The young singer's first anxiety is usually to learn whether her voice
is sufficiently good to make it worth while to go through the enormous
work of preparing herself for the operatic stage. How is she to
determine this? Surely not upon the advice of her immediate friends, nor
upon that of those to whom she would naturally turn for spiritual
advice, medical advice or legal advice. But this is usually just what
she does. Because of the honored positions held by her rector, her
physician, or her family lawyer, their services are all brought to bear
upon her, and after an examination of her musical ability their
unskilled opinion is given a weight it obviously does not deserve. The
only one to judge is a skilled musician, with good artistic taste and
some experience in voice matters. It is sometimes difficult to approach
a singing teacher for this advice, as even the most honest could not
fail to be somewhat influenced where there is a prospect of a pupil. I
do not mean to malign the thousands of worthy teachers, but such a
position is a delicate one, and the pupil should avoid consulting with
any adviser except one who is absolutely disinterested.
In any event the mere possession of a voice that is sweet and strong by
no means indicates that the owner has the additional equipment which the
singer must possess. Musical intelligence is quite as great an asset as
the possession of a fine voice. By musical intelligence I mean something
quite different from general intelligence. People seem to expect that
the young person who desires to become a fine pianist or a fine
violinist, or a fine composer, should possess certain musical talents.
That is, they should experience a certain quickness in grasping musical
problems and executing them. The singer, however, by some peculiar
popular ruling seems to be exempted from this. No greater mistake could
possibly be made. Very few people are musically gifted. When one of
these people happens to possess a good voice, great industry, a love for
vocal art, physical strength, patience, good sense, good taste and
abundant faith in her possibilities, the chances of making a good singer
are excellent. I lay great stress upon great determination and good
health. I am often obliged to sing one night, then travel a thousand
miles to sing the next night. Notwithstanding such journeys, the singer
is expected to be in prime condition, look nice, and please a veritable
multitude of comparative strangers all expecting wonderful things from
her. Do you wonder that I lay stress upon good health?
The youthful training of the singer should be confined quite strictly to
that of obtaining a good general and musical education. That is, the
vocal training may be safely postponed until the singer is seventeen or
eighteen years of age. Of course there have been cases of famous singers
who have sung during their childhood, but they are exceptions to all
rules. The study of singing demands the direction of an intelligent,
well-ordered mind. It is by no means wholly a matter of imitation. In
fact, without some cultivation of the taste, that is, the sense of
discriminating between what is good and bad, one may imitate with
disastrous results.