Her first musical training should be musical. That is, she should be
taught how to listen to beautiful music before she ever hears the word
technic. She should be taught sight reading, and she ought to be able to
read any melody as easily as she would read a book. The earlier this
study is commenced with the really musical child, the better. Before it
is of any real value to the singer her sight reading should become
second nature. She should have lost all idea of the technic of the art
and read with ease and naturalness. This is of immense assistance. Then
she should study the piano thoroughly. The piano is the door to the
music of the opera. The singer who is dependent upon some assistant to
play over the piano scores is unfortunate. It is not really necessary
for her to learn any of the other instruments; but she should be able to
play readily and correctly. It will help her in learning scores, more
than anything else. It will also open the door to much other beautiful
music which will elevate her taste and ennoble her ideals.
She should go to the opera as frequently as possible in order that she
may become acquainted with the great roles intuitively. If she cannot
attend the opera itself she can at least gain an idea of the great
operatic music through the talking machines. The "repertory" of records
is now very large, but of course does not include all of the music of
all of the scenes.
She should be taught the musical traditions of the different historical
musical epochs and the different so-called music schools. First she
should study musical history itself and then become acquainted with the
music of the different periods. The study of the violin is also an
advantage in training the ear to listen for correct intonation; but the
violin is by no means absolutely necessary.