Produced by Al Haines.
*HOW TO BECOME
A SUCCESSFUL SINGER*
BY
*MADAME CLARA BUTT
MADAME MELBA
SIGNOR CARUSO
MR. BEN DAVIES*
LONDON: GEORGE NEWNES, LIMITED,
SOUTHAMPTON STREET, STRAND, W.C.
*CONTENTS.*
How to Become a Successful Singer. By Madame Clara Butt
The Gift of Song. With Practical Advice on Voice Culture. By Madame
Melba
Hints on the Cultivation of the Voice. By Enrico Caruso
How to Attain Success in Singing. By Ben Davies
*HOW TO BECOME
A SUCCESSFUL SINGER.*
*By MADAME CLARA BUTT.*
The question of how to sing a song involves touching upon a variety of
points that might not at first sight be associated with the subject.
Four distinct factors play prominent parts in the singing of any song,
however simple. These are the Voice, the Singer, the Master, and the
Song.
Of these, of course, the voice is of primary importance; for unless an
individual possesses in some degree the gift of song it is impossible
for him or her to become a singer. In very many cases, needless to say,
correct training, by showing how the vocal organs can be used to the
best advantage, may achieve some sort of result. But the voice so
produced is often of an artificial character, which can never approach
the purely "natural" voice.
It is, I believe, held by a great many people that only those can sing
who possess a throat and vocal organs suitable for the production of the
voice, but my own views on the subject do not coincide with this idea at
all. My point of view is that if you are meant to be a singer you will
sing. "God sent His singers upon earth," etc.
One often hears of operations upon the throat being performed with the
object of improving the voice, but here again I find myself in entire
disagreement. I think that if one is born with a deformity of the
throat, and has always sung easily with it, any attempt to interfere
with, or alter, that deformity, may end in destroying the power of song
altogether.
When I was at the Royal College of Music I was constantly being urged to
have my tonsils cut. For a long time I held out against it, but at last
consented. However, while I was actually seated in the operating chair,
the doctor asked me to sing the vowel sound "E" on a high note, and
remarked upon the way my tonsils contracted while I sang it. All at
once I recalled the case of a girl I knew, with a true soprano voice,
who had lost the ability to sing in tune after her tonsils had been cut.
Might it not be the same in my own case? This decided me in an instant.
I refused to let the operation be performed, and from that day to this
have never allowed my throat to be interfered with surgically in any
way. Yet I have had every sort of throat that a singer would wish to
avoid without my voice being affected in the least! I started life,
almost, with diphtheria, have suffered from adenoids, and have
experienced several attacks of quinsy. Among myself and my three
sisters, all of us being singers, my throat is the worst of the lot, and
not in the least like a singer's throat. The sister whose voice most
nearly resembles mine is the one whose throat is most like mine; and the
sister who has a throat and vocal organs which are ideal from an
anatomical point of view possesses a soprano voice which, though
particularly sweet, is not strong!
One thing that I think exercises an enormous amount of influence upon
the quality of voices is climate. Review the climatic conditions of the
various countries, and you cannot help remarking upon the number of
natural voices that are met with in Italy and in Australia, in both of
which countries the climate is unusually fine. I believe that the
brilliance of the Australian climate must be reckoned with very
seriously in accounting for the peculiar brilliance which is a
characteristic of Australian singing voices, while that Italy is a
country of singers is well known to everybody. At the same time,
climatic conditions do not seem to affect the speaking voice, which I
imagine is more a question of language. I have always thought that the
English speaking voice is the best of any. There is none of that nasal,
sonorous accent about it which, for instance, makes the speaking voice
of the ordinary Italian so unpleasant. I was never so struck with this
quality in Italian speaking voices as upon one occasion when staying at
an hotel in Venice, where there was a cafe almost beneath our windows.
Even the beauties of Venice hardly compensated for the nerve-racking
nasal chatter that continually floated up to us from below.
It goes without saying that the voice needs a great deal of training and
care if it is to be brought to the best development, and one of the
first faults that must be cured is in the taking, and use of, the
breath. This must be done in an entirely different way from that
usually employed when speaking. It would be impossible for me to deal
fully in such an article as this with the question of how to take
breath, and as it is one of the first lessons that a singing master
should teach, I will confine myself here to saying that the main
difference lies in the fact that, when speaking, the breath is usually
taken from the chest, but that when singing it must be controlled by the
abdominal muscles.
When singing, the muscles of the throat must be relaxed, and not
contracted. Self-consciousness often does more to mar a good voice than
anything else, since it leads to the contraction of the muscles. Have
you never noticed how pleasantly some people sing or hum to themselves
when they imagine they are not overheard, compared with the indifferent
or even unpleasant manner in which they perform publicly? Here we have
a direct example of the result of self-consciousness. Never mind your
audience. Allow the song to carry you away, so that you sing easily and
naturally.
To acquire perfect control over the throat muscles, so that they may be
relaxed at will, is one of the most difficult points in voice training.
And one of the most common mistakes made in this respect is in
over-practice. The muscles of the throat are among the most delicate of
the whole body, and I am convinced that it is a fatal error to overtax
them, especially during the early training of the voice, by too much
practice. Personally, my training was very gradual, and the greatest
care was taken not to impose too much strain upon my throat at first. I
am confident that a number of short practices of ten or fifteen minutes'
duration, with intervals of rest between, are better than a few long
periods, since the throat is thus less liable to become tired. Every
expert in physical development will tell you that for the proper
development of any set of muscles a gradual exercise that does not
involve over-exertion is the best, and I would particularly emphasise
the importance of this where the throat is concerned.
Another point in connection with the voice which is too often overlooked
is the question of general health. My gardener sometimes complains that
the flowers do not come to perfection owing to the poorness of the soil.
The simile is a very good one. The vocal organs are like delicate
flowers, capable of the best development when the soil in which they are
planted--the body--is in perfect condition. It must be the object of
all singers, therefore, to take the greatest care of their health.
Over-exercise of the body generally should also be avoided, just as much
as over-exercising the throat. It is easier to sing when the rest of
the body has not been over-tired. General exercise, though essential to
health, can be overdone just as much as vocal exercise. These remarks
apply particularly to the student. It is while the voice is being
formed, more than after it has been formed, that it is likely to be
affected by such considerations as those just mentioned.
The mind plays a prominent part where the voice is concerned. Worry,
unhappiness, and mental strain of every description may lower the whole
tone of the body, and, by lessening the inclination to sing, make
singing more difficult. Unfortunately, one cannot take mental worries in
small doses, but must put up with them as they come; and I only mention
this to impress upon my readers the more forcibly how important the
general health of mind and body is where the voice is concerned.
After all, the effect of mental or bodily strain upon the voice depends
entirely upon the individual. Personally, whatever may be the state of
my mind or my body, I am able to sing in a sort of subconscious state.
It would hardly be possible to hit upon a more striking illustration of
what can be done when one is in a subconscious condition than what I am
about to relate.
At one time and another I have had to have operations performed--for
appendicitis, for instance--which have necessitated my being put under
ether. On every single occasion I have sung in full voice while under
the influence of the anaesthetic! This was most remarkable perhaps on
the occasion when I was being operated upon for appendicitis, for then
the abdominal muscles, which control one's breathing, must naturally
have been interfered with.
The fact is that trouble, worry, and ill-health have no effect upon the
voice itself. The voice is always there. It is only the power of using
it that may be impaired.
As I have already pointed out, it is in the early stages of vocal
training that the effects of ill-health, mental worry, or overwork are
most likely to be felt. When the voice has been properly trained, and
the vocal organs fully developed, they are less likely to suffer by the
rest of the body being out of tune, and it is therefore of particular
importance for beginners to bear my remarks in mind.
Here is another point which beginners should take to heart, and follow
as far as they are able. Try to avoid over-anxiety. Students often make
the mistake, through over-anxiety, of over-working their voices just
before a concert, with the result that they are not at their best when
on the platform. It is a good plan to rest both the body and the voice
before singing in public.
I should like to emphasise the importance of this very fully. Young
singers seem to lose sight, half the time, of the fact that they should
be at their very best when on the platform. Personally I always keep,
and have always kept, this clearly before my mind. It is the greatest
possible mistake to waste your efforts at the last moment in private.
Rest before you sing in public, in order that when you go on to the
platform you may give your audience--who, after all, have paid to be
entertained--of your best. Remember that while polishing is highly
desirable, there is such a thing as over-polishing, and this, instead of
improving, only wears out. I am a great believer in the quiet study of
a song without the aid of a piano. Not only does this avoid tiring the
voice, but it enables the singer to fully grasp all the beauty and the
meaning of the words and the music, and so to enter into the spirit of
the subject when upon the platform. When on tour I frequently adopt
this method of studying. It enables one to be doing something useful
when in the train, or elsewhere, when actual practice is undesirable or
impracticable.
This resting of the voice before singing in public applies not only to
vocal exercises, but to all kinds of over-exertion of the throat. Even
those who are aware of the danger, and who are careful to refrain from
singing-practice just before an appearance in public, very frequently
forget that speaking may tire the voice every whit as much as singing.
It is most important not to do too much talking for some hours before a
public appearance is made. In this way the throat will be thoroughly
rested.
In singing, as in everything else, experience teaches, better than any
amount of instruction, what an individual is capable of, and how the
full power and merit of the voice may best be acquired and preserved.
When students have "found their feet" sufficiently to understand the
best way to manage their voices, they will be able to regulate their
practice according to what leads to the best result in each individual
case. Some may be best suited by morning practice, others by afternoon
practice. Personally, I put in most of my practice between the hours of
eleven and one each morning.
The next factor to be considered is the Singer. Temperament,
individuality, force, dramatic ability, perseverance, industry,
keenness, and ambition all play a part in the making of a successful
singer and in the singing of a song successfully. It is in the earlier
stages of the singer's career that some of these qualities are most
necessary, for many years of hard and constant study have sometimes to
be faced. It is during this time that perseverance, industry, keenness,
and ambition, if they are possessed, will help the student on so
enormously; indeed, while ambition and keenness will do most perhaps in
the early stages, industry and perseverance are required all the time,
for it is impossible to reach a stage where there is nothing left to
learn.
Singing is but one branch of art, and a singer can learn something from
every other branch. From the Actor may be gleaned hints for dramatic
effect; from the Painter may be acquired an appreciation of breadth and
colour; from the Orator may be picked up many useful hints as regards
enunciation, modulation, and emphasis; while the Writer may inspire
those beautiful thoughts which, taking root in the singer's mind, help
towards that mental health which is as important to the perfect voice as
physical fitness. It will be seen, therefore, that one may never have
done studying; for there are constantly new actors, new speakers, new
painters, or new writers from whom something may be learnt, while in
painting and literature alone there are great masterpieces to such
number that no one singer could ever hope to study them all. It must be
remembered, also, that what satisfied the public ten years ago does not
satisfy them now, and as a singer must keep pace with every advancement
that is made, there is constant study to be done.
The first thing the possessor of a voice looks out for is naturally some
one to train it, and this brings us to the question of the master. It
is not my intention to give advice as to the selection of master or
masters; indeed, it would be impossible to do so, partly because there
are so many masters between whom it would be invidious to make
comparisons, and partly because such an article as this is intended more
to assist the general run of students, who are spread over so large an
area that they could not all reach the best-known masters, but are
obliged to study locally. In England and in the Colonies there are many
very good schools and colleges for vocal training, and there are
competent teachers, most of them emanating from our great Colleges and
Academies, within reach of almost every district. While I do not wish
to appear unpatriotic, however, it must frankly be admitted that
students must study on the Continent if the best results are to be
achieved, since only on the Continent can they study in that "Musical
Atmosphere" which is so essential a surrounding for one who essays an
artistic career. Even if prolonged study on the Continent is out of the
question, it is advisable, at all costs, for Continental musical centres
to be visited. No musical education can otherwise be complete.
You must not think that I wish to run down English masters. Quite the
contrary: I think you can get just as good masters here as abroad. It
is simply the question of "Atmosphere"--surroundings. There is no city
in England where the pupil can study amid such surroundings that music
and artistic ideas and ideals hem him in on every side, so that they
meet him whichever way he turns, and so that the feeling that music is
the only thing in the world remains with him, waking and sleeping,
during the whole period of his study.
Only when surrounded by such an Atmosphere can the student be properly
developed where his musical ideas are concerned, for only these
surroundings can develop that artistic temperament which is so
essential.
And apart from the question of Musical Atmosphere, seeing that a singer
is frequently called upon to render songs in French, German, and
Italian, it is necessary that those languages should be studied in
France, Germany, and Italy, if perfection is to be acquired.
It is a very grave fault of our musical colleges and academies that they
employ, as a rule, English teachers to give instruction in foreign
languages. If in one's student days one had a good master for these
languages--a Frenchman to teach French, a German to teach German, and so
on--it would be of the greatest possible assistance, and would save a
considerable amount of time and labour, since so much less would have to
be unlearned. It is not too much to say, I think, that our musical
institutions will never reach the highest point of their utility till
they do this.
But before learning to sing in foreign languages at all, it is essential
that pupils should learn to sing in their own language. Masters in this
country teach their pupils to sing passably in French, Italian, and
German, but directly they attempt to sing in English one is horrified to
find that their enunciation is so bad that it is impossible to
understand the words they sing, and almost out of the question to tell
what language they are singing in! Surely it should be the first object
of the teacher to instruct his pupils in the singing of their own
language.
I verily believe that the reason why our language is looked down upon
for singing in is because so many of our native singers do not know how
to sing it properly. There are much harder sounds in the German
language, for instance. Yet German songs are constantly sung by singers
of every nationality. How often does one hear of English songs being
sung in France, Germany or Italy by French, German, and Italian singers?
Even when they give recitals over here their programmes seldom include
an English song, and one is even more struck by so many of our own
vocalists giving recitals at which often not a single song in English is
included!
When English is properly sung, it is as easy to sing in, and as
beautiful to listen to, as any other language, and if students were
taught how to sing it, its popularity among singers would, I feel
convinced, quickly spread.
I remember very well indeed singing on one occasion to Madame Marchesi
in Paris. I boldly chose an English song, and upon coming to the end of
it, was much pleased by the tribute Madame Marchesi paid to our language
when she said to me, "English is beautiful when sung like that!"
It should emphatically be the first duty of a master to teach his pupils
how to use their native language, and no other should be attempted till
they can do this perfectly. The slipshod methods so frequently met with
now would then soon disappear, and I am sure it would not be long before
other countries began to appreciate the many beauties of the English
language for singing in, and we should get more songs written by good
composers to some of our beautiful English poetry.
Before I leave this question of the master there is one other point for
me to touch upon. Although, when once they have mastered the singing of
their own language, pupils should seek the Musical Atmosphere of the
Continent, it must be remembered that there is one branch of music which
is peculiarly our own, and which must accordingly be studied here. I
refer to Oratorio. England is the home of Oratorio, and consequently
this style of singing cannot be studied abroad. And for any singer who
looks forward to entering the musical profession, careful study of this
branch is absolutely indispensable. Oratorio is very popular here, and
English audiences will not for a moment tolerate singers who fail to
acquit themselves well when they undertake it; and as most professionals
have to do Oratorio work at one time or another, care must be taken that
the public are not given renderings which fail through lack of proper
study and application.
Oratorio entails much study and research that is unnecessary where other
branches of singing are concerned. Not only must the whole work be
studied so that the singer may become acquainted with the full intention
of the composer, but a special study must be made of the character which
the singer is to perform, in order that all the feelings and emotions he
or she would have felt in real life may be properly understood before an
attempt is made to reproduce them. If the best results are to be
achieved, the life, habits, failings, aims, and ambitions of the
character to be interpreted must, as far as possible, be carefully
studied and thought about, in order that the singer may better
appreciate the situations which occur, and know how the character
portrayed would have felt and acted in them. The Bible throws
considerable light upon the life and character of most of the personages
who have a place in Oratorio, and it is therefore useful, when studying
some particular work, to examine carefully that portion of the Bible
which may throw light upon the subject.
Lastly, we come to the song, and this is a question upon which I hold
very decided views. The object of singers should be to give the greatest
amount of pleasure to their audiences, as well as to use all that is
best and highest in their art to inspire good thoughts, and raise the
mental standard of their hearers. The larger proportion of every
audience can only follow the words of the song in English. They can
fully appreciate the beauty of the music, I admit, and for this reason
every artist should have some of the most beautiful songs of other
countries in his or her repertoire, but it is a lamentable fact that
good translations are very rare. I like to choose as many songs as
possible in English, so that their meaning and their message can be
readily understood and appreciated by my audience.
I believe that it is within the power of an artist to actually lessen,
or, at any rate, to temporarily relieve, the cares and worries of which
each member of an audience has a share; and I am sure that the easiest
way to do so is to sing songs whose meaning, and whose message, is
immediately understandable.
In conclusion, I cannot insist too strongly upon the necessity for hard
work and perseverance for those who are to succeed in the world of
music. Too many people imagine that the "gift" is everything. But,
indeed, this is not the case, for though the "gift" is, of course,
indispensable, much application and hard work are necessary before it
can be made use of to the best advantage. Given a voice and some
dramatic instinct, there still remains careful and laborious training to
be gone through before a singer can know how to sing a song and be able
to put that knowledge into practice. The great thing is to be sincere,
to be individual, and to grasp at the beginning of one's career the
impossibility of pleasing everybody, _and the necessity of being true to
oneself_, and if others see the truth differently, be deferential, and
not servile, to their alien point of view.
*THE GIFT OF SONG.*
*WITH PRACTICAL ADVICE ON VOICE CULTURE.*
*By MADAME MELBA.*
During the years immediately preceding my first and, for me, my most
memorable visit to Europe, the late Marquis of Normanby was Governor of
Victoria. At that time I was regarded in Melbourne as a very good
amateur pianist, much in request for private parties, at which I always
played, and on very rare occasions also sang. At one of these
functions, given at Government House, I gave some songs between the
pianoforte selections, and the Marchioness of Normanby, in thanking me,
said, "Child, some day you will give up the piano for singing, and then
you will become famous."
That was the simple comment that set me seriously thinking of a career
as a singer. I had always felt that I would become a professional in
music--pianist, organist, violinist, perhaps, but something in music, at
any rate; but from that moment I knew in an irresistible way that I was
to be a singer.
That remark of the Marchioness made me understand, and determined me to
grasp "the skirts of happy chance." I courted every semblance of
opportunity, and I see now, as then, how fateful a factor opportunity
must be with all who aim at a public career. Even the born singer may
waste divine gifts for want of opportunity, and the possessor of highly
developed vocal talent may entirely sink into obscurity without it.
Among students of similar talent and health she who succeeds is the one
with alert mind, who is ever on the _qui vive_ for her chance. The girl
who fails is generally lacking in mental and physical energy--too prone
to believe that opportunity on ready foot trips unsought even to the
laggard's door. The born or inspired singer always sings, although in
isolated cases want of opportunity may limit the sphere of those rarely
endowed people.
While it is true that the present time offers extraordinary scope for
art by reason of a wide-spread knowledge on all subjects, I think the
increased chances of success which the growing popularity of music
offers have been largely discounted by the numbers of performers and
professors who, without proper qualifications have set themselves up as
apostles of music, and unfairly and recklessly overcrowded a profession
which should be exceptionally difficult to enter.
No doubt many aspirants--I speak solely of women--are encouraged and
flattered by the fact that in the profession of music women fare better
than in any other walk of life, and the monetary reward of great singers
and teachers may be said to have reached a stage of almost extravagant
appreciation.
In my opinion the great singers of our day would not be so few if there
were more competent teachers and a more complete realisation of the
greatness of the task. It is not that lovely voices are rarer than
formerly, or talent more sparingly given of God. The piano or violin
student will devote ten years to the technique of his instrument, while
the vocalist or the teacher too often regards research at an end after
studying a year or two, or even a few months only.
Just here, however, I should like to make it plain that the student who
cannot give a promising account of herself after eighteen months'
thorough study is, to my mind, never likely to do really great things.
I do not mean for a moment that she should then be a full-fledged
singer, but that she should be able to give clear indications as to
future possibilities.
The real study actually begins after one has come before the public, and
it is to subsequent development that the most earnest attention should
be paid. Year after year the artiste will make striking progress if
music be really in her soul, and from life and its varied experiences
she will learn interpretative nuances which no other teacher can bestow.
Let me say, too, that in this life-long study the singer must not be too
rigidly bound by the tenets of technique. She must think and feel for
herself, and to a great extent be guided by her individuality.
In too many cases the vocal student has only the merest smattering of
knowledge about the marvellous and delicate mechanism that produces the
singing voice. Languages and travel, too, are neglected for one reason
or another, chiefly through the spirit of haste, the desire to reach
ends by short cuts such as were unknown to the old Italian masters, who
taught on physiological principles that were, on the whole, marvellously
accurate; although in many respects we have greatly progressed since
their day.
In every country with which I am familiar--and they are many--I have
been struck by the voices maimed or entirely ruined by ignorant tuition.
Of course it is not possible for me to hear more than a few of the
students who seek my opinion on their voices, for I frequently have
thirty or forty such applications in a single day; but almost without
exception I find those I can hear following methods which are causing
positive injury to the delicate vocal chords.
In all learned and mechanical professions certain technical tests are
insisted on before a person is accepted as an authority; but in music it
is not so. Any charlatan, whose only qualifications may be confidence
and casual observation, may set up as a teacher and persistently trick
the public, which is only too easily deceived. I speak strongly on this
subject, having in mind the cruel vocal havoc to which I have just
referred. Just as the engineer must know the structure and parts of his
engine, or the architect the nature and relative values of material as
well as the principles of design, so must the would-be singer understand
the easily injured structure and delicate functions of voice mechanism.
A knowledge of the structure of the larynx, and the general muscular
mechanism of voice-production, unequalled in delicacy anywhere in the
human body save perhaps in eye and ear, will be a revelation, a very
helpful revelation, to the student. And unless the structure of the
larynx be understood, the "attack," or application of the air blast to
the vocal strands, cannot be perfect.
If the student seeks the best, she must get a complete understanding of
the methods of the old Italian masters, as sculptors turn to the Greek
for what is soundest and noblest in the plastic art. Together with this
recommendation, I join my condemnation of the tremolo and "white" voice
so dear to many Italian singers.
I cannot too forcibly insist that the mere possession of a lovely voice
is only the basis of vocal art. Nature occasionally startles one by the
prodigality of her gifts, but no student has any right to expect to sing
by inspiration, any more than an athlete may expect to win a race
because he is naturally fleet of foot.
Methods of breathing, "attack," and the use of the registers must all be
perfectly understood by the successful singer, who should likewise be
complete master of all details relating to the structure and use of
those parts above the voice box, and be convinced of the necessity of a
perfectly controlled chest expansion in the production of tone.
For perfect singing, correct breathing, strange as it may sound, is even
more essential than a beautiful voice. No matter how exquisite the
vocal organ may be, its beauty cannot be adequately demonstrated without
proper breath control. Here is one of the old Italian secrets which
many singers of to-day wholly lack, because they are unwilling to give
the necessary time for the full development of breathing power and
control. Phrasing, tone, resonance, expression, all depend upon
respiration; and in my opinion musical students, even when too young to
be allowed the free use of the voice, should be thoroughly taught the
principles of breathing.
Indeed, the science of taking breath is a study peculiarly suited to the
years of childhood and adolescence; for apart from other considerations,
there are few things so conducive to good health as good breathing.
And, owing to the greater elasticity of the human frame in the time of
youth, the chest is then more easily developed and expanded.
Any exercises that give strength to the diaphragm are of special value,
since this is the principal muscle of inspiration. Expiration, however,
is not so easily controlled as inspiration, and on that score calls for
the most careful practice. Faulty or hurried breathing always interferes
with the true vibration of the vocal strands, and all circumstances that
tend toward either should be scrupulously avoided; more especially at
the time of a singer's first entrance on the stage or concert platform,
which is always a moment of nervousness and doubt.
It is an excellent practice for a nervous singer to take a few deep
breaths on entering, and the inexperienced should avoid numbers with
exacting opening bars.
Few people, by the way, realise how much even the most famous of singers
is at the mercy of the audience, and how a wave of indifference or
apathy borne from the serried thousands of a theatre or concert-hall can
often take all the colour out of the loveliest voice, and all the
necessary abandon out of an interpretation. I have known some of the
greatest singers of our day--and myself, too--to fall incredibly below
their normal standard for no other reason than that of irresponsiveness
on the part of their audience. In this respect I confess I am myself
extremely sensitive. I can almost always give my best when I feel that
the heart of the audience bids me excel.
Even a good general knowledge of music does not imply knowledge of
scientific voice production. Correct vocalisation is only possible on
strict physiological principles. I insist upon this, because it is
rational and logical. In this way faults are better recognised and
explained; the student may the more surely guide her own development or
effectively restore an injured voice, and generally advance her physical
welfare, which is a vital point.
Therefore those who do not believe in attainment through patient and
intelligent labour would do well to abandon an art career, for that way
lies disappointment. "Hasten slowly" applies supremely in the highest
voice culture; but, unhappily, this is not the note of our age.
According to my idea, the student of singing can best learn this subtle
and complex art in those centres where music has been longest
established and most generally practised; where it is, in a word, part
of the daily life of the people rather than the recreation or luxury of
the few. For this reason I consistently recommend study in Italy,
France, and Germany, and particularly for American, Canadian, English,
and Australian students. I put my own country last, in the spirit of
courtesy; but as a producer of voices it really ought to come first in
consideration.
As I have said, I am opposed to every girl with a little knowledge of
music embracing the art as a profession merely because she considers it
more "genteel" than other avenues to earning a livelihood. A girl should
have some real qualification before she looks forward to becoming a
professional singer. Kindly and necessarily biassed compliments from
relatives and friends on the singing of a few ballads in the home-circle
or at an amateur concert should not be sufficient to thrust her upon the
patience of the musical public. High and unprejudiced authority should
be sought for her guidance, preferably from a singer who knows the
conditions and atmosphere of the world's greatest musical centres.
In this regard a person who has had only local experience cannot
possibly be a good judge of what is needed for the career of a great
singer. An invaluable factor in musical success is the study of foreign
languages. These are always most successfully acquired in the countries
where they are the native tongue.
Thus, residence in the established centres of music in the Old World and
intimacy with their language and traditions give the student a surety
and authority in her work that cannot possibly be gained in any other
way. Of course, robust physical health is of paramount importance.
Without it a great vocal career is absolutely barred.
I admit that there is much in a singer's life conducive to this physical
robustness; as, for example, the vigorous use of the breathing
apparatus. But this may be more than counteracted by late hours, much
travelling by night, concentrated efforts, and disappointment resulting
from the caprice of public taste or other causes. Plenty of fresh air,
plain food, a reasonable amount of exercise, and eight or nine hours'
sleep are all necessary to the young singer, whose larynx is quick to
reflect the general physical condition.
At the same time, common sense and individual temperament should be the
best of all health rules. I myself always suffer in a steam-heated
apartment; I consider the general overheating in America a menace, and
never allow the temperature of my rooms to rise above 60 degrees; while
at the same time the whole range of my apartments is continually
freshened with pure air.
The singer should aim at becoming a hardy plant rather than a hot-house
flower. I know that a girl with a voice receives a painful revelation
of the delicacy of her vocal organs when she passes from a superheated
room to the low temperature of a winter's day outside. But I consider
dry feet far more important than the muffling up of the throat on raw,
slushy days.
A singer's diet should include plenty of fresh fruit and vegetables. I
myself take for breakfast only a cup of tea and a little toast. At
luncheon I have a cutlet or a little chicken, some stewed fruit, with a
light salad, but no rich food. My chief meal is, of course, dinner,
which I take rather late at night, generally at 7.45, unless I am
singing, when I take a light--very light--meal about five in the
afternoon.
A question often asked me is, "How early should a girl begin the more
serious business of voice culture?" Never before she is seventeen.
Even a limited study before that age will interfere with the development
of the vocal organs, and perhaps do them serious injury. Among my daily
letters are many from girls of fifteen and sixteen asking for a hearing;
but I always tell them they are too young, however promising. As to the
age limit the other way, I feel it would be impossible to give any good
general advice.
I would point out, in this connection, that some artists of world-wide
repute are singing as well today as they did twenty years ago, while
others have broken down in a few short years, or have become hopelessly
defective in their vocal results. It is all a question of correct or
incorrect methods.
Apropos of the need for foreign languages, I recall an amusing episode.
Not long after my debut in Brussels as Gilda in "Rigoletto," I began to
study the opera of "Lakme" under the direction of Delibes, its composer.
But my pronunciation of French at that time was evidently considered by
the directors of the opera as the French of Stratford-atte-Bowe, and
they doubted whether I ought to sing in "Lakme" at all. One day, much
perplexed in council, they sent for the composer, and told him their
troubles. "Qu'elle chante en chinois, si elle veut," cried Delibes,
pounding the table with angry fist, "mais qu'elle chante mon opera!"
("She may sing in Chinese if she likes, so long as she sings my opera.")
But I was really backward in French, and on that account set to work and
studied no less than six hours a day under a thoroughly competent
Brussels teacher.
At the same time, I should warn the student to be careful not to overdo
her work, in her enthusiasm for all the musical advantages she sees
about her. I think music should be thoroughly known before it is sung.
It is a serious tax on the voice to sit down at the piano and try to
sing an aria with which the singer is not familiar. Half an hour's
practice is enough, unless the student has exceptional physique; in that
case I should say half an hour every morning and afternoon.
I have met scores of students abroad whose mistaken diligence impels
them to practise for hours at a stretch. Such an error may do
irretrievable harm to a voice. It is well to realise that the entire
vocal mechanism is an exquisitely delicate instrument, capable of being
played upon by its owner in a way almost impersonal, so that ignorance
may mean fatal injury. For this reason no enthusiasm would induce
practice to the extent of tiring the voice.
As to how long this foreign study should last, this, of course, depends
upon the mental capacity of the student. Young singers of many nations
cite to me my own case; for after nine months' study in Paris, I came
out as a full-fledged prima donna at the Brussels Opera House. But I
may say at once that mine was an exceptional case, for I was born with a
natural trill and an absolute control of breath, so that as a child of
seven I was as far advanced naturally as some mature students are after
years of patient study.
In connection with the natural trill, my fellow-pupils at college in
East Melbourne, Australia, used to gather round me and say curiously,
"Nellie, make that funny noise in your throat." It amused them. But to
assume that the _bel canto_ of perfect technique is to be acquired after
nine months' foreign study would be unwise. On the other hand, as I
have already stated, if a girl cannot give good account of herself after
eighteen months' serious study, I think she is not destined to
illuminate vocal art.
Still, any ordinary term spent in vocal study cannot be regarded as
wasted, for no system of physical exercise is so beneficial to a woman
as that involved in the higher branches of vocal culture. At least the
disappointed one carries back with her a pleasing and expressive voice
for ordinary conversation. Here is a matter to which little attention
is paid, yet how much pleasure does a beautiful speaking voice convey!
It is surely a valuable asset all through life.
As to extraneous aids to vocal study, there is none so beneficial as the
constant hearing of great singers in the roles which have secured them
fame. Indeed, no matter what branch of music a girl selects for her
special study, I should strongly urge her to hear all the fine music
possible, whether opera, orchestra, concert, or oratorio. She can learn
something valuable from all. Let me emphasise this point, for in this
way the student will see theory put into practice. It is as if a young
painter should visit the marvellous Tribuna of the Uffizi Palace in
Florence, where the supreme examples of the great masters are hung; or
the young sculptor should study Michel Angelo in the vast galleries of
the Vatican. Thus no opportunity of hearing accepted interpreters
should be lost.
The student who goes to Europe, of course, has exceptional opportunities
all the year round; but the American or English girl can hear in New
York or London during the musical season a combination of singers,
conductors, and instrumentalists that is the best of the entire musical
world.
In addition, she should read everything authoritative on music and
musicians, at the same time _not_ confining herself to musical subjects.
For a wide and wise reading of everything that broadens the mind and
gives one a truer knowledge of art and nature is of supreme importance.
Nothing so helps the interpretative sense as a fine and cultivated
imagination, and an appreciation of nature's beauties, great paintings,
statuary, and the best literature gives one an artistic grasp not
possible to the student who is merely well informed on musical matters.
While I am a strong advocate of foreign study, I think it a pity that so
many American and British students elect to swell permanently the
over-crowded ranks of the musical profession on the continent of Europe
instead of returning to the less crowded centres of their home lands,
and giving their compatriots the benefit of their experience and
example. It is given to few of us to attain world prominence, and those
to whom such fame is manifestly impossible should not fear to try for
the best their own country offers, which may be a great and dignified
meed.
Adequate study in Europe requires a good deal of money. For most young
girls a chaperon or companion is essential; although there are a number
of places where a solitary young student may find the comfort and the
protection of a home. Where this is possible the expenses are naturally
much less.
The leading professors on the Continent charge from a guinea to two
guineas a lesson, with a certain reduction of an extended term. Three
lessons a week are usual. As to the expenses of living, even on the
most moderate scale they cannot be reasonably estimated at less than
five guineas a week for board, dress, allowance, concert and opera
tickets, and general expenses. This, with lessons extending over
eighteen months or more, runs into a considerable sum.
To the student with wealth as well as voice the way would appear smooth;
yet I would offer a word of warning. First, the flattery of friends and
possibly unscrupulous advisers is dangerous. Besides, the fact of
affluence tends to diminish the sense of responsibility. Money, it must
be borne in mind, cannot buy purity of tone, temperament, or correct
breathing. These entail hard work, even with natural gifts. One cannot
buy brains with money, or even the ability to appreciate the brains of
others, and the loveliest voice that ever charmed the world must be
guided and used through the intellect; otherwise it must fall far short
of the highest standard.
The point is that a wealthy student may become slack, and forget how
wide must be the culture of a great singer. A complete study of piano,
counterpoint, and harmony are as necessary as grammar to the spoken
language; and all that is best in this big, busy world must be seized
upon and brought into service, for divine music is an exigent goddess.
The poor student with an exceptional voice is unfortunately placed, and
advice to her must be of a negative kind. She may fall into the mistake
of thinking that if she can get into choir or chorus she will be
advancing to some extent. But while a well-trained voice may be used in
a chorus without serious harm, the girl who knows nothing about placing
her voice, and is prodigal in the use of it, may find chorus work most
injurious.
Many ambitious young women save money with the aim of attending a
musical college. This is an education I never advocate, for I believe
in individual training. No student can attain the best results in a
class where personal supervision is a matter of perfunctory duty.
Certainly good singers have come from musical colleges, but they have
had temperament and personality such as rise above the system. And to
work at any trade or profession while cultivating the voice is a
questionable arrangement, for the student takes vitality from the voice
and places it in another direction.
I doubt if one could with correctness summarily assign characteristics
to the vocal students of the different nations; and, besides, one likes
to think of music as cosmopolitan--universal in its inspiration and
influence. The Italian girl is perhaps the readiest to help her song by
facial expression, the French girl the first to master the poetic
message, and the German the most thorough in all-round pursuit of
musical knowledge. Many American and British students are too easily
satisfied, and often, on securing a certain measure of success at their
first public appearance, refrain from further study at the very time
that their work should be regarded as beginning in real earnest.
As to the voices of the different nations with which I am familiar, it
is a difficult and thankless task to summarise them within the
inadequate limit of a few lines. I should say, however, that the voices
of Italy are the most natural. They are the voices of the sun; just as
in my native land, Australia, the Italy of the southern hemisphere, the
voices seem to glint and vibrate as it with liquid sunlight. There is
in these Southern voices a resonance rarely found in voices of the
North.
As to Germany, I should say that the singing voices are more the result
of science than of nature--less buoyant, less responsive, yet superb in
their own way. The great singers of France, to my mind, could be more
accurately described as great _diseurs_, so exquisitely are they
practised in the art of diction. No singers so effectively show the
beauty or importance of the words sung.
The cosmopolitan conditions of America seem to me to have so far
militated against the development of any particular voice or school that
could be accurately labelled "American," while the English voices are
particularly adapted for concert and oratorio singing.