What Every Singer Should Know Part 2

Parents should be sensible enough to remember that their little girl cannot finish school in three months, that their son cannot go through college in three months, and that they cannot learn to play the piano in three months.

"That she is young and people will not expect much" is not an excuse.

The public judge by what they see and hear and not by what she may be able to accomplish if she is given time. How often we have heard father say, "Johnny, go and play a piece for the company." Poor Johnny would rather take a licking. =He= knows he is not ready to play for company, but father says, "Here I have been paying for Johnny's piano lessons and Mary's singing lessons for nearly three months, and I haven't heard a song or piece yet. If they are not learning anything, they had better quit taking lessons." And poor Johnny and Mary inflict on the company what might be expected after only three months of training.

Parents, select a reputable teacher--the highest priced is often the cheapest in the end. When you know that they are under perfect instruction, leave it to the teacher as to when they should play or sing in public, and you will find that just as soon as they are able, the teacher will be as anxious and pleased as yourself to have them appear.

"IS IT NECESSARY TO GO ABROAD TO STUDY?"

This, of course, depends entirely upon your ambition. There are very few American singers who have reached positions on the grand opera stage without having previously studied abroad.

It is well in any case to get your preliminary training at home. For tone placing and singing you can do equally as well in this country as abroad, as we have excellent teachers here from all parts of the globe.

I would advise the boy or girl who has a good home and lives in a community where it is possible to get proper instruction to take their first two or three years of work in this country. Take up the study of languages and if your progress warrants your making a life work of music, then I would suggest that you go to Europe in order to get the broadening and the finishing touches that are necessary in order to become an artist.

[Ill.u.s.tration: VICTOR MAUREL

The noted baritone for whom Verdi composed Otello and Falstaff, thinks that Americans are as much ent.i.tled to hear their language at the Opera Houses as the German, French and Italians. To further this project he will include opera in English during his present Grand Opera season in New York City. Mr. Maurel also believes strongly in giving young American artists of real promise, an occasion to make their debut in this country and under favorable artistic patronage and he is going to give them a chance to do so.]

For your German songs and operas you should go to Germany. For the Italian operas to Italy, where it is possible for you to live in the atmosphere of the opera and hear the language every day. The same also applies to the French, who, of all people insist emphatically on perfect diction.

You can, of course, take up and to some extent learn the languages here, but you are liable to meet with the same disappointment as a young lady from the west who studied French in school for several years and thought herself proficient in that language. She went to Paris to study music and it was fully six months before she was able to either understand or to be understood in common, every-day conversation.

I am in favor of the cla.s.s lessons so popular in Europe, and hope some day we will be able to make them universal. Ten or twelve pupils a.s.semble at one time and each takes his lesson in turn. In this way each gets the benefit of the other lessons. This also enables the pupils to become accustomed to singing before each other, which is invaluable in overcoming nervousness. Some pupils desire to take their lessons in private, as they do not care to sing before a cla.s.s. This feeling will gradually disappear and it is much better to have it over with in the beginning, than later when you are expected to go before a critic or manager to sing.

The expense of studying abroad may be adjusted entirely according to your pocketbook. When anyone tells you it is cheaper to study on the other side, they display their ignorance of the subject. I have studied in this country, Germany, France and Italy, and I have found that, including everything, it costs about the same everywhere. You can secure board and room from five dollars a week up to any price you wish to pay. It is also possible to live cheaper than this if necessary, but for the student of singing it is of great importance to eat good, nourishing food, as it is impossible to sing well unless you are in excellent condition physically.

Several of the old Italian music masters do not hesitate to say that it is the American with the large purse who has forced them to raise their prices, when they were perfectly satisfied to charge much less.

Miss Moneybag arrives in Italy to take up voice culture. She calls on one of the old masters; he asks her seventeen lire (about $3.00) per lesson. This sounds cheap to her as she has been paying $5.00 a lesson at home, so she starts out again looking for a higher-priced teacher.

She finds one who has had a little more experience with the Americans, he sizes her up and asks her thirty-five lira; this sounds more in accordance with her pocketbook, and she lists for the season. This sizing up of the American pocketbook has been going on for some time and the old "Maestro" who was perfectly satisfied with $3.00 is waking to the fact that if he wants these Americans he must raise his prices. And so we find at present, lessons costing about the same the world over.

However, when Miss Small Pocketbook and real talent arrives, she can always arrange terms in accordance with her pocketbook, when she proves she is there to accomplish results. This is not merely hearsay, but facts gathered in my interviews with some of the most noted singing-masters.

If you intend to go into the grand opera it is advisable to go abroad, as it gives you the prestige which is necessary at present, in order to secure these positions of which we have a fair ill.u.s.tration in the case of a beautiful mezzo soprano who had been singing with the English Grand Opera Company, and though in every way qualified to sing with the Metropolitan Grand Opera Company, was unable to secure an engagement with them. She went abroad, changed her name, and returned the following season as one of the Metropolitan Grand Opera stars, and is still one of the favorites in that company.

This seems rather inconsistent, but is nevertheless true.

If you are fortunate enough to make your debut abroad you will have practically no trouble in securing a position with any manager on this side of the ocean.

CHORUS SINGING.

It is of great value to the singer to belong to a good chorus, provided you know enough not to attempt to be the whole chorus yourself, and are willing to give the others a chance.

To be a success in the chorus you must observe the following rules:

Be punctual.

Stand erect, and on both feet. Let your chest lead.

Make yourself a part of the chorus. This is not a solo.

Don't annoy those around you by "wiggling" or "fidgeting."

Rise and sit down in unison with the others.

Do not look all over the place, but keep your eyes on the conductor.

Do not cover your face with your music.

Remember it is the conductor's duty to beat time. Keep head, arms and feet still.

Do not try to sing louder than the others. You will not be heard any better and will strain your voice.

Remember to hold the long note for its full count.

Time and rhythm are the two great factors in chorus singing.

Remember that "rests" are of as great importance as "notes" in music.

Do not start before or hang on after the others have ceased to sing.

Do not fail to slightly accentuate the first beat of each measure except where accents are especially marked on other beats.

Don't look bored because you must stand up to sing. Determine whether you are going to be =too tired= to do your part before becoming a member of a chorus.

Keep your eyes on the conductor.

STAGE FRIGHT.

I have never met a singer, amateur or professional, who does not or has not at some time suffered from this dreadful malady. There is no positive cure but constantly appearing before an audience, and then some of the singers never overcome this form of nervousness.

The only consolation is in knowing that a person entirely void of this feeling will never make an artist, as they are lacking in temperament.

Emotion is the flesh and blood of music and the condition is one in which self-consciousness, nervous energy and emotion play a large part.

However, as you gain confidence in yourself and your work, and feel that you are in "rapport" with your audience, this sensation will wear off to a great extent.

Very few children before their teens are troubled with stage fright. In fact, they seem to glory in appearing before an audience. This is the best time to continue the work that will be of inestimable value the balance of their lives. Let them appear before the cla.s.ses in the studio until they are prepared to appear in public.