THE YOUNG SINGER BEFORE AN AUDIENCE

"The singer who wishes to make a career in concert, should constantly

study to do things easily and gracefully. She is gracious in manner,

and sings to the people as though it gave her personal pleasure to stand

before them. She has a happy expression of countenance; she is simple,

unaffected and sincere. More than all this her singing must be filled

with sentiment and soul; it must be deeply felt or it will not touch

others. Of what use will be the most elaborate technic in the world if

there is no soul back of it. So the young singer cultivates this power

of expression, which grows with constant effort. The artist has learned

to share her gift of song with her audience, and sings straight across

into the hearts of her listeners. The less experienced singer profits by

her example.

"Shall the singer carry her music in a song recital, is a much discussed

question. Many come on with nothing in hand. What then happens? The

hands are clasped in supplication, as though praying for help. This

attitude becomes somewhat harrowing when held for a whole program. Other

singers toy with chain or fan, movements which may be very inappropriate

to the sentiment of the song they are singing. For myself I prefer to

hold in hand a small book containing the words of my songs, for it seems

to be more graceful and Jess obtrusive than the other ways I have

mentioned. I never refer to this little book, as I know the words of my

songs backward; I could rise in the middle of the night and go through

the program without a glance at words or music, so thoroughly do I know

what I am singing. Therefore I do not need the book of words, but I

shall always carry it, no matter what the critics may say. And why

should not the executive artist reassure himself by having his music

with him? It seems to me a pianist would feel so much more certain of

himself if he had the notes before him; he of course need not look at

them, but their presence would take away the fear that is often an

obsession. With the notes at hand he could let himself go, give free

reign to fancy, without the terrible anxiety he must often feel.

Vocal Mastery Talks with Master Singers and Teachers, Comprising Interviews with Caruso, Farrar, Maurel, Lehmann, and Others · 第 221 / 287 题