"And what must the girl possess, who wishes to make a success with her
singing?" was asked.
"First of all, as I have already said, she must have a voice; she can
never expect to get very far without that. Voice is a necessity for a
singer, but it rests with her what she will do with it, how she will
develop it.
"The next asset is intelligence; that is as great a necessity as a
voice. For through the voice we express what we feel, what we are;
intelligence controls, directs, shines through and illumines everything.
Indeed what can be done without intelligence? I could mention a young
singer with a good natural voice, who takes her tones correctly, who
studies well; indeed one can find no fault with the technical side of
her work; but her singing has no meaning--it says absolutely nothing; it
only represents just so many notes."
"That is because she has not a musical nature," put in Mr. Homer. "To my
mind that is the greatest asset any one can have who wishes to become a
musician in any branch of the art. What can be done without a musical
nature? Of course I speak of the young singer who wishes to make a
career. There are many young people who take up singing for their own
pleasure, never expecting to do much with it. And it is a good thing to
do so. It gives pleasure to their family and friends--is a healthful
exercise, and last but not least, is financially good for the teacher
they employ.
"But the trouble comes when these superficial students aspire to become
opera singers, after a couple of seasons' study. Of course they all cast
eyes at the Metropolitan, as the end and aim of all striving.
"Just as if, when a young man enters a law office, it is going to lead
him to the White House, or that he expects it will," said Mr. Homer.
"Then," resumed the artist, "we have already three requirements for a
vocal career; Voice, Intelligence and a Musical Nature. I think the
Fourth should be a Capacity for Work. Without application, the gifts of
voice, intelligence and a musical nature will not make an artist. To
accomplish this task requires ceaseless labor, without yielding to
discouragement. Perhaps the Fifth asset would be a cheerful optimism as
proof against discouragement.
"That is the last thing the student should yield to--discouragement, for
this has stunted or impaired the growth of many singers possessed of
natural talent. The young singer must never be down-hearted. Suppose
things do not go as she would like to have them; she must learn to
overcome obstacles, not be overcome by them. She must have backbone
enough to stand up under disappointments; they are the test of her
mettle, of her worthiness to enter the circle with those who have
overcome. For she can be sure that none of us have risen to a place in
art without the hardest kind of work, struggle and the conquering of all
sorts of difficulties.
"The sixth asset ought to be Patience, for she will need that in large
measure. It is only with patient striving, doing the daily vocal task,
and trying to do it each day a little better than the day before, that
anything worth while is accomplished. It is a work that cannot be
hurried. I repeat it; the student must have unlimited patience to labor
and wait for results.