The story of Edward Johnson's musical development should prove an
incentive, nay more, a beacon light along the path of consistent
progress toward the goal of vocal and operatic achievement. Indeed as a
tiny child he must have had the desire to become a singer. A friend
speaks of musical proclivities which began to show themselves at an
early age, and describes visits of the child to their home, where, in a
little Lord Fauntleroy suit, he would stand up before them all and sing
a whole recital of little songs, to the delight of all his relatives.
The singer's progress, from the musical child on and up to that of an
operatic artist, has been rational and healthy, with nothing hectic or
overwrought about it; a constant, gradual ascent of the mountain. And
while an enviable vantage ground has been reached, such an artist must
feel there are yet other heights to conquer. For even excellence,
already achieved, requires constant effort to be held at high water
mark. And the desire for greater perfection, which every true artist
must feel, is a never-ending urge to continued struggle.
In a recent conversation with the tenor, Mr. Johnson spoke of early
days, when he desired above everything else to become a musician and
follow a musical career, though his family expected him to enter the
business world. He came to New York to look the ground over, hoping
there might be opportunity to continue his studies and make his way at
the same time. He was fortunate enough to secure a church position, and
sang subsequently in some of the best New York and Brooklyn churches.
After this period he did much concert work, touring through the Middle
West with the Chicago Symphony Orchestra and singing in many Music
Festivals throughout the country.
[Illustration: Edward Johnson]
But church and concert singing did not entirely satisfy; he longed to
try his hand at opera,--in short to make an operatic career. He was well
aware that he would not find this field nor gain the necessary
experience in America; he must go to Italy, the land of song, to gain
the required training and experience. He was also fully aware of the
fact that there was plenty of hard work, and probably many
disappointments before him, but he did not shrink from either.
"Fortunately, I have a fund of humor," he said, and there was a twinkle
in his eye as he spoke. "It is a saving grace, as you say; without it I
believe I should have many times given up in sheer despair."
Mr. Johnson went to Italy in 1909, beginning at once his studies with
Lombardi, in Florence. In the ten years of his absence from his home
land he has built up a reputation and made a career in the great
operatic centers of Italy, Spain and South America. After his début in
Padua, he became leading tenor at La Scala, Milan, for five consecutive
seasons. In Rome he spent four seasons at the Costanzi Theater, in the
meantime making two visits to the Colon Theater, Buenos Aires, and
filling engagements in Madrid, Bologna, Florence and Genoa.
"How could I stay away from America for such a length of time? you ask.
For various reasons. I was getting what I had come to Italy for,
experience and reputation. I was comfortable and happy in my work. I
loved the beautiful country, and the life suited me. The people were
kind. I had my own home in Florence, which is still there and to which I
can return when my season is over here. Best of all I had the
opportunity of creating all the new tenor rôles in the recent operas of
Puccini, Montemezzi, Pizzetti and Gratico. I also created the rôle of
_Parsifal_ in Italian, and the first season at La Scala, it was
performed twenty-seven times."
"With your permission let us go a little into detail in regard to the
needs of the young singer and his method of study, so that he may
acquire vocal mastery. What do you consider the most important and
necessary subject for the young singer, or any one who wishes to enter
the profession, to consider?"
"A musical education," was the prompt, unhesitating reply. "So many
think if they have a good natural voice and take singing lessons, that
is quite sufficient; they will soon become singers. But a singer should
also be a musician. He should learn the piano by all means and have some
knowledge of theory and harmony. These subjects will be of the greatest
benefit in developing his musicianship; indeed he cannot well get on
without them. A beautiful voice with little musical education, is not of
as much value to its possessor as one not so beautiful, which has been
well trained and is coupled with solid musical attainments.