2. The artist has become a law unto himself; it is not possible for him
to make rules for others.
First, as to difference in voices. When it is considered that the human
instrument, unlike any fabricated by the hand of man, is a purely
personal instrument, subject to endless variation through variety in
formation of mouth and throat cavities, also physical conditions of the
anatomy, it is no cause for wonder that the human instrument should
differ in each individual. Then think of all sorts and conditions of
mentality, environment, ambitions and ideals. It is a self evident fact
that the vocal instrument must be a part of each person, of whom there
are "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 many
kinds of voices as there are persons; therefore it seems to me each
voice should be treated in the manner best suited to its possessor."
"Singing is such an individual thing, after all," says Anna Case; "it is
a part of one's very self." "Each person has a different mentality and a
different kind of voice," says Martinelli; "indeed there are as many
qualities of voice as there are people."
Granting, then, that there are no two voices and personalities in the
world, exactly alike, it follows, as a natural conclusion, that the
renowned vocalist, who has won his or her way from the beginning up to
fame and fortune, realizes that her instrument and her manner of
training and handling it are peculiarly personal. As she has won success
through certain means and methods, she considers those means belong to
her, 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 for
others. Geraldine Farrar does not imply there is only one right way to
train the voice, and she has found that way. In speaking of her method
of study, she says: "These things seem best for my voice, and this is
the way I work. But, since each voice is different, my ways might not
suit any one else. I have no desire to lay down rules for others; I can
only speak of my own experience."
Galli-Curci says: "The singer who understands her business must know
just how she produces tones and vocal effects. She can then do them at
all times, even under adverse circumstances, when nervous or not in the
mood. I have developed the voice and trained it in the way that seemed
to me best for it. How can any other person tell you how that is to be
done?"
"It rests with the singer what she will do with her voice--how she will
develop it," remarks Mme. Homer. Martinelli says: "The voice is a hidden
instrument and eventually its fate must rest with its possessor. After
general principles are understood, a singer must work them out according
to his ability." Florence Easton remarks: "Each singer who has risen,
who has found herself, knows by what path she climbed, but the path she
found might not do for another."
Instead of considering this reticence on the part of the successful
singer, to explain the ways and means which enabled him to reach
success, in the light of a selfish withholding of advice which would
benefit the young student, we rather look upon it as a worthy and
conscientious desire not to lead any one into paths which might not be
best for his or her instrument.
In the beginning the student needs advice from an expert master, and is
greatly benefited by knowing how the great singers have achieved. Later
on, when principles have become thoroughly understood, the young singers
learn what is best for their own voices; they, too, become a law unto
themselves, capable of continuing the development of their own voices in
the manner best suited to this most individual of all instruments.