With the Frenchman, it is the same: he sings in his own tongueand learns some parts in Italian. But we poor Americans are forced tolearn our parts in all three languages. This, of itself, greatly adds toour difficulties. We complain that the American sings his own languageso 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 heattempts it, more intelligible than we do, because he takes extra careto do so. The duty is laid upon Americans to study other languages, ifthey expect to sing. I know how often this study is neglected by thestudent. It is another phase of that haste to make one's way which ischaracteristic of the young student and singer. 

"Take, for example, the girl in the small town, who is trying to dosomething with her voice. She believes if she can get to New York, orsome other music center, and have six months' lessons with some wellknown teacher, she will emerge a singer. She comes and finds livingexpenses so great that only one lesson a week with the professor ispossible. There is no chance for language or diction study, or pianolessons; yet all these she ought to have. And one vocal lesson a week isentirely inadequate. The old way of having daily lessons was far moresuccessful. The present way vocal teachers give lessons is not conduciveto the best development. The pupils come in a hurry, one after another, to get their fifteen or twenty minutes of instruction. Yet one cannotblame the teacher for he must live. 

THE IDEAL WAY

"The ideal way is to have several lessons a week, and not to take themin such haste. If the pupil arrives, and finds, on first essay, that hervoice is not in the best of trim, how much better to be able to wait abit, and try again; it might then be all right. But, as I said, undermodern conditions, this course seems not to be possible, for the teachermust live. If only vocal lessons could be free, at least to thetalented ones! It seems sad that a gifted girl must pay to learn tosing, 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 havethis 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 twoperiods of fifteen or twenty minutes each. At most one should not usethe voice more than an hour a day. We hear of people practicing hoursand hours daily, but that is probably in books. The voice cannot betreated as the pianist or violinist does his fingers. One must handlethe voice with much more care. 

OPPORTUNITIES FOR THE YOUNG SINGER IN AMERICA

"The chances for the American singer to make a career in concert andrecital are abundant. In no other country in the world do suchopportunities exist. If she can meet the requirements, she can win bothfame and fortune on the concert stage. 

"In opera, on the other hand, opportunities are few and the outlookanything but hopeful. Every young singer casts longing eyes at theMetropolitan, or Chicago Opera, as the goal of all ambition. But that isthe most hopeless notion of all. No matter how beautiful the voice, itis drill, routine, experience one needs. Without these, plus musicalreputation, how is one to succeed in one of the two opera houses of theland? And even if one is accepted 'for small parts, ' what hope is thereof rising, when some of the greatest artists of the world hold theleading rôles? What the American singer needs is opportunity to gainexperience and reputation in smaller places. Several years' drill androutine would fit the aspirant for a much broader field. This would giveher command over her resources and herself, and perfect her voice andimpersonations, if she has the gifts and constantly studies to improvethem. Even England, so small compared to America, has seven operacompanies that travel up and down the land, giving opera; they have donethis during all the years of the war. 

"This question of providing opportunity for operatic experience inAmerica, is one which has long been discussed and many experiments havebeen tried, without arriving at satisfactory results. What is needed isto awaken interest in opera in small places--just little out-of-the-waytowns. My idea would be to have a regular stock local opera company, andhave the standard operas studied. Have a little orchestra of abouttwenty and a small chorus. The small parts to be learned by the mostcompetent singers in the place. Then have the few principal rôles takenby 'guest artists, ' who might make these engagements in regular routeand succession. It seems to me such a plan could be carried out, andwhat a joy it would be to any small community! But people must graduallyawake 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 figurestanding alone among the palms, pouring out her voice in song; a voiceat once vibrant, appealing, powerful, filled now with sweeping passion, again with melting tenderness; such was the stage setting for my firstimpression of Mme. Marguerite d'Alvarez, and such were some of theemotions she conveyed. 

Soon after this experience, I asked if I might have a personal talk withthe artist whose singing had made such a deep impression upon me. It wasmost graciously granted, and at the appointed hour I found myself in acharmingly appointed yet very home-like salon, chatting with thisSpanish lady from Peru, who speaks such beautiful English and iscourtesy itself. 

This time it was not a somber, black-robed figure who came forward sograciously to greet me, for above a black satin walking skirt, Madamehad added a blouse of soft creamy lace, which revealed the roundedcurves of neck and arms; the only ornament being a string of pearlsabout the full throat. Later in our talk I ventured to express mypreference for creamy draperies instead of black, for the concert room;but the singer thought otherwise. "No, " she said; "my gown must beabsolutely unobtrusive--negative. I must not use it to heighten effect, or to attract the audience to me personally. People must be drawn to meby 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, "Whatmust 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 firstimportance. In handling and training that voice, breathing is perhapsthe most vital thing to be considered. To some breath control seems tobe second nature; others must toil for it. With me it is intuition; ithas always been natural. Breathing is such an individual thing. Witheach person it is different, for no two people breathe in just the sameway, whether natural or acquired. Just as one pianist touches the keysof the instrument in his own peculiar way, unlike the ways of all otherpianists. For instance, no two singers will deliver the opening phraseof 'My heart at thy sweet voice, ' from _Samson_, in exactly the sameway. 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 evergive out a phrase in the same way, when they each feel it differently?The great thing is to control the management of the breath throughintelligent study. But alas, "--with a pretty little deprecatinggesture, --"many singers do not seem to use their intelligence in theright way. They need to study so many things besides vocalizes and a fewsongs. They ought to broaden themselves in every way. They should knowbooks, pictures, sculpture, acting, architecture, --in short everythingpossible in the line of art, and of life. For all these things will helpthem to sing more intelligently. They should cultivate all these meansof self-expression. For myself, I have had a liberal education inmusic--piano, harmony, theory, composition and kindred subjects. Andthen I love and study art in all its forms and manifestations. "

"Your first recital in New York was a rich and varied feast, " Iremarked. 

"Indeed I feel I gave the audience too much; there was such a weight ofmeaning to each song, and so many! I cannot sing indifferent orsuperficial songs. I must sing those which mean much, either of sadnessor mirth, passion or exaltation. No one knows (who has not been throughit) what it means to face a great audience of strangers, knowing thatsomething in you must awake those people and draw them toward you: youmust bare your very soul to them and bring theirs to you, in answeringresponse, just by your voice. It is a wonderful thing, to bring tomasses of people a message in this way. I feel this strongly, whenever Istand before a large audience, that with every note I sing I amdelivering something of the God-given gift which has been granted tome--that I can do some good to each one who hears. If they do not carefor 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 programthan to do an operatic rôle. In the recital you are absolutely alone, and entirely responsible for your effect on the audience. You must beable to express every variety of emotion and feeling, must make themrealize the difference between sorrow and happiness, revenge or disdain;in short, make them, for the moment, experience these things. The artistwho can best vivify these varying emotions must have temperament. On thepiano, you may hear players who express sentiment, feeling, finediscrimination in tone color and shading; but comparatively few possessreal temperament. There is great difference between that quality andsentiment. The one can be learned, to a certain extent; but temperamentis 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 theseemotions without feeling them to the full during performance. I alwaysfeel every phrase I sing--live it. That is why, after a long andexhausting program, I am perfectly limp and spent. For I have given allthat 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, whenone gives one's heart's blood, is beyond words"; and Madame's upturnedface and expressive gesture denoted how keenly alive she was to thisexperience. 

After a little pause, I said: "Let us come down to earth, while you tellme 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. WhenI 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 massageconsists of humming exercises, with closed lips. Humming is the sunshineof the voice. " The singer illustrated the idea with a short musicalfigure, consisting of three consecutive tones of the diatonic scale, ascending and descending several times; on each repetition the phrasebegan on the next higher note of the scale. "You see, " she continued, "this little exercise brings the tone fully forward. As you feel thevibration, it should be directly between the eyes. 

"Now, after you have coaxed the voice forward in this way, and thenopened your lips to sing a full tone, this tone should, indeed must, beright in the same place where the humming tones were, --it cannot beanywhere else. " Madame illustrated again, first humming on one tone, then letting it out with full resonance, using the vowel Ah, whichmelted into O, and later changed into U, as the tone died away. "Thisvibration in the voice should not be confounded with a tremolo, whichis, of course, very undesirable. A voice without vibrato, would be coldand dead, expressionless. There must be this pulsing quality in thetone, which carries waves of feeling on it. 

"Thus the singer entices the voice to come forward and out, nevertreating it roughly or harshly, never forcing or straining it. Takepleasure in every tone you make; with patience and pleasure much isaccomplished. 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 Ibegin to study the song, I never separate the music from the words, butlearn both together. I play the piano of course, and thus can get a goodidea of the accompaniment, and of the whole _ensemble_. 

"I feel so strongly that real art, the highest art, is for those whotruly understand it and its mission. A dream of mine is one day to founda school of true art. Everything in this school shall be on a high planeof thought. The instructors shall be gifted themselves and have onlylofty ideals. And it will be such a happiness to watch the developmentof talent which may blossom into genius through having the rightnurture. I shall watch this work from a distance, for I might be tooanxious if I allowed myself to be in the midst of the work. But this ismy 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 coloraturasinging; that what we want to-day is the singing actor, the dramaticsinger, who can portray passion--tear it to tatters if need be--but atleast throw into voice gesture and action all the conflicting emotionswhich arise when depicting a modern dramatic character. It is said, withmuch truth, composers do not write coloratura parts in these days, sinceaudiences do not care to listen to singers who stand in the middle ofthe stage, merely to sing beautiful arias and tonal embroideries. Therefore there are very few coloratura singers at present, since theiropportunities are so limited. 

To the last objection it can be answered that audiences do still flockto hear a great coloratura artist, for they know they will hear pure, beautiful melodies when they listen to the old Italian operas. Andmelody proves to be a magnet every time; it always touches the heart. 

Again, the coloratura singer is not obliged to stand in the middle ofthe stage, while she warbles beautiful tones, with seemingly littleregard for the rôle she is enacting. The coloratura singer, who is anartist, can act as well as sing. Tetrazzini, as she moves about theroom, greeting her guests, as she does in _Traviata_ or _Lucia_, can atthe same time keep right on with her florid song, proving she can thinkof both arts at once. 

It is quite true there are not many coloratura singers of the first rankto-day. When you have mentioned Galli-Curci, Tetrazzini, Barrientos, andFrieda Hempel--the last is both lyric and coloratura--you have named allthe great ones who are known to us here in America. There are a coupleof younger artists, Garrison and Macbeth, who are rapidly gaining theexperience 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 thevery top of their profession; they are each and all great in theirchosen line, to which they are fitted by reason of their special vocalgifts. Yet how absolutely different is each from the other! They cannoteven be compared. They all sing the great florid arias, but each withher own peculiar timbre of voice, her individual nuance and manner ofexpression. And it is well this should be so. We would not have allcoloratura singing of the same pattern of sameness or quality, for wefind uniformity is monotonous. There is one peculiar mode of mastery forGalli-Curci, another for Tetrazzini, still another for Barrientos; eachin 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 forpart of the season. She lives very quietly--almost in seclusion--in thegreat city, keeping very much to herself, with her mother and themembers of her household, and does not care to have the simple routineshe plans for herself interrupted by any outside demands on her crowdeddays. 

Thus it happens that very few come face to face with the Spanish artistexcept her personal friends. But once in a while she breaks the strictrule, and will consent to speak with a serious questioner about hermanner of study, how she happened to take up a musical career, also someof 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 isthe most fragile and ethereal of any of the voices of her class, so thesinger herself is of slight and delicate physique. Her oval face, withits large luminous eyes, has a charm more pronounced than when seen onthe other side of the footlights. Her manner is simple and sincere, incommon 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 herartistic music room. "As a very young girl, hardly more than a child, myhealth became delicate. I had been working very hard at the RoyalConservatory of Music, in Barcelona, my native city, studying piano, violin and theory, also composition. I was always a delicate child, andthe close application required for these studies was too much for me. Singing was prescribed in order to develop my chest and physique; I tookit up as a means of health and personal pleasure, without the slightestidea to what it might lead. 

"You speak of the responsibility of choosing a good and reliable vocalinstructor. This is indeed a difficult task, because each teacher isfully persuaded that his method is the only correct one. But there areso _many teachers_, and some of them do not even sing themselves atall. Can you imagine a vocal teacher who cannot sing himself, who is soto say voiceless, unable to demonstrate what he teaches? A piano orviolin teacher must play his instrument, or he will not be able to showthe pupils how it ought to be done. But the vocal teacher thinks toinstruct 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 adilettante--I do not know just how you say that in English. Thisgentleman was not a professional; he was a business man who at the sametime was a good musician. Instead of starting me with a lot of scalesand exercises, we began at once with the operas. I was twelve years oldwhen I began, and after one year of this kind of study, made my début inthe rôle of Inez, in _L'Africaine_. About this time I lost my kindinstructor, who passed away. I then worked by myself until I wassixteen, when I began to study technic systematically. As you see, then, I am practically self-taught. It seems to me, if one has voice andintelligence, one can and should be one's own teacher. No one else cando as much for you as you can do for yourself. You can tell what thesensations are, what parts are relaxed and what parts are firm, betterthan any one else. You can listen and work on tone quality until itreaches the effect you desire. I do not neglect vocal technic now, for Iknow its value. I do about three quarters of an hour technical practiceevery day--scales and exercises. 

MEMORIZING

"I memorize very easily; it only takes a few weeks to learn an operaticrôle. 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 sobeautiful; it is one of my favorite rôles. Some parts are longer andmore difficult than others. Of course I know most of the Italian operasand many French ones. I should like to sing _Mireille_ and _Lakmé_ here, but the Director may wish to put on other works instead. 

SPANISH OPERA

"Yes, we have native opera in Spain, but the works of our operaticcomposers are little known in other lands. The Spanish people areclannish, you see, and seem to lack the ambition to travel abroad tomake their art known to others; they are satisfied to make it known totheir own people. Casals and I--we are perhaps the ones who regularlyvisit you, though you have several Spanish singers in the opera whoreside here permanently. 

"As for Spanish composers of instrumental music, you are here somewhatfamiliar with the names of Grovelez and Albeniz; Granados you know also, both his opera, _Goyescas_, which was performed at the Metropolitan, andhis 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 acomposer of high merit, which fact was revealed in his piano and vocalcompositions. The American people were most kind and appreciative tohim. When the disaster came and he was lost at sea, the testimonial theysent his orphaned children was a goodly sum, though I hardly think thechildren appreciated your goodness. 

"Among the composers in Spain who have turned their gifts towardoperatic channels I can mention Pedrell, Morea, Falla, Vives and Breton. Vives is now writing an opera for me, entitled _Abanico_. Gradually, nodoubt, the music of our country, especially its opera, will find itsway to other lands. Even in England, I am told, Spanish music is verylittle known; our many distinguished modern musicians are hardly evennames. Of course the world knows our Toreador songs, our castanetdances, and the like; perhaps they think we have little or no seriousmusic, because it is still unknown. Spanish music is peculiar to thecountry; it is permeated with the national spirit and feeling. "

Asked if she would sing in South America during the vacation, the singeranswered:

"I have sung there with great success. But I shall not be able to gothere 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 hardfor me to have the ocean between us. I shall sing at Atlanta, the firstweek 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 saidsmiling, as she parted with her visitor; "we speak several languageshere in my home--Spanish with my mother and friends, French and Italianwith others in the household. But there seems little necessity for usingEnglish, 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 anyto 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 amusical atmosphere all her life, imbibing artistic influences asnaturally and almost as unconsciously as the air she breathes. At theright moment, she suddenly comes out into the light and blossoms into afull fledged singer, to the surprise and wonder of all her friends. Orshe is brought up behind the scenes in some great Opera House of theworld, where, all unnoticed by her elders, she lives in a dream world ofher own, peopled by the various characters in the operas to which shedaily listens. She watches the stage so closely and constantly that sheunconsciously commits the rôles of the heroines she most admires, tomemory. She knows what they sing, how they act the various parts, howthey impersonate the characters. Again, at the right moment, the leadingprima donna is indisposed, there is no one to take her place; manageris 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 romanticexperiences of a novel-heroine. She, too, was brought up in great operahouses, and it seemed natural, that in due course of time, she shouldcome into her own, in the greatest lyric theater of the land of heradoption. 

When she returned to America, a couple of years ago, after gainingexperience in Europe, she arrived toward the end of the season precedingher scheduled début here, to prepare herself more fully for the comingappearance awaiting her. 

I was asked to meet and talk with the young singer, to ascertain hermanner of study, and some of her ideas regarding the work which laybefore her. 

 * * * * *

"It was always my dream to sing at the Metropolitan, and my dream hascome true. "

Claudia Muzio said the words with her brilliant smile, as her great softdark eyes gazed luminously at the visitor. 

The day was cold and dreary without, but the singer's apartment was oftropical warmth. A great bowl of violets on the piano exhaled deliciousfragrance; the young Italian in the bloom of her oriental beauty, seemedlike some luxuriant tropical blossom herself. 

Claudia Muzio, who was just about to take her place among the personnelof the Metropolitan, is truly to the manner born, --a real child of theopera. She has lived in opera all her life, has imbibed the operaticatmosphere from her earliest remembrance. It must be as necessary for asinger who aspires to fill a high place in this field of artisticendeavor, 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 Iwas two years old I was taken to London, and my childhood was passed inthat great city. My father was stage manager at Covent Garden, and hasalso held the same post at the Manhattan and Metropolitan Opera Housesin New York. So I have grown up in the theater. I have always listenedto opera--daily, and my childish imagination was fired by seeing the artof the great singers. I always hoped I should one day become a singer, so I always watched the artists in action, noting how they dideverything. As a result, I do not now have to study acting as a separatebranch of the work, for acting comes to me naturally. I am verytemperamental; I feel intuitively how the rôle should be enacted. 

"All tiny children learn to sing little songs, and I was no exception. Iacquired quite a number, and at the age of six, exhibited myaccomplishments at a little recital. But I never had singing lessonsuntil I began to study seriously at about the age of sixteen. Although Idid not study the voice till I reached that age, I was always occupiedwith 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 wastwo, till I was fourteen, then we came to America. After residing here acouple of years, it was decided I should make a career, and we went toItaly. I was taken to Madame Anna Casaloni at Turino. She was quiteelderly at that time, but she had been a great singer. When she tried myvoice, she told me it was quite properly placed--so I had none of thatdrudgery to go through. 

"At first my voice was a very light soprano, hardly yet a coloratura. Itbecame so a little later, however, and then gradually developed into adramatic soprano. I am very happy about this fact, for I love to portraytears as well as laughter--sorrow and tragedy as well as lightness andgayety. 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, asoprano who had enjoyed great success on the operatic stage. 

"After several years of serious study I was ready to begin my career. SoI sang in Milan and other Italian cities, then at Covent Garden, and nowI am in the Metropolitan. In Italy I created the rôle of Fiora in _Amoredel tre Re_, and sang with Ferrari-Fontana. I also created Francesca in_Francesca da Rimini_, under its composer, Zandonai. I have a repertoireof about thirty operas, and am of course adding to it constantly, as onemust know many more than thirty rôles. Since coming to New York, I havelearned _Aïda_, which I did not know before, and have already appearedin 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 awhole 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 frequentshort pauses in technical practice. If technic is studied with completeconcentration and vigor, as it always should be, it is much morefatiguing than singing an opera rôle. 

"You ask about the special forms of exercises I use. I sing all thescales, 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 cansing about fifteen now, but I shall doubtless increase the number. Forall these I use full power of tone. Another form of exercise is to takeone tone softly, then go to the octave above, which tone is also sungsoftly, 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 abovethat point. I also have C sharp, but I do not practice it, for I know Ican reach it if I need it, and I save my voice. Neither do I work on thefinal tones of the lowest octave, for the same reason--to preserve thevoice. 

BREATH CONTROL

"Every singer knows how important is the management of the breath. Ialways hold the chest up, taking as long breaths as I can convenientlydo. The power to hold the breath, and sing more and more tones with onebreath, grows with careful, intelligent practice. There are no rulesabout the number of phrases you can sing with a single breath. A teacherwill tell you; if you can sing two phrases with one breath, do so; ifnot, take breath between. It all rests with the singer. 

MEMORIZING

"I learn words and music of a rôle at the same time, for one helps theother. When I have mastered a rôle, I know it absolutely, words, musicand accompaniment. I can always play my accompaniments, for I understandthe piano. I am always at work on repertoire, even at night. I don'tseem to need very much sleep, I think, and I often memorize during thenight; 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 yetmastered, not yet my own, but when morning comes I really know it. 

"Of course I must know the words with great exactness, especially insongs. I shall do English songs in my coming song recital work, and thewords and diction must be perfect, or people will criticize my English. I always write out the words of my rôles, so as to be sure I understandthem and have them correctly memorized. 

KEEPING UP REPERTOIRE

"Most singers, I believe, need a couple of days--sometimes longer--inwhich to review a rôle. I never use the notes or score when going over apart in which I have appeared, for I know them absolutely, so there isno occasion to use the notes. Other singers appear frequently atrehearsal with their books, but I never take mine. My intimate knowledgeof 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 scoresfor him, and knew all the cuts, changes and just how they were to beused. The singers themselves often came to me for stage directions abouttheir parts, knowing I had this experience. 

"Yes, as you suggest, I could sing here in winter, then in South Americain summer. " (Miss Muzio accomplished this recently, with distinguishedsuccess and had many thrilling adventures incident to travel. ) "Thiswould mean I would have no summer at all, for that season with them iscolder 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. Irefuse all society and the many invitations I receive to be guest ofhonor here and there. I remain quietly at home, steadfastly at work. Myart means everything to me, and I must keep myself in the best conditionpossible, 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 anaudience; 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 anincentive, nay more, a beacon light along the path of consistentprogress toward the goal of vocal and operatic achievement. Indeed as atiny child he must have had the desire to become a singer. A friendspeaks of musical proclivities which began to show themselves at anearly age, and describes visits of the child to their home, where, in alittle Lord Fauntleroy suit, he would stand up before them all and singa 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 anoperatic artist, has been rational and healthy, with nothing hectic oroverwrought about it; a constant, gradual ascent of the mountain. Andwhile an enviable vantage ground has been reached, such an artist mustfeel there are yet other heights to conquer. For even excellence, already achieved, requires constant effort to be held at high watermark. And the desire for greater perfection, which every true artistmust feel, is a never-ending urge to continued struggle. 

In a recent conversation with the tenor, Mr. Johnson spoke of earlydays, when he desired above everything else to become a musician andfollow a musical career, though his family expected him to enter thebusiness world. He came to New York to look the ground over, hopingthere might be opportunity to continue his studies and make his way atthe same time. He was fortunate enough to secure a church position, andsang subsequently in some of the best New York and Brooklyn churches. After this period he did much concert work, touring through the MiddleWest with the Chicago Symphony Orchestra and singing in many MusicFestivals throughout the country. 

[Illustration: Edward Johnson]

But church and concert singing did not entirely satisfy; he longed totry his hand at opera, --in short to make an operatic career. He was wellaware that he would not find this field nor gain the necessaryexperience in America; he must go to Italy, the land of song, to gainthe required training and experience. He was also fully aware of thefact that there was plenty of hard work, and probably manydisappointments before him, but he did not shrink from either. 

"Fortunately, I have a fund of humor, " he said, and there was a twinklein his eye as he spoke. "It is a saving grace, as you say; without it Ibelieve I should have many times given up in sheer despair. "

Mr. Johnson went to Italy in 1909, beginning at once his studies withLombardi, in Florence. In the ten years of his absence from his homeland he has built up a reputation and made a career in the greatoperatic centers of Italy, Spain and South America. After his début inPadua, he became leading tenor at La Scala, Milan, for five consecutiveseasons. In Rome he spent four seasons at the Costanzi Theater, in themeantime making two visits to the Colon Theater, Buenos Aires, andfilling 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. Iloved the beautiful country, and the life suited me. The people werekind. I had my own home in Florence, which is still there and to which Ican return when my season is over here. Best of all I had theopportunity of creating all the new tenor rôles in the recent operas ofPuccini, Montemezzi, Pizzetti and Gratico. I also created the rôle of_Parsifal_ in Italian, and the first season at La Scala, it wasperformed twenty-seven times. "

"With your permission let us go a little into detail in regard to theneeds of the young singer and his method of study, so that he mayacquire vocal mastery. What do you consider the most important andnecessary subject for the young singer, or any one who wishes to enterthe profession, to consider?"

"A musical education, " was the prompt, unhesitating reply. "So manythink if they have a good natural voice and take singing lessons, thatis quite sufficient; they will soon become singers. But a singer shouldalso be a musician. He should learn the piano by all means and have someknowledge of theory and harmony. These subjects will be of the greatestbenefit in developing his musicianship; indeed he cannot well get onwithout them. A beautiful voice with little musical education, is not ofas much value to its possessor as one not so beautiful, which has beenwell 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'sequipment. If opera be the goal, there are languages, acting, make up, impersonation, interpretation, how to walk, how to carry oneself, all tobe added to the piano and harmony we have already spoken of. The art ofthe singer is a profession--yes, and a business too. You prepareyourself to fill a public demand; you must prove yourself worthy, youmust come up to the standard, or there will not be a demand for what youhave to offer. And it is right this should be so. We should be willingto look the situation fairly in the eye, divesting it of all those rosecolored 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 manysinging rules to learn. You sing on the five vowels, and when you cando them loudly, softly, and with mezzo voce, you have a foundation uponwhich to build vocal mastery. And yet some people study eight, ten yearswithout really laying the foundation. Why should it take the singer sucha long time to master the material of his equipment? A lawyer or doctor, after leaving college, devotes three or four years only to preparinghimself for his profession, receives his diploma, then sets up inbusiness. It ought not to be so much more difficult to learn to singthan to learn these other professions. 

THE EAR

"Of course the ear is the most important factor, our greatest ally. Ithelps us imitate. Imitation forms a large part of our study. We hear abeautiful tone; we try to imitate it; we try in various ways, withvarious placements, until we succeed in producing the sound we have beenseeking. Then we endeavor to remember the sensations experienced inorder that we may repeat the tone at will. So you see Listening, Imitation and Memory are very important factors in the student'sdevelopment. 

BEL CANTO

"I have just spoken of a beautiful tone. The old Italian operascultivate the _bel canto_, that is--beautiful singing. Of course it iswell for the singer to cultivate this first of all, for it is excellent, and necessary for the voice. But modern Italian opera portrays the realmen and women of to-day, who live, enjoy, suffer, are angry andrepentant. _Bel canto_ will not express these emotions. When a man isjealous or in a rage, he will not stand quietly in the middle of thestage and sing beautiful tones. He does not think of beautiful tones atall. Hatred and jealousy should be expressed in the voice as well as inaction and gesture; they are far from lovely in themselves, and to benatural 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 portraythe characters they impersonate through both voice and action. 

LEARNING A RÔLE

"In taking up a new part I vocalize the theme first, to get an idea ofthe music; then I learn the words. After this I work with theaccompanist who comes to me every morning. Of course, besides this, I dodaily vocalizes and vocal exercises; one must always keep up one'svocal technic. 

"But learning words and music is only a part of the work to be done on arôle. It must then be interpreted; more than this it must be visualized. This part of the work rests largely with the singer, and givesopportunity for his individuality to assert itself. Of course thegeneral idea of the characterization is given us, the make-up, posturingand so on. To work out these ideas, to make the part our own, to feel athome in it, so that it shall not seem like acting, but appear perfectlynatural--all this takes a great deal of thought, time and study. It isall a mental process, as every one knows; we must project our thoughtout to the audience, we must 'get it over, ' or it will never strikefire!"

INTERPRETATION

On the subject of individuality in interpretation, Mr. Johnson wasconvincing. "I feel that if I have worked out a characterization, I muststick 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 followthe suggestions of this or that critic and have changed myinterpretation to suit their taste. But it always rendered me selfconscious, made my work unnatural and caused me speedily to return to myown conception. 

LEARNING BY DOING

"The singer finds the stage a great teacher. Before the footlights hehas constant opportunity to try out this or that effect, to note whichplacement 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 hadhoped, whether he has the audience with him. If he cannot win theaudience, he takes careful thought to see why. In order to win hishearers, to get his work across the footlights, there are certain thingshe must have, virtues he must possess. For instance, "--and the artistcounted them off on his finger tips, --"he must have Accent, Diction, Characterization, and above all, Sincerity. No matter what other goodqualities he may possess, he must be sincere before anything else. If helack this the audience soon finds it out. There's nothing that wins itsway like the grace of sincerity. You see I give prominent place toaccent and diction. Whatever fault the critics found with me, they havealways conceded to me both these virtues. 

"But time passes and soon the work of the night will begin. I trust thatour informal conference may contain a few points of personal experiencewhich may be helpful to those who are striving to enter the field ofopera. " And with his pleasant smile and genial greeting, Mr. Johnsonclosed the conference. 

XVIII

=REINALD WERRENRATH=

ACHIEVING SUCCESS ON THE CONCERT STAGE

At the close of a recital by Reinald Werrenrath, the listener feels hehas something to carry away, a tangible impression, a real message. Whatis the impression--can it be defined? Perhaps it is more the completeeffect as a whole that makes the deepest impression. The voice is alwaysagreeable, the diction so clear and distinct that every syllable can befollowed from the topmost corner of Carnegie Hall, so there is no needto print a program book for this singer. Different qualities of voicerender the picture or mood more vivid, and all is accomplished withperfect ease, in itself a charm. People settle in their seats as ifcertain that a song recital by Werrenrath is sure to bring enjoyment andsatisfaction. 

And Mr. Werrenrath has proven, through season after season of concertgiving in America, that he is filling his own special niche in thescheme of the country's musical life; that he has his own message ofthe beautiful--the natural--in vocal art to deliver to the people allover the land, and he is accomplishing this with ever increasing abilityand success. 

To go through a season filled with concert tours, such as a popularsinger has laid out for him, means so many weeks and months of strenuoustoil 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 offagain--"on the road. "

Mr. Werrenrath is the sort of singer who is generally on the wing, or ifnot exactly that, is so rushed with work, record making and rehearsingfor occasional opera appearances, that it is very difficult to get aword with him. I was exceedingly fortunate however, one day recently, tocatch a glimpse of him between a Metropolitan rehearsal on the one hand, and some concert business on the other. He entered the room where Iwaited, tall, vigorous, his fine face lighted by a rapid walk in thefresh 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 wantedto know how he had worked to bring about such results as were noted inhis recent recital in Carnegie Hall; in what way he had studied, andwhat, in his opinion, were the most important factors, from aneducational point of view, for the young singer to consider. 

"That is entirely too difficult a question to be answered briefly, evenin a half hour, or in an hour's talk. There are too many angles;" hisclear gray eyes looked at me frankly as he spoke. "Voice culture, voicemastery, what is it? It is having control of your instrument to such anextent that you put it out of your thought completely when you sing. Thevoice is your servant and must do your bidding. This control is arrivedat through a variety of means, and can be considered from a thousandangles, any one of which would be interesting to follow up. I have beenon the concert stage for nearly a score of years, and ought to knowwhereof I speak; yet I can say I have not learned it all even now, notby any means. Vocal technic is something on which you are alwaysworking, something which is never completed, something which isconstantly improving with your mental growth and experience--if you areworking along the right lines. People talk of finishing their vocaltechnic; how can that ever be done? You are always learning how to dobetter. If you don't make the effect you expected to, in a certainplace, when singing in public, you take thought of it afterward, consider what was the matter, _why_ you couldn't put it over--why it hadno effect on the audience. Then you work on it, learn how to correct andimprove 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 andlater with Arthur Mees. In all this time I had learned a great dealabout music from the intellectual and emotional sides, music in theabstract and so on. In fact, I thought I knew about all there was to belearned about the art of song; I settled back on my oars and let thematter go at that. At last, however, I awoke to see that I didn't knowit all yet; I discovered I couldn't put the feeling and emotion whichsurged within me across to others in the way I wanted to--in the waywhich could move and impress them; I could not make the effects Iwanted; I was getting into a rut. This was seven years ago. At that timeI went to Percy Rector Stevens, who has done me an immense amount ofgood, and with whom I constantly keep in touch, in case there should beanything wrong with my instrument anywhere. Mr. Stevens understands themechanics of the voice perhaps better than any one I know of. If I go tohim and say: 'I made some tones last night that didn't sound right tome, ' or 'I couldn't seem to put over this or that effect; I want you totell me what is the matter. ' He will say: 'Sing for me, show me thetrouble 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 isnot working properly, ' or there is some other defect. He can always puthis finger directly on the weak spot. He is my vocal doctor. Your wholevocal apparatus must work together in entire harmony. We hear ofteachers who seem to specialize on some one part of the anatomy to theexclusion of other parts. They are so particular about the diaphragm, for instance; that must be held with exactly the right firmness tosupport the tone. That is all very well; but what about the chest, thelarynx, the throat, the head and all the rest of the anatomy? The truthis the whole trunk and head of the body are concerned in the act of toneproduction; they form the complete instrument, so to say. When thesinger is well and strong and in good condition, all the parts respondand do their work easily and efficiently. 

DAILY PRACTICE

"I do not go through a routine of scales and exercises daily--at leastnot in the season, for I have no time. If you are going to take yourautomobile out for a spin you don't ride it around for half an hour inthe yard to see whether it will go. No, you first look after themachinery, 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 thevoice 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 andvarious they cannot be enumerated. But they put the voice in condition, so there is no need for all these other exercises which most singersfind so essential to their vocal well-being. I will say right here thatI am working with two masters; the first for the mechanics of the voice, the second who helps me from quite an opposite angle--interpretation andfinish. 

WITH MAUREL

"The master from whom I have learned so much that it cannot be estimatedis Victor Maurel. He is a most remarkable man, a great thinker andphilosopher. 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 hasshown me the philosophy, the psychology of singing. He has taught me thescience of intense diction. By means of such diction, I can sing _mezzavoce_, and put it over with less effort and much more artistic effectthan I ever used to do, when I employed much more voice. You hear itsaid 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 asmaller space, could make much more noise than I could. But when theygot out on the stage you couldn't hear them at the back of the hall. Itis the knowing how to use the voice with the least possible effort, coupled with the right kind of diction, that will make the greatesteffect. Now I can express myself, and deliver the message I feel I haveto give. 

THE SINGER BEFORE AN AUDIENCE

"You ask if I hear myself, when I am singing for an audience. In ageneral way, yes. Of course I do not get the full effect of what I amdoing; a singer never does. It takes the records to tell me that, and Ihave been making records for a good number of years. But I know thesensations which accompany correct tone production, and if I feel theyare different in any place or passage, I try to make a mental note ofthe fact and the passage, that I may correct it afterwards. But I mustemphasize the point that when I sing, I cast away all thought of _how_ Ido anything technical; I want to get away from the mechanics of thevoice; I must keep my thought clear for the interpretation, for themessage I have brought to the audience. To be constantly thinking--howam I doing this or that--would hamper me terribly. I should never getanywhere. I must have my vocal apparatus under such control that it goesof itself. A pianist does not think of technic when playing in public, neither should a singer think of his vocal technic. Of course there maybe occasions when adverse circumstances thrust conditions upon me. If Ihave a slight cold, or tightness of throat, I have to bring all myresources to bear, to rise above the seeming handicap, and sing as wellas I can in spite of it. I can say gratefully, without any desire toboast, that during the past eleven years, I have never once missed anengagement or disappointed an audience. Of course I have had to keepengagements when I did not feel in the mood, either physically ormentally. Many singers would have refused under like conditions. But itdoes not seem fair to the audience to disappoint, or to the managereither; it puts him in a very difficult and unpleasant position. Itseems to me the artist should be more considerate of both manager andaudience, than to yield to a slight indisposition and so break hisengagement. 

THE SINGER IN HIS STUDIO

"It makes such a difference--in quality of tone and in effect--whetheryou sing in a small or large space. Things you do in the studio andwhich may sound well there, are quite different or are lost altogetherin a large hall. You really cannot tell what the effect will be in agreat space, by what you do in your studio. In rehearsing and study, Iuse half voice, and only occasionally do I use full voice, that is whenI wish to get a better idea of the effect. "

VOCAL MASTERY

As we stood at the close of the conference, I asked the supremequestion--What do you understand by Vocal Mastery? The artist looked asthough I were making an impossible demand in requiring an answer to socomprehensive a subject. He took a few strides and then came back. 

"I can answer that question with one word--Disregard. Which means, thatif you have such control of your anatomy, such command of your vocalresources that they will always do their work, that they can be dependedupon to act perfectly, then you can disregard mechanism, and think onlyof the interpretation--only of your vocal message. Then you haveconquered 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 ourgreat singers of to-day, is the fact that they started out to become aninstrumentalist rather than a singer. In other words they becomeproficient on some instrument before taking up serious study of thevoice. In this connection one thinks of Mme. Sembrich, who was bothpianist and violinist before becoming known as a singer. It would beinteresting to follow up this idea and enumerate the vocalists who havebroadened their musicianship through the study of other instruments thantheir own voices. But this delightful task must be reserved for futureleisure. For the present it can be set down here that Miss SophieBraslau, probably the youngest star in the constellation of theMetropolitan artists, is an accomplished pianist, and intended to makeher 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 inquestion, 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 abig silver vase. Then she carried the visitor off to her own specialrooms, whose windows overlooked an inner garden, where one forgot onewas 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; "Idon't play with it now, " she said with a smile, "but I used to. " Sheplaced 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 atthe 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; indeedI have the hand of one, " holding it up. "I don't think, in those earlyyears, I was so very anxious to become a player. I did not lovescales--do not now, and would quite as soon have sat at the piano with abook in my lap, while my fingers mechanically did their stunts. But mymother looked after my practice, and often sat near me. She required aregular amount of time given to music study each day. I am so gratefulthat she was strict with me, for my knowledge of piano and itsliterature is the greatest joy to me now. To my thinking all childrenshould have piano lessons; the cost is trifling compared to the benefitsthey 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 aregiven this advantage they will be glad of it later on. 

"In due time I entered the Institute of Musical Art, taking the fullpiano course. Arthur Hochmann was my teacher for piano, and I found himan excellent master. He did a great deal for me; in interpretation, infineness of detail, in artistic finish I owe him very much. Later Istudied several years with Alexander Lambert. 

"While at work with my piano, it grew more apparent that I had a voicethat should be cultivated. So I began. Afterwards I worked three yearswith Signor Buzzi Peccia, who started me on an operatic career andfinally brought me to the Metropolitan. 

"It was a great ordeal for a young singer, almost a beginner, to startat our greatest Opera House! It meant unremitting labor for me. I workedvery hard, but I am not afraid of work. Toscanini held sway when Ibegan, and he was a marvelous musician and conductor. Such exactness, such perfection of detail; he required perfection of every one. He didnot at first realize how much of a beginner I was, though I had reallylearned a large number of rôles. He was so strict in every detail that Iwept many bitter tears for fear I would not come up to the mark. I knewthe music, but had not gained experience through routine. It seems to meevery singer should gain this experience in some smaller places beforeattempting the highest. My advice would be to go and get experience inEurope first. I have never been in Germany, but in Italy and Francethere are many small opera houses where one may learn routine. 

"Another thing. There is a mistaken notion that one cannot reach anyheight in opera without 'pull' and great influence. I am sure this isnot true; for while a pull may help, one must be able to deliver thegoods. If one cannot, all the backing in the world will not make one asuccess. The singer must have the ability to 'put it over. ' Think ofthe artists who can do it--Farrar, Gluck, Schumann-Heink. There is neverany doubt about them; they always win their audiences. What I have donehas been accomplished by hard work, without backing of any kind. Reallyof 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_, ifI had not been able to do it, no amount of influence would have helpedthe situation. I had it in my own hand to make or mar my career. I oftenwonder whether audiences really know anything about what you are tryingto do; whether they have any conception of what is right in singing, orwhether they are merely swayed by the temperament of the singer. 

"Whether we are, or are not to be a musical nation should be a questionof deep interest to all music lovers. If we really become a greatmusical people, it will be largely due to the work of the records. Wecertainly have wonderful advantages here, and are doing a tremendous lotfor music. 

"I had an interesting experience recently. It was in a little town inNorth Carolina, where a song recital had never before been given. Canyou fancy a place where there had never even been a concert? The peoplein this little town were busy producing tobacco and had never turnedtheir thought toward music. In the face of the coming concert what didthose people do? They got a program, studied what pieces I had sung onthe Victor, got the music of the others; so they had a pretty good ideaof what I was going to sing. When I stepped on the platform that nightand saw the little upright piano (no other instrument could be secured)and looked into those eager faces, I wondered how they would receive mywork. My first number was an aria from _Orfeo_. When I finished, thedemonstration was so deafening I had to wait minutes before I could goon. And so it continued all the evening. 

"How do I work? Very hard, at least six hours a day. Of these I actuallysing perhaps three hours. I begin at nine and give the first hour tomemory 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 ita point to know the accompaniments, for in case I am ever left withoutan accompanist, I can play for myself, and it has a great effect onaudiences. They may not know or care whether you can play Beethoven orChopin, but the fact that you can play while you sing, greatly impressesthem. 

"In committing a song, I play it over and sing it sufficiently to get agood idea of its construction and meaning; then I work in detail, learning words and music at the same time, usually. Certain things arevery difficult for me, things requiring absolute evenness of passagework, or sustained calm. Naturally I have an excess of temperament; Ifeel things in a vivid, passionate way. So I need to go very slowly attimes. To-day I gave several hours to only three lines of an aria byHaendel, and am not yet satisfied with it. Indeed, can we ever restsatisfied, 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 arecertain standard things that one must do; but there are others that neednot 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 thingsthat belong to it. There is so much more to a singer's art than merelyto sing. And it is a sad thing to find that so many singers lackmusicianship. They seem to think if they can sing some songs, or even afew operas, that is all there is to it. But one who would become anartist must work most of the time. I am sure Charles Hackett knows thevalue of work; so does Mabel Garrison and many other Americans. And whenyou think of it, there are really a brave number of our own singers whoare not only making good, but making big names for themselves andwinning 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 effortand hard work, who has done it all in America, is a unique figure in theworld 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 whowas in a position to understand how Morgan Kingston had achievedsuccess. The well known tenor was most kind in granting an audience toone seeking light on his ideas and experiences. He welcomed the visitorwith simple, sincere courtesy, and discussed for an hour and a halfvarious aspects of the singer's art. 

"In what way may I be of service to you?" began Mr. Kingston, after thefirst greetings had been exchanged. 

"There are many questions to ask, " was the answer; "perhaps it were bestto propound the most difficult one first, instead of reserving it tillthe last. What, in your opinion, goes into the acquiring of VocalMastery?"

"That is certainly a difficult subject to take up, for vocal masteryincludes so many things. First and foremost it includes vocal technic. One must have an excellent technic before one can hope to sing evenmoderately well. The singer can do nothing without technic, though ofcourse there are many people who try to sing without it. They, however, never get anywhere when hampered by such a lack of equipment. Technicfurnishes 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 expressthe musical idea aright, in order to be an artist. But technic is neverfinished; it goes on developing and broadening as we ourselves grow anddevelop. We learn by degrees what to add on and what to take away, inour effort to perfect technic. Students, especially in America, are tooapt to depend on rules merely. They think if they absolutely follow therules, they must necessarily become singers; if they find that youdeviate from rule they tell you of it, and hold you up to the letter ofthe law, rather than its meaning and spirit. I answer, rules should beguides, not tyrants. Rules are necessary in the beginning; later we getbeyond them, --or rather we work out their spirit and are not hide-boundby 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 daymake it my profession. In those early days I sang in the little churchwhere Lord Byron is buried. How many times I have walked over the slabwhich lies above his vault. When I was old enough I went to work in themines, so you see I know what hardships the miners endure; I know whatit means to be shut away from the sun for so many hours every day. And Iwould lighten their hardships in every way possible. I am sure, if itrested with me, to choose between having no coal unless I mined itmyself, I would never dig a single particle. But this is aside from thesubject in hand. 

"I always sang for the love of singing, and I had the hope that some dayI could do some good with the gift which the good God had bestowed onme. Then, one day, the opportunity came for me to sing in a concert inLondon. Up to that time I had never had a vocal lesson in my life; mysinging was purely a natural product. On this occasion I sang, evidentlywith some little success, for it was decided that very night that Ishould become a singer. Means were provided for both lessons and living, and I now gave my whole time and attention toward fitting myself for mynew calling. The lady who played my accompaniments at that concertbecame 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 youngsingers 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 afreshthat my experience has been quite different and indeed unique; I amdevoutly thankful it has been so. 

WHAT THE TEACHER SHOULD DO FOR THE STUDENT

"My teacher made a study of me, of my characteristics, mentality andtemperament. That should be the business of every real teacher, sinceeach individual has different characteristics from every other. 

"It is now ten years since I began to study the art of singing. I cameto America soon after the eventful night which changed my whole career;my teacher also came to this country. I had everything to learn; I couldnot even speak my own language; my speech was a dialect heard in thatpart of the country where I was brought up. I have had to cultivate andrefine myself. I had to study other languages, Italian, French andGerman. I learned them all in America. So you see there is no need foran American to go out of his own country for vocal instruction orlanguages; all can be learned right here at home. I am a living proof ofthis. What I have done others can do. 

THE TECHNICAL SIDE

"As for technical material, I have never used a great quantity. Ofcourse I do scales and vocalizes for a short time each day; such thingsare always kept up. Then I make daily use of about a dozen exercises byRubini. 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 moralnature. 

THE MORAL SIDE

"I believe strongly that a singer cannot adequately express thebeautiful and pure in music while cherishing at the same time, a badheart 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 willpermanently injure us, as well as impair the voice, and vitiate the goodwe might do. I say it in all humility, but I am earnestly trying toconquer the errors in myself, so that I may be able to do some good withmy voice. I have discovered people go to hear music when they want to besoothed and uplifted. If they desire to be amused and enjoy a goodlaugh, 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 Ishall be fitted to help and benefit every person in the audience wholistens to me. Until I have thus prepared myself, I am not doing mywhole duty to myself, to my art or to my neighbor. 

"We hear about the petty envy and jealousy in the profession, and it istrue they seem to be very real at times. Picture two young women singingat a concert; one receives much attention and beautiful flowers, theother--none of these things. No doubt it is human nature, so-called, forthe neglected one to feel horribly jealous of the favored one. Now thisfeeling ought to be conquered, for I believe, if it is not, it willprevent the singer making beautiful, correct tones, or from voicing thebeauty and exaltation of the music. We know that evil thoughts react onthe body and result in diseases, which prevent the singer from reachinga high point of excellence. We must think right thoughts for these arethe worth while things of life. Singing teachers utterly fail to takethe moral or metaphysical side into consideration in their teaching. They should do this and doubtless would, did they but realize what alarge place right thinking occupies in the development of the singer. 

"One could name various artists who only consider their ownself-aggrandizement; one is compelled to realize that, with such lowaims, the artist is bound to fall short of highest achievement. It isour right attitude towards the best in life and the future, that is ofreal value to us. How often people greet you with the words: 'Well, howis the world treating you to-day?' Does any one ever say to you--'Howare 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 technicand repertoire. I have not ventured to say so before, but I say itto-night--I can sing! Of course most of the operatic tenor rôles are inmy repertoire. This season I am engaged for fourteen rôles at theMetropolitan. These must be ready to sing on demand, that is at amoment's notice, --or say two hours' notice. That means some memory workas well as constant practice. 

"Would I rather appear in opera, recital or oratorio? I like them all. Arecital program must contain at least a dozen songs, which makes it aslong as a leading operatic rôle. 

"The ten years just passed, filled as they have been with close studyand public work, I consider in the light of preparation. The followingten years I hope to devote to becoming more widely known in variouscountries. And then--" a pleasant smile flitted over the fine, clean-cutfeatures, --"then another ten years to make my fortune. But I hasten toassure you the monetary side is quite secondary to the great desire Ihave to do some good with the talent which has been given me. I realizemore and more each day, that to develop the spiritual nature will meanhappiness and success in this and in a future existence, and this isworth 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 admiredartists on the opera and concert stage to-day. Every one knows the fact. Miss Hempel has endeared herself to all through her lovely voice, heruse 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 theMetropolitan. America has advanced very greatly in musical appreciationduring this period. Miss Hempel herself has grown in artistic staturewith each new character she has assumed. This season she has exchangedthe opera field for that of the concert room, to the regret of operapatrons and all music lovers, who desired to see her at theMetropolitan. Being so constantly on the wing, it has been extremelydifficult to secure a word with the admired artist. Late one afternoon, however, toward the end of her very successful concert season, she wasable to devote an hour to a conference with the writer on theprinciples of vocal art. 

How fair, slender and girlish she looked, ensconced among the cushionsof a comfortable divan in her music room, with a favorite pet dognestling at her side. 

"And you ask how to master the voice; it seems then, I am to give avocal lesson, " she began, with an arch smile, as she caressed the littlecreature 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 andnight. Even before rising in the morning, she has it on her mind, andmay do a few little stunts while still reclining. Then, before beginningher vocal technic in the morning, she goes through a series of breathingexercises. Just what they are is unnecessary to indicate, as eachteacher may have his own, or the singer has learned for herself whatforms are most beneficial. 

VOCAL TECHNIC

"The pianist before the public, or the player who hopes to master theinstrument in the future, never thinks of omitting the daily task ofscales and exercises; he knows that his chances for success would soonbe impaired, even ruined, if he should neglect this important andnecessary branch of study. 

"It is exactly the same thing with the singer. She cannot afford to dowithout scales and exercises. If she should, the public would soon findit out. She must be in constant practice in order to produce her toneswith smoothness and purity; she must also think whether she is producingthem 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 forgetthat; she must look pleasant under all circumstances. No one cares tolook 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 mentalconcept, and, acted upon, the singer will thus win her audience. I donot mean that one should cultivate a grin when singing; that would begoing to the other extreme. 

"Let the singer also use a watch when she practices, in order not tooverdo. I approve of a good deal of technical study, taken in smalldoses of ten to fifteen minutes at a time. I myself do about two hoursor more, though not all technic; but I make these pauses for rest, sothat I am not fatigued. After all, while we must have technic, there isso much more to singing than its technic. Technic is indeed a means toan end, more in the art of song than in almost any other form of art. Technic is the background for expressive singing, and to singexpressively 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 itrests with its possessor. Here in America, girls do not realize theamount of labor and sacrifice involved, or they might not be so eager toenter upon a career. They are too much taken up with teas, parties andsocial functions to have sufficient time to devote to vocal study andall that goes with it. There are many other things to study; some pianoif possible, languages of course, physical culture and acting, to makethe body supple and graceful. I say some piano should be included, atleast enough to play accompaniments at sight. But when she has masteredher song or rôle, she needs an accompanist, for she can never play themusic as it should be played while she endeavors to interpret the songas that should be sung. One cannot do complete justice to both at thesame time. 

"In order to study all the subjects required, the girl with a voice mustbe willing to give most of her day to the work. This means sacrificingthe social side and being willing to throw herself heart and soul intothe business of adequately preparing for her career. 

AMERICAN VOICES

"I find there are quantities of lovely voices here in America. Thequality of the American female voice is beautiful; in no country is itfiner, not even in Italy. You have good teachers here, too. Then why arethere 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 thegirl has means and good social connections, she is often not ready tosacrifice social gayeties for the austere life of the student. If sheis a poor girl, she frequently cannot afford to take up the subjectsnecessary for her higher development. Instruction is expensive here, andtraining for opera almost impossible. The operatic coach requires agoodly fee for his services. And when the girl has prepared severalrôles where shall she find the opportunity to try them out?Inexperienced singers cannot be accepted at the Metropolitan; that isnot the place for them. At the prices charged for seats the managementcannot afford to engage any but the very best artists. Until there aremore opera houses throughout the country, the American girl will stillbe obliged to go to Europe for experience and routine. In Europe it isall so much easier. Every little city and town has its own opera house, where regular performances are given and where young singers can trytheir wings and gain experience. The conductor will often help and coachthe 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 constantlystudy to do things easily and gracefully. She is gracious in manner, and sings to the people as though it gave her personal pleasure to standbefore them. She has a happy expression of countenance; she is simple, unaffected and sincere. More than all this her singing must be filledwith sentiment and soul; it must be deeply felt or it will not touchothers. Of what use will be the most elaborate technic in the world ifthere is no soul back of it. So the young singer cultivates this powerof expression, which grows with constant effort. The artist has learnedto share her gift of song with her audience, and sings straight acrossinto the hearts of her listeners. The less experienced singer profits byher example. 

"Shall the singer carry her music in a song recital, is a much discussedquestion. Many come on with nothing in hand. What then happens? Thehands are clasped in supplication, as though praying for help. Thisattitude becomes somewhat harrowing when held for a whole program. Othersingers toy with chain or fan, movements which may be very inappropriateto the sentiment of the song they are singing. For myself I prefer tohold in hand a small book containing the words of my songs, for it seemsto be more graceful and Jess obtrusive than the other ways I havementioned. I never refer to this little book, as I know the words of mysongs backward; I could rise in the middle of the night and go throughthe program without a glance at words or music, so thoroughly do I knowwhat I am singing. Therefore I do not need the book of words, but Ishall always carry it, no matter what the critics may say. And whyshould not the executive artist reassure himself by having his musicwith him? It seems to me a pianist would feel so much more certain ofhimself if he had the notes before him; he of course need not look atthem, but their presence would take away the fear that is often anobsession. With the notes at hand he could let himself go, give freereign 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 alwaysanswer, I love both. I enjoy opera for many reasons; I love the concertwork, and I am also very fond of oratorio. Of course in the opera I amnecessarily restrained; I can never be Frieda Hempel, I must always besome one else; I must always think of the others who are playing withme. In concert I can be myself and express myself. I get near thepeople; they are my friends and I am theirs. I am much in spirit withoratorio also. 

COLORATURA OR DRAMATIC

"Do I think the coloratura voice will ever become dramatic? It dependson the quality of the voice. I think every dramatic singer shouldcultivate coloratura to some extent--should study smooth legato scalesand passages. To listen to some of the dramatic rôles of to-day, onewould think that smooth legato singing was a lost art. Nothing can takeits place, however, and singers should realize this fact. "

Miss Hempel believes that every singer, no matter how great, shouldrealize the advantage of constant advice from a capable teacher, inorder to prevent the forming of undesirable habits. She also considersVocal Mastery implies the perfection of everything connected withsinging; that is to say, perfect breath control, perfect placement ofthe 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 ofAmerican singers, the choice would surely fall on David Bispham. Thisartist, through his vocal, linguistic and histrionic gifts, his seriousaims and high ideals, has endeared himself to musicians and music loversalike. We are all proud of him as an American, and take a sort ofpersonal 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 hadgreater experience in all kinds of vocal work than this "Quaker Singer, "as he calls himself, for he comes from Philadelphia, and is of oldEnglish, Quaker, Colonial stock. His professional début was made inLondon, in 1891, with the Royal English Opera Company, as the Duc DeLongueville, in the beautiful Opera Comique, _The Basoche_, by Messager. The following year he appeared in Wagnerian Music Drama at the RoyalOpera, Covent Garden, performing the part of Kurwenal, in _Tristan andIsolde_, without rehearsal. His adaptability to music in English, French, Italian and German, caused him to be at once accepted as amember 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 seasonalternately on both sides of the ocean. Of recent years he has devotedmost of his time to concerts, though he is one of the founders andofficers of the Society of American Singers, with which artistic body hefrequently appears in the classic operas of Mozart, Pergolesi, Donizettiand others. 

My first conference with Mr. Bispham was held in his New York studio. Here, in this artistic retreat where absolute quiet reigns, thoughlocated in the heart of the great city's busy life, the noted singerteaches and works out his programs and various characterizations. 

THE PROBLEM OF BREATH CONTROL

"The singer should breathe as easily and naturally as animals and peopledo when they sleep, " he began. "But we are awake when we sing; correctbreath control, therefore, must be carefully studied, and is the resultof understanding and experience. The best art conceals art. The aim isto produce tones with the utmost ease and naturalness, though these mustbe gained with patient toil. A child patting the keyboard with his tinyhands, is _unconsciously_ natural and at ease, though he does not knowwhat he is doing; the great pianist is _consciously_ at ease because heunderstands principles of ease and relaxation, and has acquired thenecessary control through years of training. 

"The singer acquires management of the breath through correct positionand action of his anatomy. The body is held erect, chest active; thenetwork of abdominal muscles constantly gain strength as they learn topush, push, push the air up through the lungs to the windpipe, thenthrough the mouth and nasal cavities. " Mr. Bispham illustrated eachpoint in his own person as he described it. 

"When the manner of taking breath, and the way to develop the diaphragmand abdominal muscles, is understood, that is only a beginning. Management of the breath is an art in itself. The singer must know whatto do with the breath once he has taken it in, or he may let it out inquarts the moment he opens his mouth. He has to learn how much he needsfor each phrase. He learns how to conserve the breath; and while it isnot desirable to hold one tone to attenuation, that the gallery may gaspwith astonishment, as some singers do, yet it is well to learn to do allone conveniently can with one inhalation, provided the phrase permitsit. 

TECHNICAL MATERIAL

"I give many vocalizes and exercises, which I invent to fit the needs ofeach pupil. I do not require them to be written down, simply remembered. At the next lesson quite a different set of exercises may berecommended. I also make exercises out of familiar tunes or themes fromoperatic airs. It will be found that technical material in the variousmanuals is often chosen from such sources, so why not use them in theiroriginal form. Thus while the student is studying technic he is alsoacquiring much beautiful material, which will be of great value to himlater on. 

THE STUDY OF REPERTOIRE

"Repertoire is a wide subject and offers a fascinating study to thevocal student. He must have both imagination and sentiment, also theability to portray, through movement and facial expression, the variousmoods and states of feeling indicated by words and music. 

"In taking up a new rôle, I read the story to get at the kernel or plot, and see what it means. The composer first saw the words of poem orlibretto, and these suggested to him suitable music. So the singerbegins his work by carefully reading the words. 

"I then have the music of the whole work played for me on the piano, soas to discover its trend and meaning--its content. If the composer isavailable I ask him to do this. I next begin to study my own part indetail, not only the important sections but the little bits, which seemso small, but are often so difficult to remember. "

CHARACTERIZATION

Under this head the singer spoke at length of the difficulty somesingers encounter when they endeavor to portray character, ordifferentiate emotions. There is endless scope in this line, to exerciseintelligence and imagination. 

"Some singers, " continued the artist, "seem incapable of characterizinga rôle or song. They can do what I call 'flat work, ' but cannotindividualize a rôle. A singer may have a beautiful voice yet not betemperamental; he may have no gift for acting, nor be able to docharacter work. 

"At the present moment I am preparing several new rôles, three of themare of old men. It rests with me to externalize these three in such away that they shall all be different, yet consistent with the charactersas I understand them. Each make-up must be distinctive, and my work isto portray the parts as I see and feel them. I must get into the skin ofeach character, so to say, then act as I conceive that particular personwould behave under like circumstances. Many singers cannot act, and mostactors 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 notnecessary for the singer to know much about acting--if he only had avoice and could sing. The present is changing all that. Many of usrealize how very much study is required to perfect this side of our art. 

"In this connection I am reminded of my London début. I was to make itwith the Royal English Opera Company. They heard me three times beforedeciding to take me on. With this formality over, rehearsals began. Isoon found that my ideas of how my rôle--an important one--was to beacted, did not always coincide with the views of the stage director, andthere were ructions. The manager saw how things were going, and advisedme to accept seemingly the ideas of the stage director duringrehearsals, but to study acting with the highest authorities and thenwork out the conception after my own ideas. Accordingly, I spent an hourdaily, before the morning rehearsal, with one of the finest actors ofcomedy to be found in London. Later in the day, after rehearsal, I spentanother hour with a great tragic actor. Thus I worked in both lines, asmy part was a mixture of the tragic and the comic. I put in severalweeks of very hard work in this way, and felt I had gained greatly. Ofcourse this was entirely on the histrionic side, but it gives an idea ofthe preparation one needs. 

"When the day of the dress rehearsal arrived, I appeared on the scene infull regalia, clean shaven (I had been wearing a beard until then), andperformed my rôle as I had conceived it, regardless of the peculiarideas of the stage director. At the first performance I made a hit, anda little later was engaged for grand opera at Covent Garden, where Iremained for ten years. 

KNOWLEDGE OF ANATOMY

"While I believe in understanding one's anatomy sufficiently for propertone production, and all that goes with it, there are many peculiar andunnecessary fads and tricks resorted to by those who call themselvesteachers of singing. The more fantastic the theories inculcated by thesepeople, the more the unwary students seem to believe in them. Peoplelike to be deluded, you know. But I am not able to gratify their desiresin this direction; for I can't lie about music!

"I was present at a vocal lesson given by one of these so-calledinstructors. 'You must sing in such a way that the tone will seem tocome out of the back of your head, ' he told the pupil, and he waved hisarms about his head as though he were drawing the tone out visibly. Another pupil was placed flat on his back, then told to breathe asthough he were asleep, and then had to sing in that position. Anotherteacher I know of makes pupils eject spit-balls of tissue paper at theceiling, to learn the alleged proper control of the breath. Whatcriminal 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 inany way connected with breath or voice. All this may be of interest as amatter of research, but must one go into such minutiae in order to teachsinging? I think the answer must ever be in the negative. You might aswell talk to a gold-fish in a bowl-and say: 'If you desire to proceedlaterally to the right, kindly oscillate gently your sinister dorsalfin, and you will achieve the desired result. ' Oh, Art, what sins arecommitted 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 inboth performance and instruction, should be a safe guide, just becauseof this varied experience. 

I was impressed with this fact when I recently had the privilege ofvisiting Mr. Bispham's studio during lesson hours, and listening to hisinstruction. A most interesting sanctum is this studio, filled as it iswith souvenirs and pictures of the artist's long career on the operaticstage. Here hangs a drawing in color of Bispham as Telramund, in shiningchain armor; there a life-size portrait as "Beethoven, " and again ashimself. In the midst of all is the master, seated at a table. In frontof him, at the piano, stands the student. It is an English song she isat work on, for Mr. Bispham thoroughly believes in mastering English aswell as other languages. 

How alert he is as he sits there; how keen of eye and ear. Not theslightest fault escapes him. He often sings the phrase himself, thencalls for its repetition. 

"Sing that passage again; there is a tone in it that is notpleasant--not well-sounding; make it beautiful!" "Careful of yourconsonants there, they are not distinct; let them be clearer, but don'tmake them over distinct. " "Don't scoop up the ends of the phrases; makethe tones this way"; and he illustrates repeatedly. "Sing this phrase inone breath if you can, if not, breathe here--" indicating the place. 

The student now takes up an Italian aria. Of course the master teacherhas no need of printed score; he knows the arias by heart. He merelyjots 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 andanother takes her place. A voice of rich, warm timbre. More English--andit must be most exact, to suit Mr. Bispham's fastidious ear. 

"Make the word _fire_ in _one_ syllable, not _two_. Do not open themouth quite so wide on the word _desire_, for, by doing so you lose thebalance and the tone is not so good. "

VOCALIZES

Another student--with a fine tenor--was asked to vocalize for a numberof minutes. He sang ascending and descending tone-figures, sometimesdoing them in one breath, at others taking a fresh breath at top. Someof the syllables used were: la, ma, may, and mi. He then sang singletones, swelling and diminishing each. It was found that passing from_forte_ to _piano_ was much more difficult than swelling from soft toloud. 

The aria "Be not afraid, " was now taken up; it was pronounced one of themost difficult solos ever written, and a very valuable composition forvocal training. 

"You sing that phrase too loud, " cautioned the instructor. "This is nota human being who is speaking, rather it is a heavenly voice. That highnote of the phrase should be made softer, more ethereal. Make it a_young tone_--put the quality of Spring into it. The whole thing shouldbe more spiritual or spiritualized. Now go through it again frombeginning to end. "

When this was finished a halt was called; there had been enough workdone for that day. Soon the class was dismissed. The young singers--someif not all of them known upon the concert stage--filed out. One youngwoman remained; she was to have a drama lesson. The master of singingshowed himself equally efficient as master of English diction for thespoken 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 ofour great singers have come from under his capable hands. He has a raregift for imparting instruction in a way that is concise and convincing. A man of wide experience, profound knowledge of his subject, commandingpersonality and winning courtesy, he impresses all who come within hisradius 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 asfar as the Coast. A most profitable trip he called it, filled with manyinteresting and unique experiences. He had been lecturing also, in anumber of cities, on his new method of vocal study with the aid of theVictor Talking Machine. When he learned I had come expressly to ask forhis ideas on vocal technic and study, he said:

"I think you will be interested to hear about my latest hobby, thestudy of singing with the aid of records. " Then he plunged at once intothe most absorbingly interesting account of his ideas and achievementsin this line I had ever listened to. 

TEACHER, ARTIST AND ACCOMPANIST IN ONE

"This is my own idea, of combining the teacher, artist and accompanistin one trinity, " he began. "And, by the way, my idea is now patented inWashington. It is the result of nine years' thought and labor, beforethe idea could be brought out in its finished form. The design has beento make the method and its elucidation so simple that the girl from asmall town can understand it. 

"The method consists of twenty lessons for each of the five kinds ofvoices: Soprano, Mezzo-Soprano, Tenor, Baritone and Bass. Each portfolioholds twenty records, together with a book containing minute directionsfor studying and using the records. I believe that any one, with goodintelligence, who wishes to learn to sing, can take the book and recordsand begin his studies, even though he has never sung before. He can thusprepare himself for future lessons. For you must understand this methodis not meant to replace the teacher, but to aid the teacher. I canassure you it aids him in ways without number. It gives him a perfectexemplar to illustrate his principles. If he be fatigued, or unable tosing 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 therecords 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 andsimple. I wrote the book and sent it to the Victor people. They returnedit, saying I had written an excellent book, but it was not simpleenough. They proposed sending a man to me who was neither a musician nora 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 makethese clear to him. When he understood, I was sure any one couldunderstand. 

"Thus the books as they stand came into being. The records themselvesrepresent an immense amount of care and effort. Will you believe we hadto make over two thousand in order to secure the one hundred needed forthe present series? The slightest imperfection is enough to render anotherwise perfect record useless. Even the artists themselves wouldsometimes become discouraged at the enormous difficulties. It isnerve-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 mainidea of this unique method of study, is imitation. Every human beinglikes to imitate--from the tiny child to the adult. Acting upon thisidea, we take the artist as model. Everything the model does, thestudent strives to imitate. By means of the record, it is possible forthe student to do this over and over again, until he has learned to copyit as accurately as it is possible. And here is where the knowledge andexperience of the teacher come in. During the lesson he tests each tone, each phrase, advising the pupil how nearly he approaches the perfectmodel, or showing him his faults and why he does not succeed inimitating the model more correctly. "

FOR BEGINNERS

"Do you mean to say, Mr. Saenger, that this method of vocal study can betaken up by one who knows really nothing of the voice, or singing, andcan be used with success; that such a person can become a singer throughself-study?"

"It is indeed possible, " was the answer; "and it is being done everyday. If the student has much intelligence, determination andconcentration, she can learn to sing from these directions and theserecords. They are a great boon to young aspirants in small towns, wherethere are really no good teachers. In such places local teachers canstudy and teach from these records. 

"Again, you often find people too shy, or too ashamed to go to a teacherfor a voice trial or lessons. They want to sing--every one would like todo that; but they don't know how to go at it. With these records theycan begin to study, and thus get ready for later lessons. With theserecords those who are far from a music center can have the benefit ofexpert instruction at small cost. I might work with a pupil for severalmonths in the ordinary way--without the records--and not be able toteach him even with half the accuracy and quickness obtainable by thenew method. 

THE ACCOMPANIST

"All singers know how important, how necessary it is to have services ofan expert accompanist. The student of this method has one at hand everyhour of the day; a tireless accompanist, who is willing to repeatwithout complaint, as often as necessary. 

THE SPEAKING VOICE

"A very important branch of the work, for the would-be singer, is tocultivate the speaking voice. Tones in speaking should always be madebeautiful and resonant. Even in children a pleasant quality of voice inspeaking can be acquired. Mothers and teachers can be trained to knowand 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 ofthe tone depends on the continuance of the breath. The student mustcultivate the power of quickly inhaling a full breath and of exhaling itso gradually that she can sing a phrase lasting from ten to twentyseconds. This needs months of arduous practice. In all breathing, inhalethrough the nose. The lower jaw during singing should be entirelyrelaxed. 

"The tone should be focused just back of the upper front teeth. The wayto place the tone forward is to _think_ it forward. The student mustthink the tone into place. 

"To 'attack' a tone is to sing it at once, without any scooping, andwith free open throat. When the throat is tightened the student losespower to attack her tones in the right way. 

PHRASING

"Phrasing, in a limited sense, is simply musical punctuation. In itsbroader sense it is almost synonymous with interpretation. For it has todo not only with musical punctuation but with the grouping of tones andwords in such a way that the composition is rendered intelligible as awhole, so as to express the ideas of the composer. This is where theintellectual and musical qualities of the singer are brought intorequisition. She must grasp the content, whether it be song or aria, inorder to effect this grouping intelligently. _Accent, crescendo_ and_diminuendo_ are the most important factors in phrasing. From the verybeginning the student should be careful how and where she takes breathand gives accent; there must always be a reason, and thought willgenerally make the reason clear. 

TONE PRODUCTION

"The first thing to be considered is the position of the body; forbeauty of tone cannot be obtained unless all efforts harmonize toproduce the desired result. An easy, graceful, buoyant position isessential; it can be cultivated in front of a mirror, from the firstlesson. 

"Tone production is the result of thought. Picture to yourself abeautiful tone; sing it on the vowel Ah. If you stood in rapture beforean entrancing scene you would exclaim, Ah, how beautiful. Producing abeautiful 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 theemission of good tone. Muscles of chin and tongue must be trained tobecome relaxed and flexible. Do not stiffen the jaw or protrude thechin, 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 cannotexist. It is much better to think the tone forward for five minutes andsing one minute, than to practice the reverse. One should practice infifteen-minute periods and rest at least ten minutes between. Thestudent should never sing more than two hours a day--one in the morningand one in the afternoon. As most singers love their work, many areinclined to overdo. 

"Do not tamper with the two or three extreme upper or lower tones ofyour voice lest you strain and ruin it permanently. Never practice whensuffering from a cold. 

"Ideal attack is the tone which starts without any scooping, breathinessor explosiveness. Breathe noiselessly, the secret of which is to breathefrom down, up. Faulty emissions of tone are: nasal, guttural, throatyand 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. Ifthe pupil studies these perfect emissions of tone and tries to imitatethem, 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 beginsin the middle of her voice--always the best way--and sings a whole toneon A, with the syllable Ah, always waiting a whole measure for the pupilto 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 ascendsby half steps to E natural, the pupil copying each tone after it is sungby the artist. 

"The tone should be free, round and full, but not loud, and the aim beto 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 inthe same way. After each pair or group of tones, the accompaniment isrepeated and the pupil imitates what the artist has just sung. Now comesthe uniting of five tones, up and down; after this the scale of oneoctave. The scale should be sung easily with moderate tone quality. Aslight accent can be given to the first and last tones of the scale. Weall realize the scale is one of the most important exercises for thebuilding of the voice; the preceding exercises have prepared for it. 

ARPEGGIOS

"For imparting flexibility to the voice, nothing can exceed theArpeggio, but like all vocal exercises, it must be produced withprecision of tone, singing each interval clearly, with carefulintonation, always striving for beauty of tone. 

"There are various forms of arpeggios to be used. The second form iscarried a third above the octave; the third form a fifth above. Thismakes an exercise which employs every tone in the scale save one, andgives practice in rapid breathing. Remember, that the note before, taking breath is slightly shortened, in order to give time for takingbreath, without disturbing the rhythm. 

THE TRILL

"The trill is perhaps the most difficult of all vocal exercises, unlessthe singer is blessed with a natural trill, which is a rare gift. Webegin with quarter notes, then add eighths and sixteenths. Thisexercise, if practiced daily, will produce the desired result. It istaken on each tone of the voice--trilling in major seconds. 

VOCALIZES

"The purpose of vocalizes is to place and fix the voice accurately andto develop taste, while singing rhythmically and elegantly. The recordsgive some Concone exercises, ably interpreted by one of our best knownvoices. You hear how even and beautiful are the tones sung, and you notethe pauses of four measures between each phrase, to allow the student torepeat the phrase, as before. 

"I firmly believe this method of study is bound to revolutionize vocalstudy and teaching. You see it goes to the very foundation, and trainsthe student to imitate the best models. It even goes farther back, tothe children, teaching them how to speak and sing correctly, alwaysmaking beautiful tones, without harshness or shouting. Young childrencan learn to sing tones and phrases from the records. Furthermore, Ibelieve the time is coming when the _technic and interpretation of everyinstrument will be taught in this way_. 

"It is my intention to follow up this set of foundational records byothers which will demonstrate the interpretation of songs and arias asthey are sung by our greatest artists. The outlook is almost limitless. 

"And now, do you think I have answered your questions about toneproduction, breath control and the rest? Perhaps I have, as convincinglyas an hour's talk can do. "

XXIV

=HERBERT WITHERSPOON=

MEMORY, IMAGINATION, ANALYSIS

No doubt the serious teacher, who may be occupied in any branch ofmusical activity, has often pictured to himself what an idealinstitution of musical art might be like, if all students assembledshould study thoroughly their particular instrument, together with allthat pertained to it. They should by all means possess talent, intelligence, industry, and be far removed from a superficial attitudetoward their chosen field. The studio used for instruction in thisimagined 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 wewould like to see our art work conducted. 

It has been possible for Mr. Herbert Witherspoon, the distinguishedbasso and teacher, to make such a dream-picture come true. For he hasestablished an institution of vocal art--in effect if not inname--where all the subjects connected with singing, are considered andtaught in the order of their significance. Not less ideal is thebuilding which contains these studios, for Mr. Witherspoon has fitted uphis private home as a true abiding place for the muse. 

At the close of a busy day, marked like all the rest with a fullcomplement of lessons, the master teacher was willing to relax a littleand speak of the work in which he is so deeply absorbed. He apologizedfor having run over the time of the last lesson, saying he never couldteach by the clock. 

"I do not like to call this a school, " he began, "although it amounts toone in reality, but only in so far as we take up the various subjectsconnected with vocal study. I consider languages of the highestimportance; we have them taught here. There are classes in analysis, inpedagogy--teaching teachers how to instruct others. We have an excellentmaster for acting and for stage deportment: I advise that students knowsomething of acting, even if they do not expect to go in for opera; theylearn how to carry themselves and are more graceful and self-possessedbefore an audience. 

"The work has developed far beyond my expectations. There are over twohundred students, and I have eight assistants, who have been trained byme and know my ways and methods. Some of these give practice lessons tostudents, who alternate them with the lessons given by me. These lessonsare quite reasonable, and in combination with my work, give the studentdaily attention. 

"My plan is not to accept every applicant who comes, but to select themost promising. The applicants must measure up to a certain standardbefore 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 theserequisites, we begin to work. In three months' time it can be seenwhether the student is making sufficient progress to come up to ourstandard. Those who do not are weeded out. You can readily see that as aresult of this weeding process, we have some very good material and finevoices to work with. 

"We have many musicals and recitals, both public and private, whereyoung singers have an opportunity to try their wings. There is a mostgenerous, unselfish spirit among the students; they rejoice in eachothers' success, with never a hint of jealousy. We have had a number ofrecitals in both Aeolian and Carnegie Halls, given by the artiststudents this season. On these occasions the other students alwaysattend and take as much interest as though they were giving the recitalthemselves. "

BEL CANTO

"You have remarked lately that 'singers are realizing that the lost artof _bel canto_ is the thing to strive for and they are now searching forit. ' 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 significanceto the term. Bel canto means simply _beautiful singing_. When you haveperfect breath control, and distinct, artistic enunciation, you willpossess bel canto, because you will produce your tones and your wordsbeautifully. 

"Because these magic words are in the Italian tongue does not mean thatthey apply to something only possessed by Italians. Not at all. Any onecan sing beautifully who does so with ease and naturalness, the Americanjust as well as those of any other countries. In fact I considerAmerican voices, in general, better trained than those of Italy, Germanyor France. The Italian, in particular, has very little knowledge of thescientific side; he usually sings by intuition. 

"We ought to have our own standards in judging American voices; until wedo so, we will be constantly comparing them with the voices of foreignsingers. The quality of the American voice is different from the qualityfound in the voices of other countries. To my mind the best women'svoices are found right here in our midst. 

MEMORY

"I have also said that there are three great factors which should formthe foundation stones upon which the singer should rear his structure ofmusical achievement. These factors are Memory, Imagination, Analysis. Ihave put memory first because it is the whole thing, so to say. Thesinger without memory--a cultivated memory--does not get far. Memorylies at the very foundation of his work, and must continue with it thewhole journey through, from the bottom to the top. In the beginning youthink a beautiful tone, you try to reproduce it. When you come to itagain you must remember just how you did it before. Each time you repeatthe tone this effort of memory comes in, until at last it has becomesecond nature to remember and produce the result; you now begin to do soautomatically. 

"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 ableto commit large numbers of notes, phrases and passages. In his casethere are a number of keys to grasp at once, but the singer can sing butone tone at a time. Both notes and words should be memorized, so thesinger can come before the audience without being confined to theprinted page. When acting is added there is still more to remember. Backof memory study lies concentration; without concentration little can beaccomplished in any branch of art. 

IMAGINATION

"The central factor is imagination; what can be done without it! Can youthink of a musician, especially a singer, without imagination? He mayacquire the letter--that is, execute the notes correctly, but theperformance is dead, without life or soul. With imagination hecomprehends what is the inner meaning of the text, the scene; also whatthe composer had in mind when he wrote. Then he learns to express theseemotions in his own voice and action, through the imaginative power, which will color his tones, influence his action, render his portrayalinstinct with life. Imagination in some form is generally inherent inall of us. If it lies dormant, it can be cultivated and brought to bearupon the singer's work. This is absolutely essential. 

ANALYSIS

"I have put analysis last because it is the crowning virtue, the primenecessity. We study analysis here in the studios, learning how toseparate music into its component parts, together with simple chordformations, general form and structure of the pieces, and so on. Can youcomprehend the dense ignorance of many music students on these subjects?They will come here to me, never having analyzed a bit of music in theirlives, having not an inkling of what chord structure and form in musicmean. If they played piano even a little, they could hardly escapegetting a small notion of chord formation. But frequently vocalstudents 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 theway from the college man down. I am a Yale man and don't like to sayanything about college government, yet I cannot shut my eyes to the factthat men may spend four years going through college and yet not beeducated when they come out. Most of us are in too much of a hurry, andso fail to take time enough to learn things thoroughly; above all wenever stop to analyze. 

"Analysis should begin at the very outset of our vocal or instrumentalstudy. We analyze the notes of the music we are singing, and a littlelater its form. We analyze the ideas of the composer and also our ownthoughts and ideas, to try and bring them in harmony with his. Afteranalyzing the passage before us, we may see it in a totally differentlight, and so phrase and deliver it with an entirely different idea fromwhat we might have done without this intelligent study. "

CONSCIOUS OR UNCONSCIOUS CONTROL

"Do you advise conscious action of the parts comprising the vocalinstrument, or do you prefer unconscious control of the instrument, withthought directed to the ideal quality in tone production and delivery?"was asked. 

"By all means unconscious control, " was the emphatic answer. "We wish toproduce beautiful sounds; if the throat is open, the breathing correct, and we have a mental concept of that beautiful sound, we are bound toproduce it. It might be almost impossible to produce correct tones if wethought constantly about every muscle in action. There is a great dealof nonsense talked and written about the diaphragm, vocal chords andother parts of the anatomy. It is all right for the teacher who wishesto be thoroughly trained, to know everything there is to know about thevarious organs and muscles; I would not discourage this. But for theyoung singer I consider it unnecessary. Think supremely of the beautifultones you desire to produce; listen for them with the outer ear--and theinner ear--that is to say--mentally--and you will hear them. Meanwhile, control is becoming more and more habitual, until it approachesperfection and at last becomes automatic. When that point is reached, your sound producing instrument does the deed, while your wholeattention is fixed on the interpretation of a master work, theperformance of which requires your undivided application. If there isaction, you control that in the same way until it also becomesautomatic; 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 hearhimself better. In fact I believe the lack of this part of vocaltraining is one of the greatest faults of the day, and that the singershould depend more upon hearing the sound he makes than upon feeling thesound. In other words, train the _ear_, the court of ultimate resort, and the only judge--and forget sensation as much as possible, for thelatter leads to a million confusions. 

"Undoubtedly a singer hears in his own voice what his auditors do nothear, for he also hears with his inner ear, but the singer must learn tohear 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 neverhave considered that the phonograph reproduces the human voice. Itcomes near it in some cases, utterly fails in others, and the bestsingers 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 andvelvety production of the voice, and this is acquired in no other waythan by a thorough understanding of what constitutes a perfectbeginning--that is the attack or start of the tone. If the tone has aperfect beginning it must surely have a perfect ending. "

Thus Mr. Yeatman Griffith began a conference on the subject of vocaltechnic and the art of song. He had had a day crowded to the brim withwork--although all days were usually alike filled--yet he seemed asfresh and unwearied as though the day had only just begun. One felt thathere was a man who takes true satisfaction in his work of imparting toothers; 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 theoutbreak of the war, after having resided and taught for five years inLondon, and previous to that for one year in Florence, Italy. Of coursethey were both singers, giving recitals together, like the Henschels, and appearing in concert and oratorio. But constant public activity isincompatible with a large teaching practice. One or the other has tosuffer. "We chose to do the teaching and sacrifice our public career, "said Mr. Griffith. During the five years in which these artists haveresided in New York, they have accomplished much; their influence hasbeen an artistic impulse toward the ideals of beautiful singing. Amongtheir many artist pupils who are making names for themselves, it may bementioned that Florence Macbeth, a charming coloratura soprano, owesmuch of her success to their careful guidance. 

"Michael Angelo has said, " continued Mr. Griffith, "that 'a perfectstart is our first and greatest assurance of a perfect finish. ' Andnowhere is this precept more truly exemplified than in vocal toneproduction. The tone must have the right beginning, then it will beright all through. A faulty beginning is to blame for most of the vocalfaults and sins of singers. Our country is full of beautiful naturalvoices; through lack of understanding many of them, even when devotingtime and money to study, never become more than mediocre, when theymight have developed into really glorious voices if they had only hadthe right kind of treatment. 

TONE PLACEMENT

"We hear a great deal about tone placement in these days; the worldseems to have gone mad over the idea. But it is an erroneous idea. Howfutile to attempt to place the tone in any particular spot in theanatomy. You can focus the tone, but you cannot place it. There is butone place for it to come from and no other place. It is either emittedwith artistic effect or it is not. If not, then there is stiffness andcontraction, and the trouble ought to be remedied at once. 

"Every one agrees that if the vocal instrument were something we couldsee, our task would be comparatively easy. It is because the instrumentis hidden that so many false theories about it have sprung up. Oneteacher advocates a high, active chest; therefore the chest is held highand rigid, while the abdominal muscles are deprived of the strengththey should have. Another advises throwing the abdomen forward; stillanother squares the shoulders and stiffens the neck. These things do notaid in breath control in the least; on the contrary they induce rigiditywhich is fatal to easy, natural tone emission. 

IN THE BEGINNING

"When the pupil comes to me, we at once establish natural, easyconditions of body and an understanding of the causes which produce goodtone. We then begin to work on the vowels. They are the backbone of goodsinging. When they become controlled, they are then preceded byconsonants. Take the first vowel, A; it can be preceded by all theconsonants of the alphabet one after another, then each vowel in turncan be treated in the same way. We now have syllables; the next step isto use words. Here is where difficulties sometimes arise for thestudent. The word becomes perfectly easy to sing if vowels andconsonants are properly produced. When they are not, words becomeobstacles. Correct understanding will quickly obviate this. 

BREATH CONTROL

"Breath control is indeed a vital need, but it should not be made abugbear to be greatly feared. The young student imagines he must inflatethe lungs almost to bursting, in order that he may take a breath longenough to sing a phrase. Then, as soon as he opens his lips, he allowshalf 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 hedistends the muscles at the waist to the fullest extent and fancies thisis the secret of deep breathing. In short, most students make thebreathing 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 largequantity of breath they imagine they do; for a much smaller amount willsuffice to do the work. I tell them, 'Inhale simply and naturally, asthough you inhaled the fragrance of a flower. And when you open yourlips after this full natural breath, do not let the breath escape; thevocal chords will make the tone, if you understand how to make a perfectstart. If the action is correct, the vocal chords will meet; they willnot be held apart nor will they crowd each other. Allow the diaphragmand respiratory muscles to do their work, never forcing them; then youwill soon learn what breath control in singing means. Remember again, not a particle of breath should be allowed to escape. Every other partof the apparatus must be permitted to do its work, otherwise there willbe interference somewhere. '

CAUSATION

"Everything pertaining to the study of vocal technic and the art ofsinging may be summed up in the one word--Causation. A cause underliesevery effect. If you do not secure the quality of tone you desire, theremust be a reason for it. You evidently do not understand the cause whichwill produce the effect. That is the reason why singers possessingreally beautiful voices produce uneven effects and variable results. They may sing a phrase quite perfectly at one moment. A short time afterthey may repeat the same phrase in quite a different way and not at allperfectly. One night they will sing very beautifully; the next night youmight hardly recognize the voice, so changed would be its quality. Thiswould not be the case if they understood causation. A student, rightlytaught, should know the cause for everything he does, how he does thusand so and why he does it. A singer should be able to produce the voicecorrectly, no matter in what position the rôle he may be singing mayrequire the head or body to be in. In opera the head or body may beplaced in difficult unnatural positions, but these should not interferewith good tone production. 

REGISTERS

"I am asked sometimes if I teach registers of the voice. I can saydecidedly no, I do not teach registers. The voice should be one andentire, from top to bottom, and should be produced as such, no matter inwhat part of the voice you sing. Throughout the voice the sameinstrument is doing the work. So, too, with voices of different caliber, the coloratura, lyric and dramatic. Each and all of these may feel thedramatic spirit of the part, but the lighter quality of the voice mayprevent the coloratura from expressing it. The world recognizes thedramatic singer in the size of the voice and of the person. From anartistic point of view, however, there are two ways of looking at thequestion, since the lyric voice may have vivid dramatic instincts, andmay be able to bring them out with equal or even greater intensity thanthe purely dramatic organ. 

VOCAL MASTERY

"Vocal Mastery is acquired through correct understanding of whatconstitutes pure vowel sounds, and such control of the breath as willenable one to convert every atom of breath into singing tone. Thisestablishes correct action of the vocal chords and puts the singer inpossession of the various tints of the voice. 

"When the diaphragm and respiratory muscles support the breathsufficiently and the vocal chords are permitted to do their work, youproduce pure tone. Many singers do not understand these two vitalprinciples. They either sing with too much relaxation of the diaphragmand respiratory muscles, or too much rigidity. Consequently the effortbecomes local instead of constitutional, which renders the tone hard andstrident and variable to pitch. Again the vocal chords are either forcedapart or pinched together, with detriment to tone production. 

"The real value of control is lost when we attempt to control thesinging instrument and the breath by seeking a place for the tone thesinging instrument produces. When the vocal chords are allowed toproduce pure vowels, correct action is the result and with proper breathsupport, 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 languageand had won acclaim from the distinguished company present. They admiredthe rich quality of her voice, her easy, spontaneous tone production andclear diction. A brilliant future was predicted for the young singer. One critic of renown remarked: "It is a long time since I have heard avoice 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 ownlips how such results were attained. 

A meeting was easily arranged and we arrived at the appointed hour, justin time to hear one of the brilliant students of this American-Frenchsinging master. 

Mr. Duval is young, slim and lithe of figure, with sensitive, refinedfeatures, which grow very animated as he speaks. He has a rich fund ofhumor and an intensity of utterance that at once arrests the listener. He came forward to greet the visitor with simple cordiality, saying hewas pleased we could hear one of his latest "finds. "

The young tenor was at work on an air from _Tosca_. His rich, vibrantvoice, of large power and range and of real Caruso-like quality, pouredforth with free and natural emission. With what painstaking care thiswise teacher aided him to mold each tone, each phrase, till it attainedthe desired effect. Being a singer himself, Mr. Duval is able to showand demonstrate as well as explain. He does both with the utmostclearness and with unfailing interest and enthusiasm. Indeed hisinterest in each pupil in his charge is unstinted. 

The lesson over, Mr. Duval came over to us. "There is a singer I shallbe proud of, " he said. "Several years ago I taught him for a few months, giving him the principles of voice placement and tone production. Thiswas in Europe. I had not seen him since then till recently, whencircumstances led him to New York. He never forgot what he hadpreviously learned with me. He now has a lesson every day and is a mostindustrious worker. I believe he has a fortune in that voice. Nextseason will see him launched, and he will surely make a sensation. "

"Will you give some idea of the means by which you accomplish suchresults?"

"The means are very simple and natural. So many students are set on thewrong track by being told to do a multitude of things that areunnecessary, even positively harmful. For instance, they are required tosing scales on the vowels, A, E, I, O, U. I only use the vowel Ah, forexercises, finding the others are not needed, especially excluding E andU as injurious. Indeed one of the worst things a young voice can do isto sing scales on E and U, for these contract the muscles of the lips. Another injurious custom is to sing long, sustained tones in thebeginning. This I do not permit. 

"After telling you the things I forbid, I must enlighten you as to ourplan of study. 

"The secret of correct tone emission is entire relaxation of the lips. Itell the pupil, the beginner, at the first lesson, to sing the vowel Ahas loudly and as deeply as possible, thinking constantly of relaxed lipsand loose lower jaw. Ah is the most natural vowel and was usedexclusively in the old Italian school of Bel Canto. Long sustained tonesare too difficult. One should sing medium fast scales at first. If webegin with the long sustained tone, the young singer is sure to hold thevoice in his throat, or if he lets go, a tremolo will result. Either athroaty, stiff tone or a tremolo will result from practicing the singlesustained tone. 

"Singing pianissimo in the beginning is another fallacy. This is one ofthe most difficult accomplishments and should be reserved for a laterperiod of development. 

"The young singer adds to scales various intervals, sung twice in abreath, beginning, not at the extreme of the lower voice, but carried upas high as he can comfortably reach. I believe in teaching high tonesearly, and in showing the pupil how to produce the head voice. Not thatI am a high tone specialist, " he added smiling, "for I do not sacrificeany part of the voice to secure the upper notes. But after all it is thehigh portion of the voice that requires the most study, and that iswhere so many singers fail. 

"The young student practices these first exercises, and others, two halfhours daily, at least two hours after eating, and comes to me threetimes a week. I suggest she rest one day in each week, during which sheneed not sing at all, but studies other subjects connected with her art. As the weeks go by, the voice, through relaxed lips and throat andcareful training, grows richer and more plentiful. One can almost noteits development from day to day. 

WORDS IN THE VOICE

"When the time comes to use words, the important thing is to put _thewords in the voice, not the voice in the words_, to quote Juliani, thegreat teacher, with whom I was associated in Paris. More voices havebeen 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 thebreath high in the body, for high tones, though always with the throatrelaxed. This point is not nearly enough insisted upon by teachers ofsinging. 

"The points I have mentioned already prove that a vocal teacher whodesires the best results in his work with others, must know how to singhimself; he should have had wide experience in concert and opera beforeattempting to lead others along these difficult paths. Because a man canplay the organ and piano and has accompanied singers is not theslightest cause for thinking he can train voices in the art of song. Ihave no wish to speak against so-called teachers of singing, but saythis in the interests of unsuspecting students. 

"It is impossible, " continued Mr. Duval, "to put the whole method ofvocal training into a few sentences. The student advances gradually andnaturally, but surely, from the beginnings I have indicated, to thetrill, the pizzicati, to more rapid scales, to learning the attack, andso 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 samevoice with which the exercises on Ah have been sung, and to have themall of the same size, easily and loosely pronounced. Never permit thepronunciation to be too broad for the voice. The pronunciation shouldnever be mouthed, but should flow into the stream of the breath withoutcausing a ripple. This is bel canto!

"In teaching I advise two pupils sharing the hour, for while one issinging 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 halfhour without rest. 

"I was teaching in my Paris studio for a number of months after the warstarted, before coming to America. It is my intention, in future, todivide my time between New York and Paris. I like teaching in the Frenchcapital for the reason I can bring out my pupils in opera there. I amalso pleased to teach in my own land, for the pleasant connections Ihave made here, and for the fresh, young American voices which come tome to be trained. "

VOCAL MASTERY

"What is Vocal Mastery? There are so many kinds! Every great artist hashis own peculiar manner of accomplishing results--his own vocal mastery. Patti had one kind, Maurel another, Lehmann still another. Caruso alsomay be considered to have his own vocal mastery, inasmuch as he commandsa vocal technic which enables him to interpret any rôle that lies withinhis power and range. The greatest singer of to-day, Shalyapin, has alsohis individual vocal mastery, closely resembling the sort that enabledMaurel to run such a gamut of emotions with such astonishing command andresource. 

"In fine, as every great artist is different from his compeers, therecan be no fixed and fast standard of vocal mastery, except the masteryof doing a great thing convincingly. "

XXVII

=THE CODA=

A RESUMÉ

The student, seeking light on the many problems of vocal technic, thetraining for concert and opera, how to get started in the profession, and kindred subjects of vital importance, has doubtless found, in theforegoing talks a rich fund of help and suggestion. It is from such highsources that a few words of personal experience and advice, have oftenproved to be to the young singer a beacon light, showing what to avoidand what to follow. It were well to gather up these strands ofsuggestion from great artists and weave them into a strong bulwark ofprecept and example, so that the student may be kept within the narrowpath 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 himto make rules for others. 

First, as to difference in voices. When it is considered that the humaninstrument, unlike any fabricated by the hand of man, is a purelypersonal instrument, subject to endless variation through variety information of mouth and throat cavities, also physical conditions of theanatomy, it is no cause for wonder that the human instrument shoulddiffer in each individual. Then think of all sorts and conditions ofmentality, environment, ambitions and ideals. It is a self evident factthat the vocal instrument must be a part of each person, of whom thereare "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 manykinds of voices as there are persons; therefore it seems to me eachvoice should be treated in the manner best suited to its possessor. ""Singing is such an individual thing, after all, " says Anna Case; "it isa part of one's very self. " "Each person has a different mentality and adifferent kind of voice, " says Martinelli; "indeed there are as manyqualities of voice as there are people. "

Granting, then, that there are no two voices and personalities in theworld, exactly alike, it follows, as a natural conclusion, that therenowned vocalist, who has won his or her way from the beginning up tofame and fortune, realizes that her instrument and her manner oftraining and handling it are peculiarly personal. As she has won successthrough certain means and methods, she considers those means belong toher, 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 forothers. Geraldine Farrar does not imply there is only one right way totrain the voice, and she has found that way. In speaking of her methodof study, she says: "These things seem best for my voice, and this isthe way I work. But, since each voice is different, my ways might notsuit any one else. I have no desire to lay down rules for others; I canonly speak of my own experience. "

Galli-Curci says: "The singer who understands her business must knowjust how she produces tones and vocal effects. She can then do them atall times, even under adverse circumstances, when nervous or not in themood. I have developed the voice and trained it in the way that seemedto me best for it. How can any other person tell you how that is to bedone?"

"It rests with the singer what she will do with her voice--how she willdevelop it, " remarks Mme. Homer. Martinelli says: "The voice is a hiddeninstrument and eventually its fate must rest with its possessor. Aftergeneral principles are understood, a singer must work them out accordingto his ability. " Florence Easton remarks: "Each singer who has risen, who has found herself, knows by what path she climbed, but the path shefound might not do for another. "

Instead of considering this reticence on the part of the successfulsinger, to explain the ways and means which enabled him to reachsuccess, in the light of a selfish withholding of advice which wouldbenefit the young student, we rather look upon it as a worthy andconscientious desire not to lead any one into paths which might not bebest for his or her instrument. 

In the beginning the student needs advice from an expert master, and isgreatly benefited by knowing how the great singers have achieved. Lateron, when principles have become thoroughly understood, the young singerslearn what is best for their own voices; they, too, become a law untothemselves, capable of continuing the development of their own voices inthe 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 thebeauty of European voices, to the disparagement of those of our owncountry. Remembering the obloquy cast upon the American voice, it is apleasure to record the views of some of the great singers on this point. "There are quantities of girls in America with good voices, good looksand a love for music, " asserts Mme. Easton. Mme. Hempel says: "I findthere are quantities of lovely voices here in America. The quality ofthe American female voice is beautiful; in no country is it finer, noteven in Italy. " Herbert Witherspoon, who has such wonderful experiencein training voices, states: "We ought to have our own standards injudging American voices; until we do so, we will be constantly comparingthem with the voices of foreign singers. The quality of the Americanvoice is different from the quality found in the voices of othercountries. To my mind, the best women's voices are found right here inour midst. " And he adds: "Any one can sing beautifully who does so withease and naturalness, the American just as well as those of any othercountry. In fact I consider American voices, in general, better trainedthan those of Italy, Germany or France. The Italian, in particular, hasvery little knowledge of the scientific side; he usually sings byintuition. "

AMERICAN VOICE TEACHERS

If this be accepted, that American voices are better trained than thoseof other countries, and there is no reason to doubt the statement ofmasters of such standing, it follows there must be competent instructorsin 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, "notonly 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 ofa teacher. For a teacher may be excellent for one voice but not foranother. " Morgan Kingston asserts: "There is no need for an American togo out of his own country for vocal instruction or languages; all can belearned right here at home. I am a living proof of this. What I havedone others can do. " "You have excellent vocal teachers right here inAmerica, " says Mme. Hempel. Then she marvels, that with all theseadvantages 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 withtheir 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 avoice and good looks, who is a favorite socially, to neglect her studiesat times, for social gaiety. She is in such haste to make something ofherself, to get where she can earn a little with her voice; yet byyielding to other calls she defeats the very purpose for which she isstriving by a lowered ideal of her art. Let us see how the artists andteachers view this state of things. Lehmann says:

"The trouble with American girls is they are always in a hurry. They arenot content to sit down quietly and study till they have developedthemselves into something before they ever think of coming to Europe. They think if they can only come over here and sing for an artist, thatfact alone will give them prestige in America. With us American girlsare too often looked upon as superficial because they come over herequite unprepared. I say to them: Go home and study; there are plenty ofgood 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 inAmerica, girls do not realize the amount of labor and sacrificeinvolved, 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 tohave sufficient time to devote to vocal study and to all that goes withit. In order to study all the subjects required, the girl with a voicemust be willing to give most of her day to work. This means sacrificingthe social side, and being willing to throw herself heart and soul intothe 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 doesnot consider this in the light of sacrifice. Her message to the youngsinger is:

"Stick to your work and study systematically, whole-heartedly. If you donot love your work enough to give it your best thought, to makesacrifices for it, then there is something wrong with you. Better choosesome other line of work, to which you can give undivided attention anddevotion. For music requires both. As for sacrifices, they really do notexist, if they promote the thing you honestly love most. You must neverstop studying, for there is always so much to learn. " "I have developedmy voice through arduous toil, " to quote Mme. Galli-Curci. Raisa says:"One cannot expect to succeed in the profession of music without givingone's best time and thought to the work of vocal training and all theother subjects that go with it. A man in business gives his day, or themost of it, to his office. My time is devoted to my art, and indeed Ihave not any too much time to study all the necessary sides of it. "

"I am always studying, always striving to improve what I have alreadylearned and trying to acquire the things I find difficult, or have notyet attained to, " testifies Mme. Homer. 

THE REQUIREMENTS FOR A VOCAL CAREER

Those who have been through the necessary drudgery and struggle and havewon out, should be able to give an authoritative answer to this allimportant question. They know what they started with, what any singermust possess at the beginning, and what she must acquire. 

Naturally the singer must have a voice, for there is no use trying tocultivate something which does not exist. All artists subscribe to this. They also affirm she should have good looks, a love for music and amusical 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 donewithout it? 3. Musical nature. 4. Capacity for Work. Withoutapplication, the gifts of voice, intelligence and a musical nature willnot make an artist. 5. A cheerful optimism, which refuses to yield todiscouragement. 6. Patience. It is only with patient striving, doing thedaily vocal task, and trying to do it each day a little better than theday before, that anything worth while is accomplished. The student musthave 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 Caseanswers the question as to the vital requisites necessary to become asinger: "Brains, Personality, Voice. "

Quotations could be multiplied to prove that all artists fully concurwith those already mentioned. There must be a promising voice tocultivate, youth, good looks, (for a public career) and the utmostdevotion to work. 

WHAT BRANCHES OF STUDY MUST BE TAKEN UP?

All agree there are many other subjects to study besides singing; thatalone is far from sufficient. Edward Johnson says: "Singing itself isonly a part, perhaps the smaller part of one's equipment. If opera bethe goal, there are languages, acting, make up, impersonation, interpretation, how to walk, all to be added to piano, harmony andlanguages. The most important of all is a musical education. "

Most of the great singers have emphatically expressed themselves infavor of piano study. Indeed, many were pianists in the beginning, before they began to develop the voice. Among those who had thistraining are: Galli-Curci, Lehmann, Raisa, D'Alvarez, Barrientos, Braslau, Case. Miss Braslau says: "I am so grateful for my knowledge ofthe piano and its literature; it is the greatest help to me now. To mythinking all children should have piano lessons; the cost is triflingcompared 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 forthem. "

Mme. Raisa says: "There are so many sides to the singer's equipmentbesides singing itself. The piano is a necessity; the singer is greatlyhandicapped without a knowledge of that instrument, for it not onlyprovides accompaniment but cultivates musical sense. " "The vocal studentshould study piano as well as languages, " asserts Mme. Homer; "both arethe essentials. Not that she need strive to become a pianist; that wouldnot be possible if she is destined to be a singer. But the more sheknows of the piano and its literature, the more this will cultivate hermusical sense and develop her taste. "

Florence Easton is even more emphatic. "If a girl is fond of music, lether first study the piano, for a knowledge of the piano and its music isat the bottom of everything. All children should have this opportunity, whether they desire it or not. The child who early begins to studypiano, will often unconsciously follow the melody with her voice. Thusthe love of song is awakened in her, and a little later it is discoveredshe has a voice worth cultivating. "

On the subject of languages, artists are equally specific. Languages arean absolute necessity, beginning with one's mother tongue. The studentshould not imagine that because he is born to the English language, itdoes not require careful study. Galli-Curci remarks: "The singer canalways be considered fortunate who has been brought up to more than onelanguage. I learned Spanish and Italian at home. In school I learnedFrench, German and English, not only a little smattering of each, buthow 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 theyexpect to sing, " says Florence Easton. "I know how often this study isneglected by the student. It is only another phase of that haste whichis characteristic of the young student and singer. "

BREATH CONTROL

Following the subject of requirements for a vocal career, let us getright down to the technical side, and review the ideas of artists onBreath Control, How to Practice, What are the Necessary Exercises, WhatVowels Should be Used, and so on. 

All admit that the subject of Breath Control is perhaps the mostimportant of all. Lehmann says: "I practice many breathing exerciseswithout using tone. Breath becomes voice through effort of will and byuse 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 greatestfactor of all is the breathing. To control the breath is what eachstudent is striving to learn, what every singer endeavors to perfect, what every artist should master. It is an almost endless study and anindividual one, because each organism and mentality is different. "

Marguerite d'Alvarez: "In handling and training the voice, breathing isperhaps the most vital thing to be considered. To some breath controlseems 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 ofbreath. I always hold up the chest, taking as deep breaths as I canconveniently. The power to hold the breath and sing more and more toneswith one breath, grows with careful, intelligent practice. "

Frieda Hempel: "The very first thing for a singer to consider is breathcontrol--always the breathing, the breathing. She thinks of it morning, noon and night. Even before rising in the morning she has it on hermind, and may do a few little stunts while still reclining. Then, beforebeginning vocal technic in the morning, she goes through a series ofbreathing exercises. "

David Bispham: "Correct breath control must be carefully studied and isthe result of understanding and experience. When the manner of takingbreath and the way to develop the diaphragm and abdominal muscles, isunderstood, that is only a beginning. Management of the breath is an artin itself. The singer must know what to do with the breath once he hastaken it in, or he may let it out in quarts when he opens his mouth. Helearns how much he needs for each phrase; he learns how to conserve thebreath. "

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. Thestudent must cultivate the power of quickly inhaling a full breath, andexhaling it so gradually that she can sing a phrase lasting from ten totwenty 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 notbe made a bugbear to be greatly feared. Most students make breathing andbreath control a difficult matter, when it should be a natural and easyact. 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 afull, natural breath, do not let the breath escape; the vocal chordswill 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 havediscovered, evolved, or have used so constantly as to consider them apart of their own personal equipment, for reasons stated earlier in thischapter. However, a few artists have indicated certain forms which theyuse. Mme. D'Alvarez remarks: "When I begin to study in the morning, Igive the voice what I call a massage. This consists of hummingexercises, with closed lips. Humming is the sunshine of the voice. Oneexercise is a short figure of four consecutive notes of the diatonicscale, ascending and descending several times; on each repetition of thegroup of phrases, the new set begins on the next higher note of thescale. This exercise brings the tone fully forward. "

Lehmann counsels the young voice to begin in the middle and work bothways. Begin single tones piano, make a long crescendo and return topiano. Another exercise employs two connecting half tones, using one ortwo 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 beginningsoftly, swelling to loud, then diminuendo to soft, are part of the dailyrégime. " Farrar works on scales and single tones daily. Muzio says: "Ising all the scales, one octave each, once slow and once fast--all inone breath. Then I sing triplets on each tone, as many as I can in onebreath. Another exercise is to take one tone softly, then go to theoctave above; this tone is always sung softly, but there is a largecrescendo between the two soft tones. " Kingston says: "As for technicalmaterial, I have never used a great quantity. I do scales and vocalizeseach day. I also make daily use of about a dozen exercises by Rubini. Beyond these I make technical exercises out of the pieces. " De Lucasings scales in full power, then each tone alone, softly, then swellingto full strength and dying away. Bispham: "I give many vocalizes andexercises, which I invent to fit the need of each student. They are notwritten down, simply remembered. I also make exercises out of familiartunes 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, thenthree in the same way; afterwards four and five. Then the scale of oneoctave. Arpeggios are also most important. The trill is the mostdifficult of all vocal exercises. We begin with quarter notes, theneighths and sixteenths. The trill is taken on each tone of the voice, inmajor seconds. " Werrenrath: "I do a lot of gymnastics each day, toexercise the voice and limber up the anatomy. These act as a massage forthe voice; they are in the nature of humming, mingled with grunts, calls, exclamations, shouts, and many kinds of sounds. They put thevoice in condition, so there is no need for all these other exerciseswhich most singers find so essential to their vocal well being. "

Duval asserts: "Long, sustained tones are too difficult for the youngvoice. 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 todaily study, especially to technical practice. It is understood allgreat singers work on vocalizes and technical material daily. 

Caruso is a constant worker. Two or three hours in the forenoon, andseveral more later in the day, whenever possible. Farrar devotes betweenone and two hours daily to vocalizes, scales and tone study, Lehmanncounsels one hour daily on technic. Galli-Curci gives a half hour or soto vocalizes and scales every morning. Martinelli practices exercisesand vocalizes one hour each morning; then another hour on repertoire. Inthe afternoon an hour more--three hours daily. Easton says: "It seems tome 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 Casesays: "I never practice when I am tired, for then it does more harm thangood. One must be in good condition to make good tones. I can study andnot sing at all, for the work is all mental anyway. " Muzio states shegives practically her whole day to study, dividing it into shortperiods, with rest between. 

Frieda Hempel says: "I do about two hours or more, though not all ofthis for technic. I approve of a good deal of technical study, taken insmall doses of ten to fifteen minutes at a time. Technic is a means toan 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. Ofthese I actually sing three hours. The first hour to memory work onrepertoire. The second hour to vocalizes. The rest of the time is givento repertoire and the things that belong to it. " Barrientos states shegives about three-quarters of an hour to vocal technic--scales andexercises--each day. Duval advises the young student to practice twohalf hours daily, two hours after eating, and rest the voice one dayeach week, during which she studies other subjects connected with herart. Oscar Saenger says: "One should practice in fifteen-minute periods, and rest at least ten minutes between. Sing only two hours a day, one inthe morning and one in afternoon. "

WHAT VOWELS TO USE

There seems a divergence of opinion as to what vowels are mostbeneficial in technical practice and study. Galli-Curci says: "In my ownstudy I use them all, though some are more valuable than others. The Ahis the most difficult of all. The O is good; E needs great care. I havefound 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 therest of the vowels. " Mme. D'Alvarez often starts the tone with Ah, whichmelts into O and later changes to U, as the tone dies away. Bispham hasthe student use various vowel syllables, as: Lah, Mah, May, and Mi. WithOscar 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 asinjurious. Griffith uses each vowel in turn, preceded by all theconsonants of the alphabet, one after another. 

HALF OR FULL VOICE?

Shall the young singer practice with half or full voice seems a matterdepending on one's individual attainments. De Luca uses full powerduring practice, while Raisa sings softly, or with medium, tone, duringstudy hours, except occasionally when she wishes to try out certaineffects. Martinelli states he always practices with full voice, as withhalf voice he would not derive the needed benefit. Mme. Easton admitsshe does not, as a rule, use full voice when at work; but adds, thisadmission might prove injurious to the young singer, for half voicemight result in faulty tone production. Anna Case says when at work ona song in her music room, she sings it with the same power as she wouldbefore an audience. She has not two ways of doing it, one for a smallroom and another for a large one. Mr. Duval advises the young pupil tosing tones as loudly and deeply as possible. Singing pianissimo isanother fallacy for a young voice. This is one of the most difficultaccomplishments, and should be reserved for a later period. OscarSaenger: "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 tonearly every artist. Many answered in a comparative negative, thoughwith qualifications. Miss Farrar said:

"No, I do not actually hear my voice, except in a general way, but welearn to know the sensations produced in throat, head, face, lips andother parts of the anatomy, which vibrate in a certain manner to correcttone production. We learn the _feeling_ of the tone. " "I can tell justhow I am singing a tone or phrase, " says De Luca, "by the feeling andsensation; for of course I cannot hear the full effect; no singer canreally hear the effect of his work, except on the records. " "The singermust judge so much from sensation, for she cannot very well hearherself, that is, she cannot tell the full effect of what she is doing, "says Anna Case. Mr. Witherspoon says: "The singer of course hearshimself and with study learns to hear himself better. The singer shoulddepend more on hearing the sound he makes than on feeling the sound. Inother words, train the _ear_, the court of ultimate resort, and the onlyjudge, and forget sensation as much as possible, for the latter leads toa million confusions. "

VOCAL MASTERY, FROM THE ARTISTS' VIEWPOINT

Farrar: "A thing that is mastered must be really perfect. To mastervocal art, the singer must have so developed his voice that it is undercomplete control; then he can do with it what he wishes. He must be ableto 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 theBreath. To these might be added a fourth: Mixed Vowels. But when theseare mastered, what then? Ah, so much more it can never be put intowords. It is self-expression through the medium of tone, for tone mustalways be a vital part of the singer's individuality, colored by feelingand emotion. To perfect one's own instrument, must always be thesinger's joy and satisfaction. "

Raisa: "If I have developed perfect control throughout the two and ahalf octaves of my voice, can make each tone with pure quality andperfect evenness in the different degrees of loud and soft, and if Ihave perfect breath control as well, I then have an equipment that mayserve all purposes of interpretation. For together with vocal masterymust go the art of interpretation, in which all the mastery of the vocalequipment may find expression. In order to interpret adequately oneought to possess a perfect instrument, perfectly trained. When this isthe case one can forget mechanism, because confident of the ability toexpress any desired emotion. "

Homer: "The singer must master all difficulties of technic, of toneproduction 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 ifyou have complete control of your anatomy and such command of yourvocal resources that they will always do their work; that they can bedepended on to act perfectly, then you can disregard mechanism and thinkonly of the interpretation--only of your vocal message. Then you haveconquered 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 tosing even moderately well. Technic furnishes the tool with which thesinger creates his vocal art work. Then the singer must work on hismoral 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 tomyself, my art or to my neighbor. "

Griffith: "Vocal Mastery is acquired through correct understanding ofwhat constitutes pure vowel sounds, and such control of the breath aswill enable one to convert every atom of breath into singing tone. Thisestablishes correct action of the vocal chords and puts the singer inpossession of the various tints of the voice. 

"When the vocal chords are allowed to produce pure vowels, correctaction is the result, and with proper breath support, Vocal Mastery canbe assured. "

Duval: "What is Vocal Mastery? Every great artist has his own peculiarmanner of accomplishing results--has his own vocal mastery. Patti hadone kind, Maurel another, Lehmann still another. Caruso may also be saidto have his own vocal mastery. 

"In fine, as every great artist is different from his compeers, therecan be no fixed and fast standard of vocal mastery, except the masteryof doing a great thing greatly and convincingly. "

THE END