With such a thorough foundation as I had it has not been difficult to
acquire a repertoire of some seventy-five operas. That is, by learning
one at a time and working continually over a number of years the operas
come easily. In learning a new work I first read the work through as a
whole several times to get the character well fixed in my mind. Then I
play the music through several times until I am very familiar with it.
Then I learn the voice part, never studying it as a voice part by
itself, but always in relation to the orchestra and the other roles.
Finally, I learn the interpretation--the dramatic presentation. One gets
so little help from the orchestra in modern works that many rehearsals
are necessary. In some passages it is just like walking in a dark night.
Only a true ear and thorough training can serve to keep one on the key
or anywhere near the key. It is therefore highly necessary that vocal
students should have a good musical training in addition to the vocal
training. In most European conservatories the study of piano and harmony
are compulsory for all vocal students. Not to have had this musical
training that the study of the piano brings about, not to have had a
good course in theory or in training for sight-singing (ear training) is
to leave out important pillars in a thorough musical foundation.