Great Singers on the Art of Singing Part 22

Although our relation was that of impresario and artist, I cannot be grateful enough to him for the advice and instruction I received from him. The technical exercises he employed were exceedingly simple and he gave more attention to how they were sung than to the exercises themselves. I know of no more effective set of exercises than Strakosch's ten daily exercises. They were sung to the different vowels, princ.i.p.ally to the vowel "ah," as in "father." Notwithstanding their great simplicity Strakosch gave the greatest possible attention and time to them. Patti used these exercises, which he called his "Ten Commandments for the Singer," daily, and there can be little doubt that the extraordinary preservation of her voice is the result of these simple means. I have used them for years with exceptional results in all cases. However, if the singer has any idea that the mere practice of these exercises to the different vowel sounds will inevitably bring success she is greatly mistaken. These exercises are only valuable when used with vowels correctly and naturally "placed," and that means, in some cases, years of the most careful and painstaking work.

Following are the famous "Ten Vocal Commandments," as used by Adelina Patti and several great singers in their daily work. Note their simplicity and gradual increase in difficulty. They are to be transposed at the teacher's discretion to suit the range of the voice and are to be used with the different vowels.

[Ill.u.s.tration: I, musical notation]

[Ill.u.s.tration: II, musical notation]

[Ill.u.s.tration: III, musical notation]

[Ill.u.s.tration: IV, musical notation]

[Ill.u.s.tration: V, musical notation]

[Ill.u.s.tration: VI, musical notation]

[Ill.u.s.tration: VII, musical notation]

[Ill.u.s.tration: VIII, musical notation]

[Ill.u.s.tration: IX, musical notation]

[Ill.u.s.tration: X, musical notation]

The concert singer of the present day must have linguistic attainments far greater than those in demand some years ago. She is required to sing in English, French, German, Italian and some singers are now attempting the interpretation of songs in Slavic and other tongues. Not only do we have to consider arias and pa.s.sages from the great oratorios and operas as a part of the present-day repertoire, but the song of the "Lied" type has come to have a valuable significance in all concert work. Many songs intended for the chamber and the salon are now included in programs of concerts and recitals given in our largest auditoriums. Only a very few numbers are in themselves songs written for the concert hall. Most of the numbers now sung at song concerts are really transplanted from either the stage or the chamber. This makes the position of the concert singer an extremely difficult one. Without the dramatic accessories of the opera house or the intimacy of the home circle, she is expected to achieve results varying from the cry of the Valkyries, in _Die Walkure_, to the frail fragrance of Franz' _Es hat die Rose sich beklagt_. I do not wonder that Mme. Schumann-Heink and others have declared that there is nothing more difficult or exhausting than concert singing. The enormous fees paid to great concert singers are not surprising when we consider how very few must be the people who can ever hope to attain great heights in this work.

[Ill.u.s.tration: REINALD WERRENRATH.

Mishkin.]

REINALD WERRENRATH

BIOGRAPHICAL

Reinald Werrenrath was born in Brooklyn, N. Y., August 7, 1883. His father, George Werrenrath, was a distinguished singer, and his mother (nee Aretta Camp) is the daughter of Henry Camp, who was for many years musical director of Plymouth Church during the ministry there of Henry Ward Beecher. George Werrenrath was a Dane, with an unusually rich tenor voice, trained by the best teachers of his time in Germany, Italy, France and England. During his engagement as leading tenor in the Royal Opera House in Wiesbaden, he left Germany by the advice of Adelina Patti, eventually going to England with Maurice Strakosch, who was then his coach. In London Werrenrath had a fine career, and there was formed a warm and ultimate friendship with Charles Gounod, with whom he studied and toured in concerts through England and Belgium. George Werrenrath came to New York in 1876, by the influence of Mme. Antoinette Sterling and of the well-known Dane, General C. T. Christensen. He immediately became well known by his appearance with the Theodore Thomas Orchestra, as well as by his engagement at Plymouth Church, where he was soloist for seven years. He was probably the first artist to give song-recitals in the United States, while his performances in opera are still cherished in the memories of those people who can look back on some of the fine representations given under the baton of Adolph Neuendorf, at the old Academy of Music, which made the way for the later work at the Metropolitan Opera House. His interpretation of _Lohengrin_ was adjudged most wonderfully poetical.

Reinald Werrenrath studied first with his father. At the Boys' High School and at New York University he was leader of musical affairs throughout the eight years spent in those schools. He studied violin with Carl Venth for four years, and had as his vocal teachers Dr. Carl Dufft, Frank King Clark, Dr. Arthur Mees, Percy Rector Stephens and Victor Maurel, giving especial credit for his voice training to years of study with Mr. Stephens whose vocal teaching ideas he sketches in part in the following. He has appeared with immense success in concert and oratorio in all parts of the United States. His talking machine records have been in great demand for years, and his voice is known to thousands who have never seen him. His operatic debut was in _Pagliacci_, as _Silvio_, in the Metropolitan Opera House, February 19, 1919, where he later had specially fine success as _Valentine_ in _Faust_ and as the _Toreador_ in _Carmen_.

NEW ASPECTS OF THE ART OF SINGING IN AMERICA

REINALD WERRENRATH

Every now and then someone asks me whether America is really becoming musical. All I can say is that a year ago I, with my accompanist, traveled over 61,000 miles, touching every part of this country and, during that eight months, singing almost nightly when the transit facilities would permit, found everywhere the very greatest enthusiasm for the very best music. Of course, Americans want some numbers on the program with the so-called "human" element; but at the same time they court the best in vocal art and seem never to get enough of it. All of my instruction has been received in America. All of my teachers, with the exception of my father and Victor Maurel, were born in America; so I may be called very much of an American product.

Just why Americans should ever have been obsessed with the idea that it was impossible to teach voice successfully on this side of the Atlantic is hard to tell. I have a suspicion that many like the adventure of foreign travel far more than the labor of study. Probably ninety-five per cent. of the pupils who went over did so for the fascinating experience of living in a European environment rather than for the downright purpose of coming back great artists. Therefore, we should not blame the European teachers altogether for the countless failures that have floated back to us almost on every tide. I have recently heard a report that many of the highest-priced and most efficient voice teachers in Italy are Americans who have Italianized their names.

Certainly the most successful voice teachers in Berlin were George Ferguson and Frank King Clark, who was at the top of the list also in Paris when he was there.

The American singer should remember in these days that, first of all, he must sing in America and in the English language more than in any other.

I am not one of those who decry singing in foreign languages. Certain songs, it is true, cannot be translated so that their meaning can be completely understood in English; yet, if the reader will think for a moment, how is the American auditor to understand a single thought of a poem in a language of which he knows nothing?

The Italian is a glorious language for the singer, and with it English cannot be compared, with its thirty-one vowel sounds and its many coughing, sputtering consonants. Training in Italian solfeggios is very fine for creating a free, flowing style. Many of the Italian teachers were obsessed with the idea of the big tone. The audiences fired back volleys of "Bravos!" and "Da Capos" when the tenor took off his plumed hat, stood on his toes and howled a high C. That was part of his stock in trade. Naturally, he forced his voice, and most of the men singers quit at the age of fifty. I hope to be in my prime at that time, as my voice seems to grow better each year. Battistini, who was born in 1857, is an exception. His voice, I am told, is remarkably preserved.

CLIMATIC CONDITIONS A SERIOUS HANDICAP

Climatic conditions in many parts of America prove a serious handicap to the singer. At the same time, according to the law of the survival of the fittest, American singers must take care of themselves much better than the Italians, for instance. The salubrious, balmy climate of most of Italy is ideal for the throat. On our Eastern seaboard I find that fifty per cent. of my audiences in winter seem to have colds and bronchitis. The singer who is obliged to tour must, of course, take every possible precaution against catching cold; and that means becoming infected from exposure to colds when the system is run down. I attempt to avoid colds by securing plenty of outdoor exercise. I always walk to my hotel and to the station when I have time; and I walk as much as I can during the day. When I am not singing I immediately start to play--to fish, swim or hunt in the woods if I can make an opportunity.

OPERATIC STUDY

In one respect Europe is unquestionably superior to America for the vocal student. The student who wants to sing in opera will find in Europe ten opportunities for gaining experience to one here. While we have a few more opera companies than twenty-five years ago, it is still a great task to secure even an opening. Americans, outside of the great cities, do not seem to be especially inclined toward opera. They will accept a little of it when it is given to them by a superb company like the Metropolitan. In New York we find a public more cosmopolitan than in any other city of the world, with the possible exception of London. In immediate ancestry it is more European than American, and naturally opera becomes a great public demand. Seats sell at fabulous prices and the houses are crowded. Next comes opera at popular prices; and we have one or two very good companies giving that with success. Then there is the opera in America's other cosmopolitan center, Chicago, where many world-famed artists appear. After that, opera in America is hardly worth mentioning. What chance has the student? Only one who for years has been uniformed in a black dress suit and backed into the curve of the grand piano in a recital hall can know what it means to get out on the operatic stage, in those fantastic clothes, walk around, act, sing and at the same time watch the conductor with his ninety men. Only he can know what the difference between singing in concert and on the operatic stage really is. Yet old opera singers who enter the recital field invariably say that it is far harder to get up alone in a large hall and become the whole performance, aided and abetted only by an able accompanist, than it is to sing in opera.

The recital has the effect of preserving the fineness of many operatic voices. Modern opera has ruined dozens of fine vocal organs because of the tremendous strain made upon them and the tendency to neglect vocal art for dramatic impression.

If there were more of the better _singing_ in opera, such as one hears from Mr. Caruso, there would be less comment upon opera as a b.a.s.t.a.r.d art. Operatic work is very exhilarating. The difference between concert and opera for the singer is that between oatmeal porridge and an old vintage champagne. There is no time at the Metropolitan for raw singers.

The works in the repertoire must be known so well in the singing and the acting that they may be put on perfectly with the least possible rehearsals. Therefore, the singer has no time for routine. The lack of a foreign name will keep no American singer out of the Metropolitan; but the lack of the ability to save the company hundreds of dollars through needless waits at rehearsals will.

NATURAL METHODS OF SINGING

Certainly no country in recent years has produced so many "corking" good singers as America. Our voices are fresh, virile, pure and rich; when the teaching is right. Our singers are for the most part finely educated and know how to interpret the texts intelligently. Mr. W. J. Henderson, the eminent New York critic, in his "Art of Singing," gave the following definition, which my former teacher, the late Dr. Carl Dufft, endorsed very highly: "Singing is the expression of a text by means of tones made by the human voice." More and more the truth of this comes to me.

Singing is not merely vocalizing but always a means of communication in which the artist must convey the message of the two great minds of the poet and the composer to his fellow man. In this the voice must be as natural as possible, as human as possible, and not merely a sugary tone.

The German, the Frenchman, the Englishman and the American strive first for an intelligent interpretation of the text. The Italian thinks of tone first and the text afterward, except in the modern Italian school of realistic singing. For this one must consider the voice normally and sensibly.

I owe my treatment of my voice largely to Mr. Stephens, with whom I have studied for the last eight years, taking a lesson every day I am in New York. This is advisable, I believe, because no matter how well one may think one sings, another trained mind with other ears may detect defects that might lead to serious difficulties later. His methods are difficult to describe; but a few main principles may be very interesting to vocalists.

My daily work in practice is commenced by stretching exercises, in which I aim to free the muscles covering the upper part of the abdomen and the intercostal muscles at the side and back--all by stretching upward and writhing around, as it were, so that there cannot possibly be any constriction. Then, with my elbows bent and my fists over my head, I stretch the muscles over my shoulders and shoulder blades. Finally, I rotate my head upward and around, so that the muscles of the neck are freed and become very easy and flexible. While I am finishing with the last exercise I begin speaking in a fairly moderate tone such vowel combinations as "OH-AH," "OH-AH," "EE-AY," "EE-AY," "EE-AY-EE-AY-EE-AY,"

etc. While doing this I walk about the room so that there will not be any suggestion of stiltedness or vocal or muscular interference. At first this is done without the addition of any attempted nasal resonance. Gradually nasal resonance is introduced with different spoken vowels, while at the same time every effort is made to preserve ease and flexibility of the entire body. Then, when it seems as though the right vocal quality is coming, pitch is introduced at the most convenient range and exercises with pitch are taken through the range of the voice.

The whole idea is to make the tones as natural and free and pure as possible with the least effort. I am opposed to the old idea of tone placing, in which the pupil toed a mark, set the throat at some prescribed angle, adjusted the tongue in some approved design, and then, gripped like the unfortunate victim in the old-fashioned photographer's irons, attempted to sing a sustained tone or a rapid scale. What was the result--consciousness and stiltedness and, as a rule, a tired throat and a ruined singer. These ideas may seem revolutionary to many. They are only a few of Mr. Stephens' very numerous devices; but for many years they have been of more benefit than anything else in keeping me vocally fit.

We in the New World should be on the outlook for advance along all lines. Our American composers have held far too close to European ideals and done too little real thinking for themselves. Our vocal teachers and, for that matter, teachers in all branches of musical art in America have been most progressive in devising new ways and better methods.

There will never be an American method of singing because we are too wise not to realize that every pupil needs different and special treatment. What is fine for one might be injurious to the next one.

[Ill.u.s.tration: EVAN WILLIAMS.]

EVAN WILLIAMS

BIOGRAPHICAL