Farrar: "A thing that is mastered must be really perfect. To master
vocal art, the singer must have so developed his voice that it is under
complete control; then he can do with it what he wishes. He must be able
to 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 the
Breath. To these might be added a fourth: Mixed Vowels. But when these
are mastered, what then? Ah, so much more it can never be put into
words. It is self-expression through the medium of tone, for tone must
always be a vital part of the singer's individuality, colored by feeling
and emotion. To perfect one's own instrument, must always be the
singer's joy and satisfaction."
Raisa: "If I have developed perfect control throughout the two and a
half octaves of my voice, can make each tone with pure quality and
perfect evenness in the different degrees of loud and soft, and if I
have perfect breath control as well, I then have an equipment that may
serve all purposes of interpretation. For together with vocal mastery
must go the art of interpretation, in which all the mastery of the vocal
equipment may find expression. In order to interpret 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 any desired emotion."
Homer: "The singer must master all difficulties of technic, of tone
production 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 if
you have complete control of your anatomy and such command of your
vocal resources that they will always do their work; that they can be
depended on to act perfectly, then you can disregard mechanism and think
only of the interpretation--only of your vocal message. Then you have
conquered 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 to
sing even moderately well. Technic furnishes the tool with which the
singer creates his vocal art work. Then the singer must work on his
moral 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 to
myself, my art or to my neighbor."
Griffith: "Vocal Mastery is acquired through correct understanding of
what constitutes pure vowel sounds, and such control of the breath as
will enable one to convert every atom of breath into singing tone. This
establishes correct action of the vocal chords and puts the singer in
possession of the various tints of the voice.
"When the vocal chords are allowed to produce pure vowels, correct
action is the result, and with proper breath support, Vocal Mastery can
be assured."
Duval: "What is Vocal Mastery? Every great artist has his own peculiar
manner of accomplishing results--has his own vocal mastery. Patti had
one kind, Maurel another, Lehmann still another. Caruso may also be said
to have his own vocal mastery.
"In fine, as every great artist is different from his compeers, there
can be no fixed and fast standard of vocal mastery, except the mastery
of doing a great thing greatly and convincingly."