,,how ,,to ,,sing ,,luisa ,,tetrazzini ,illustration3 ,photo by ,e4 ,f4 ,foley1 ,n4 ,y4 ,signature3 ,luisa ,tetrazzini ,,how ,,to ,,sing ,,by ,,luisa ,,tetrazzini ,,new ,illustration3 colophon ,,york ,,george ,h4 ,,doran ,,company ,,copyright1 #aibc1 ,,by ,,george ,h4 ,,doran ,,company ,illustration3 colophon ,,how ,,to ,,sing4 ,,ii ,,printed ,,in ,,the ,,united ,,states ,,of ,,america ,,contents ,,chapter ,,page ,i ,,don',t ,,wait ,,to ,,be 8,,found0 #i ,,ii ,,your ,,aim #ab ,,iii ,,why ,,singers ,,are ,,scarce #ae ,,iv ,,period ,,of ,,training #ah ,v ,,qualities ,,needed #ba ,,vi ,,general ,,culture #bd ,,vii ,,study ,,an ,,instrument #bg ,,viii ,,voice #cj ,,ix ,,good ,,and ,,bad 8,,maestri0 #cc ,x ,,compass ,,and ,,quality #ci ,,xi ,,age ,,to ,,start ,,training #db ,,xii ,,anatomy ,,and ,,physiology #dc ,,xiii ,,breathing #dg ,,xiv ,,vocal ,,cords #ea ,,xv ,,placing ,,the ,,voice #ei ,,xvi ,,registers #fd ,,xvii ,,faults #gj ,,xviii ,,coloratura ,,singing #gc ,,xix ,,enunciation #hj ,,xx ,,language #he ,,xxi ,,style ,,and ,,interpretation #ic ,,xxii ,,how ,i ,,sing ,,an ,,aria #ig ,,xxiii ,,practising #ajc ,,xxiv ,,the ,,artist ,,and ,,the ,,gramophone #aaa ,,xxv ,,studying ,a ,r,,le #aae ,,xxvi ,,choice ,,of ,d,,but ,,work #abj ,,xxvii ,,rehearsals #abd ,,xxviii ,,contracts #abf ,,xxix ,,concert ,,work #abi ,,xxx ,,health1 ,,diet1 ,,etc4 #acc ,,how ,,to ,,sing ,,chapter ,i ,,don',t ,,wait ,,to ,,be 8,,found0 ,every day of my life ,i receive letters from men and women1 mostly women1 whom ,i do not know personally1 asking me to advise them how best to use their vocal talents4 ,some of my correspondents also request me to give them an audition so that they can demonstrate their claim to be embryonic stars4 ,it is manifestly impossible for me to spend all my time listening to persons unknown to me1 in the hope of finding new ,carusos1 new ,pattis and1 shall ,i say it8--new ,tetrazzinis4 ,if ,i were to do so ,i should have little time for my own practice4 ,nevertheless1 whenever ,i am able1 ,i do give an audition to a young aspirant to musical fame1 as ,i consider it my duty to help1 to the best of my ability1 those who are to come after me4 ,to those correspondents whom ,i have been unable to see personally let me say that star singers are not necessarily discovered by stars4 ,it is quite true that from time to time it has been my fortunate experience to discover a tenor or a baritone or a soprano4 ,but they had already been more or less discovered before ,i found them4 ,true at ,covent ,garden ,i found ,john ,mc,cormack singing a very minor rle and was instrumental in having him elevated to the position of principal tenor4 ,and other prime donne have acted similarly4 ,nevertheless these artists would doubtless have come to the front in their own time without being 8discovered0 by a prima donna4 ,most big artists of to-day were not found by any one3 they found themselves4 ,i1 for instance1 was nobody's find4 ,when the prima donna failed to appear at the opening night of an opera in my native ,florence ,i volunteered to take the part1 and in so doing discovered myself4 ,my readers will therefore understand that to be discovered by a great singer is not essential to becoming a great artist1 and that because ,i am unable to give auditions to all who ask me ,i am not hindering them from becoming successful4 ,but for the benefit of those numerous correspondents who have expressed to me a desire that ,i should help all interested in training their voices1 especially in their attempts to climb the difficult ladder of successful singing in public1 ,i have consented to publish the following hints1 and ,i hope sincerely they will be useful to all who read them4 ,i do not claim that ,i have given an exhaustive treatise--no one ever has done so--on the art of singing1 but ,i am sure that any one possessing a voice who cares to put into practice the suggestions ,i am now making1 will be benefited thereby4 ,from this handbook ,i have purposely excluded the story of my professional life4 ,that is already published under the title of 8,my ,life of ,song0 7,cassell and ,co41 ,london2 ,dorrance1 ,philadelphia1 ,u4 ,s4 ,a474 ,it will be observed that ,i use the word 8he0 all the way through when meaning 8he or she40 ,this is merely because ,i understand there is no ,english word which expresses the both4 ,it would have been more modern to have used 8she0 in every case1 but perhaps less modest4 ,my lady readers will1 however1 understand that ,i am writing at least as much1 if not more1 for their benefit than for our lords and masters4 ,,chapter ,,ii ,,your ,,aim ,singers may be divided into two classes4 ,no1 ,i do not mean1 as some might suppose1 those who can sing and those who cannot1 though that is a possible classification4 ,i mean in this case those who sing for mere pleasure and those who intend to make a career in this way4 ,it is for both that these pages are intended4 ,as we have often been told1 whatever is worth doing at all is worth doing well1 and there is no reason why the singers who practise our beautiful art only for the enjoyment of themselves and their friends should not make the most of the powers which the good ,god has given them4 ,i think1 indeed1 that it is their plain duty to do so1 if only in the interests of their hearers4 ,and ,i am glad to think that nowadays many see the matter in this light4 ,however it may be in the case of professional singers--upon which point ,i shall have something to say presently--there is1 ,i suppose1 no doubt that the standard of amateur singing has enormously improved during recent years4 ,the days when it was thought that anyone1 however poorly equipped1 had the right to stand up and perform in public1 have passed away1 and in those circles1 at all events1 where there is any kind of pretension to general intelligence and culture it is expected that all who come forward in this way shall show themselves to be possessed of at least some knowledge of the rudiments of the art4 ,as to the general necessity for study on the part of those who aspire to sing1 few words1 ,i suppose1 are necessary4 ,if every one can sing after a fashion1 there is1 ,i venture to say1 no branch of the art of music which demands a more arduous apprenticeship and more prolonged study1 if all of its higher possibilities are to be realised4 ,precisely1 however1 because singing is in itself such a purely natural proceeding1 this elementary fact is too often overlooked4 8,singing10 it has been well said1 8derives its power from nature1 but owes its perfection to art10 and this is a fact which1 ,i am afraid1 is too often forgotten4 ,people1 who would not dream of attempting to play the violin or give a piano solo in public without thorough preparation1 will have no hesitation in standing up and attempting to sing1 although they may be just as little qualified in the one case as in the other4 ,they do not realise that the voice is1 in reality1 one of the most delicate and difficult of all instruments and demands in consequence no less study and practice than any other before it can be really artistically employed4 ,there is1 moreover1 another aspect of the singer's art which should never be forgotten4 ,i allude to the fact that the singer is necessarily a reproductive artist--one whose business it is from the nature of the case to reproduce and interpret the music of others4 ,this imposes a duty and an obligation which should never be lost sight of4 ,a singer has not only his own reputation to consider1 but also that of the composer whose music he interprets1 and for this reason alone1 therefore1 he can never take his art too seriously4 ,as to those contemplating a professional career1 no words of mine will be necessary1 ,i hope1 to impress upon them the necessity of the sternest self-discipline and the most unremitting application if they are ever to succeed in accomplishing anything worth doing4 ,,chapter ,,iii ,,why ,,singers ,,are ,,scarce ,the career of a singer is one offering a certain number of prizes but many1 many blanks1 and only those possessed of the most unmistakable natural gifts and ready to work tremendously hard should ever be encouraged to embark upon it4 ,hard work1 beyond everything1 is essential if success is to be achieved1 and it is here1 ,i am afraid1 that so many of our modern students fail4 ,imbued with the eager impatient spirit of these headlong days1 they want to do things too quickly1 and are unwilling to submit to the toil and drudgery which are none the less as necessary as ever if really solid results are to be achieved4 ,it has even been suggested that to this circumstance may be traced that scarcity of great singers nowadays of which we hear so often4 ,true1 more vocalists than ever before1 probably1 are inviting attention at the present time1 but how few of them can be reckoned in the first class8 ,doubtless it is easy to exaggerate in this matter4 ,seen through the mists of time the figures of the past always tend to assume heroic proportions4 ,making due allowance1 however1 in this respect1 are we really the victims of hallucination in thinking that great singers are fewer nowadays than formerly8 ,it would be pleasant to think so1 but ,i am afraid that the facts point the other way4 ,what1 then1 is the explanation8 ,different authorities would doubtless suggest different answers1 but most1 ,i fancy1 would agree that lack of adequate study has had not a little to do with the matter4 ,porpora1 we all know1 kept ,caffarelli for five years to one page of exercises1 and at the end of that time told him that he was the greatest singer in ,europe4 ,it would be amusing to learn the experience of a modern teacher who proposed to one of his pupils the adoption of the same course4 ,the great ,patti1 who told me ,i was her successor1 also said to me that we artists will still be learning when we are too old to sing4 ,the average vocal student of to-day considers himself a finished artist at a time when he would be reckoned just qualified to begin serious study by the teachers of an earlier period4 ,while no amount of training will make fine voices out of poor material1 the history of singing furnishes numerous instances--that of ,pasta is one of the best known--in which limited natural powers have been developed to an astonishing degree by study and training4 ,nowadays ,i am afraid it is the converse of this which is more frequently illustrated1 and one hears only too often of fine natural voices which have been steadily ruined by the manner in which they are used4 ,modern music has also1 no doubt1 had its influence--not so much because it is harmful to the voice in itself1 but simply because it is possible to sing it 7after a fashion7 without such prolonged study and exercise as that of the older school absolutely necessitated4 ,rossini1 ,donizetti1 ,bellini1 and the rest of the old masters have indeed been avenged in a wholly unanticipated manner4 ,precisely as the music of their school has fallen in favour has the power been lost of singing that of the so-called higher kind which has taken its place4 ,,chapter ,,iv ,,period ,,of ,,training ,for this melancholy state of affairs the only remedy is a return to sounder views4 ,the fact must be recognised that there are no short cuts to perfection in singing any more than in any other art1 and that those who wish to sing like the great ones of the past must be prepared to work and study as they did1 in order to attain this end4 ,what period of training should be considered sufficient to equip a vocal student8 ,in former days eight1 nine1 or even ten years were not considered too much for this purpose4 ,i need hardly say how very different are the views prevailing nowadays1 when students consider themselves qualified to appear in public at the end of a year or two of hasty and necessarily superficial training4 ,needless to say1 no satisfactory results can possibly be achieved in this length of time4 ,i consider a minimum of four years necessary to become a professional singer4 ,lilli ,lehmann has put the matter happily4 ,at least six years1 she says1 should be considered the minimum period allowable--to which1 she says further1 there should then be added an entire lifetime for further study and improvement6 ,this is not to say that many great singers have not perfected their art and even attained the very highest positions in a much shorter time4 ,in my own case my period of actual systematic training in the strict sense of the term was comparatively brief--six months4 ,but then in another sense ,i was learning from my childhood4 ,moreover1 ,i was exceptionally lucky in that my voice was pitched just right1 and had not to be trained to do what is usually regarded as difficult4 ,almost from my infancy it was my ambition to become an operatic singer1 and circumstances enabled me to benefit to the utmost extent by the constant hearing of opera1 and also the constant criticism of singers by competent judges1 so that ,i might be considered to have been studying and gaining experience for my after career all my life4 ,most students1 however1 are not so fortunately situated1 and for them ,i cannot urge too strongly the necessity of giving ample time to their studies if they hope to make the best of their powers and to establish their art on a firm foundation4 ,one can hardly write differently as to the period of training for the amateur than for the professional4 ,if ,patti said that she was still learning when she had retired from professional singing1 no amateur can hope ever to have learned all there is to be known about the art of singing4 ,and since he will always be a lover of song he will always be anxious to learn4 ,,chapter ,v ,,qualities ,,needed ,next comes the question3 ,what are the qualities which the vocal aspirant1 professional or amateur1 should possess8 ,a famous teacher who was once asked this question made answer3 8,voice6 ,voice6 ,voice60 ,i agree1 and in the case of the professional ,i should be inclined to add also3 8,work6 ,work6 ,work60 and then ,faith1 ,hope1 and ,charity4 ,without hard work nothing can be done1 and the practice of these three virtues will undoubtedly prevent one growing weary in his effort to attain the highest success4 ,but the truth is1 of course1 that many other qualities besides voice and industry are necessary here4 ,there are1 indeed1 so many that ,i hardly know which to name first4 ,lamperti on this point used to say3 8,first there must be a voice and good ear1 but also an artistic soul and a musical disposition40 ,further1 he used to insist upon sound judgment1 deep conscientiousness in study1 and untiring industry4 ,very necessary also are general intelligence and keen perception1 because no matter how good a teacher may be the greater part of the work must be done through the brain of the student himself4 ,on the necessity of sound health it is hardly necessary to insist1 while good looks and a fine presence naturally go for much also1 though these are not absolutely indispensable1 as many notable instances have gone to show4 ,then1 in addition1 there are those temperamental qualities which mean so much3 imagination and feeling1 sympathy and insight1 magnetism and personality4 ,perhaps1 indeed1 next to voice and ear these are the most important qualities of all4 ,but unfortunately they cannot be acquired by any amount of study4 ,how often has it not happened1 indeed1 that artists have been endowed in all other respects but these6 ,they may have the most beautiful voices1 they may sing with the most finished art1 but for lack of these incommunicable attributes of the soul they never attain the highest places4 ,they leave their audiences cold because they are cold themselves4 ,these are artists of the type which ,lamperti used to refer to as mere 8voice machines0--singers who1 as ,gounod once put it1 are not artists at all in the true sense of the word1 but merely people who 8play upon the larynx10 achieving great results perhaps in the purely vocal and mechanical sense1 but never touching the hearts of their hearers for lack of those elemental human qualities which are essential if this result is to be attained4 ,let the student do all in his power1 therefore1 to develop the higher side of his nature4 ,by the study of literature and art1 by the reading of fine poetry1 by going to good plays1 and in every other way let him cultivate his imagination and give play to his finer sensibilities4 ,for though such qualities as ,i have referred to may not be acquired when they are non-existent1 they may be drawn out and developed if they are merely latent2 and in the case of members of the northern races especially this is not infrequently the case4 ,another quality of a different kind which is none the less very valuable1 indeed essential1 is the power of self-criticism2 and ,i attach great importance also to having abundant faith in oneself4 ,even if it be pushed to the point of vanity and conceit--as ,i am afraid it occasionally is--this helps enormously when it is a case of withstanding the jolts and jars almost inseparable from the practice of vocal art4 ,,chapter ,,vi ,,general ,,culture ,of course1 too1 wide general culture is very necessary4 ,everything that can be possibly acquired in this way helps1 and is1 indeed1 almost more necessary to the singer than in the case of any other branch of the profession4 ,for the art of the singer is brought into immediate relation with all the other arts4 ,the singer has to deal with poetry and literature and the drama--if he takes up opera--in a way quite unknown to the mere instrumentalist4 ,a man might be a great pianist or a fine violinist--he might even be a great composer--without ever concerning himself at all with the other arts4 ,but in the case of the singer this would be quite impossible4 ,for it is the singer's business to interpret poetry in song and to play his part in drama on the stage1 and it is obvious that he cannot hope to do these things properly without making himself acquainted with those arts also in addition to his own4 ,how can one hope1 for instance1 for a fine interpretation of a great song if the words themselves mean nothing to the singer8 ,he may sing the notes1 but he cannot possibly do justice to his task unless he enters completely into the spirit of the words and the meaning of the poet4 ,and in the same way how can one hope to give a satisfactory impersonation of a part in an opera except by studying carefully the drama as a whole1 grasping the intentions of the author1 making oneself acquainted with the period of the action1 and generally entering into it and all the literary1 dramatic1 historical1 and other details of the work as well as considering it from the purely musical point of view8 ,i am well aware that the opposite practice has often enough been followed4 ,i have heard1 indeed1 of artists who have sung in such an opera as 8,il ,trovatore0 for years without having ever troubled to understand the course of the action as a whole1 and who were consequently in a state of total ignorance as to what it was all about4 ,but ,i cannot believe that any one who addressed himself to his task in that unintelligent spirit would ever be likely to give an interpretation of his own part of much significance or value4 ,in my own case ,i go so far as to study not only1 as a whole1 any opera in which ,i have to take part1 but even to learn1 or at all events familiarise myself with1 all of the other rles4 ,and ,i may add that ,i have found the practice helpful not only to myself but also to my fellow-artists before now1 when perhaps some nervous tenor or timid dbutante has temporarily 8dried up10 and ,i have been enabled to come to the rescue and relieve the situation4 ,this1 however1 merely en passant4 ,the main point ,i am insisting on for the moment is that the vocalist who wishes to make the most of his powers cannot have too solid a foundation in the way of general knowledge and culture4 ,there may be no direct connection between the one thing and the other1 but his art will benefit none the less--will gain in depth and force and subtlety--in virtue of the fact that it is the outcome of a cultivated nature and the product of a mind which has thought and pondered over the deeper problems of existence4 ,,chapter ,,vii ,,study ,,an ,,instrument ,i may add1 too1 that there is no excuse for singers to neglect the cultivation of their minds1 inasmuch as they have so much more time for this purpose than many of their fellow-students in other branches of the profession4 ,thus1 while a pianist or a violinist can1 and indeed must1 practise many hours a day1 a singer cannot and should not do this1 and therefore they have so much the more time available for the purpose of other study1 including1 ,i need hardly say1 not only art and literature1 but also the other branches of musical culture4 ,i know that singers have often been reproached in this matter and1 ,i am afraid1 not without good reason in earlier days1 but ,i trust and believe that that time is passing away1 and that vocalists nowadays are no longer looked upon as being necessarily lacking in general musical knowledge4 ,to which ,i need hardly add that many instances could be quoted of famous singers who are or have been admirably equipped also in other respects4 ,the late ,madame ,sembrich was1 for instance1 a brilliant all-round musician who played both the piano and the violin with the ability of a professional4 ,madame ,lilli ,lehmann1 still happily with us1 although now advanced in years1 is another whose accomplished art was based on fine general musicianship4 ,in point of fact the vocal student can hardly be too well equipped in the musical sense4 ,he cannot hear too much good instrumental music2 he cannot be too well acquainted with the works of the great masters2 and1 in short1 cannot have too wide a basis of general musical knowledge as a foundation for his own specialised branch of the art4 ,to this end the study of an instrument is1 of course1 invaluable4 ,the violin is an excellent instrument1 though not so helpful from a vocal point of view as the piano4 ,the piano naturally suggests itself as the most useful one for the purpose1 since it helps directly in the pupil's vocal studies and makes him independent to some extent of an accompanist4 ,it also gives every facility for obtaining a thorough knowledge of harmony4 ,it should be employed to further the service of general musical study on the lines above suggested4 ,nor should the musical training of the vocalist stop at playing the piano1 for he should know something of composition and general theory4 ,a musical education is1 indeed1 almost indispensable to the singer of the present day if he is to deal successfully with difficult modern music4 ,in short1 the days have gone by when a singer's accomplishments were summed up in the familiar formula of 8,vox et praeterea nihil10 and he1 or she1 who expects to achieve a place in the front ranks at the present time must be prepared to use brains as well as vocal cords4 ,,chapter ,,viii ,,voice ,next comes the question of voice4 ,that this is a fundamental requisite you will not expect me to tell you1 although it may be noted1 in passing1 that some of the greatest singers have started comparatively ill-equipped in this respect--or apparently so4 ,of ,pasta1 for instance1 we read that her voice at the outset was heavy and strong1 but unequal and very hard to manage4 ,it is said1 indeed1 that she never to the end of her career succeeded in producing certain notes without some difficulty4 ,yet1 as the result of incessant study and practice1 sometimes pursued in retirement for long periods1 she gradually subdued her rebellious and intractable organ1 and was eventually recognised as one of the very greatest singers of her time4 ,jenny ,lind's voice at the outset was also very unmanageable4 ,i might even quote the case of ,caruso himself as another example4 ,caruso was one of my greatest friends4 ,but he gave little promise in his younger days of the wonderful career which was in store for him4 ,thus we are told that among his fellow-students at the ,scuola ,vergina he was known as 8,il tenore vento10 meaning a thin reedy tenor1 and when he had completed his studies neither his master nor any one else had any expectation that he was going to do anything out of the way4 ,vergine even remarked humorously of him that if there was any gold in his voice it could only be likened to that at the bottom of the ,tiber1 inasmuch as it was not worth drawing out4 ,little did he guess in those days how much rich gold his unpromising pupil was destined to draw in time out of his wonderful organ6 ,nor did his earliest appearances impress outside critics any more favourably4 ,the general opinion was that his voice was sympathetic in quality but rather small1 and that he himself was lacking in temperament4 ,caruso lacking in temperament6 ,how odd it seems to us who knew him later6 ,but that was the impression which he produced at first4 ,all of which goes to show that it is not always easy to say in the beginning how any given voice will turn out in the end4 ,at the same time ,i do not wish to encourage the belief that one should begin with a poor voice1 or that every mediocre student can hope1 with study1 to become a ,caruso4 ,for this would certainly be a disastrous notion to disseminate4 ,such cases as ,caruso's are indeed quite exceptional1 and in the ordinary way a pupil can take it that if his voice shows no promise at the outset he is not likely to do very much with it later4 ,on the other hand1 what does happen only too frequently1 as ,i have suggested before1 is that a pupil starts with a fine voice which1 however1 through faulty training1 want of application1 or some other cause1 eventually comes to nothing2 and it is this which is to be most carefully guarded against4 ,sad1 it is1 indeed1 to think of the fine voices which have been lost to the world in this way6 ,nor need one look very far for instances4 ,hardly a day passes1 indeed1 but what one reads or hears of some wonderful voice which has been 8discovered0 in this place or that4 ,alas6 how few of these wonderful voices eventually justify the hopes which they have aroused6 ,either the other necessary qualities are lacking1 or--too often1 ,i am afraid--their training is entrusted to the wrong hands and they come to nothing4 ,,chapter ,,ix ,,good ,,and ,,bad 8,,maestri0 ,as to the absolute necessity of a teacher there can1 ,i suppose1 hardly be two opinions4 ,much can be learnt from books1 no doubt2 by listening to other singers2 and by working things out for oneself1 so far as possible4 ,also it is a fact1 doubtless1 that some of the world's greatest singers have had remarkably little formal instruction4 ,mario1 for instance1 never had a lesson in his life except when ,meyerbeer taught him the part of ,raymond in 8,robert le ,diable0--and ,meyerbeer1 it is hardly necessary to say1 was not a singing master4 ,but such cases are the exceptions1 and in the ordinary way there cannot be the slightest doubt that the services of a teacher are absolutely essential to sound progress4 ,there are exceptions1 of course4 ,one of these is the great ,chaliapine1 who represents his own school and has never had any instruction as we understand it4 ,he is by nature endowed with a beautiful voice1 and obtains his fine effects by long hours of deep thought and reflection4 ,i have asked him when and how he prepared1 and he replied3 8,i think out my work in the silence of my bedchamber1 when ,i am waiting for sleep1 or in the mornings before ,i rise4 ,in fact1 during all my hours of wakefulness ,i am always visualising the stage1 the actors1 the audiences1 and contriving how best to obtain effects emotional1 sentimental1 dramatic40 ,grave indeed are the risks run by any student who attempts to supply his own requirements in this matter and to dispense with the skilled advice which only the trained expert can supply--entailing possibly the ruin of his entire career4 ,it was for lack of such advice in her earlier days that ,jenny ,lind's voice was almost ruined at the outset1 so that when she went to ,garca for advice his verdict was3 8,it is quite useless for me to think of teaching you1 since you have no voice left40 ,fortunately rest and proper training saved the situation in that case1 as we all know1 but how easily it might have been otherwise4 ,other fine voices have1 indeed1 been irretrievably destroyed by faulty methods continued too long4 ,a famous case was that of ,duprez1 a well-known tenor who flourished some seventy or eighty years ago4 8,i have lost my voice10 he wrote in despair to ,rubini1 8how have you kept yours80 ,rubini replied3 8,my dear ,duprez1 you have lost your voice because you have sung with your capital2 ,i have kept mine because ,i have sung only with the interest40 ,and there is a world of instruction in this pithy way of putting it4 ,see to it at all costs1 therefore1 that you put yourself in the right hands4 ,by which ,i do not necessarily mean a teacher of world-wide repute--for there are many equally good who do not happen to be so generally known4 ,the supremely important thing is that whoever you go to shall be a man--or a woman1 as the case may be--of honour and integrity1 who can be trusted to deal faithfully with you1 and not a quack or a charlatan4 ,the teaching of singing is indeed a much simpler matter--though difficult enough--than is commonly supposed1 especially nowadays when1 as the result of scientific study and research1 the underlying physiological principles are so much more thoroughly understood than formerly4 ,yet there will always be those1 ,i suppose1 who find it to their advantage to deal with it as something mysterious and occult2 and apparently there will always be those confiding souls willing to take these folk at their own valuation and to put good money into their pockets4 ,wonderful indeed are the tales which are told of some of these gentry4 ,in ,new ,york1 for instance1 there is said to be a practitioner of this type who sells to his pupils1 in order to give timbre to their voices1 bottles 7at two dollars each7 of ,italian water4 ,beware of the confidence tricksters of the musical profession who claim to transform your voice by some quack method or theory of 8nasal resonance0 and so on4 ,these people have ruined more voices than one could enumerate4 ,but one need not go to ,america to find examples4 ,i am afraid1 indeed1 that even in my own native land the same sort of thing is not entirely unknown4 ,i have even heard of a teacher in ,milan who makes his pupils swear on a crucifix not to reveal the secret of his wonderful 8method10 and ,i have heard of another whose practice it was to make his pupils tie to the legs of the piano pieces of elastic which they were instructed to pull out and let go again1 in order to 8feel0 the gradations of crescendo and diminuendo4 ,but even he seems to have been excelled in invention by another 8,professor0--again hailing from the ,land of the ,stars and ,stripes6--whose custom it was to illustrate the art of mezzo voce by means of an umbrella which he opened and closed as his happy pupils1 standing before him1 swelled and diminished on the chosen note4 ,such things1 you may say1 sound laughable enough1 but they are no laughing matter for the unfortunate pupils who happen to be the victims of such monstrous quackery1 and ,i cannot urge too earnestly upon all my readers the supreme importance of choosing a teacher who is above all suspicion--for preference one possessed of a satisfactory diploma obtained at a recognised institution4 ,then you may be sure that whether the teacher be better or worse in the purely technical sense1 he will at least be an honest man and not one who makes his calling a mere pretext for the plundering of the ignorant and unwary4 ,another important question which arises in this connection is as to the advisability of studying at home or abroad1 and this1 ,i am afraid1 is one of those perplexing matters in the case of which there is a good deal to be said on both sides4 ,i myself have naturally a prejudice in favour of my beloved ,italy1 the traditional ,land of ,song1 where1 ,i am proud to think1 the art of ,bel ,canto still finds its finest exponents and teachers1 and where also there are greater facilities1 ,i suppose1 for hearing fine singing than in any other country in the world4 ,at the same time ,i am quite prepared to admit that there is a good deal to be said on the other side4 ,it is a great undertaking and responsibility1 for instance1 sending a young girl to study abroad4 ,the teacher selected may not be a good one1 or may not be suited to her particular requirements1 when she gets there--although by saying this ,i do not mean to express agreement with those who contend that a special kind of teaching is required for the singers of every nationality4 ,whether you study at home or abroad1 let your teacher be the best you can obtain4 ,,chapter ,x ,,compass ,,and ,,quality ,having found your teacher1 the next thing you will want to know is precisely what sort of voice you have--and this is a matter1 curiously enough1 which cannot always be determined off-hand4 ,the strangest mistakes have1 indeed1 not infrequently been made in this respect--as in the well-known instance of ,jean de ,reszke1 who actually began his public career as a baritone and continued singing for some years before he finally came to the conclusion that his voice was1 in reality1 a tenor4 ,the important task of discovering whether a voice is bass1 baritone1 tenor1 contralto1 mezzo-soprano1 or soprano1 and the exact character of the general ranges of these voices is a matter of great delicacy1 and cannot be decided at one hearing4 ,it is largely individual1 and sometimes a matter of health and circumstances4 ,the ranges of different classes of the human voice may be generally stated as follows4 ,in the bass voice two octaves of ,e1 the contralto two octaves of ,e with a tone and a half more in the upper notes leading to ,g2 the tenor1 which sounds an octave lower than the soprano1 and the soprano voice itself two octaves of ,c4 ,there are also the baritone and mezzo-soprano voices1 the former of which is neither bass nor tenor1 and the latter neither contralto nor soprano4 ,the average range covers two octaves of ,g or ,a in baritones and mezzo-sopranos4 ,in all cases there are1 of course1 exceptions1 as1 for example1 the bass that extends to a melodious low ,c and can even reach the baritone top ,f4 ,there is a further classification which has relation to the timbre1 or colour1 which distinguishes whether the artist is dramatic or purely lyric4 ,if of a lyric tendency the artist will do well to avoid dramatic declamation until maturity and experience has taught him this difficult side of our art and vice versa4 ,it is not a question of compass only1 but of compass in addition to the distinctive character and quality of the voice4 ,but compass is undoubtedly essential1 and in regard to this ,lamperti's practice was to judge not only by the notes which could be taken1 but by the facility with which words could be enunciated on them at the same time4 ,thus1 in the case of a girl student1 if she could not only sing the upper ,g1 but could also enunciate words easily on that note1 he considered that she was a true soprano2 and so on with all the other voices4 ,thus a baritone might be able to take notes almost as high as a tenor4 ,but if he could not pronounce words comfortably on those notes he was not1 in ,lamperti's judgment1 to be classed as anything but a baritone4 ,but1 as a general rule1 your teacher will not have much difficulty in deciding as to the classification of your voice1 and1 presuming this to have been decided1 we must consider next the question of training it4 ,here ,i feel that ,i must go carefully1 for if there is one thing more certain than another1 in my opinion1 it is that the pupil who hopes to get the best results from his training must place himself unreservedly in his teacher's hands1 since otherwise he cannot possibly hope to do justice to his teaching4 ,that is to say1 he should not confuse his mind by accepting the advice and instruction of other people--so far1 at all events1 as concerns what may be called the strictly technical side of his training4 ,therefore1 ,i shall confine myself to general hints and observations only1 based on my own experiences and herewith offered for what they are worth4 ,,chapter ,,xi ,,age ,,to ,,start ,,training ,as to the age to start training the voice1 this depends to some extent upon the individual1 but speaking generally it may be said that in the case of boys the voice matures at about the ages of from fourteen to sixteen1 and that no serious work should be undertaken until after this period4 ,although choir-singing for boys affords wonderful training--in some cases1 at all events1 if not in all--it should not be persisted in too long4 ,if boys are allowed to sing on in the choir until their voices change1 they may easily find1 finally1 that they have totally ruined their vocal organs for the rest of their lives4 ,the utmost caution should be exercised1 therefore1 in this matter1 and it should be the duty of every choirmaster to see that none of his choristers are permitted to run this grave risk by continuing their services too long4 ,in the case of girls1 teaching may begin about the age of sixteen or seventeen1 but not much earlier4 ,,chapter ,,xii ,,anatomy ,,and ,,physiology ,to what extent a vocal student should be instructed in matters anatomical and physiological is a question which has often been raised1 and upon which the most contradictory views have been expressed4 ,it is argued by some1 that having in mind all the great singers of the past who flourished before the laryngoscope was thought of that the less the student knows about such things the better4 ,it is contended that he will surely become self-conscious and unnatural by thinking about the physiological mechanism of processes which should be absolutely instinctive and automatic2 and possibly in some instances this does occur4 ,i do not think1 however1 that if the instruction is properly given it need have any such effect1 and ,i thoroughly believe1 myself1 in the student being given at least a general idea as to the construction of the vocal organs and the manner in which they function4 ,to precisely what extent the student should be instructed in what a famous singer once humorously referred to as 8thoracic1 crico-thyroideal1 and epiglottic matters0 may be a question for consideration1 but as to the desirability of his being acquainted in a general way with the working of the vocal apparatus ,i have no sort of doubt4 ,the truth is that the whole business of singing1 if reduced to its elements1 is much simpler and easier to understand than is sometimes supposed1 and there is not the slightest reason why any difficulty need be experienced in explaining the matter in its general outlines4 ,i would go further1 indeed1 and say that he is not likely to prove a very intelligent pupil who is not sufficiently curious and interested to wish to know something upon the subject4 ,at the same time1 it is1 no doubt1 perfectly true that many of the greatest singers of the past have been destitute of the slightest knowledge of such matters4 ,in which connection one may recall the famous saying of ,patti when interrogated as to her method3 8,je n'en sais rien40 ,but it does not follow that others not possessed of her marvelous natural gifts should follow her example in this respect4 ,for she did unconsciously and instinctively what in the case of most others only comes as the result of laborious study and practice4 ,one may recall1 in this connection1 the saying of that profound student of the art on the technical side1 who was also in her day such a great executant1 ,lilli ,lehmann1 that it is not enough to sing well1 one must be told also the how and why1 and be given a firm foundation1 if permanent results are to be hoped for4 ,for otherwise one will ,illustration3 ,,rough ,,section ,,of ,,nose1 ,,mouth1 ,,and ,,pharynx1 ,,suggesting ,,by ,,dotted ,,lines ,,how ,,the ,,tone ,,passes ,,from ,,the ,,larynx ,,through ,,the ,,mouth ,,and ,,passages ,,of ,,the ,,head4 run the risk of coming to grief when for some reason or other an unexpected strain is put upon one's resources and there is no sound knowledge and understanding to fall back upon4 ,how can one properly understand1 for instance1 the all-important subject of breathing1 if one has not at least some idea as to the natural processes involved8 ,vocal teachers and students of voice production are often twitted upon the conflicting character of the views which they hold and the principles which they lay down1 but here is one subject1 at all events1 upon which there is universal agreement1 namely1 the supreme importance of right breathing as the very foundation of the singer's art4 ,,chapter ,,xiii ,,breathing ,he who breathes properly sings properly1 it has been said2 and there is not a single authority of any weight1 ,i venture to say1 who does not endorse that statement4 ,the old ,italian masters used to say1 indeed1 that the art of singing is the art of breathing2 and the same idea was put by ,lamperti in another way when he observed that 8the attainment of proper respiration should be the first object of the student of singing40 ,on the same subject the words of a famous ,english singing teacher1 ,william ,shakespeare1 may be quoted4 ,in his well-known work on the ,art of ,song he lays down as the two fundamental aims to be set before himself by the student3 #a1 how to take a breath and how to press it out slowly2 and1 #b1 how to sing to this controlled breath pressure4 ,it is when we come to consider the views of the different theorists in detail that divergencies will be found to arise4 ,but on certain fundamental matters there will1 ,i think1 be found pretty general agreement nowadays4 ,the great guiding principle to be borne in mind1 in my opinion1 is ease and naturalness4 ,this is one of those matters in regard to which nature can be trusted much more safely than theorists and professors4 ,i refer1 of course1 to the actual process of breathing4 ,as regards the subsequent production of tone there is1 of course1 plenty to be taught4 ,but the actual process of inspiration and exhalation should be as natural and as easy as possible4 ,illustration3 ,,larynx1 ,,where ,,the ,,voice ,,begins4 ,,the ,,pipe1 ,,up ,,which ,,the ,,air ,,is ,,pumped ,,to ,,the ,,larynx ,,and ,,on ,,up ,,into ,,the ,,head4 ,,lungs1 ,,or ,,the ,,vocal ,,bellows4 ,,rough ,,diagram ,,of ,,the ,,larynx1 ,,trachea ,,and ,,lungs4 ,some wise words of ,salvatore ,marchesi may be quoted on this point3 8,when explaining the physical1 mechanical process of breathing to beginners it is essential to make them understand that natural laws have provided for its independence of our will1 as is observed in sleeping4 ,therefore1 every intentional preparation or effort made in order to draw more air into the lungs will produce the contrary result1 hindering the freedom of the natural process40 ,but this is not to imply that breathing capacity cannot be cultivated and developed by practice4 ,on the contrary1 a vast amount can be done in this way1 just as in the case of any other organ of the body1 by means of systematic exercise and practice4 ,everyone has heard1 for instance1 of the wonderful way in which the breathing capacity of native divers in the tropics is developed in the course of their calling1 or of that old man in the ,bay of ,naples who stops under the water with a watch in hand for #ce seconds4 ,singers can acquire something of the same power1 and must do so1 indeed1 if they hope ever to achieve the best results4 ,for the production of good sustained tone is impossible if the art of breathing is not properly understood and acquired4 ,among modern singers no one attached more importance to breathing and breath control than the late ,signor ,caruso1 and no one1 certainly1 attained more wonderful results in this way4 ,he developed his powers to such an extent indeed in this respect1 that it was said that he could move a grand piano by the expansion of the muscles of his diaphragm6 ,and whether this be true or not it is certain that his wonderful breathing capacity was1 as he himself used to declare1 in large measure the secret of his consummate art4 ,try to avoid breathing through the mouth4 ,inhalation through the nostrils purifies and warms the air before it reaches the throat4 ,breathing through the mouth dries the throat and makes the voice husky4 ,nevertheless1 in singing declamatory music what are called half-breaths through the mouth are necessary4 ,when practising avoid taking sudden breaths1 though this may also be necessary when performing publicly4 ,practise once daily before a looking-glass and so correct faults of breathing and grimaces4 ,don't heave the shoulders when taking breath4 ,there should be no visible movement of the body4 ,when practising breathing--and this should be done every day--inhale a long slow breath to the full lung capacity1 hold for one or two seconds1 and then exhaust in the same slow gentle way4 ,this is rather exhausting1 and two or three periods of five minutes with an interval of say fifteen minutes should be sufficient for each day4 ,,chapter ,,xiv ,,vocal ,,cords ,but1 of course1 breathing alone is not sufficient4 ,after the breathing capacity has been developed the power thus acquired must be rightly applied1 and here the first principle is right emission1 and in particular the rule that the release of the breath and the attack of the tone must take place simultaneously4 ,in other words1 no breath at all must be permitted to escape before the production of tone4 ,it is to attain this result that the so-called coup de glotte1 or 8shock of the glottis10 has been advocated4 ,to appreciate this term it is necessary to understand exactly how vocal tone is produced4 ,i will not attempt to go into the matter fully1 but the general principles involved are quite easily grasped4 ,taken broadly1 then1 it will be understood that vocal sound is produced by a column of air passing from the lungs through a small aperture formed by the vocal cords within the larynx 7see diagrams74 ,when we breathe in the ordinary way the air passes in and out as we inspire and exhale1 without any sound being produced4 ,this is because the passage through the larynx is then quite clear4 ,no obstruction is offered to the air current1 and in consequence the process is quite noiseless4 ,when1 however1 we wish to utter a sound1 ,nature provides for this by enabling us to interpose an obstruction to the air current by means of the vocal cords1 and the air then has to pass through a small slit or aperture1 sometimes called the 8vocal chink10 formed by their being drawn closely together curtainwise1 as it were4 ,illustration3 ,,glottis ,,and ,,opening ,,between ,,the ,,vocal ,,cords ,,vocal ,,cords ,,open ,,bones ,,to ,,which ,,vocal ,,cords ,,are ,,attached ,,the ,,vocal ,,cords ,,during ,,deep ,,breathing4 ,when the vocal cords--or ligaments1 as they are perhaps better described--are drawn together in this manner the passage of the air is so restricted that it can only pass in short rapid pulsations1 instead of1 as before1 in a continuous stream1 and the result of these pulses or vibrations is the production of sound or tone4 ,the aperture1 or chink1 is called the glottis1 and the character of the tone resulting1 in particular the pitch of it1 is regulated by the precise disposition and proximity to one another of the two bands or cords or ligaments--sometimes they are known as the vocal lips--by which the chink or opening is formed4 ,illustration3 ,,the ,,vocal ,,cords ,,during ,,the ,,singing ,,of ,a ,,high ,,note4 ,the process itself of regulating the opening of the vocal cords in this way is entirely automatic and subconscious4 ,we merely will1 to produce a tone of a certain pitch and the vocal cords automatically1 and without any conscious effort on our part1 are brought together to precisely the right degree necessary to produce that particular tone4 ,from this it will be understood that every note that is uttered1 every inflection even of the speaking voice1 however minute1 requires a slightly different adjustment of these infinitely delicate threadlike membranes which are provided for this purpose within the box-like larynx2 and this extraordinarily delicate adjustment is all effected quite automatically and instinctively by the mere operations of the will4 ,the brain intimates1 so to speak1 that it requires a certain note to be produced and forthwith1 without the slightest conscious act of adjustment on the part of the singer or speaker1 the vocal ligaments adapt themselves precisely in the manner required and the particular note desired is duly produced4 ,and these notes may issue forth through that tiny aperture and from the throat of the singer to the number of a dozen or more in a second--each one requiring a separate adjustment of the aperture and the said adjustment being effected in every instance1 in the case of a properly trained singer1 absolutely perfectly and exactly4 ,surely of all the many wonderful contrivances which go to the making of the mechanism of the human body there is none which is more wonderful than this6 ,it is1 indeed1 necessary only to consider the elaboration of the means and the complexity of the muscular adjustments necessary to achieve similar results in the case of a violin1 say1 or a piano1 in order to realise the amazing ingenuity and efficiency of the means employed by ,nature4 ,but ,i am wandering from the coup de glotte1 which ,i set out to explain4 ,let it be understood1 therefore1 that the coup de glotte is merely a name for a particular method of bringing together the lips of the vocal cords and certain subordinate muscles1 known as the ventricular bands1 with a view to a better and cleaner production of tone1 and with a view especially to the avoidance of the particular fault above referred to1 namely1 the emission of air before the production of the note4 ,in the result the 8attack0 is certainly very sharp and clean1 but personally ,i cannot recommend this particular method of achieving that result1 since the effect is anything but agreeable to the ear1 and there is good reason for thinking that the practice1 besides being unnecessary1 is also injurious to a vocal organ4 ,i will not go further into the matter1 however1 since all such technical details are for the teacher to explain and illustrate and cannot be satisfactorily dealt with in print4 ,certain general principles may1 however1 be touched on1 amongst which the first is1 perhaps1 that there should never be at any time the smallest conscious strain or effort4 ,relaxation1 looseness1 ease1 should be the watchwords all the time4 ,rigidity1 tightening of the muscles1 stiffness1 contraction1 are fatal to the production of beautiful tone4 ,here1 as so often in art1 when grace and beauty are the objects aimed at1 economy of effort is the grand secret4 ,there should never be any strain or forcing of any sort or kind1 and on the same principle1 it may be noted1 is the rule as to the amount of breath emitted1 which should always be the smallest quantity possible which suffices to produce the tone required4 ,let out enough breath and no more--keeping the remainder in reserve--that is one of the fundamental secrets of beautiful tone production4 ,lilli ,lehmann puts the same point in another way when she insists on the supreme importance of emitting 8as little breath as possible40 ,perhaps ,i may be permitted to quote1 also1 in this connection some interesting remarks of ,signor ,salvatore ,fucito1 in a recently published volume1 in reference to the practice of ,caruso in this regard4 8,caruso governed the expiratory flow of the breath with such mastery that not a particle of it escaped without giving up its necessary equivalent in tone4 ,caruso emitted for each musical phrase1 or for each note1 just enough breath to produce that phrase or note musically and no more4 ,the remaining breath he kept in reserve1 which made the enchanted hearer feel that the master was still far from the limit of his resources1 that he had still ample motive power in reserve for whatever the occasion might require40 ,another great master of breathing is ,battistini4 ,one hears him singing long phrases1 one after the other1 without perceiving when or how he fills his lungs1 so completely has he covered up all traces of the physical effort4 ,there is no puffing and panting1 no discoloration or distortion of the face4 ,i am myself often asked how ,i manage to find the breath for the long florid passages which ,i so often have to sing1 and my reply usually is that ,i have a good pair of bellows which ,i make a point of always keeping well filled with air4 ,this can be done1 ,i may add1 in the case of such passages as ,i have mentioned by taking at times only partial breaths instead of full ones4 ,these can naturally be taken much more quickly than complete inspirations1 and by their means the 8bellows0 can be kept constantly replenished even when the heaviest demands are being made upon their contents4 ,but while it is essential to maintain a good pressure of air behind the tone1 this does not mean that the lungs must be filled to distention1 for this produces the worst possible result4 ,madame ,lilli ,lehmann has recorded1 for instance1 in her valuable treatise on singing1 that she made this mistake in the first instance1 with the result that she always felt as if she must release some of her superfluous breath before beginning to sing4 8,undoubtedly10 she writes1 8,i took in too much air in breathing and cramped various muscles1 thereby depriving my breathing organs and muscles of their elasticity4 ,i often had1 with all my care and preparation for inhalation1 too little breath1 and sometimes1 when not giving special thought to it1 more than enough40 ,and others not infrequently commit the same error under the mistaken impression that they must get as much air into their lungs as possible4 ,,chapter ,,xv ,,placing ,,the ,,voice ,an all-important part of the student's training is that in relation to what is called the 8placing0 of the voice4 ,this somewhat vague term has been the subject of a good deal of misunderstanding1 and the most curious notions have gained currency as to its actual meaning4 ,yet this is1 in reality1 quite simple4 ,tone is made in the first instance1 as ,i have already explained1 by the breath passing through the vocal cords4 ,the precise quality of the tone depends1 however1 on the formation and disposition of the various parts of the vocal apparatus--throat1 palate1 tongue1 and so on--through which the breath afterwards passes before issuing from the mouth4 ,the disposition of these various parts can be varied by the individual1 and the placing of the voice consists in finding how best to adjust them in order to get the most satisfactory tone1 and in acquiring the power always to produce tone in this way and in no other4 ,to assist in attaining this result it is usual to instruct the pupil to sing 8forward10 8dans le masque10 and so on1 but it should be clearly understood that though such terms are useful from the practical point of view1 they are none the less only a faon de parler1 and a means of instructing the pupil how to adjust and adapt the whole vocal apparatus1 so to speak1 in the most effective way4 ,you can really produce a tone in your face or in your throat4 ,it is all produced by the vocal cords1 and nowhere else1 and merely receives its specific quality or character1 so to speak1 by1 in part1 the natural formation1 and1 in part1 the conscious adjustment of the passages through which it passes on its way to the mouth4 ,but by thinking of the face or the throat and1 so to speak1 apparently fixing it there1 you can modify the disposition of the various parts in question and so influence the quality of the tone produced4 ,this mysterious placing of the voice means1 therefore1 in reality1 nothing more than finding out in each individual instance the best position of the vocal organs for getting the best results4 ,this1 again1 is one of those matters in regard to which little help can be derived from advice in books4 ,only by direct instruction from a capable master can a pupil possibly be made to understand completely what is required in this respect4 ,it is1 indeed1 essentially one of those matters in the case of which an ounce of practice and example is worth a ton of theory1 and happy is the student who has the good fortune to go to a master capable of instructing him rightly on the point4 ,some fortunate ones1 like myself1 have voices which are quite perfectly placed by ,nature4 ,that is to say1 they are the lucky possessors of voices which they produce naturally and unconsciously in the most advantageous manner1 so that they require to make no alteration at all4 ,this will1 of course1 be perceived at once by a capable master1 who will be only too careful in such cases to leave well enough alone4 ,a charlatan or impostor1 on the other hand1 can work irremediable harm by interfering with such voices and attempting to modify or improve them4 ,a singer with a perfect light soprano voice may1 for instance1 have the misfortune to fall into the hands of such a teacher1 who will persuade her that she can sing the rles of a dramatic soprano1 and by misguided advice and training succeed in ruining a beautiful natural voice in the attempt to improve it4 ,in the vast majority of cases1 however1 the pupil's voice is not naturally placed so as to give the best results4 ,that is to say1 by proper instruction and training it can be made to produce better results--tones more smooth1 more round1 more resonant1 and so on--and it is here that the services of an experienced and capable teacher are beyond price4 ,the problem is one of great complexity1 for so many different factors enter into it4 ,the palate1 the tongue1 the teeth1 the lips1 as well as the natural and unalterable formation of the throat1 and so forth1 all play their part in determining the issue1 and the slightest modifications in anyone may easily effect the greatest differences in the results4 ,it is easy to understand1 therefore1 how impossible it is to lay down any general rules in the matter1 but it is perhaps safe to say that the less the pupil is called upon to depart from his1 or her1 natural and instinctive procedure1 the more likely are good results to be achieved--the ideal case being1 of course1 the one in which no alterations whatsoever are required4 ,i may add1 perhaps1 that some authorities attach great importance in this connection to the language used by the pupil in the earlier stages of his training--that is1 when his voice is undergoing the process of being placed4 ,that accomplished singer ,signor ,bonci is1 for instance1 one who holds strong views on this point4 ,according to him it is very injurious for singers at this stage of their studies to sing in more than one language4 ,i may perhaps venture to quote what he has written on the subject3 8,when a tone is properly placed the word need not affect it1 but a great deal of harm is caused by applying the word too early and beyond this by using several languages4 ,it is a question1 and a serious one1 whether those who teach singing understand the application of the word to the tone1 and the dangers are obvious in languages where nasals and gutturals prevail40 ,,chapter ,,xvi ,,registers ,closely allied with the question of 8placing0 is that of 8registers10 which has been the subject of so much controversy at various times4 ,there is not even agreement as to how many registers there are--or even if there are any at all4 ,for while some take the view that there are no such things1 others speak variously of two1 three1 four1 and even more natural and inevitable divisions in the range of the average voice which can only be properly distinguished from one another in this way4 ,some1 ,i believe1 even maintain that each individual note should properly be regarded as a different register4 ,but this suggestion ,i think can scarcely be intended seriously4 ,for if each individual note really does constitute a separate register1 what is gained by talking of registers at all8 ,there is1 however1 no denying that there are certain marked differences in the case of every voice in the quality of the tone produced at different parts of its range or compass--differences of tone quality which are accompanied also by different sensations on the part of the singer2 and to these different sections of the vocal range the name of registers has been given4 ,usually three are recognised--chest1 medium1 and head1 the term chest register being applied to the lowest notes1 medium to the middle portion1 and head to the highest4 ,the terms chest1 medium1 and head are derived from the sensations experienced by the singer in producing the different notes referred to--the lower ones giving the feeling of having been produced in the chest1 the middle ones in the throat1 and the highest ones of all in the head4 ,but it should be understood that in actual fact there is no difference in the manner in which the various notes are produced4 ,all the notes of the voice1 whether high or low1 are in reality produced in the same way1 namely1 in the manner already described--by the passage of the air from the lungs through the 8chink0 formed by the vocal cords4 ,in the case of the lower notes1 however1 owing to certain physiological causes1 the vibrations are felt by the singer most strongly in and about the chest1 and in the case of the higher ones in the head--whence1 therefore1 the somewhat misleading terms in use have been adopted4 ,at the same time the fact that these different sensations are experienced by the singer may be taken as the best possible evidence of the fact that there are definite differences in the method of tone production to account for them2 and this view of the matter is in fact confirmed by the researches of physiologists4 ,there is no need1 of course1 for vocalists to concern themselves with the matter in detail1 for the process involved is1 of course1 entirely 7or almost entirely7 automatic4 ,but it is none the less explained by the physiologists quite clearly why there is1 at a certain point1 this difference of feeling on the part of the singer in passing from the lower notes to the higher ones4 ,without going too minutely into the matter1 the reason broadly stated is that the vocal cords are differently disposed in the two cases4 ,up to a certain point the successive tones are produced in one uniform way1 and then above that point the method is modified2 and it is this difference accordingly which is accountable for the distinctive sensations experienced by the singer--sensations1 it may be added1 which have been recognised and discussed ever since the art of singing has been studied4 ,hence1 it is quite a mistake to suggest1 as has been done by some1 that the whole notion of registers is a delusion4 ,these different registers do undoubtedly exist1 and it becomes one of the most important problems consequently to get rid of the 8break10 or change in the tone quality1 which occurs when the voice passes from one to the other4 ,at the same time it does not follow that violent and artificial methods should be adopted for this purpose4 ,on the contrary1 little else than steady and properly directed practice is required in the ordinary way to accomplish this4 ,in fact if you get your breathing right and your tone production in general right1 the register difficulty will probably solve itself4 ,to put it in another way1 if you ensure that each individual tone is right1 the problem of the registers need not seriously trouble you2 and this is a matter of paying attention to the general rules of sound tone production4 ,special exercises are1 however1 usually given for the purpose of 8equalising0 the voice1 as it is called1 that is to say1 for the purpose of ensuring a perfectly even and uniform quality of tone throughout the scale and avoiding the break at the change of register which has been referred to2 and these exercises are no doubt useful4 ,most of the best authorities are agreed that proper breathing has as much to do with the matter as anything1 some even going so far as to say that the matter should not be mentioned to the student at all4 ,this is perhaps a somewhat extreme statement1 but the underlying principle is sound4 ,and here1 as always1 the principle of absolute ease and relaxation and the avoidance of all unnatural muscular contraction or violent effort is at once all important4 ,the following is generally conceded to be a well-thought-out method of uniting the voice wherever the 8break0 occurs4 ,illustration ,sing this passage ,messa di ,voce ascending and descending1 commencing where the break is first noticeable4 ,if this is practised consistently for two or three periods of twenty minutes a day it should be effective in preventing this unpleasant defect4 ,begin firmly1 using 8ay10 8oh10 or 8ee10 and swell out to fullest capacity4 ,then let the tone die away imperceptibly and be careful not to use falsetto4 ,by doing the foregoing we have augmented the head tones to such an extent that instead of having falsetto1 we have a head voice capable of being allied to the chest voice with practically no distinguishable break in the whole compass4 ,contraltos are the greatest sinners with the 8break40 ,very few contraltos are able to change the registers or sing two octaves without a perceptible gap4 ,at one time this vulgar habit was considered a virtue when in reality it is a clear indication of lack of study and practice4 ,remember that no matter where the 8break0 occurs it is only by cultivating the head voice that a cure can be attained4 ,then1 again1 almost everybody has one or two tones more or less defective1 and wherever these occur special attention must be given them so that they can be built up until the singer can safely overcome the 8break40 ,,chapter ,,xvii ,,faults ,a few words on faults--and the correction of them4 ,no1 ,i am not going to attempt a catalogue of all the faults which are possible1 but name just a few3 faulty intonation2 faulty phrasing2 imperfectly attacking notes2 8scooping0 up to notes2 8digging0 or arriving at a note from a semitone beneath it2 singing off the key or out of tune and tremolo4 ,all of these faults are unforgivable1 but the last two are crimes4 ,and ,i could name numbers more4 ,i have heard vocalists who have been horrified when ,i told them that they arrived at a note after attacking it from a fourth below1 especially when singing pianissimo4 ,consequently ,i cannot over-emphasise the supreme need for the student to recognise his faults and follies if he hopes ever to make progress4 ,nay1 this is not putting it strongly enough4 ,he should not merely be ready to recognise his faults1 but eager to discover them4 ,he should be ever on the lookout to realise his deficiencies and to regard as his best friends those who are kind enough to tell him of them4 ,this may sound self-obvious1 but ,i am afraid that in practice the attitude of the average student--and not of the student only1 but also of the experienced artist--is very different4 ,a fatal self-satisfaction seems1 for some reason or other1 to be one of the commonest failings of the average singer4 ,one fairly well-known singer invited my criticism of her voice1 and when ,i obliged and told her what she must do to become a great artist she replied1 8,but ,i am a great artist40 ,at which ,i bowed and said1 8,i beg your pardon1 madam40 ,yet it is hardly necessary to say--we can all realise it indeed in the case of others--that there is no form of weakness more absolutely fatal to artistic progress4 ,let the student beware1 therefore1 of this dangerous form of vanity and self-sufficiency1 and learn from all who can teach him4 ,how often have ,i not heard of students--alike young and old--who have been foolish enough to throw over good teachers because they have been honest enough and courageous enough to tell them unpalatable truths6 ,they think they know better4 ,they are so supremely well pleased with themselves--so foolishly satisfied with their own achievements--that they regard it as an offence when their errors are pointed out4 ,of course they do not put it--even to themselves--in this way4 ,they prefer to persuade themselves that their teacher is at fault4 ,they explain that they do not like his 8method40 ,or they say that he does not 8understand0 their particular voice4 ,and so they come to the conclusion that they had better make a change and go to some other master instead4 ,it is all very human but very foolish1 and ,i cannot impress this too strongly upon all who read this book4 ,your best friend is one who will tell you faithfully1 not how beautifully you sing but how badly6 ,some are1 of course1 wise enough to realise this4 ,and you will generally find that they are the ones who get on4 ,such a one was ,caruso1 who1 to the end of his day1 never ceased to practise1 to study1 to reflect upon his art1 and even to worry and agitate himself over his supposed deficiencies--deficiencies which were unperceived by his hearers but which he1 with his fastidious and ultra-sensitive artistic conscience1 persuaded himself were there4 ,,chapter ,,xviii ,,coloratura ,,singing ,i suppose there is no question which ,i am more frequently asked by vocal students and others interested than how to acquire agility1 but ,i am afraid my answer is usually disappointing4 ,for ,i can only repeat that it is simply a case of perseverance and hard work1 plus1 of course1 whatever natural abilities in that direction you may possess4 ,it is obvious that all singers are not equally endowed in this respect4 ,the mere fact that there is such a difference in this matter between the various classes of voices is sufficient to prove that4 ,no one ever expects a contralto voice to have the same facility in this regard as a light soprano1 and still less a bass or a baritone4 ,the most unceasing practice would never have enabled an ,alboni or a ,lablache1 say1 to achieve the dazzling runs and fioriture of a ,patti or a ,catalani4 ,and to a less marked degree there are similar differences between individual voices of the same class4 ,all are not equally capable in this particular even when in other respects they may be equally good4 ,some experienced teachers indeed recognise this fact so clearly that they do not advise even soprano singers to cultivate coloratura singing unless they have the necessary natural facility to begin with4 ,i think myself1 however1 that all should endeavour to acquire the maximum agility1 even if they do not attempt to sing coloratura in public1 simply for the benefits which they will derive from it in other respects4 ,after all the voice cannot be possessed of too much flexibility whatever style of music be attempted2 and there is no way in which flexibility can be more surely developed than by the practice of coloratura4 ,for the rest ,i can only repeat that1 given the right kind of voice in the first place1 there is only one way to acquire agility1 and that is by practice4 ,no short cuts are possible here1 and ,i have no trade secrets to impart4 ,and the necessary exercises themselves are all of the simplest character1 at all events in the beginning2 just simple scales--or rather portions of scales--in the first instance1 with others more elaborate in due course4 ,but the scales are the foundation1 and if they are properly mastered the rest will follow without difficulty4 ,an important feature of good coloratura singing is1 of course1 not only that the notes shall be cleanly sung1 but also that they shall be absolutely in tune and of good tone quality4 ,one not infrequently hears singers who possess the necessary agility to sing the note1 but are lacking in these other qualities4 ,their runs will lack brilliancy because the notes will not be perfectly in tune1 and the quality of them will be so hard and disagreeable sometimes as to give more pain than pleasure4 ,the cause of this will usually have been a desire to make progress too hastily in the earlier stages4 ,they will not have devoted sufficient attention at the outset to practising slowly1 and so ensuring absolutely just intonation and satisfactory tone quality4 ,therefore1 it is emphatically a case here of 8more haste less speed40 ,you cannot acquire velocity quickly4 ,i will not repeat again the well-worn story of ,porpora and ,caffarelli4 ,but that illustrates the point4 ,i cannot refrain from adding a few words while on this subject in defence of coloratura1 which is so often contemptuously spoken of in these days by those who do not possess the power of singing it4 ,we all know the kind of way in which it is referred to4 ,coloratura music is false1 showy1 superficial1 unworthy1 dramatically unreal1 and so on4 ,but what nonsense this is6 ,what is the difference in principle1 ,i would ask1 between the fioriture passages of the vocalist and those introduced as a matter of course in the most serious instrumental music8 ,why should a cadenza for the voice be reckoned less worthy than a similar passage for the violin or the 'cello8 ,all the greatest masters have introduced florid passages in plenty in the noblest instrumental music4 ,yet the view is very generally adopted that these are inadmissible1 or1 at all events1 belong to an inferior phase of the art when the instrument employed happens to be the voice4 ,no doubt the quality of the works more particularly identified with vocal music of this order has had something to do with the matter4 ,yet it is hardly necessary to recall that vocal fioriture is by no means confined to the music of ,donizetti1 ,bellini1 and the like4 ,bach1 for one1 had no sort of prejudice on the point1 as is demonstrated often enough even in his most solemn work1 while ,handel1 again1 revelled in coloratura1 alike in the case of his operas1 containing some of the most wonderful florid music ever written1 and of his oratorios1 to which no less applied4 ,that ,mozart can be reckoned in the same category it is hardly necessary to recall1 while even ,beethoven did not disdain to utilise the arts of vocal decoration in many of the numbers of 8,fidelio40 ,if1 therefore1 coloratura singing is sometimes spoken of disrespectfully1 it is not from lack of distinguished names which can be cited in its defence4 ,nor is it only among the ancients that such are to be found4 ,in the modern ,russian ,school we have ,rimsky-,kosakoff's 8,hymn to the ,sun0 from 8,coq d',or40 ,and have we not also such an eminently serious master as ,richard ,strauss challenging comparison in our own time with the most extravagant productions of the past in this particular genre in the music of ,zerbinetta in his 8,ariadne08 ,one of his latest songs1 8,amor10 is purely for coloratura singers4 ,as to the charge that coloratura in dramatic music is unnatural and undramatic1 those who argue thus surely overlook the fact that all opera might with equal justice be disposed of in the same manner4 ,people do not express themselves in song in real life1 any more than they speak in blank verse1 as they are made to do in ,shakespearean drama4 ,yet we are glad to have 8,don ,giovanni0 and 8,king ,lear0 none the less6 ,it is1 indeed1 truly straining at a gnat and swallowing a camel to condemn coloratura while accepting opera as a whole4 ,i go further than this1 for ,i venture to say that coloratura can be not only delightful to the ear but also thoroughly appropriate and dramatically expressive4 ,what could be more suitable to give expression to the madness of ,lucia than the roulades which ,donizetti gives to her8 ,or how could the joy of ,margurite be more exquisitely expressed than in the strains of ,gounod's 8,jewel ,song08 ,i might point in this connection1 did modesty permit it1 to what people have been good enough to say concerning my own treatment of coloratura in 8,la ,traviata0 and elsewhere4 ,i recall that when ,i first appeared in ,london it was upon this point particularly that all my critics dwelt4 ,they were all more especially struck by the manner in which ,i managed1 while singing ,verdi's florid music brilliantly and effectively in the purely vocal sense1 at the same time to make it expressive2 and this ,i took as the greatest possible compliment which could be bestowed on me4 ,for that ,i think is what coloratura properly sung should be4 ,it should please the ear by its brilliance1 but at the same time it should not1 and need not1 obscure the dramatic significance of what is sung4 ,i might on this point quote that great artist once again1 ,lilli ,lehmann1 who1 notwithstanding her strong leaning to music of the more serious class1 including ,wagner1 in which she was so wonderful1 was yet a great coloratura singer herself in her younger days1 and who has strongly insisted upon the possibility of making even the most florid music expressive also when it is sung in the right way4 ,she writes3 8,thus in the coloratura passages of ,mozart's arias ,i have always sought to gain expressiveness by crescendi1 choice of significant points for breathing1 and breaking off of phrases4 ,i have been especially successful with this in the #8,entfhrung1' introducing a tone of lament in the first aria1 a heroic dignity into the second1 through the coloratura passages40 ,but happily ,i do not think there is any likelihood of coloratura ever going out of fashion1 whatever its detractors may say1 so long1 at all events1 as singers shall be forthcoming who are capable of responding to its demands4 ,,chapter ,,xix ,,enunciation ,after the fundamental problems of breathing1 tone production and so forth have been dealt with1 there is nothing to which the student should pay greater attention than the question of diction1 or right enunciation4 ,yet ,i am afraid it is rare to find that this view of the matter is acted upon4 ,on the contrary1 this question of diction appears to be one of the last to which most singers are disposed to give any serious attention4 ,hence the unintelligible sounds which are so often heard proceeding from vocalists1 alike in the concert room and on the stage1 so that one sometimes can scarcely tell even in what language they are supposed to be singing4 ,this is1 of course1 a deplorable state of affairs1 but yet one so well established that in nine cases out of ten it is hardly thought worthy of remark by the average hearer4 ,it is taken as a matter of course1 in other words1 that only a word or two1 here and there1 of those sung shall be understood by the audience1 and one may listen attentively to an entire opera without having more than a vague idea at the end as to what it was all about4 ,yet in the case of certain singers one may understand without difficulty practically every word they sing1 the fact being thereby demonstrated that there is not the slightest real necessity for the incredibly slovenly and defective enunciation which is permitted with such surprising and lamentable tolerance by the public at large4 ,so far as opera is concerned1 ,i think that the blame rests largely with the managers4 ,if they would adopt the practice of deputing some trustworthy representative at every rehearsal to sit in the topmost gallery and relentlessly pull up every singer whose words could not be clearly understood1 the difficulty1 ,i am convinced1 would speedily disappear4 ,and operatic directors1 ,i am sure1 would find it greatly to their advantage to adopt this course if only on account of the greater popularity which opera would enjoy if it could always be followed1 as it should be1 as easily as a spoken play4 ,i believe that in ,england especially1 where opera in the native language is1 as ,i am delighted to see1 making such steady headway1 its acceptance by the general public is hindered more on this account than by any other reason4 ,yet there is not the slightest necessity for the presentation of the drama1 which is sung instead of being spoken1 to be hampered and handicapped in this grievous fashion1 and it only needs more vigorous action on the part of the directing powers1 ,i am persuaded1 to remedy matters4 ,so long1 however1 as singers are left to themselves in this respect1 the difficulty will always remain1 since their inevitable tendency is to sacrifice diction to tone quality--in other words1 to achieve the best effects in the purely vocal sense and let the words look after themselves4 ,and this brings us at once to the root of the diction problem1 namely1 the undoubted difficulty which presents itself at times in reconciling the claims of good tone and clear enunciation4 ,when a pupil is studying he practises upon the easiest vowel sounds and syllables which can be selected2 and many singers1 ,i am afraid1 would like nothing better than to be allowed to continue singing upon these agreeable and grateful vocables to the end of their day4 ,unfortunately1 however1 this is not quite possible1 and so too many try to get over the difficulty by singing the words not in the way in which they should be pronounced1 but in the manner most convenient to themselves4 ,it is hardly necessary to say that this is all wrong and most inartistic1 besides being quite unnecessary4 ,it may be said that it is easy for an ,italian to speak thus1 and it must certainly be agreed that we ,italians are greatly favoured in having the most vocal and melodious of all languages to sing4 ,with our open vowels we may be considered1 indeed1 to have every advantage in this respect1 just as the ,germans with their multiplicity of harsh and difficult and1 to ,italian ears1 almost impossible consonants1 have every disadvantage4 ,yet the principle remains unaffected that every singer1 in whatever language1 who wishes to be considered a master of his art must contrive to reconcile the claims of good tone with those of accurate and intelligible diction1 and the student cannot pay too much attention to this matter from the very moment that he begins to clothe his tones in words4 8,sing as you speak10 is a saying which ,i have heard ascribed to that great master1 ,jean de ,reszke1 and though the advice cannot1 perhaps1 be taken quite literally1 it certainly indicates the ideal to be kept in view4 ,it is not feasible to obey the injunction quite literally because it is almost physically impossible to sing certain sounds on certain notes4 ,on this account many teachers--,lamperti himself was one of them--sanction the deliberate modification of the proper vowel sounds or1 preferably1 the substitution of a more convenient word4 ,but the object should certainly be to keep as near as may be practicable to the correct1 natural pronunciation1 whereas some seem to make it their aim almost to depart from this as far as possible4 ,one of the worst examples of execrable enunciation was given by one singer when giving an otherwise creditable rendering of ,maude ,valerie ,white's 8,devout ,lover40 ,the words intended were 8,burn at her altar10 which were given 8,burnateralter40 ,some ,english singers have the habit of putting a vowel after a consonant1 as in the word 8,good-bye10 which becomes 8,goodabye0 and which is absurd4 ,baritones often have a habit of emphasising wrong words1 of which one of the best examples is 8,trumpeter1 what are you sounding now80 ,another absurdity4 ,one could multiply these examples indefinitely4 ,,chapter ,,xx ,,language 8,italian is the easiest language to sing1 then comes ,russian1 and ,i should put ,english next4 ,all languages affect the tone1 unless the tone is first able to carry the weight of the language4 ,a singer may study in any language1 but in only one until after the tone is placed beyond any possibility of being affected by the demands of the different languages40 ,i am disposed to think that there is a good deal of truth in this4 ,how serious is the influence exercised by the language used upon the quality of the tone produced is illustrated by ,german vocalism and ,american intonation4 ,for here you have entire nations who1 in the vocal sense1 may be said to illustrate the evil effect upon tone of a harsh and nasal language4 ,german singing seems to be different1 not merely in degree1 but even in kind from that of other lands4 ,in the case of even its best exponents there is a harshness and a tonelessness about it which differentiates it from that of any other race4 ,german singers often have strong1 lusty voices1 likewise plenty of intelligence and dramatic feeling2 but for beauty of tone and all the finer qualities of vocalism one listens for them in vain4 ,the fact is strange1 but it can hardly be denied even by those least disposed to admit it4 ,that one of the most musical nations in ,europe should also be that of all others least dowered with the gift of song is a remarkable paradox which is not a little difficult to understand4 ,it is not a case of differences of taste4 ,the point is that the ,german voice1 as such1 is indisputably inferior in point of quality to that of practically all the other ,european races4 ,there is no discredit in the circumstance4 ,it implies no reflection on anyone4 ,it is merely an unfortunate physiological fact which must be accepted like any other of those decrees of ,nature which are not to be gainsaid4 ,such being the fact1 how is it to be explained8 ,why is it that ,german singing is of this strange quality8 ,how has it come about that so musical a race has been so shabbily treated by ,nature in this important regard8 ,various theories have been advanced4 ,according to some the explanation is that it is the ,german language with its explosive consonants1 harsh gutturals1 and other unmelodious characteristics1 which is at the bottom of the trouble4 ,students of voice production will prove to you by ingenious experiments that the disposition of the vocal organs1 breathing1 and so forth1 required for the utterance of the ,german language1 are in themselves incompatible with the emission of a beautiful quality of vocal tone2 and however this may be1 it is hardly to be disputed that regarded from the standpoint of euphony1 pure and simple1 the ,german language is certainly not to be called melodious4 ,it seems quite a plausible theory1 therefore1 that harshness of language and harshness of voice are not disconnected1 especially when the suggestion is fortified by the converse association of the most beautiful voices with the most mellifluous language1 in the case of the ,italians4 ,and if so much be admitted1 it is obvious that it may indeed be a question of importance1 as ,signor ,bonci has suggested1 what language is employed by the student in that critical initial stage when his voice is being 8placed40 ,for the rest it may be noticed that another great modern tenor1 namely ,caruso1 insisted especially1 when discussing this question of placing1 upon the supreme necessity of freedom and ease and the absence of all unnecessary contractions of the muscles4 ,signor ,fucito tells us that on this point he expressed himself as follows3 8,it is necessary through the aid of self-study and the help of a good singing teacher to become aware of every physical defect--such as contractions of the muscles of the throat1 of the face1 or of the jaw--which can hinder the tone from being emitted in all its fullness and purity4 ,these rigid muscular contractions bring about a throaty tone1 which lacks support and is incapable of purity and amplitude4444 ,the singer should apply himself to his study with great naturalness and relaxation2 this is the sine qua non of beautiful cantilena singing40 ,with every word of these remarks ,i heartily agree4 ,indeed1 ,i imagine that they would gain the universal assent of all qualified to write on the subject4 ,the pronunciation of foreign languages is a point to which the student can hardly give too much attention4 ,it also affords another argument in favour of study abroad1 since it is certain that a foreign language cannot possibly be acquired so effectually anywhere as in the land where it is spoken4 ,and foreign languages are indispensable to a singer nowadays who aspires to be equal to all the requirements of the modern rpertoire4 ,true it may not be necessary to possess the linguistic powers of a ,mingotti1 who spoke ,german1 ,french1 ,italian1 ,english1 and ,spanish4 ,but at least it may be laid down as an inexorable rule that no one should ever attempt to sing in a foreign tongue until he has acquired absolute command over every detail of its pronunciation by means of study1 if not in the land itself1 at any rate with a native4 ,otherwise the result can only be a travesty of the composer's--or at all events of the poet's--intentions and a source of mirth to all hearers4 ,little do some artists realise1 indeed1 the impressions which they produce at times when1 with misplaced assurance1 they venture on songs in tongues with which they are imperfectly acquainted4 ,even in the case of the best equipped it is a proceeding attended with risk to sing in a foreign language2 but without complete knowledge there is no more certain way of exposing one's self to ridicule4 ,and ,i am afraid that it must be said that1 contrary perhaps to the general belief1 ,italian suffers no less than any other language from misguided attempts of this kind4 ,the idea is commonly entertained that ,italian is 8easy0 to speak1 but of course this is not the case if it is really to be properly spoken4 ,to which ,i may add that few peoples seem to experience more difficulty in mastering its subtleties than the ,english4 ,it may be recalled1 too1 that this was also the view of ,lamperti4 ,of all the ,european nations1 he declared1 the ,english1 and especially ,londoners1 pronounced ,italian worst4 ,the sounds that they produce1 he remarked1 are nearly all guttural1 the vowels being excessively weak1 while their accent was entirely wrong--the men1 he added1 being even worse than the women4 ,the ,scotch1 on the other hand1 were not quite so bad in his judgment1 while the ,irish were best of all4 ,indeed1 he agreed that the latter with study could learn to speak ,italian quite wonderfully--as is illustrated1 ,i may say1 at the present time by ,mr4 ,john ,mc,cormack1 who has a most admirable ,italian diction4 ,but it certainly is not often that one can speak in similar terms of the average ,english artist4 ,if anyone doubts this1 let him read and ponder over some caustic remarks once made on this very point by the late ,sir ,charles ,santley4 ,nothing was more deplorable1 he said1 than to hear the atrocious manner in which the beautiful ,italian language was murdered at times by untrained ,english singers1 and if1 he added1 they had any notion of the effect which they produced by such attempts upon such of their hearers as happened to be really familiar with the language1 they would assuredly never make themselves so ridiculous again4 ,better a thousand times1 he concluded1 to sing all your life in your own tongue rather than make yourself a laughing-stock by attempting a task beyond your power4 ,to which ,i need hardly add that the same applies no less to ,french and ,german1 though ,i am myself less qualified to speak concerning those languages4 ,it is not for me1 perhaps1 to say much about ,wagner singing1 which is so far removed from my own chosen province1 but ,i may be permitted1 perhaps1 while on the subject of diction1 to point to the appalling manner in which the divine art of singing has been perverted by ,wagnerian singers under the mistaken notion that they were in this way carrying out the wishes of the sublime master4 ,i say 8under the mistaken notion0 because it is well known by those acquainted with the fact that the so-called 8,bayreuth method0 was as far removed as possible from ,wagner's actual ideas4 ,it is true that he attached the utmost importance to clear and emphatic enunciation of the words so that the course of the drama might be quite clearly understood1 and therein he was quite right4 ,but there is little reason to suppose that he was in reality satisfied with the actual results achieved by the ,german singers by whom his works were originally presented4 ,it is1 indeed1 an utter mistake to suppose that the harsh and strident singing of the average ,german vocalist was of a kind to commend itself to ,wagner4 ,on the contrary1 it was one of his pet schemes1 if ,i have not been misinformed1 in connection with ,bayreuth1 to institute a ,school of ,singing which might lead to better things2 and the kind of singing at which he aimed may be gathered from the fact that the teacher whom he wished to secure to carry out his views was none other than that famous exponent of ,bel ,canto1 the late ,seor ,manuel ,garca6 ,in the same connection1 too1 may be recalled the remark made by the composer after hearing a performance of 8,lohengrin0 7with the great ,italian ,wagnerian tenor ,borgatti7 on one occasion at ,bologna4 ,almost for the first time1 he said1 he had heard his music really sung4 ,all of which suggests how far they are from actually fulfilling the wishes of the master in continuing at ,bayreuth the horrible vocal methods which had become so unfortunately associated with his name4 ,,chapter ,,xxi ,,style ,,and ,,interpretation ,diction1 it may be said1 is included in ,style2 but ,style means a good deal more than diction4 ,style may be said1 indeed1 to mean everything that the singer adds to the bare notes and directions of the printed page4 ,these notes and directions are admittedly incomplete--a mere approximation to the composer's complete meaning4 ,he supplies in this way the bare facts with such additional hints as to expression and interpretation as an imperfect system of notation allows4 ,it is the duty of his interpreters to supply what is missing--to breathe the spirit of life into the dry bones and to convert dead printed notes into living human music4 ,to this end the singer must possess first of all the requisite insight and understanding to grasp the composer's purpose1 next the personality and magnetism to be able to realise it for his hearers1 and lastly the musical taste and knowledge required in order to present it in conformity with the appropriate rules and traditions4 ,in other words1 the singer must not merely sing the right notes1 but sing them in the right way--with the right accent1 the right phrasing1 and in the right manner4 ,what is required may be best realised1 perhaps1 by comparing the delivery of a fine piece of poetry by a schoolgirl or schoolboy1 say1 with the delivery of the same lines by an accomplished actor or elocutionist4 ,the words will be the same in both cases1 but what a difference in the result6 ,so in the case of music the notes sung will be the same whoever sings them1 but the effect will be vastly different when they are sung by the trained artist4 ,here it is that the student's general culture will bear fruit1 in the imaginative insight and understanding1 the good taste and the expression1 which he brings to his task4 ,and here1 too1 will his musical knowledge and intelligence be more particularly illustrated by the manner in which he conforms to the requirements of the particular kind of music which he is interpreting4 ,for to do this aright a knowledge of the notes alone will not suffice4 ,he must be familiar also with the varying needs of the different schools of music1 with the historical traditions associated with them1 and so forth4 ,opera demands one kind of singing1 oratorio another1 ,german ,lieder another1 and so on throughout2 and each of these general classifications can be subdivided in turn4 ,how different are the requirements of each is best exemplified by the fact that so few succeed in all4 ,one singer will be great in opera1 another in oratorio1 a third in ,lieder2 but only in the rarest instances will you find one and the same artist excelling in all4 ,why is this8 ,simply because their respective requirements are so different4 ,for this reason the average artist will1 ,i think1 usually be well advised to confine himself to the class of work more particularly suited to his talent4 ,while it is well to cultivate versatility so far as possible1 it is a mistake to sing music of a kind for which you are not suited4 ,patti loved ,wagner1 for instance1 and was a frequent visitor to ,bayreuth4 ,but she did not sing his music4 ,she liked to hear it sung by others1 but she realised that it was not for her4 ,voice1 personality1 training1 temperament1 all impose necessary limitations4 ,people blame me sometimes1 for instance1 for confining myself mainly to music of a certain school4 ,but ,i think ,i know best as to this1 and that ,i am exercising sound judgment in adopting this course4 ,there is much music which ,i admire and love1 but ,i do not always try to sing it4 ,in the same way ,i may admire frocks which ,i see on other women1 but ,i do not necessarily try to wear the same myself4 ,i have the good sense to recognise that they would not suit me4 ,moreover1 the field of music is so vast that to cultivate one or two departments thoroughly will be more than sufficient to tax the energy of the most ambitious4 ,make yourself master or mistress in your own chosen province1 and you will have accomplished quite as much as any one need wish to4 ,and whatever style you cultivate get as near to perfection in it as you can possibly4 ,catalani said of ,sontag3 8,elle est la premire dans son genre2 mais son genre n'est pas le premier40 ,this may or may not have been true4 ,but ,sontag was probably well pleased1 in any case1 to be 8la premire40 ,,chapter ,,xxii ,,how ,i ,,sing ,,an ,,aria ,to sing a song or a big aria well you must1 for the time1 be both the vocalist and composer of the words and music you wish to express4 ,if ,i wish to sing1 say1 8,home ,sweet ,home10 ,i must imagine how far ,i am away from sunny ,italy1 and forget all the kindness and attention with which ,i am surrounded here4 ,then1 ,i begin to feel the mood and homesickness coming to aid me1 vocal control must do the rest in making the song effective4 ,or1 again1 if ,i wish to do justice to ,sir ,frederick ,cowen's charming little song1 8,the ,swallows10 ,i must think of a lovely sunny morning and1 mentally1 8,open wide my lattice1 letting in the laughing breeze10 imagining all the joyous sense of life that the arrival of the swallows brings to my naturally vivacious ,southern nature4 ,let us1 however1 take the ,recitative and ,polonaise from that brilliantly sparkling opera 8,mignon10 by ,ambroise ,thomas4 ,first of all1 ,i have to study the setting of this great aria1 and then study the words1 which1 in ,english begin1 8,yes6 for to-night ,i am ,queen of the ,fairies1 ,and here my golden sceptre see2 ,and behold these1 my trophies60 ,illustration3 ,musical notation3 ,yes2 for to-night ,i am queen of the fairies6 ,and here my golden sceptre see2 ,and behold these my trophies ,i ask myself what ,i might feel like were ,i able to become a fairy4 ,giving myself free rein1 ,i sing the whole recitative much as ,i would speak it1 only having in mind the notes1 ,i attack them firmly1 letting the conductor punctuate the whole with the accompaniment somewhat freely4 ,in recitative1 one must have fire and imagination1 and1 although reasonable attention must be paid to the valuation of notes--the full five beats1 for example1 on the long note of bars #f and #g--;it is the part of the accompanist to feel your pulse1 as it were1 and go with you4 ,now1 on the same long note1 be careful to carry a sense of increasing wonder1 by making a diminuendo1 then1 with increasing verve1 make a clean 8turn0 on beat four of the #hth bar1 capped by a triumphant pause1 and1 a clean interval of the fifth with the word 8trophies10 on beats one and two of bar #i4 ,now we come to the actual ,polacca1 in which tempo must be observed and all the tricks of brilliant vocal agility put into play4 ,remember1 all these 8runs0 and bravura passages must be clear--every note like a fresh pea out of a pod or bullet out of a machine gun6 ,observe the boldness of 8picking up0 at the beginning of the polacca movement1 and in bar #c of this movement how smoothly the detached notes have to be sung4 ,moderato tempo di ,polacca 7#if7 ,illustration3 ,musical ,notation3 ,i am ,titania1 queen fairy1 ,i am ,here1 again1 there must be no scooping up an octave1 but a clear rise of the octave1 giving the sense of all1 as it were1 one piece4 ,thus1 8,i--,i am ,titania10 and repeat the same words with even greater fervour1 treating all the words and music with the same mentality and as vital to the whole4 ,many so-called intellectual singers prefer ,lieder1 because they cannot vocalise the fine1 dashing1 graceful runs of florid music1 not because of its lack of intellectual requirements4 ,what could better express the vivacious joy of a fairy queen than the triplet passages on the exclamation 8,ah60 bars #ad and #ae of the polacca movement4 ,illustration3 ry6 ,ah6 ,when we come to bars #bi and #cj1 there is the chance of a lifetime with the cadenza-like string of fifteen notes1 in the neatest sets of three1 and they should be as perfect as though played by ,kreisler on the violin4 ,illustration3 fairy6 ,ah6 ,later on we come to some roulade passages of six notes on the same exclamation 8,ah60 7bars #dc1 #dd1 and #de7 which must be sung with increasing verve1 so that the wood wind of the orchestra comes running up perfectly in tune and tempo1 as it were from right under your last note4 ,here1 much depends upon the cue of the conductor1 but1 changing one's manner and keeping up the growing joyfulness1 you begin a new era1 as it were1 with the words1 8,bright troops of fairies hover round me40 ,thus1 the aria works on1 until1 on the last beat of bar #ed and bar #ee there is a suggestion of ,illustration3 ,musical notation3 leggiero ed accentato4 ,bright troops of fairies hover round me6 a fairy call4 ,a dream-like waltz1 in wide contrast1 follows4 ,unless one feels this1 the brilliance we have worked up is losing the value of contrast with ,illustration3 ,musical notation3 dawn of day4 ,amid the this shimmer1 as it were1 of gleaming moonlight4 ,on this breaks the brilliant passages of the flute1 which may be the task of some fairy worker in the ,illustration3 ,musical notation3 ,i am ,titania6 ,ah6 real fairyland6 ,i must be wafted along in smooth subservience to the brilliance of the accompaniment for the next few bars1 until ,i repeat the lovely melody at bar #fb when ,i begin to add--as scored in the part--some grace notes and florid passages1 and gradually awaken until1 at bar #gi1 ,i have ascended to a full top ,b1 preceded by a 8trill0 or 8shake10 that leads up to the brilliant burst of the orchestra back to the polacca-like movement1 and to the finale4 ,this must be one increasing triumph1 over the much-talked-of top ,e flat1 the roulades1 grace notes1 trills1 and cadenza-like passages for sheer joie de vivre4 ,yet all this depends upon how well you have conditioned yourself1 practised those tiring vowel sounds1 scales1 sustained ,illustration3 ah6 ah6 passages1 to which ,i commend you before essaying the brilliant ,polonaise from 8,mignon0 that has given me many triumphs1 yet still calls for all ,i can give1 as it will to the end of the chapter4 ,,chapter ,,xxiii ,,practising ,is it necessary to say that daily practice is indispensable to the student--as it is also to the finished artist8 ,a celebrated violinist used to say1 8,if ,i cease practising for one day ,i know it when ,i next play2 if for two days my enemies know it2 if for three the public know it40 ,it is the same with the voice1 although some voices1 no doubt1 require less daily exercising than others4 ,some fortunate ones1 indeed1 have been able to dispense with it almost entirely4 ,on the day of a performance the great ,chaliapine warms his voice up for a period of thirty or forty minutes only4 ,on other days and when on vacation he rarely practises1 except for getting up new music1 and even this is more of a mental process4 ,it is said of ,mario also that at the height of his fame he never practised more than ten minutes a day1 and that just before he was leaving for the ,opera ,house1 while his servant would be standing1 watch in hand1 assuring him that he would be late for the performance if he did not start at once4 ,but that1 of course1 was an exceptional case4 ,on the other hand1 ,battistini is most lavish with his practising and rarely a day passes that he does not put in one or two hours of solid singing4 ,this no doubt accounts for the extraordinary command he has over tone1 phrasing and breathing4 ,there is great truth in the saying that practice makes perfect1 but how many of us have the robust and natural organ that ,battistini is blessed with4 ,i always thought that the reason of this was the fact that ,battistini1 who could well have trained as a tenor1 elected to become a baritone1 thus evading the strain of forcing high 8,c's0 out of his voice4 ,at the same time even practising should not be carried to excess4 ,many singers have1 indeed1 often done their voices great harm by practising too much4 ,the vocal cords are exceedingly delicate and cannot be used too carefully4 ,there can be no doubt that the wonderful preservation of ,patti's voice was due in large measure to the extraordinary prudence and care with which she husbanded it4 ,by never singing at rehearsals1 by never singing when she was in the least degree out of health or tired1 and so on1 she added years probably to the length of her career4 ,and all singers should act as far as possible on the same principle4 ,there should never be the smallest strain in practising1 for instance4 ,for this reason it is advisable to practise with the half voice mostly and only rarely at the extremities of the compass--and then with great care and discretion4 ,in the same way there should never be any sense of fatigue1 still less of hoarseness1 after practice4 ,it is1 indeed1 in the ordinary way a sure sign that something is wrong1 either with your vocal organs or with your methods1 if this occurs often1 and the matter should be investigated accordingly--even to the extent of changing your teacher if necessary4 ,if1 however1 the trouble is only temporary1 a brief suspension of exercising may be all that is necessary4 ,but in this case be careful not to resume your practising until the trouble has completely disappeared4 ,far better drop your practising for a week1 or a month1 if necessary1 than attempt to sing when your organs are not in perfect order4 ,that is to say1 if there is really definite trouble4 ,if1 on the other hand1 it is merely a little hoarseness1 such as many singers are subject to1 then judicious exercising--please notice that ,i emphasise judicious--may be the best thing for it4 ,this is1 however1 essentially a matter upon which you must be guided by your teacher--or even if necessary by a doctor4 ,madame ,lilli ,lehmann prescribes1 for instance1 what she calls the ,great ,scale as an invaluable remedy for all manner of vocal ills--meaning simply long slow scales of sustained notes steadily repeated4 ,here is what she said1 for instance1 on this point3 8,the great scale properly employed in practice accomplishes wonders4 ,it equalises the voice1 makes it flexible and noble1 gives strength to all weak places1 operates to repair all breaks and faults that exist1 and controls the voice to the very heart4 ,nothing escapes it4 ,it is the ,guardian ,angel of the voice4 ,i sing it every day1 often twice1 even if ,i have to sing one of my greatest rles in the evening4 ,i can rely absolutely on its assistance40 ,and1 as ,i have said1 she prescribed this very exercise not only for daily practice when one is well1 but also as a remedy for troubles when the voice is out of order4 ,i may be permitted1 perhaps1 to quote in this connection another interesting passage3 8,i myself had to sing #8,norma' in ,vienna some years ago and got up in the morning quite hoarse4 ,by nine o'clock ,i tried my invaluable remedy1 but could not sing above ,a flat1 although in the evening ,i should have to reach high ,d flat and ,e flat4 ,i was on the point of giving up because the case seemed to be so desperate4 ,nevertheless1 ,i practised till #aa o'clock1 half an hour at a time1 and noticed that ,i was gradually getting better4 ,in the evening ,i had my ,d flat and ,e flat at my command so that people said they had seldom heard me sing so well40 ,i have quoted this advice of ,lilli ,lehmann because it is of interest and value as coming from so great an authority1 but ,i do not wish it to be understood that this has been my own precise practice1 for this is not the case4 ,but as to the general value of scales for practising purposes there is1 of course1 no possible doubt4 ,scales are1 indeed1 the foundation of all useful practice1 especially at first4 ,marchesi1 for instance1 relied on them almost exclusively in the earlier stages--long sustained tones1 repeated again and again until her fastidious ear was satisfied2 and no pupil can possibly fail to benefit from such exercise4 ,even for the acquisition of velocity1 as ,i have said elsewhere1 scales--and quite slow ones at first--are indispensable4 ,of more elaborate exercises there are none better1 so far as ,i know1 than those to be found in ,concone1 while for advanced pupils well-chosen numbers from the great ,italian operatic masters1 ,rossini1 ,donizetti1 ,bellini1 and the rest1 can be utilised with great advantage4 ,this includes mezzo-sopranos1 contraltos1 as well as sopranos4 ,my maestro would make them all sing 8,una voce poco fa0 transposed1 saying that it was a vocal massage4 ,but it is rather a matter for the individual teacher to prescribe what is required in this way1 since all voices will not need the same4 ,as to the period and duration of practising1 my own plan is to practise twice a day--at ten in the morning for an hour1 with intervals of rest2 and again in the afternoon1 before dinner1 for the same time4 ,but the beginner should not practise for more than ten or fifteen minutes at a time1 and should leave off immediately his voice begins to feel tired4 ,to which1 ,i would add1 that it is of the utmost importance not only what one practises but how4 ,ten minutes' practice with the maximum of thought and concentration will be of more value than a whole hour of mere mechanical scales and arpeggi1 sung without thought and care4 ,the pupil1 while practising1 should listen to himself with the utmost vigilance all the time--criticising ruthlessly every tone1 and seeking always to eradicate every fault and blemish4 ,it is for lack of this mental effort that pupils so often practise in vain--improving themselves in certain respects perhaps1 but never acquiring that beauty of tone and perfection of execution which should be the foundation of all4 ,i would repeat here1 indeed1 what ,i have said before1 that unsparing self-criticism is the root of all progress4 ,nor should this ever cease4 ,as a great artist remarked in some words which ,i quoted earlier1 the true artist will continue studying and practising and improving to the end of his day4 ,read1 for instance1 what ,signor ,fucito tells us of ,caruso3 8,no one could have been a severer critic of ,caruso's art than ,caruso himself4 ,he worked with tremendous concentration1 and his acute ear was ever ready to descry the slightest flaw in the tone production1 in quality or the interpretation of a musical passage40 ,and again3 8,there were times when he refused to rest1 singing a passage or phrase over and over again1 each time with another vocal modulation of colouring until he got the expression and quality that satisfied his exacting musical taste40 ,it is interesting to note1 by the way1 that ,caruso practised always1 or nearly always1 with the full voice--a procedure which is not1 however1 as ,i have already said1 to be generally recommended4 ,incidentally in practising the student should avoid the acquisition of bad habits of standing1 undesirable movements with the hands1 and so on1 and should also keep careful check upon his facial expressions4 ,for the latter purpose it is an excellent plan to practise before a mirror1 since this is the surest way to avoid the unconscious cultivation of undesirable tricks which1 once they have been acquired1 may prove most difficult to get rid of4 ,in the case of operatic artists it is a good plan also to practise in costume in order to become accustomed to the dress which one will be wearing in the actual performance1 and thus to avoid any sense of awkwardness which may be otherwise experienced4 ,and for the same reason when any particular number has to be sung in any special manner from the physical point of view1 as1 for instance1 sitting down1 or kneeling1 it is well to become accustomed to this also beforehand4 ,,chapter ,,xxiv ,,the ,,artist ,,and ,,the ,,gramophone ,before leaving the subject of practising ,i should like to add a word as to the value of the gramophone to the intelligent student4 ,this is1 indeed1 a truly invaluable adjunct4 ,if to hear the greatest singers is the finest of all experiences for the student1 how can it indeed be otherwise8 ,for here in the most convenient manner possible is the means provided for doing this4 ,in the earlier pages of this volume ,i have recorded what inestimable advantages ,i derived in my own case from the constant hearing of fine singing from my earliest childhood4 ,now1 by means of the gramophone1 the same advantage is at the command of every one wheresoever he1 or she1 may happen to reside4 ,in my younger days only those dwelling in the great capitals could hope to hear such artists as ,patti1 ,tamagno1 ,caruso1 ,battistini1 and so forth1 and even those only if means permitted1 which was not often in the case of poor students4 ,to-day any one can enjoy this priceless privilege1 wherever he may happen to reside1 for a comparatively small outlay through the agency of the gramophone4 ,and he can hear them not only now and again1 but as often as ever he likes and by his own fireside4 ,if he happens to be studying some particular rle he can be 8coached0 in this most practical and unrivalled manner by all the greatest artists of the day4 ,he can take a particular aria and hear it sung by ,caruso again and again until he is familiar with every detail of his rendering--can note his breathing1 his phrasing1 and every other detail in a manner which would be quite impossible by any other means4 ,and having heard ,caruso he can then hear the same number sung by various other great artists if he chooses1 and benefit still more by comparing their respective readings--by noting how they resemble one another or how they differ1 as the case may be1 incidentally learning in the process how widely one interpretation may differ from another and still be of the highest order4 ,not only this1 but he can familiarise himself with entire operas in the same way1 for certain of the companies issue complete albums of the best known works which are reproduced in their entirety--vocal parts1 orchestra1 and all in this marvellous manner4 ,one would think1 indeed1 that the coming generation should provide us with fine singers in such plenty as the world has never known before with the aid of such priceless help4 ,whether it will be so or not remains to be seen4 ,but certainly it may be said that never before have students been so wonderfully helped4 ,i myself have pleasure in testifying that ,i have derived the greatest benefit as well as delight from the records of ,patti1 while ,mr4 ,john ,mc,cormack has similarly acknowledged his indebtedness to the wonderful renderings of ,caruso4 ,and ,i hope in all modesty that students of the present generation may derive similar help in turn from the records which ,i myself have made4 ,beyond a doubt the gramophone should be the guide1 philosopher1 and friend--the most trusted and most competent aid and coadjutor--not only to every student1 but also to every teacher of the present day4 ,of course1 the pupil is only human and often reluctant to believe that there are grave faults in his voice4 ,whilst others can detect his mistakes1 the pupil cannot listen intelligently to his own faulty emission while singing4 ,but take him to a recording-room and get him to sing into the recording-horn1 and let him listen as the operator tries over the record he has made4 ,he is sure to be surprised to find how many faults there are4 ,his production may be throaty1 nasal1 or what you will4 ,it is all brought out clearly by the gramophone4 ,there is no instrument that is so calculated to remove the conceit from a young artist as the gramophone4 ,to watch his face as he first listens to his own voice is usually to enjoy a miniature pantomime4 ,nevertheless1 the gramophone is a spur to drive the artist forward to perfection1 and1 of course1 a great aid to the music professor4 ,,chapter ,,xxv ,,studying ,a ,r,,le ,different artists have different methods of studying their parts1 but all ,i think will be agreed on one point1 namely1 that they cannot possibly be learned too thoroughly4 ,marvellous stories are told1 no doubt1 of difficult rles having been completely mastered by prodigious efforts in a fabulously short time4 ,but he is taking terrible risks who attempts a tour de force of this kind1 and in my own opinion no artist should ever be asked to do this4 ,to master a rle in the proper way should be a matter of weeks and months1 not to say years1 of careful study so that it becomes part and parcel1 as it were1 of the very being of the artist4 ,then1 and then only1 can it be attempted on the stage with that absolute confidence and assurance and that entire freedom from anxiety without which the best results cannot possibly be hoped for4 ,very foolish1 or at all events very courageous1 is the young artist who for the sake of an appearance at all costs essays a part which he1 or she1 has not thoroughly prepared beforehand--for that way disaster lies4 ,a part simply cannot be too well studied if failure and mishaps are to be absolutely assured against4 ,let it be remembered especially by the student who runs through a part so easily in the privacy of his study with the aid of a friendly accompanist at the piano1 how infinitely more difficult are the conditions on the actual stage--alike in the psychological and purely material senses4 ,there is the consciousness1 in the first place1 of being part now of a huge inexorable organisation which admits of no error or failure under any circumstances1 and that at first has an almost paralysing effect upon the faculties4 ,there is the consciousness of that eager1 critical public on the other side of the footlights and of all that there is at stake should any failure occur4 ,there is the difficulty in the physical sense of hearing the orchestra properly1 which seems so far off and so infinitely less helpful than the friendly homely piano4 ,there are the perturbing factors of one's costume1 action1 business4 ,in short1 the whole thing is utterly different1 and for this reason1 therefore1 the young artist cannot be too firmly grounded in his rle if he is to be proof against all the possibilities of failure and all mischances and mishaps in the hour of trial4 ,as to the actual process of mastering a rle ,i believe thoroughly in the practice of studying it at the outset apart from the music4 ,read the whole book through and master the story and the drama completely in the first instance4 ,get every twist and turn and every detail of it into your mind4 ,try to visualise and represent it to yourself as realistically as possible4 ,imagine that it all actually occurred and that you were1 in fact1 the character whose part you are to represent4 ,learn all you can about the period of the story1 the scene of the action1 the circumstances of the time1 and so on1 so as to realise it all as vividly as possible4 ,and then1 having done this1 study with equal thoroughness every detail of your own part4 ,it may be only a small one4 ,never mind4 ,you can make it just as lifelike and as perfect in its way as one of more importance if you make the most of it4 ,it was in this way that ,mario always studied his parts1 and most other great artists1 ,i think1 will be found to adopt a similar method4 ,we read of ,mario that no trouble was too great and no research too laborious to ensure that any rle which he had undertaken should be represented as correctly and as perfectly as possible4 ,nor did his fastidious care end there1 for he paid the greatest attention to his words also and even rewrote every line of his part in ,gounod's 8,faust0 because the words of the original ,italian version were not sufficiently singable to please him4 ,it was ,mario1 also1 who said that unless he had all that he was singing about in his head as well as in his throat he could never hope to do justice to his part4 ,it is the old1 old story4 ,the greatest results in anything are only to be obtained by unsparing labour4 ,it may not be a complete statement of the case to say that genius is only an infinite capacity for taking pains4 ,but it is certainly true to say that that capacity is almost always associated with the highest genius4 ,caruso supplied a more recent instance4 ,he took endless pains to get his parts right in every detail4 ,he was as careful1 we read1 about creating the proper make-up for the character which he was impersonating as he was about studying the proper gestures1 declamation1 and musical expression4 ,signor ,fucito writes3 8,he pondered the mental1 emotional and moral traits of the character as they were revealed not only in his own lines and music1 but throughout the entire opera4 ,if he found that insufficient he searched elsewhere--in art1 in literature1 in history4 ,when he was preparing the rle of ,samson he went to the ,bible for additional enlightenment on that legendary hero in order that he might visualise him more vividly2 and when he was studying ,eleazar he sought advice on ,jewish customs from a prominent ,yiddish actor of ,new ,york40 ,respecting 8make-up0 this should be done as carefully and artistically as possible1 bearing in mind always that although some of the audience may be a long way off1 others will be much nearer1 while opera glasses will further help to abridge the distance and to reveal every detail4 ,,chapter ,,xxvi ,,choice ,,of ,d,,but ,,work ,as regards the choice of opera for dbut purposes ,i need hardly say that this is a matter of great importance which should be most carefully considered4 ,if you happen to be exceptionally gifted and possess the advantage of powerful connections you may perhaps be able to appear at once in a rle of the first importance1 but my opinion is that it is usually much better to begin with smaller parts and acquire the necessary stage experience before attempting one of the more exacting rles4 ,you may1 of course1 have such natural gifts and be so well trained and coached for the purpose that you may achieve success at a bound1 but the chances are against this1 and it is much more likely that you will fall short of your expectations and thereby imperil your career at the outset by making a false start4 ,c'est le premier pas1 etc41 and it is much better to begin modestly and learn your business thoroughly before attempting the higher flights4 ,then when you are properly qualified and have acquired the necessary experience you can take a more important part with the assurance that you will be able at least to do full justice to yourself and to make the utmost of your natural powers4 ,there is another reason1 too1 why it is a mistake1 as a rule1 to attempt the heavier rles too soon--namely1 the fact that the voice and the general physique1 apart from the question of training and experience1 are seldom ready for these at first4 ,i have1 indeed1 known more than one case in which a career of promise has been ruined after a brilliant start by subjecting a young singer too soon to the heavy strain of the most important parts4 ,study these rles by all means and have them ready--or one or two of them--in case some exceptional or unexpected opportunity should present itself4 ,but do not be in too great a hurry to appear in them4 ,it is a much safer course1 as a rule1 to make good at first in those of a less ambitious kind2 and you need never be afraid that good work in these will go unnoticed or unrewarded4 ,but whichever part you choose for the purpose it should naturally be one which is well suited to your capacity and in which you are confident of being able to do your best4 ,if the novice can attach himself or herself to some provincial opera company at a nominal salary for the purpose of training and experience1 this is often a good plan4 ,in ,italy almost every provincial city has a small season of opera1 and impresarios in most cases are ready to give a promising singer a dbut without pay in order to reduce their expenses4 ,but in some instances if a singer desires to make a dbut in a certain rle and imposes this on the impresario she will be required to help to finance the opera by the payment of a few thousand lire4 ,this is often done1 but in some instances with sad results1 because it is usually an indifferent artist who forces a dbut in this way1 often against the better judgment of the manager4 ,i have known instances1 indeed1 where a singer has obtained a dbut on these terms1 and the audience1 after hearing the singer1 has protested so vigorously that the unfortunate novice has had to be withdrawn in favour of a more satisfactory substitute in order to pacify the public4 ,in one instance ,i remember a ,canadian tenor of tremendous size1 but with a voice more like a mad bull's than that of a human being1 who thought he would make an ideal ,othello4 ,he was wealthy and paid the management #be1jjj lire for a dbut4 ,after the first act such a commotion was created in the theatre that the carabinieri had to step in and decide that either the show should be stopped or else continued by another artist4 ,shortly afterwards columns appeared in the ,american papers about the harsh treatment of foreign singers in ,italy4 ,i can only say1 however1 that in my judgment it is utterly wrong to force on the public artists who are manifestly incapable1 and that in this particular case the punishment fitted the crime6 ,in cases where there really are voice and merit such methods should be quite unnecessary1 since managers are only too eager to secure fresh talent and to offer suitable opportunities for appearing before the public to those who possess it4 ,just another suggestion4 ,don't be induced to accept a dramatic rle if your voice is purely lyric4 ,don't even be tempted4 ,certain maestri are always looking for voices that can be heard above their orchestras4 ,they never find one1 because it doesn't exist2 but the path of their search is strewn with wrecked voices4 ,,chapter ,,xxvii ,,rehearsals ,rehearsals are a necessary evil and the sensible artist will try to make the best of them4 ,undoubtedly they are very tedious and trying1 but they are quite unavoidable unless you happen to have attained sufficient eminence to be dispensed attendance at them4 ,and even then it is not always wise to avoid them if you wish to procure the best results4 ,patti1 throughout the greater part of her career1 never attended any rehearsals4 ,but then she always sang in the best-known operas with thoroughly experienced fellow-artists who were carefully instructed as to her requirements4 ,but it is hardly necessary to say that her case was exceptional4 ,some artists are very trying at rehearsals by coming with their parts imperfectly prepared1 by arriving late1 and so on1 and in such cases the company in general is fortunate if the manager is sufficiently firm to insist on proper discipline being observed4 ,a strict conductor who allows no trifling of this kind is1 indeed1 the truest friend of the artists1 and his authority should be recognised accordingly by one and all4 ,it is of the utmost importance that artists should be thoroughly acquainted with their parts1 and they should take advantage of rehearsals to master every detail of their action1 business1 and so on1 leaving absolutely nothing to chance4 ,there is1 however1 no need to sing with full voice at rehearsals2 indeed1 this is not desirable4 ,but one should naturally sing loud enough to indicate quite clearly one's intentions4 ,nor should the inexperienced artist show any reluctance to take advice from the stage manager when it is given4 ,for his judgment will probably be better than yours1 and in any case it is your business to do as he directs4 ,,chapter ,,xxviii ,,contracts ,in the case of young singers with very promising voices1 impresarios are often found who are willing to finance the period of instruction for a term of say five years4 ,their calculations are that in the last few years of this period the artist will become a profitable investment for them4 ,in the case of a poor artist this is often a very good plan1 since it is to the interest of the impresario to assist in making a name and a position for the artist as well as in seeing that he has a proper training4 ,and the latter may easily find himself the gainer by the arrangement therefore4 ,speaking generally1 however1 ,i am not very much in favour of such contracts1 for the simple reason that1 the career of an artist being so short1 he ought not to be placed in the position of expending his powers for the benefit of another person4 ,i have known artists drawing #ajj a performance who were receiving a mere #aj a week under such an agreement as ,i have described2 and this is1 of course1 a very unsatisfactory and even heartbreaking state of things4 ,caruso was one1 it will be remembered1 who entered into such a contract as a student which1 however1 he finally succeeded in getting rescinded1 though not before he had had recourse to the law courts for this purpose4 ,as to contracts made later1 when a proper position has been secured1 the artist will not usually need much advice regarding these1 since he is generally quite able to look after himself4 8,too well1 indeed10 it is sometimes said1 by directors and managers4 ,yet it must be remembered that1 as noted above1 the vocalist's career is usually very brief4 ,the years of gain may be from five to twenty1 but are rarely much more than ten4 ,i have known great artists who have lasted for but a few seasons4 ,on the other hand1 ,i can recall some like ,battistini who have had over forty years of lucrative employment4 ,but this is very rare4 ,are they not justified1 therefore1 in requiring generous payment while they can obtain it8 ,also it must be remembered that great singers are exceptionally endowed1 and as such are entitled to demand exceptional rewards4 ,in which connection one may recall the famous reply of the dancer ,gabrielli to the ,empress ,catherine of ,russia4 ,the ,empress was staggered by the terms which she demanded and declared that not even her ,field-,marshals received so much4 ,whereupon ,gabrielli recommended the ,empress to get her ,marshals to dance for her4 ,some of the most exacting contracts ever made by a singer were1 ,i suppose1 those of ,catalani4 ,in her agreements when she was singing in ,london she used to stipulate for half of the receipts throughout the entire season1 while she inserted further such conditions as the following3 8,madame ,catalani shall choose and direct the operas which she is to sing2 she shall likewise have the choice of the performers in them2 and she will have no orders to receive from anyone40 ,madame ,patti in turn received as much as #ajjj a performance from ,mapleson in ,america4 ,but then ,patti was--,patti6 ,most artists are content with less6 ,and to such ,i would say as my final word on this point3 8,do not forget during the days of your necessarily brief prosperity to make provision at all costs for the future40 ,,chapter ,,xxix ,,concert ,,work ,if ,i have spoken largely about opera in these pages1 this is because with my experience it comes most naturally to me to do this4 ,but concert work--of which also ,i have done my share--is of course equally important1 and a few words on this subject1 therefore1 may not come amiss4 ,it is hardly necessary to say that the kind of singing which is suitable for the stage is not always equally in keeping on the platform4 ,it is the difference here between acting and recitation4 ,on the stage you are actually impersonating the character you represent1 and the fullest amount of realism is therefore permissible--indeed1 essential4 ,on the platform the same amount of licence is not allowable4 ,you are here not impersonating1 but interpreting at one remove1 so to speak4 ,you are not pretending to represent the actual character of the song2 you are reproducing in your own personality the feelings and emotions involved4 ,or as one might put it1 the art of the stage is representative2 that of the concert platform is reproductive4 ,all this must be borne in mind1 therefore1 by the artist who turns from the stage to the concert room4 ,the effect produced may be just as great1 but it must be achieved in a different way--without action1 without gesture even1 but with the maximum of intensity none the less--secured by means of the voice1 the expressiveness of the singing and the personality and temperament of the singer alone4 ,and these will be all-sufficient for those who know their business2 nor should they be exceeded in the ordinary way4 ,yet if it comes naturally to you to go a little further now and again1 ,i do not know that it need be condemned4 ,observe1 however1 that ,i say 8if it comes naturally to you40 ,otherwise1 it will be forced and theatrical and will certainly not achieve its purpose4 ,it is purely a question of temperament4 ,be natural and spontaneous and you will not go far astray4 ,northern peoples indulge sparingly in gestures on the concert platform1 but yet get great results without their aid4 ,we ,latin races are less restrained in this respect because this is in accordance with our natural temperaments4 ,it is the difference between one who gesticulates freely in ordinary speech and one who never stirs a finger4 ,one would not counsel the ,englishman to copy the foreigner's gestures for it would not come naturally to him to do this2 but one would not have a ,frenchman or an ,italian without them4 ,and so it is in singing4 ,if an occasional gesture comes naturally to you there is no need to repress it1 even if you cannot be recommended to go as far in this respect in the concert room as ,jenny ,lind did on one occasion if report may be trusted4 ,it is recorded that once when singing ,agathe's prayer from 8,der ,freischtz0 at a concert at ,norwich she was so carried away that she actually fell on her knees on the platform and so finished the air6 ,that was1 perhaps1 overdoing things4 ,certainly ,i have never heard of even an ,italian concert-singer going quite so far4 ,i need hardly add1 while on the subject of concert deportment1 that a pleasing and ingratiating manner is also much to be desired1 though this is a matter that seems to be strangely overlooked too often by young artists of the present day4 ,one might think almost from the manners of some of them that they consider themselves to be conferring the greatest possible favour upon their hearers by condescending to sing to them4 ,and doubtless in many cases they actually do think this6 ,but they should endeavour not to indicate the fact quite so clearly by their demeanour4 ,i have seen artists of this self-sufficient type who actually make not the slightest response1 or barely any1 when an audience is good enough to applaud them6 ,this sort of thing is quite incomprehensible to me1 and ,i am sure that if those who behave thus had any conception of the impression which they produce they would speedily mend their manners4 ,,chapter ,,xxx ,,health1 ,,diet1 ,,etc4 ,good health is essential to a singer1 and it must be most carefully preserved4 ,to this end you should live as wholesome and regular an existence as possible1 seeing that you get plenty of fresh air and taking such exercise as may be found convenient1 but without overdoing things in the latter respect1 since undue muscular exertion is sometimes prejudicial4 ,moderation in diet is also advisable1 avoiding especially all highly seasoned dishes1 pepper1 pickles1 and the like1 and in the matter of alcohol1 if this be taken1 confining one's self to the lightest kinds of wines4 ,as for smoking ,i prohibit it entirely1 as ,i consider it to be the greatest enemy of the vocal cords1 although ,i am well aware1 of course1 that some of the most famous singers have been inveterate smokers4 ,of ,mario1 for instance1 we are told that he was never seen without a cigar in his mouth except when he was eating4 ,he smoked1 it is recorded1 even in his bath1 although it may be noted that even he expressly avoided cigarettes1 confining himself exclusively to cigars4 ,caruso1 again1 was another tremendous smoker1 and ,i suppose there are few male vocalists1 at any rate1 who deny themselves in this respect entirely4 ,but ,i have no doubt that it would be better for their vocal organs if they did so all the same4 ,coughs and colds are1 of course1 the greatest bugbear of the singer1 and to assist in securing immunity from these do not allow your throat to become too sensitive by wrapping up too much4 ,bathing the throat with cold water helps also towards this end4 ,when overheated and perspiring never delay changing into dry clothes and be especially careful always to keep the feet dry4 ,yet with all the precautions in the world the time will come when concerts or performances must be given under unfavourable conditions1 and in these circumstances the art and the courage of the singer alone will carry her through4 ,often ,i have undertaken a concert rather than disappoint the public when suffering from a bad cold4 ,but ,i have been able by will power to do wonders in these circumstances1 and more often than not ,i have been rewarded by a ,press which said that ,i had never sung better4 ,i have known ,caruso1 under such circumstances1 the morning before a widely advertised concert1 at which an audience of perhaps #aj1jjj people was likely to be present1 to wake up and find himself entirely without voice4 ,in the instance ,i have in mind he telegraphed for a celebrated throat specialist in ,new ,york to come immediately to ,pittsburg1 where just previous to the concert he underwent heroic treatment4 ,this meant the administering of a stimulant to the vocal cords which contracted them for a period of a few hours4 ,thereby he was enabled to fulfil his engagement1 though the after-results put him out of action for at least a week4 ,a singer cannot hope always to be absolutely at his best1 and this fact should be realised from the first by young artists4 ,frequently1 prior to a performance1 if the artist cannot bring off certain customary effects he1 or she1 will be thrown immediately into a state of distraction and despair4 ,this1 however1 is all wrong4 ,engagements must be kept1 and more often than not1 as ,i have suggested1 the artist will find when the time comes that his apprehension has been quite uncalled for4 ,strung up by the needs of the case1 and making a special call upon all his resources1 mental and emotional as well as merely vocal1 he will very likely do even better than usual4 ,he should bear this in mind1 therefore1 another time1 and never lose his head even though he may think that he has lost his voice6 ,at the same time this is not to say that really serious voice trouble should be ignored1 and ,i myself make it a practice in every large town where ,i am accustomed to stay for any length of time to learn of a suitable medical man or voice specialist to whom ,i can repair for advice in case of need4 ,as to one's rgime on the day when one is actually singing this merits a few words perhaps4 ,having gone to bed betimes the day before1 so as to secure a long night of unbroken rest1 ,i myself do not usually rise until about ten or eleven1 when ,i have a light breakfast of tea and toast and soft-boiled eggs4 ,for lunch1 if one may call it such1 after a short walk1 ,i have merely a cup of cocoa and a little fruit1 and nothing more until after the concert4 ,most other artists of my acquaintance do likewise4