THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES VOCAL MASTERY VOCAL MASTERY TALKS WITH MASTER SINGERS AND TEACHERS COMPRISING INTERVIEWS WITH CARUSO, FARRAR. MAUREL, LEHMANN, AND OTHERS BY HARRIETTE BROWER Author of "Piano Mastery, First and Second Series, 1 ' "Home-Help in Music Study," "Self-Help in Piano Study" WITH TWENTY PORTRAITS NEW YORK FREDERICK A. STOKES COMPANY PUBLISHERS Copyright, 1917, by OLIVER DITSON COMPANY Copyright, 1918, 1919, by THE MUSICAL OBSERVER COMPANY Copyright, 1920, by FREDERICK A. STOKES COMPANT All rights reserved, including that of translation into foreign languages Music Library FOREWORD It has long been a cherished desire to pre- pare a series of Talks with famous Singers, which should have an equal aim with Talks with Master Pianists, namely, to obtain from the artists their personal ideas concerning their art and its mastery, and, when possible, some inkling as to the methods by which they them- selves have arrived at the goal. There have been unexpected and untold diffi- culties in the way of such an undertaking. The greater the artist the more numerous the body-guard which surrounds him or her; the more stringent the watch over the artist's time and movements. If one is able to penetrate this barrier and is permitted to see the artist, one finds usually an affable gentleman, a charming woman, with simple manners and kindly intentions. However, when one is fortunate enough to come in touch with great singers, one finds it difficult to draw from them a definite idea of the process by which they have achieved vie- 1922391 FOREWORD tory. A pianist can describe his manner of tone production, methods of touch, fingering, pedaling; the. violinist can discourse on the how arm, use of left hand, on staccato and pizzi- cati ; but the singer is loath to describe his own instrument. And even if singers could an- alyze, the description might not fit any case but their own. For the art of singing is an individual art, the perfecting an instrument hidden from sight. Each artist must achieve mastery by overcoming difficulties which beset his own personal path. Despite these obstacles, every effort has been put forth to induce artists to speak from an educational standpoint. It is hoped the various hints and precepts they have given, may prove of benefit to singers and teachers. Limi- tations of space prevent the inclusion of many other artists and teachers. HARRIETTS B ROWER. 150 West 80 Street, New York City. CONTENTS PAGE FOREWORD iii ENRICO CARUSO The Value of Work . . 1 GERALDINE FAHRAR .... The Will to Succeed a Compelling Force . . 10 VICTOR MAUREL Mind Is Everything . . 24 A VISIT TO MME. LILLI LEHMANN 36 AMELITA GALLI-CUHCI . . . Self-teaching the Great Es- sential 48 GIUSEPPE DE LUCA .... Ceaseless Effort Necessary for Artistic Perfection . 60 LUISA TETRAZZIXI .... The Coloratura Voice . . 70 ANTONIO Scorn Training American Singers for Opera 80 ROSA RAISA Patience and Perseverance Win Results .... 88 LOUISE HOMER The Requirements of a Musical Career ... 98 GIOVANNI MARTINELLI . . . "Let Us Have Plenty of Opera in America" . .110 ANNA CASE Inspired Interpretation . 118 FLORENCE EASTON .... Problems Confronting the Young Singer .... 127 MARGUERITE D'ALVAHEZ . . The Message of the Singer 139 MARIA BARRIEXTOS .... Be Your Own Critic . . 147 CLAUDIA Muzio A Child of the Opera . . 156 EDWARD JOHNSON (EDOUAHDO Di GIOVANNI) .... The Evolution of an Opera Star 165 REINALD WERRENHATII . . . Achieving Success on the Concert Stage . . . .175 Contents PAGE SOPHIE BHASLAU Making a Career in Amer- ica 185 MORGAN KINGSTON .... The Spiritual Side of the Singer's Art .... 193 FRIEDA HEMPEL A Lesson with a Prima Donna . 202 WITH THE MASTER TEACHERS DAVID BISPHAM The Making of Artist Sing- ers 213 OSCAR SAENGER . . . . " . Use of Records in Vocal Study 225 HERBERT WITHERSPOON . . . Memory, Imagination, An- alysis 238 YEATJIAN GRIFFITH .... Causation 249 J. H. DUVAI Some Secrets of Beautiful Sing-ing 258 THE CODA A Resume ... . 266 ILLUSTRATIONS Enrico Caruso Frontispiece FACING PAGE Geraldine Farrar 10 Victor Maurel 24 Amelita Galli-Curci 48 Giuseppe de Luca 60 Luisa Tetrazzini 70 Antonio Scotti 80 Rosa Raisa 88 Louise Homer 98 Giovanni Martinelli 110 Anna Case 118 Florence Easton 128 Marguerite d'Alvarez 140 Maria Barrientos 148 Claudia Muzio 156 Edward Johnson 160 Reinald Werrenrath 176 Sophie Braslau 186 Morgan Kingston 194 Frieda Hempel . 202 VOCAL MASTERY i ENRICO CARUSO THE VALUE OF WORK ENRICO CARUSO ! The very name itself calls up visions of the greatest operatic tenor of the present generation, to those who have both heard and seen him in some of his many roles. Or, to those who have only listened to his records, again visions of the wonderful voice, with its penetrating, vibrant, ringing quality, the impassioned delivery, which stamps every note he sings with the hall mark of genius, the tremendous, unforgetable climaxes. Not to have heard Caruso sing is to have missed some- thing out of life; not to have seen him act in some of his best parts is to have missed the in- spiration of great acting. As Mr. Huneker once wrote: "The artistic career of Caruso is as well known as that of any great general or statesman; he is a national figure. He is a great artist, and, what is rarer, a genuine man." And how we have seen his art grow and Focal Mastery ripen, since he first began to sing for us. The date of his first appearance at the Metropol- itan Opera House, New York, was November 23rd, 1903. Then the voice was marvelous in its freshness and beauty, but histrionic de- velopment lagged far behind. The singer seemed unable to make us visualize the charac- ters he endeavored to portray. It was always Caruso who sang a certain part ; we could never forget that. But constant study and experi- ence have eliminated even this defect, so that to-day the singer and actor are justly balanced; both are superlatively great. Can any one who hears and sees Caruso in the role of Sam- son, listen unmoved to the throbbing wail of that glorious voice and the unutterable woe of the blind man's poignant impersonation? IN EAELY DAYS Enrico Caruso was born in Naples, the youngest of nineteen children. His father was an engineer and the boy was taught the trade in his father's shop, and was expected to follow in his father's footsteps. But destiny decreed otherwise. As he himself said, to one listener : "I had always sung as far back as I can remember, for the pure love of it. My voice Enrico Caruso 3 was contralto, and I sang in a church in Naples from fourteen till I was eighteen. Then I had to go into the army for awhile. I had never learned how to sing, for I had never been taught. One day a young officer of my com- pany said to me: 'You will spoil your voice if you keep on singing like that' for I suppose I was fond of shouting in those days. 'You should learn how to sing,' he said to me; 'you must study.' He introduced me to a young man who at once took an interest in me and brought me to a singing master named Vergine. I sang for him, but he was very dis- couraging. His verdict was it would be hope- less to try to make a singer out of me. As it was, I might possibly earn a few lire a night with my voice, but according to his idea I had far better stick to my father's trade, in which I could at least earn forty cents a day. "But my young friend would not give up so easily. He begged Vergine to hear me again. Things went a little better with me the second time and Vergine consented to teach me. RIGID DISCIPLINE "And now began a period of rigid discipline. In Vergine's idea I had been singing too loud ; I must reverse this and sing everything softly. I felt as though in a strait- jacket; all my efforts at expression were most carefully re- pressed; I was never allowed to let out my voice. At last came a chance to try my wings in opera, at ten lire a night ($2.00) . In spite of the regime of repression to which I had been subjected for the past three years, there were still a few traces of my natural feeling left. The people were kind to me and I got a few engagements. Vergine had so long trained me to sing softly, never permitting me to sing out, that people began to call me the Broken Tenor. THE FIRST REAL CHANCE "A better chance came before long. In 1896 the Opera House in Salerno decided to produce I Puritani. At the last moment the tenor they had engaged to sing the leading role became ill, and there was no one to sing the part. Lombardi, conductor of the orches- tra, told the directors there was a young singer in Naples, about eighteen miles away, who he knew could help them out and sing the part. When they heard the name Caruso, they laughed scornfully. 'What, the Broken Tenor?' they asked. But Lombardi pressed my claim, assured them I could be engaged, Enrico Caruso and no doubt would be glad to sing for nothing. ''So I was sent for. Lombardi talked with me awhile first. He explained by means of several illustrations, that I must not stand cold and stiff in the middle of the stage, while I sang nice, sweet tones. No, I must let out my voice, I must throw myself into the part, I must be alive to it must live it and in it. In short, I must act as well as sing. A REVELATION "It was all like a revelation to me. I had never realized before how absolutely necessary it was to act out the character I attempted. So I sang / Puritani, with as much success as could have been expected of a young singer with so little experience. Something awoke in me at that moment. From that night I was never called a 'Broken Tenor* again. I made a regular engagement at two thousand lire a month. Out of this I paid regularly to Vergine the twenty-five per cent which he al- ways demanded. He was somewhat reconciled to me when he saw that I had a real engage- ment and was making a substantial sum, though he still insisted that I would lose my voice in a few years. But time passes and I am still singing. Focal Mastery RESULTS OF THE REVELATION "The fact that I could secure an opera en- gagement made me realize I had within me the making of an artist, if I would really labor for such an end. When I became thoroughly con- vinced of this, I was transformed from an ama- teur into a professional in a single day. I now began to take care of myself, learn good habits, and endeavored to cultivate my mind as well as my voice. The conviction gradually grew upon me that if I studied and worked, I would be able one day to sing in such a way as to satisfy myself." Caruso believes in the necessity for work, and sends this message to all ambitious stud- ents: "To become a singer requires work, work, and again work! It need not be in any special corner of the earth ; there is no one spot that will do more for you than other places. It doesn't matter so much where you are, if you have intelligence and a good ear. Listen to yourself; your ear will tell you what kind of tones you are making. If you will only use your own intelligence you can correct your own faults." Enrico Caruso CEASELESS STUDY This is no idle speech, voiced to impress the reader. Caruso practices what he preaches, for he is an incessant worker. Two or three hours in the forenoon, and several more later in the day, whenever possible. He does not neglect daily vocal technic, scales and exercises. There are always many roles to keep in rehear- sal with the accompanist. He has a repertoire of seventy roles, some of them learned in two languages. Among the parts he has prepared but has never sung are: Othello, Fra Diavolo, Eugen Onegin, Pique Dame, Falstaff and Jewels of the Madonna. Besides the daily review of opera roles, Caruso examines many new songs; every day brings a generous supply. Naturally some of these find their way into the waste basket; some are preserved for reference, while the favored ones which are accepted must be stud- ied for use in recital. I had the privilege, recently, of spending a good part of one forenoon in Mr. Caruso's private quarters at his New York Hotel, ex- amining a whole book full of mementos of the Jubilee celebration of March, 1919, on the occasion when the great tenor completed 8 Focal Mastery twenty-five years of activity on the operatic stage. Here were gathered telegrams and cablegrams from all over the world. Many letters and cards of greeting and congratula- tion are preserved in this portly volume. Among them one noticed messages from Mme. Schumann-Heink, the Flonzaley Quartet, Cleofonte Campanini and hosts of others. Here, too, is preserved the Jubilee Programme booklet, also the libretto used on that gala occasion. Music lovers all over the world will echo the hope that this wonderful voice may be preserved for many years to come ! A LAST WORD The above article was shown to Mr. Caruso, at his request, and I was asked a few days later to come to him. There had been the usual rehearsal at the Opera House that day. "Ah, those rehearsals," exclaimed the secre- tary, stopping his typewriter for an instant; "no one who has never been through it has any idea of what a rehearsal means." And he lifted hands and eyes expressively. "Mr. Caruso rose at eight, went to rehearsal at ten and did not finish till after three. He is now resting, but will see you in a moment." Presently the great tenor opened the door Enrico Caruso 9 and entered. He wore a lounging coat of oriental silk, red bordered, and on the left hand gleamed a wonderful ring, a broad band of dull gold, set with diamonds, rubies and sap- phires. He shook hands, said he had read my story, that it was quite correct and had his entire approval. "And have you a final message to the young singers who are struggling and longing to sing some day as wonderfully as you do?" "Tell them to study, to work always, and to sacrifice!" His eyes had a strange, inscrutable light in them, as he doubtless recalled his own early struggles, and life of constant effort. And so take his message to heart: "Work, work and sacrifice!" II GERALDINE FARRAR THE WILL TO SUCCEED A COMPELLING FORCE "To measure the importance of Geraldine Farrar (at the Metropolitan Opera House, New York) one has only to think of the void there would have been during the last decade, and more, if she had not been there. Try to picture the period between 1906 and 1920 with- out Farrar it is inconceivable! Farrar, more than any other singer, has been the triumphant living symbol of the new day for the American artist at the Metropolitan. She paved the way. Since that night, in 1906, when her Juliette stirred the staid old house, American singers have been added year by year to the personnel. Among these younger singers there are those who will admit at once that it was the success of Geraldine Farrar which gave them the impetus to work hard for a like success." These thoughts have been voiced by a recent 10 GERALDINE FARKAH Geraldine Farrar 11 reviewer, and will find a quick response from young singers all over the country, who have been inspired by the career of this representa- tive artist, and by the thousands who have en- joyed her singing and her many characteriza- tions. I was present on the occasion of Miss Far- rar's debut at the greatest opera house of her home land. I, too, was thrilled by the fresh young voice in the girlish and charming im- personation of Juliette. It is a matter of his- tory that from the moment of her auspicious return to America she has been constantly be- fore the public, from the beginning to end of each operatic season. Other singers often come for part of the season, step out and make room for others. But Miss Farrar, as well as Mr. Caruso, can be depended on to re- main. Any one who gives the question a moment's thought, knows that such a career, carried through a score of years, means constant, un- remitting labor. There must be daily work on vocal technic ; repertoire must be kept up to opera pitch, and last and perhaps most impor- tant of all, new works must be sought, studied and assimilated. The singer who can accomplish these tasks 12 Focal Mastery will have little or no time for society and the gay world, inasmuch as her strength must be devoted to the service of her art. She must keep healthy hours, he always ready to appear, and never disappoint her audiences. And such, according to Miss Farrar's own words is her record in the service of art. While zealously guarding her time from in- terruption from the merely curious. Miss Far- rar does not entrench herself behind insur- mountable barriers, as many singers seem to do, so that no honest seeker for her views of study and achievement can find her. While making a rule not to try voices of the throng of young singers who would like to have her verdict on their ability and prospects, Miss Farrar is very gracious to those who really need to see her. Again unlike others she will make an appointment a couple of weeks in advance, and one can rest assured she will keep that appointment to the day and hour, in spite of many pressing calls on her atten- tion. To meet and talk for an hour with an artist who has so often charmed you from the other side of the footlights, is a most interesting ex- perience. In the present instance it began with my being taken up to Miss Farrar's priv- Geraldine Farrar 13 ate sanctum, at the top of her Xew York resi- dence. Though this is her den, where she studies and works, it is a spacious parlor, where all is light, color, warmth and above all, quiet. A thick crimson carpet hushes the footfall. A luxurious couch piled with silken cushions, and comfortable arm chairs are all in the same warm tint; over the grand piano is thrown a cover of red velvet, gold embroidered. Por- traits of artists and many costly trifles are scat- tered here and there. The young lady who acts as secretary happened to be in the room and spoke with enthusiasm of the singer's ab- sorption in her work, her delight in it, her never failing energy and good spirits. "From the day I heard Miss Farrar sing I felt drawn to her and hoped the time would come when I could serve her in some way. I did not know then that it would be in this way. Her ex- ample is an inspiration to all who come in touch with her." In a few moments Miss Farrar herself ap- peared, and the young girl withdrew. And was this Farrar who stood before me, in the flush of vigorous womanhood, and who welcomed me so graciously ? The first impres- sion was one of friendliness and sincerity, which caused the artist for the moment to be for- 14 Focal Mastery gotten in the unaffected simplicity of the woman. Miss Farrar settled herself comfortably among the red silk cushions and was ready for our talk. The simplicity of manner was re- flected in her words. She did not imply- there is only one right way, and I have found it. "These things seem best for my voice, and this is the way I work. But, since each voice is different, they might not fit any one else. I have no desire to lay down rules for others; I can only speak of my own experience." THE QUESTION OF HEALTH "And you would first know how I keep strong and well and always ready? Perhaps the answer is, I keep regular hours and habits, and love my work. I have always loved to sing, as far back as I can remember. Music means everything to me it is my life. As a child and young girl, I was the despair of my playmates because I would not join their games ; I did not care to skate, play croquet or tennis, or such things. I never wanted to exercise violently, and, to me, unnecessarily, because it interfered with my singing; took energy which I thought might be better ap- plied. As I grew older I did not care to Geraldine Farrar 15 keep late hours and be in an atmosphere where people smoked and perhaps drank, for these things were bad for my voice and I could not do my work next day. My time is always regularly laid out. I rise at half past seven, and am ready to work at nine. I do not care to sit up late at night, either, for I think late hours react on the voice. Occasionally, if we have a few guests for dinner, I ask them, when ten thirty arrives, to stay as long as they wish and enjoy themselves, but I retire. TECHNICAL STUDY "There are gifted people who may be called natural born singers. Melba is one of these. Such singers do not require much technical practice, or if they need a little of it, half an hour a day is sufficient. I am not one of those who do not need to practice. I give between one and two hours daily to vocalizes, scales and tone study. But I love it! A scale is beautiful to me, if it is rightly sung. In fact it is not merely a succession of notes ; it repre- sents color. I always translate sound into color. It is a fascinating study to make dif- ferent qualities of tonal color in the voice. Certain roles require an entirely different range of colors from others. One night I must 10 Focal Mastery sing a part with thick, heavy, rich tones; the next night my tones must be thinned out in quite another timbre of the voice, to fit an op- posite character." Asked if she can hear herself, Miss Farrar answered : "No, I do not actually hear my voice, ex- cept in a general way ; but we learn to know the sensations produced in muscles of throat, head, face, lips and other parts of the anatomy, which vibrate in a certain manner to correct tone production. We learn the feeling of the tone. Therefore every one, no matter how advanced, requires expert advice as to the results. WITH LEHMANN "I have studied for a long time with Lilli Lehmann in Berlin; in fact I might say she is almost my only teacher, though I did have some instruction before going to her, both in America and Paris. You see, I always sang, even as a very little girl. My mother has ex- cellent taste and knowledge in music, and find- ing I was in danger of straining my voice through singing with those older than myself, she placed me with a vocal teacher when I was twelve, as a means of preservation. "ILehmann is a wonderful teacher and an Geraldine Farrar 17 extraordinary woman as well. What art is there what knowledge and understanding! What intensity there is in everything she does. She used to say : 'Remember, these four walls which inclose you, make a very different space to fill compared to an opera house; you must take this fact into consideration and study ac- cordingly.' No one ever said a truer word. If one only studies or sings in a room or studio, one has no idea of what it means to fill a theater. It is a distinct branch of one's work to gain power and control and to adapt one's self to large spaces. One can only learn this by doing it. "It is sometimes remarked by listeners at the opera, that we sing too loud, or that we scream. They surely never think of the great size of the stage, of the distance from the proscenium arch to the footlights, or from the arch to the first set of wings. They do not consider that within recent years the size of the orchestra has been largely increased, so that we are obliged to sing against this great number of instruments, which are making every possible kind of a noise except that of a siren. It is no wonder that we must make much effort to be heard: sometimes the ef- fort may seem injudicious. The point we 18 must consider is to make the greatest possible effect with the least possible exertion. "Lehmann is the most painstaking, devoted teacher a young singer can have. It is proof of her excellent method and her perfect under- standing of vocal mastery, that she is still able to sing in public, if not with her old-time power, yet with good tone quality. It shows what an artist she really is. I always went over to her every summer, until the war came. We would work together at her villa in Gruene- wald, which you yourself know. Or we would go for a holiday down nearer Salzburg, and would work there. We always worked wher- ever we were. MEMORIZING "How do I memorize? I play the song or role through a number of times, concentrating on both words and music at once. I am a pianist anyway; and committing to memory is very easy for me. I was trained to learn by heart from the very start. When I sang my little songs at six years old, mother would never let me have any music before me : I must know my songs by heart. And so I learned them quite naturally. To me singing was like talking to people. Geraldine Farrar 19 "You ask me to explain the difference be- tween the coloratura and the dramatic organ. I should say it is a difference of timbre. The coloratura voice is bright and brilliant in its higher portion, but becomes weaker and thin- ner as it descends; whereas the dramatic voice has a thicker, richer quality all through, es- pecially in its lower register. The coloratura voice will sing upper C, and it will sound very high indeed. I might sing the same tone, but it would sound like A flat, because the tone would be of such totally different timbre. / TO THE YOUNG SINGER "If I have any message to the young singer, it would be : Stick to your work and study systematically, whole-heartedly. If you do not love your work enough to give it your best thought, to make sacrifices for it, there is some- thing wrong with you. Then choose some other line of work, to which you can give un- divided attention and devotion. For music re- quires this. As for sacrifices, they really do not exist, if they promote the thing you hon- estly love most. "Do not fancy you can properly prepare 20 Focal Mastery yourself in a short time to undertake a musi- cal career, for the path is a long and arduous one. You must never stop studying, for there is always so much to learn. If I have sung a role a hundred times, I always find places that can be improved; indeed I never sing a role twice exactly in the same way. So, from whatever side you consider the singer's work and career, both are of absorbing inter- est. "Another thing; do not worry, for that is bad for your voice. If you have not made this tone correctly, or sung that phrase to suit your- self, pass it over for the moment with a wave of the hand or a smile; but don't become dis- couraged. Go right on! I knew a beautiful American in Paris who possessed a lovely voice. But she had a very sensitive nature, which could not endure hard knocks. She be- gan to worry over little failures and disap- pointments, with the result that in three years her voice was quite gone. We must not give way to disappointments, but conquer them, and keep right along the path we have started on. MODERN MUSIC "Modern music requires quite a different handling of the voice and makes entirely dif- Geraldine Farrar 21 ferent demands upon it than does the older music. The old Italian operas required little or no action, only beautiful singing. The opera houses were smaller and so were the orchestras. The singer could stand still in the middle of the stage and pour out beauti- ful tones, with few movements of body to mar his serenity. But we, in these days, demand action as well as song. We need singing ac- tors and actresses. The music is declamatory; the singer must throw his whole soul into his part, must act as well as sing. Things are all on a larger scale. It is a far greater strain on the voice to interpret one of the modern Italian operas than to sing one of those quietly beau- tiful works of the old school. "America's growth in music has been marvel- ous on the appreciative and interpretive side. With such a musical awakening, we can look forward to the appearance of great creative genius right here in this country, perhaps in the near future. Why should we not expect it? We have not yet produced a composer who can write enduring operas or symphonies. MacDowell is our highest type as yet; but others will come who will carry the standard higher. 22 VOICE LIMITATIONS "The singer must be willing to admit limita- tions of voice and style and not attempt parts which do not come within the compass of her attainments. Neither is it wise to force the voice up or down when it seems a great effort to do so. We can all think of singers whose natural quality is mezzo let us say who try to force the voice up into a higher register. There is one artist of great dramatic gifts, who not content with the rich quality of her natural organ, tried to add several high notes to the upper portion. The result was disastrous. Again, some of our young singers who possess beautiful, sweet voices, should not force them to the utmost limit of power, simply to fill, or try to fill a great space. The life of the voice will be impaired by such injurious practice, VOCAL MASTERY "What do I understand by vocal mastery? It is something very difficult to define. For a thing that is mastered must be really perfect. To master vocal art, the singer must have so developed his voice that it is under complete control; then he can do with it whatsoever he wishes. He must be able to produce all he desires of power, pianissimo, accent, shading, Geraldine Farrar 23 delicacy and variety of color. Who is equal to the task?" Miss Farrar was silent a moment; then she said, answering her own question: "I can think of but two people who hon- estly can be said to possess vocal mastery: they are Caruso and McCormack. Those who have only heard the latter do little Irish tunes, have no idea of what he is capable. I have heard him sing Mozart as no one else I know of can. These two artists have, through ceaseless application, won vocal mas- tery. It is something we are all striving for!" Ill MIND IS EVERYTHING MR. JAMES HUXEKER, in one of his series of articles entitled "With the Immortals," in the New York World, thus, in his inimitable way characterizes Victor Maurel: "I don't suppose there is to be found in musical annals such diversity of aptitudes as that displayed by this French baritone. Is there an actor on any stage to-day who can portray both the grossness of Falstaff and the subtlety of lago? Making allowance for the different art medium that the singing actor must work in, and despite the larger curves of operatic pose and gesture, Maurel kept aston- ishingly near to the characters he assumed. He was Shakespearian; his Falstaff was the most wonderful I ever saw." And then lago: "In the Maurel concep- tion, Othello's Ancient was not painted black in black the heart of darkness, but with many nuances, many gradations. He was economi- 24 VICTOR MAUKEL Victor Maurel 25 cal of gesture, playing on the jealous Moor as plays a skillfully handled bow upon a finely attuned violin. His was truly an objective characterization. His Don Giovanni was broadly designed. He was the aristocrat to the life, courtly, brave, amorous, intriguing, cruel, superstitious and quick to take offense. In his best estate, the drinking song was sheer virtuosity. Suffice to add that Verdi intrusted to him the task of "originating" two such widely sundered roles as lago and Falstaffo. An extraordinary artist!" One evening we were discussing the merits of various famous singers of the past and pres- ent. My friend is an authority whose opin- ion I greatly respect. He is not only a singer himself but is rapidly becoming a singing mas- ter of renown. After we had conferred for a long time, my friend summed it all up with the remark: "You know who, in my opinion, is the great- est, the dean of them all, a past master of the art of song Victor Maurel." Did I not know! In times gone by had we not discussed by the hour every phase of Mau- rel's mastery of voice and action? Did we not together listen to that voice and watch with breathless interest his investiture of Don 26 Vocal Mastery Giovanni, in the golden days when Lilli Leh- mann and the De Reszkes took the other parts. Was there ever a more elegant courtly Don, a greater Falstaff, a more intriguing lago? In those youthful days, my friend's greatest ambition was to be able to sing and act like Maurel. To this end he labored unceasingly. Second only to this aim was another to know the great baritone personally, to become his friend, to discuss the finest issues of art with him, to consult him and have the benefit of his experience. The consummation of this de- sire has been delayed for years, but it is one of the "all things" which will surely come to him who waits. Maurel is now once more on American soil, and doubtless intends remain- ing for a considerable period. My friend is also established in the metropolis. The two have met, not only once but many times in- deed they have become fast friends. "I will take you to him," promised friend Jacque, knowing my desire to meet the "grand old man"; "but don't ask for too many of his opinions about singers, as he does not care to be quoted." Late one afternoon we arrived at his resi- dence. At the moment he was in his music room, where, for the last hour he had been sing- Victor Maurel ing F distaff! If we could only have been hid- den away in some quiet corner to listen! He came running down the stairway with almost the agility of a boy, coming to meet us with simple dignity and courtesy. After the first greetings were over we begged permission to examine the many paintings which met the eye everywhere. There was a large panel facing us, representing a tall transparent vase, hold- ing a careless bunch of summer flowers, very artistically handled. Near it hung an out-of- door sketch, a garden path leading into the green. Other bits of landscape still-life and portraits made up the collection. They had all been painted by the same artist none other than Maurel himself. As we examined the flower panel, he came and stood by us. "Painting is a great art,'* he said; "an art which requires profound study. I have been a close student of this art for many years and love it more and more." "M. Maurel aims now to express himself through the art of color and form, as he has always done through voice and gesture," re- marked my friend. "Art is the highest means of expression," went on the master, "whether through music, painting, sculpture, architecture or the theater. 28 Focal Mastery The effort to express myself through another art-medium, painting, has long been a joy to me. I have studied with no teacher but myself, but I have learned from all the great masters; they have taught me everything." He then led the way to his music room on the floor above. Here were more paintings, many rare pieces of furniture and his piano. A fine portrait of Verdi, with an affectionate auto- graph, stood on a table; one of Ambroise Thomas, likewise inscribed, hung near. "A serious man, almost austere," said Maurel, re- garding the portrait of Verdi thoughtfully, "but one of the greatest masters of all time." Praying us to be seated, he placed himself on an ottoman before us. The talk easily drifted into the subject of the modern operatic stage, and modern operas of the Italian school, in which one is so often tempted to shout rather than sing. The hero of Mozart's Don Gio- vanni, who could sing his music as perhaps no one else has ever done, would not be likely to have much patience with the modern style of explosive vocal utterance. "How do you preserve your voice and your repertoire?" I questioned. M. Maurel gazed before him thoughtfully. "It is entirely through the mind that I keep Fie tor Man?' el 29 both. I know so exactly how to produce tone qualities, that if I recall those sensations which accompany tone production, I can induce them at will. How do we make tones, sing an aria, impersonate a role? Is not all done with the mind, with thought? I must think the tone before I produce it before I sing it; I must mentally visualize the character and determine how I will represent it, before I attempt it. I must identify myself with the character I am to portray before I can make it live. Does riot then all come from thinking from thought ? "Again: I can think out the character and make a mental picture of it for myself, but how shall I project it for others to see? I have to convince myself first that I am that character I must identify myself with it ; then I must convince those who hear me that I am really that character." Maurel rose and moved to the center of the room. "I am to represent some character Amon- asro, let us say. I must present the captive King, bound with chains and brought before his captors. I must feel with him, if I am really going to represent him. I must believe myself bound and a prisoner; then I must, through pose and action, through expression of 30 Focal Mastery face, gesture, voice, everything I must make this character real to the audience." And as we looked, he assumed the pose of the man in chains, his hands seemed tied, his body bent, his expression one in which anger and revenge mingled ; in effect, he was for the moment Amonasro. "I have only made you see my mental con- cept of Amonasro. If I have once thoroughly worked out a conception, made it my own, then it is mine. I can create it at any moment. If I feel well and strong I can sing the part now in the same way as I have always sung it, be- cause my thought is the same and thought produces. Whether I have a little more voice, or less voice, what does it matter? I can never lose my conception of a character, for it is in my mind, and mind projects it. So there is no reason to lose the voice, for that also is in mind and can be thought out at will. "Suppose I have an opposite character to portray, the elegant Don Giovanni, for ex- ample"; and drawing himself up and wrapping an imaginary cloak about him, with the old well-remembered courtly gesture, his face and manner were instantly transformed at the thought of his favorite character. He turned and smiled on us, his strong features lighted, Victor Ma u r el 31 and his whole appearance expressed the em- bodiment of Mozart's hero. "You see I must have lived, so to say, in these characters and made them my own, or I could not recall them at a moment's notice. All impersonation, to be artistic, to be vital, must be a part of one's self; one must get into the character. When I sing lago I am no longer myself I am another person alto- gether; self is quite forgotten; I am lago, for the time being. "In Paris, at the Sorbonne, I gave a series of lectures; the first was on this very subject, the identification of one's self with the char- acter to be portrayed. The large audience of about fifteen hundred, contained some of the most famous among artists and men of let- ters"; and Maurel, with hands clasped about his knee, gazed before him into space, and we knew he was picturing in mental vision, the scene at the Sorbonne, which he had just re- called. After a moment, he resumed. "The singer, though trying to act out the character he as- sumes, must not forget to sing. The combina- tion of fine singing and fine acting is rare. Nowadays people think if they can act, that atones for inartistic singing; then they yield to 32 Vocal Mastery the temptation to shout, to make harsh tones, simply for effect." And the famous baritone caricatured some of the sounds he had recently heard at an operatic performance with such gusto, that a member of the household came running in from an adjoining room, thinking there must have been an accident and the mas- ter of the house was calling for help. He hastily assured her all was well no one was hurt; then we all had a hearty laugh over the little incident. And now we begged to be allowed to visit the atelier, where the versatile artist worked out his pictures. He protested that it was in disorder, that he would not dare to take us up, and so on. After a little he yielded to per- suasion, saying, however, he would go up first and arrange the room a little. As soon as he had left us my friend turned to me : "What a remarkable man! So strong and vigorous, in spite of his advanced age. No doubt he travels those stairs twenty times a day. He is as alert as a young man ; doubtless he still has his voice, as he says. And what a career he has had. You know he was a friend of Edward the Seventh; they once lived to- gether. Then he and Verdi were close friends ; he helped coach singers for Verdi's operas. Victor Maurel 33 He says it was a wonderful experience, when the composer sat down at the piano, put his hands on the keys and showed the singers how he wanted his music sung! "Early in his career Maurel sang in Verdi's opera, Simon e Boccanegra, which one never hears now, but it has a fine haritone part, and a couple of very dramatic scenes, especially the final scene at the close. This is the death scene. Maurel had sung and acted so won- derfully on a certain occasion that all the sing- ers about him were in tears. Verdi was pres- ent at this performance and was deeply moved by Maurel's singing and acting. He came upon the stage when all was over, and ex- claimed, in a voice trembling with emotion: 'You have created the role just as I would have it; I shall write an opera especially for you!' This he did; it was Othello, and the lago was composed for Maurel. In his later years, when he seldom left his home, the aged composer several times expressed the wish that he might go to Paris, just to hear Maurel sing once more. "It is very interesting that he was led to speak to us as he did just now, about mental control, and the part played by mind in the singer's study, equipment and career. It is a side of the question which every young singer must seriously consider, first, last and always. But here he comes." Again protesting about the appearance of his simple studio, the master led the way up the stairways till we reached the top of the house, where a north-lighted room had been turned into a painter's atelier. With mingled feelings we stepped within this modest den of a great artist, which held his treasures. These were never shown to the casual observer, nor to the merely curious; they were reserved for the trusted few. The walls were lined with sketches; heads, still life, landscapes, all subjects alike inter- ested the painter. A rugged bust of Verdi, over life size, modeled in plaster, stood in one corner. On an easel rested a spirited portrait of Maurel, done by himself. "My friends tell me I should have a larger studio, with better light; but I am content with this, for here is quiet and here I can be alone, free to commune with myself. Here I can study my art undisturbed, for Art is my religion. If people ask if I go to church, I say No, but I worship the immortality which is within, which I feel in my soul, the reflec- tion of the Almighty!" Victor Maurcl 35 In quiet mood a little later we descended the white stairway and passed along the cor- ridors of this house, which looks so foreign to American eyes, and has the atmosphere of a Paris home. The artist accompanied us to the street door and bade us farewell, in his kindly dignified manner. As the door closed and we were in the street, my friend said: "A wonderful man and a rare artist. Where shall we find his like to-day?" IV A VISIT TO MME. L1LLI LEHMANN A NUMBER of years before the great war, a part} r of us were spending a few weeks in Berlin. It was midsummer ; the city, filled as it was for one of us at least, with dear memor- ies of student days, was in most alluring mood. Flowers bloomed along every balcony, vines festooned themselves from windows and door- ways, as well as from many unexpected corn- ers. The parks, large and small, which are the delight of a great city, were at their best and greenest gay with color. Many profi- table hours were spent wandering through the galleries and museums, hearing concerts and opera, and visiting the old quarters of the city, so picturesque and full of memories. Two of us, who were musicians, were anxious to meet the famous dramatic soprano, Lilli Lehmann, who was living quietly in one of the suburbs of the city. Notes were exchanged, and on a certain day we were bidden to come, out of the regular hours for visitors, by "spe- cial exception." 36 A Visit to Mme. LUli Lehmann 37 How well I remember the drive through the newer residential section of Berlin. The path before long led us through country estates, past beautifully kept gardens and orchards. Our destination was the little suburb of Gruenewald, itself like a big garden, with villas nestling close to each other, usually set back from the quiet, shaded streets. Some of the villas had iron gratings along the pathway, through which one saw gay flowers and garden walks, often statuary and fountains. Other homes were secluded from the street by high brick walls, frequently decorated on top by urns holding flowers and drooping vines. Behind such a picturesque barrier, we found the gateway which led to Mme. Lehmann's cot- tage. We rang and soon a trim maid came to undo the iron gate. The few steps leading to the house door did not face us as we entered the inclosure, but led up from the side. We wanted to linger and admire the shrubs and flowering plants, but the maid hastened before us so we had to follow. From the wide entrance hall doors led into rooms on either hand. We were shown into a salon on the left, and bidden to await Ma- dame's coming. In the few moments of restful quiet before 38 Focal Mastery she entered, we had time to glance over this sanctum of a great artist. To say it was filled with mementos and objets d'art hardly ex- presses the sense of repleteness. Every square foot was occupied by some treasure. Let the eye travel around the room. At the left, as one entered the doorway, stood a fine bust of the artist, chiseled in pure white marble, supported on a pedestal of black marble. Then came three long, French windows, open- ing into a green garden. Across the farther window stood a grand piano, loaded with music. At the further end of the room, if memory serves, hung a large, full length por- trait of the artist herself. A writing desk, laden with souvenirs, stood near. On the op- posite side a divan covered with rich brocade; more paintings on the walls, one very large landscape by a celebrated German painter. Before we could note further details, Mme. Lehmann stood in the doorway, then came for- ward and greeted us cordially. How often I had seen her impersonate her great roles, both in Germany and America. They were always of some queenly character. Could it be possible this was the famous Leh- mann, this simple housewife, in black skirt and white blouse, with a little apron as badge of A Visit to Mme. Lilli Lehmann 39 home keeping. But there was the stately tread, the grand manner, the graceful movement. What mattered if the silver hair were drawn back severely from the face; there was the dig- nity of expression, classic features, penetrating glance and mobile mouth I remembered. After chatting a short time and asking many questions about America, where her experi- ences had been so pleasant, our talk was inter- rupted, for a little, by a voice trial, which Ma- dame had agreed to give. Many young sing- ers, from everywhere, were anxious to have expert judgment on their progress or attain- ments, so Lehmann was often appealed to and gave frequent auditions of this kind. The fee was considerable, but she never kept a penny of it for herself; it all went to one of her fa- vorite charities. The young girl who on this day presented herself for the ordeal was an American, who, it seemed, had not carried her studies very far. EXAMINING A PUPIL Mme. Lehmann seated herself at the piano and asked for scales and vocalizes. The young girl, either from fright or poor training, did not make a very fortunate impression. She could not seem to bring out a single pure 40 Focal Mastery steady tone, much less sing scales acceptably. Madame with a resigned look finally asked for a song, which was given. It was a little song of Franz, I remember. Then Lehmann wheeled around on the stool and said to us, in German : "The girl cannot sing she has little or no voice to begin with, and has not been rightly trained." Then to the young girl she said, kindly, in English: "My dear young lady, you have almost everything to learn about singing, for as yet you cannot even sing one tone correctly; you cannot even speak correctly. First of all you need physical development ; you must broaden your chest through breathing exercises ; you are too thin chested. You must become physically stronger if you ever hope to sing acceptably. Then you must study diction and languages. This is absolutely necessary for the singer. Above all you must know how to pronounce and sing in your own language. So many do not think it necessary to study their own lan- guage ; they think they know that already ; but one's mother tongue requires study as well as any other language. "The trouble with American girls is they are always in a hurry. They are not content to sit A Visit to Mine. Lilli Lehmann 41 down quietly and study till they have devel- oped themselves into something before they ever think of coming to Europe. They think if they can just come over here and sing for an artist, that fact alone will give them prestige in America. But that gives them quite the oppo- site reputation over here. American girls are too often looked upon as superficial, because they come over here quite unprepared. I say to all of them, as I say to you : Go home and study; there are plenty of. good teachers of voice and piano in your own land. Then, when you can sing, come over here, if you wish ; but do not come until you are prepared." After this little episode, we continued our talk for a while longer. Then, fearing to tres- pass on her time, we rose to leave. She came to the door with us, followed us down the steps into the front garden, and held the gate open for us, when we finally left. We had already expressed the hope that she might be able to return to America, at no very distant day, and repeat her former triumphs there. Her fine face lighted at the thought, and her last words to us were, as she held open the little iron wicket. "I have a great desire to go to your country again ; perhaps, in a year or two who knows I may be able to do it." 42 Focal Mastery She stood there, a noble, commanding figure, framed in the green of her garden, and waved her handkerchief, till our cab turned a corner, and she was lost to our view. THE MOZART FESTIVAL Several years later, a year before the world war started, to be exact, we had the pleasure of meeting the artist again, and this time, of hear- ing her sing. It was the occasion of the Mozart Festival in Salzburg. It is well known that Lehmann, devoted as she has always been to the genius of Mozart, and one of the greatest interpreters of his music, had thrown her whole energy into the founding of a suitable memorial to the mas- ter in his native city. This memorial was to consist of a large music school, a concert hall and home for opera. The Mozarteum was not yet completed, but a Festival was held each year in Salzburg, to aid the project. Madame Lehmann was always present and sang on these occasions. We timed our visit to Mozart's birthplace, so that we should be able to attend the Festival, which lasted as usual five days. The concerts were held in the Aula Academica, a fine Saal in the old picturesque quarter of the city. A Visit to Mme. Lilli Lehmann 43 At the opening concert, Lehmann sang a long, difficult Concert Aria of Mozart. We could not help wondering, before she began, how time had treated this great organ ; whether we should be able to recognize the famous Leh- mann who had formerly taken such high rank as singer and interpreter in America. We need not have feared that the voice had become impaired. Or, if it had been, it had become rejuvenated on this occasion. Mme. Lehmann sang with all her well-remembered power and fervor, all her exaltation of spirit, and of course she had a great ovation at the close. She looked like a queen in ivory satin and rare old lace, with jewels on neck, arms and in her silver hair. In the auditorium, three arm chairs had been placed in front of the platform. The Arch-duke, Prince Eugen, the royal pa- tron of the Festival, occupied one. When Madame Lehmann had finished her Aria, she stepped down from the platform. The Prince rose at once and went to meet her. She gave him her hand with a graceful curtesy and he led her to the armchair next his own, which had evidently been placed in position for her special use. At the close of the concert we had a brief chat with her. The next day she was present 44 Focal Master}/ at the morning concert. This time she was gowned in black, with an ermine cape thrown over her shoulders. The Archduke sat beside her in the arm chair, as he had done the evening before. We had a bow and smile as she passed down the aisle. We trust the Mozarteum in Salzburg, for which Mme. Lehmann has labored with such devotion, will one day fulfill its noble mission. LEHMANN THE TEACHER As a teacher of the art of singing Madame Lehmann has long been a recognized author- ity, and many artists now actively before the public, have come from under her capable hands. Her book, "How to Sing," rendered in English by Richard Aldrich (Macmillan) has illumined the path for many a serious stu- dent who seeks light on that strange, wonder- ful, hidden instrument the voice. Madame Lehmann, by means of many explanations and numerous plates, endeavors to make clear to the young student how to begin and how to proceed in her vocal studies. BREATHING On the important subject of breathing she savs : A Visit to Mme. Lilli Lehmann 45 "No one can sing without preparing for it mentally and physically. It is not enough to sing well, one must know how one does it. I practice many breathing exercises without using tone. Breath becomes voice through effort of will and by use of vocal organs. When singing emit the smallest quantity of breath. Vocal chords are breath regulators; relieve them of all overwork. "At the start a young voice should be taught to begin in the middle and work both ways that is, up and down. A tone should never be forced. Begin piano, make a long cre- scendo and return to piano. Another exercise employs two connecting half tones, using one or two vowels. During practice stand before a mirror, that one may see what one is doing. Practice about one hour dailv. Better that v amount each day than ten hours one day and none the next. The test will be; do you feel rested and ready for work each morning? If not you have done too much the day before." EEGISTERS In regard to registers Madame Lehmann has this to say: "In the formation of the voice no registers should exist or be created. 46 Vocal Mastery As long as the word is kept in use, registers will not disappear." PHYSIOLOGY In spite of the fact there are many drawings and plates illustrating the various organs of head and throat which are used in singing, Ma- dame Lehmann says : "The singer is often worried about questions of physiology, whereas she need must know little about it. THE NASAL QUALITY "The singer must have some nasal quality, otherwise the voice sounds colorless and expres- sionless. We must sing toward the nose : (not necessarily through the nose ) . "For many ills of the voice and tone produc- tion, I use long, slow scales. They are an infallible cure. USE OF THE LIPS "The lips play a large part in producing variety of tone quality. Each vowel, every word can be colored, as by magic, by well con- trolled play of the lips. When lips are stiff and unresponsive, the singing is colorless. A Visit to Mme. Lilli Lehmann 47 Lips are final resonators, through which tones must pass, and lip movements can be varied in every conceivable manner." POWER AND VELOCITY She humorously writes: "Singers without power and velocity are like horses without tails. For velocity, practice figures of five, six, seven and eight notes, first slowly, then faster and faster, up and down." V AMELITA GALLI-CURCI SELF-TEACHING THE GREAT ESSENTIAL ]\ T o singer can rise to any distinction with- out the severest kind of self-discipline and hard work. This is the testimony of all the great vocalists of our time of any time. This is the message they send back from the mountain top of victory to the younger ones who are striving to acquire the mastery they have achieved. Work, work and again work! And if you have gained even a slight foothold on the hill of fame, then work to keep your place. Above all, be not satisfied with your present prog- ress, strive for more perfection. There are heights you have not gained higher up! There are joys for you higher up, if you will but labor to reach them. Perhaps there is no singer who more thor- oughly believes in the gospel of work, and surely not one who more consistently practices what she preaches, than Amelita Galli-Curci. She knows the value of work, and she loves 48 Photo by DC M /// Alfred Cheneu Johnston FRIEDA HEMPET. Frieda Hempel 203 vote an hour to a conference with the writer on the principles of vocal art. How fair, slender and girlish she looked, ensconced among the cushions of a comfortable divan in her music room, with a favorite pet dog nestling at her side. "And you ask how to master the voice; it seems then, I am to give a vocal lesson," she began, with an arch smile, as she caressed the little creature beside her. BREATHING "The very first thing for the singer to con- sider is breath control; always the breathing the breathing. She thinks of it morning, noon and night. Even before rising in the morning, she has it on her mind, and may do a few little stunts while still reclining. Then, before beginning her vocal technic in the morn- ing, she goes through a series of breathing exercises. Just what they are is unnecessary to indicate, as each teacher may have his own, or the singer has learned for herself what forms are most beneficial. VOCAL TECHNIC "The pianist before the public, or the player who hopes to master the instrument in the fu- 204 Focal Mastery ture, never thinks of omitting the daily task of scales and exercises; he knows that his chances for success would soon be impaired, even ruined, if he should neglect this important and necessary branch of study. "It is exactly the same thing with the singer. She cannot afford to do without scales and ex- ercises. If she should, the public would soon find it out. She must be in constant practice in order to produce her tones with smooth- ness and purity; she must also think whether she is producing them with ease. There should never be any strain, no evidence of effort. Voice production must always seem to be the easiest thing in the world. No audience likes to see painful effort in a singer's face or throat. VOCAL PRACTICE "The young singer should always practice with a mirror do not forget that; she must look pleasant under all circumstances. No one cares to look at a singer who makes faces and grimaces, or scowls when she sings. This applies to any one, young or older. Singing must always seem easy, pleasant, graceful, at- tractive, winning. This must be the mental concept, and, acted upon, the singer will thus win her audience. I do not mean that one Frieda Hempel 205 should cultivate a grin when singing; that would be going to the other extreme. "Let the singer also use a watch when she practices, in order not to overdo. I approve of a good deal of technical study, taken in small doses of ten to fifteen minutes at a time. I myself do about two hours or more, though not all technic; but I make these pauses for rest, so that I am not fatigued. After all, while we must have technic, there is so much more to singing than its technic. Technic is indeed a means to an end, more in the art of song than in almost any other form of art. Technic is the background for expressive singing, and to sing expressively is what every one should be striving for. WHAT IT MEANS TO BE A SINGER "A beautiful voice is a gift from heaven, but the cultivation of it rests with its possessor. Here in America, girls do not realize the amount of labor and sacrifice involved, or they might not be so eager to enter upon a career. They are too much taken up with teas, par- ties and social functions to have sufficient time to devote to vocal study and all that goes with it. There are many other things to study; some piano if possible, languages of course, 206 Vocal Mastery physical culture and acting, to make the hody supple and graceful. I say some piano should be included, at least enough to play accom- paniments at sight. But when she has mas- tered her song or role, she needs an accom- panist, for she can never play the music as it should be played while she endeavors to in- terpret the song as that should be sung. One cannot do complete justice to both at the same time. "In order to study all the subjects required, the girl with a voice must be willing to give most of her day to the work. This means sac- rificing the social side and being willing to throw herself heart and soul into the business of adequately preparing for her career. AMERICAN VOICES "I find there are quantities of lovely voices here in America. The quality of the Ameri- can female voice is beautiful; in no country is it finer, not even in Italy. You have good teachers here, too. Then why are there so few American singers who are properly prepared for a career? Why do we hear of so few who make good and amount to something? If the girl has means and good social connections, she is often not ready to sacrifice social gayeties Frieda Hempel 207 for the austere life of the student. If she is a poor girl, she frequenth r cannot afford to take up the subjects necessary for her higher development. Instruction is expensive here, and training for opera almost impossible. The operatic coach requires a goodly fee for his services. And when the girl has prepared several rcles where shall she find the opportun- ity to try them out? Inexperienced singers cannot be accepted at the Metropolitan; that is not the place for them. At the prices charged for seats the management cannot af- ford to engage any but the very best artists. Until there are more opera houses through- out the country, the American girl will still be obliged to go to Europe for experience and routine. In Europe it is all so much easier. Every little city and town has its own opera house, where regular performances are given and where young singers can try their wings and gain experience. The conductor will often help and coach the singer and never ex- pect a fee for it. THE YOUNG SINGER BEFORE AN AUDIENCE "The singer who wishes to make a career in concert, should constantly study to do things easily and gracefully. She is gracious in man- 208 Focal Mastery ner, and sings to the people as though it gave her personal pleasure to stand before them. She has a happy expression of countenance; she is simple, unaffected and sincere. More than all this her singing must be filled with sentiment and soul; it must be deeply felt or it will not touch others. Of what use will be the most elaborate technic in the world if there is no soul back of it. So the young singer cultivates this power of expression, which grows with constant effort. The artist has learned to share her gift of song with her audience, and sings straight across into the hearts of her listeners. The less experienced singer profits by her example. "Shall the singer carry her music in a song recital, is a much discussed question. Many come on with nothing in hand. What then happens? The hands are clasped in supplica- tion, as though praying for help. This atti- tude becomes somewhat harrowing when held for a whole program. Other singers toy with chain or fan, movements which may be very in- appropriate to the sentiment of the song they are singing. For myself I prefer to hold in hand a small book containing the words of my songs, for it seems to be more graceful and less obtrusive than the other ways I have Frieda Hemp el 209 mentioned. I never refer to this little book, as I know the words of my songs backward; I could rise in the middle of the night and go through the program without a glance at words or music, so thoroughly do I know what I am singing. Therefore I do not need the book of words, but I shall always carry it, no mat- ter what the critics may say. And why should not the executive artist reassure himself by having his music with him? It seems to me a pianist would feel so much more certain of himself if he had the notes before him; he of course need not look at them, but their pres- ence would take away the fear that is often an obsession. With the notes at hand he could let himself go, give free reign to fancy, with- out the terrible anxiety he must often feel. OPERA OR CONCERT "People often ask whether I prefer to sing in opera or concert. I always answer, I love both. I enjoy opera for many reasons; I love the concert work, and I am also very fond of oratorio. Of course in the opera I am necessarily restrained; I can never be Frieda Hempel, I must always be some one else; I must always think of the others who are play- ing with me. In concert I can be myself and 210 Focal Mastery express myself. I get near the people; they are my friends and I am theirs. I am much in spirit with oratorio also. COLORATURA OR DRAMATIC "Do I think the coloratura voice will ever become dramatic? It depends on the qual- ity of the voice. I think every dramatic singer should cultivate coloratura to some extent should study smooth legato scales and pass- ages. To listen to some of the dramatic roles of to-day, one would think that smooth legato singing was a lost art. Nothing can take its place, however, and singers should realize this fact." Miss Hempel believes that every singer, no matter how great, should realize the advantage of constant advice from a capable teacher, in order to prevent the forming of undesirable habits. She also considers Vocal Mastery im- plies the perfection of everything connected with singing ; that is to say, perfect breath con- trol, perfect placement of the voice, perfect tone production, together with all requisite grace, feeling and expressiveness. WITH THE MASTER TEACHERS XXII DAVID BISPHAM THE MAKING OF AETIST 5IXGEXS IF we were asked to name one of the best known, and best loved of American angers, the choice would surely fall on David This artist, through his vocaL Jingoistic histrionic gifts, his serious aims has endeared himself to musieiam lovers alike. We are afl proud of American, and take a sort of personal pride in his achievements. Mr. BispLam has been before the r"Mt^ as actor-singer for many years. There is no other artist in the Fjigldb speaking world who has had greater experience in all kinds of vocal work than calls himself, for he and is of old English, Quaker, Colonial stock. His professional in 1891. with the Royal F.ngtkh Open pany, as the Due De T III^IB liii in tike tif ul Opera Comique, The ttmtoekf, by Mes- sager. The following year he appeared in 213* 214 Focal Mastery Wagnerian Music Drama at the Royal Opera, Covent Garden, performing the part of Kur- wenal, in Tristan and Isolde, without re- hearsal. His adaptability to music in English, French, Italian and German, caused him to be at once accepted as a member of that distin- guished company. In 1896, Mr. Bispham joined the forces of the Metropolitan Opera House, New York, and remained there for a number of years, singing each season alternately on both sides of the ocean. Of recent years he has devoted most of his time to concerts, though he is one of the founders and officers of the Society of American Singers, with which artistic body he frequently appears in the classic operas of Mozart, Pergolesi, Donizetti and others. My first conference with Mr. Bispham was held in his New York studio. Here, in this artistic retreat where absolute quiet reigns, though located in the heart of the great city's busy life, the noted singer teaches and works out his programs and various characteriza- tions. THE PROBLEM OF BREATH CONTROL "The singer should breathe as easily and naturally as animals and people do when they David Bispham 215 sleep," he began. "But we are awake when we sing; correct breath control, therefore, must be carefully studied, and is the result of un- derstanding and experience. The best art con- ceals art. The aim is to produce tones with the utmost ease and naturalness, though these must be gained with patient toil. A child pat- ting the keyboard with his tiny hands, is un- consciously natural and at ease, though he does not know what he is doing; the great pianist is consciously at ease because he understands principles of ease and relaxation, and has ac- quired the necessary control through years of training. "The singer acquires management of the breath through correct position and action of his anatomy. The body is held erect, chest active; the network of abdominal muscles con- stantly gain strength as they learn to push, push, push the air up through the lungs to the windpipe, then through the mouth and nasal cavities." Mr. Bispham illustrated each point in his own person as he described it. "When the manner of taking breath, and the way to develop the diaphragm and abdominal muscles, is understood, that is only a begin- ning. Management of the breath is an art in itself. The singer must know what to do with 216 Focal Mastery the breath once he has taken it in, or he may let it out in quarts the moment he opens his mouth. He has to learn how much he needs for each phrase. He learns how to conserve the breath ; and while it is not desirable to hold one tone to attenuation, that the gallery may gasp with astonishment, as some singers do, yet it is well to learn to do all one conveniently can with one inhalation, provided the phrase permits it. TECHNICAL MATERIAL "I give many vocalizes and exercises, which I invent to fit the needs of each pupil. I do not require them to be written down, simply remembered. At the next lesson quite a dif- ferent set of exercises may be recommended. I also make exercises out of familiar tunes or themes from operatic airs. It will be found that technical material in the various manuals is often chosen from such sources, so why not use them in their original form. Thus while the student is studying technic he is also ac- quiring much beautiful material, which will be of great value to him later on. THE STUDY OF REPERTOIRE "Repertoire is a wide subject and offers a fascinating study to the vocal student. He David Bispham 217 must have both imagination and sentiment, also the ability to portray, through movement and facial expression, the various moods and states of feeling indicated by words and music. "In taking up a new roLe, I read the story to get at the kernel or plot, and see what it means. The composer first saw the words of poem or libretto, and these suggested to him suitable music. So the singer begins his work by carefully reading the words. "I then ha,ve the music of the whole work played for me on the piano, so as to discover its trend and meaning its content. If the composer is available I ask him to do this. I next begin to study my own part in detail, not only the important sections but the little bits, which seem so small, but are often so dif- ficult to remember." CHARACTERIZATION Under this head the singer spoke at length of the difficulty some singers encounter when they endeavor to portray character, or differ- entiate emotions. There is endless scope in this line, to exercise intelligence and imagina- tion. "Some singers," continued the artist, "seem incapable of characterizing a role or song. 218 Focal Mastery They can do what I call 'flat work,' but can- not individualize a role. A singer may have a beautiful voice yet not be temperamental; he may have no gift for acting, nor be able to do character work. "At the present moment I am preparing several new roles, three of them are of old men. It rests with me to externalize these three in such a way that they shall all be different, yet consistent with the characters as I understand them. Each make-up must be distinctive, and my work is to portray the parts as I see and feel them. I must get into the skin of each character, so to say, then act as I conceive that particular person would behave under like cir- cumstances. Many singers cannot act, and most actors cannot sing. When the two are combined we have a singing actor, or an actor- singer. Once there was a popular belief that it was not necessary for the singer to know 7 much about acting if he only had a voice and could sing. The present is changing all that. Many of us realize how very much study is required to perfect this side of our art. "In this connection I am reminded of my London debut. I was to make it with the Royal English Opera Company. They heard me three times before deciding to take me on. David Bispham 219 With this formality over, rehearsals began. I soon found that my ideas of how my role an important one was to be acted, did not always coincide with the views of the stage director, and there were ructions. The man- ager saw how things were going, and advised me to accept seemingly the ideas of the stage director during rehearsals, but to study act- ing with the highest authorities and then work out the conception after my own ideas. Ac- cordingly, I spent an hour daily, before the morning rehearsal, with one of the finest actors of comedy to be found in London. Later in the day, after rehearsal, I spent another hour with a great tragic actor. Thus I worked in both lines, as my part was a mixture of the tragic and the comic. I put in several weeks of very hard work in this way, and felt I had gained greatly. Of course this was entirely on the histrionic side, but it gives an idea of the preparation one needs. "When the day of the dress rehearsal ar- rived, I appeared on the scene in full regalia, clean shaven ( I had been wearing a beard un- til then) , and performed my role as I had con- ceived it, regardless of the peculiar ideas of the stage director. At the first performance I made a hit, and a little later was engaged for 220 Focal Mastery grand opera at Covent Garden, where I re- mained for ten years. KNOWLEDGE OF ANATOMY "While I believe in understanding one's anatomy sufficiently for proper tone produc- tion, and all that goes with it, there are many peculiar and unnecessary fads and tricks re- sorted to by those who call themselves teachers of singing. The more fantastic the theories inculcated by these people, the more the un- wary students seem to believe in them. Peo- ple like to be deluded, you know. But I am not able to gratify their desires in this direc- tion; for I can't lie about music! "I was present at a vocal lesson given by one of these so-called instructors. 'You must sing in such a way that the tone will seem to come out of the back of your head,' he told the pupil, and he waved his arms about his head as though he were drawing the tone out visibly. Another pupil was placed flat on his back, then told to breathe as though he were asleep, and then had to sing in that position. Another teacher I know of makes pupils eject spit-balls of tissue paper at the ceiling, to learn the alleged proper control of the breath. What criminal nonsense this is! David Bispham 221 "As I have said, I believe in knowing what is necessary about anatomy, but not in too great measure. A new book will soon be is- sued, I am told, which actually dissects the human body, showing every bone and muscle in any way connected w r ith breath or voice. All this may be of interest as a matter of re- search, but must one go into such minutiae in order to teach singing? I think the answer must ever be in the negative. You might as well talk to a gold-fish in a bowl- and say: 'If you desire to proceed laterally to the right, kindly oscillate gently your sinister dor- sal fin, and you will achieve the desired result.' Oh, Art, what sins are committed in thy name!" IN THE STUDIO It is often affirmed that an artist finds ex- perience the best teacher. It must be equally true that the artist-teacher of wide experience in both performance and instruction, should be a safe guide, just because of this varied expe- rience. I was impressed with this fact when I re- cently had the privilege of visiting Mr. Bis- pham's studio during lesson hours, and listen- ing to his instruction. A most interesting 222 Vocal Mastery sanctum is this studio, filled as it is with souv- enirs and pictures of the artist's long career on the operatic stage. Here hangs a drawing in color of Bispham as Telramund, in shining- chain armor ; there a life-size portrait as "Bee- thoven," and again as himself. In the midst of all is the master, seated at a table. In front of him, at the piano, stands the student. It is an English song she is at work on, for Mr. Bispham thoroughly believes in mastering English as well as other languages. How alert he is as he sits there; how keen of eye and ear. Not the slightest fault escapes him. He often sings the phrase himself, then calls for its repetition. "Sing that passage again; there is a tone in it that is not pleasant not well-sounding; make it beautiful!" "Careful of your con- sonants there, they are not distinct; let them be clearer, but don't make them over distinct." "Don't scoop up the ends of the phrases; make the tones this way"; and he illustrates repeat- edly. "Sing this phrase in one breath if you can, if not, breathe here indicating the place. The student now takes up an Italian aria. Of course the master teacher has no need of printed score; he knows the arias by heart. David Bis pit am 223 He merely jots down a few remarks on a slip of paper, to be referred to later. The aria goes quite well. At its close the singer goes to her seat and another takes her place. A voice of rich, warm timbre. More English and it must be most exact, to suit Mr. Bispham's fastidious ear. "Make the word fire in one syllable, not two. Do not open the mouth quite so wide on the word desire, for, by doing so you lose the balance and the tone is not so good." VOCALIZES Another student with a fine tenor was asked to vocalize for a number of minutes. He sang ascending and descending tone-fig- ures, sometimes doing them in one breath, at others taking a fresh breath at top. Some of the syllables used were: la, ma, may, and mi. He, then sang single tones, swelling and dimin- ishing each. It was found that passing from forte to piano was much more difficult than swelling from soft to loud. The aria "Be not afraid," was now taken up ; it was pronounced one of the most difficult solos ever written, and a very valuable composition for vocal training. "You sing that phrase too loud," cautioned 224 Vocal Mastery the instructor. "This is not a human being who is speaking, rather it is a heavenly voice. That high note of the phrase should be made softer, more ethereal. Make it a young tone put the quality of Spring into it. The whole thing should be more spiritual or spir- itualized. Now go through it again from be- ginning to end." When this was finished a halt was called; there had been enough work done for that day. Soon the class was dismissed. The young singers some if not all of them known upon the concert stage filed out. One young woman remained ; she was to have a drama les- son. The master of singing showed himself equally efficient as master of English diction for the spoken drama. And here, for a time, we must leave him at his work. XXIII OSCAR SAENGER USE OF RECORDS IN VOCAL STUDY MR. OSCAR SAENGER has been termed "maker of artists," since a number of our great singers have come from under his capable hands. He has a rare gift for imparting in- struction in a way that is concise and convinc- ing. A man of wide experience, profound knowledge of his subject, commanding person- ality and winning courtesy, he impresses all who come within his radius that he knows whereof he speaks. A man who "knows what he knows" is one to be followed. Mr. Saenger had just returned from a sea- son of travel over America as far as the Coast. A most profitable trip he called it, filled with many interesting and unique experiences. He had been lecturing also, in a number of cities, on his new method of vocal study with the aid of the Victor Talking Machine. When he learned I had come expressly to ask for his ideas on vocal technic and study, he said: "I think you will be interested to hear about 225 226 Vocal Mastery my latest hobby, the study of singing with the aid of records." Then he plunged at once into the most absorbingly interesting account of his ideas and achievements in this line I had ever listened to. TEACHER, ARTIST AND ACCOMPANIST IN ONE "This is my own idea, of combining the teacher, artist and accompanist in one trinity," he began. "And, by the way, my idea is now patented in Washington. It is the result of nine years' thought and labor, before the idea could be brought out in its finished form. The design has been to make the method and its elucidation so simple that the girl from a small town can understand it. "The method consists of twenty lessons for each of the five kinds of voices: Soprano, Mezzo-Soprano, Tenor, Baritone and Bass. Each portfolio holds twenty records, together with a book containing minute directions for studying and using the records. I believe that any one, with good intelligence, who wishes to learn to sing, can take the book and records and begin his studies, even though he has never sung before. He can thus prepare himself for future lessons. For you must understand this method is not meant to replace the teacher, but Oscar Saenycr 227 to aid the teacher. I can assure you it aids him in ways without number. It gives him a perfect exemplar to illustrate his principles. If he be fatigued, or unable to sing the passage in question, here is an artist who is never wearied, who is always ready to do it for him. I myself constantly use the records in my les- sons. If I have taught a number of consecu- tive hours, it is a relief to turn to the artist's record and save my own voice. SIMPLICITY "As I have said, the design has been to make everything plain and simple. I wrote the book and sent it to the Victor people. They re- turned it, saying I had written an excellent book, but it was not simple enough. They proposed sending a man to me who was neither a musician nor a singer. If I could make my meaning clear enough for him to understand, it was likely the girl from a little Western town could grasp it. "So this man came and we worked together. If I talked about head tones, he wanted to know what I meant; if about throaty tones, I had to make these clear to him. When he un- derstood, I was sure any one could understand. "Thus the books as they stand came into 228 Focal Mastery being. The records themselves represent an immense amount of care and effort. Will you believe we had to make over two thousand in order to secure the one hundred needed for the present series ? The slightest imperfection is enough to render an otherwise perfect record useless. Even the artists themselves would sometimes become discouraged at the enormous difficulties. It is nerve-racking work, for one must be on tension all the time. IMITATION A FUNDAMENTAL PRINCIPLE "If you are interested, I will go a little more into detail. The main idea of this unique method of study, is imitation. Every human being likes to imitate from the tiny child to the adult. Acting upon this idea, we take the artist as model. Everything the model does, the student strives to imitate. By means of the record, it is possible for the student to do this over and over again, until he has learned to copy it as accurately as it is possible. And here is where the knowledge and experience of the teacher come in. During the lesson he tests each tone, each phrase, advising the pupil how nearly he approaches the perfect model, or showing him his faults and why he does not succeed in imitating the model more correctly." Oscar Saenger 229 FOR BEGINNERS "Do you mean to say, Mr. Saenger, that this method of vocal study can be taken up by one who knows really nothing of the voice, or sing- ing, and can be used with success; that such a person can become a singer through self- study?" "It is indeed possible," was the answer; "and it is being done every day. If the student has much intelligence, determination and concen- tration, she can learn to sing from these direc- tions and these records. They are a great boon to young aspirants in small towns, where there are really no good teachers. In such places local teachers can study and teach from these records. "Again, you often find people too shy, or too ashamed to go to a teacher for a voice trial or lessons. They want to sing every one would like to do that ; but they don't know how to go at it. With these records they can begin to study, and thus get ready for later lessons. With these records those who are far from a music center can have the benefit of expert in- struction at small cost. I might work with a pupil for several months in the ordinary way without the records and not be able to teach 230 Focal Mastery him even with half the accuracy and quickness obtainable by the new method. "All singers know how important, how nec- essary it is to have services of an expert accom- panist. The student of this method has one at hand every hour of the day; a tireless accom- panist, who is willing to repeat without com- plaint, as often as necessary. THE SPEAKINb VOICE "A very important branch of the work, for the would-be singer, is to cultivate the speak- ing voice. Tones in speaking should always be made beautiful and resonant. Even in chil- dren a pleasant quality of voice in speaking can be acquired. Mothers and teachers can be trained to know and produce beautiful tones. The ear must be cultivated to know a pure, beautiful tone and to love it. BREATHING EXERCISES "The management of the breath is a most important factor, as the life of the tone de- pends on the continuance of the breath. The student must cultivate the power of quickly in- haling a full breath and of exhaling it so grad- Oscar Saenger 231 ually that she can sing a phrase lasting from ten to twenty seconds. This needs months of arduous practice. In all breathing, inhale through the nose. The lower jaw during sing- ing should be entirely relaxed. "The tone should be focused just back of the upper front teeth. The way to place the tone forward is to think it forward. The student must think the tone into place. "To 'attack' a tone is to sing it at once, with- out any scooping, and with free open throat. When the throat is tightened the student loses power to attack her tones in the right way. PHRASING "Phrasing, in a limited sense, is simply musi- cal punctuation. In its broader sense it is al- most synonymous with interpretation. For it has to do not only with musical punctuation but with the grouping of tones and words in such a way that the composition is rendered in- telligible as a whole, so as to express the ideas of the composer. This is where the intellec- tual and musical qualities of the singer are brought into requisition. She must grasp the content, whether it be song or aria, in order to effect this grouping intelligently. Accent, crescendo and diminuendo are the most impor- 232 Focal Mastery tant factors in phrasing. From the very be- ginning the student should be careful how and where she takes breath and gives accent; there must always be a reason, and thought will gen- erally make the reason clear. TONE PRODUCTION "The first thing to be considered is the posi- tion of the body; for beauty of tone cannot be obtained unless all efforts harmonize to pro- duce the desired result. An easy, graceful, buoyant position is essential; it can be culti- vated in front of a mirror, from the first lesson. "Tone production is the result of thought. Picture to yourself a beautiful tone ; sing it on the vowel Ah. If you stood in rapture before an entrancing scene you would exclaim, Ah, how beautiful. Producing a beautiful tone rests on certain conditions. First, breath con- trol; Second, Freedom of throat; Third, Cor- rect focus of tone. "We know that a stiff jaw and tongue are the greatest hindrances to the emission of good tone. Muscles of chin and tongue must be trained to become relaxed and flexible. Do not stiffen the jaw or protrude the chin, else your appearance will be painful and your tones faulty. Oscar Saenger 233 "To think the tone forward is quite as impor- tant as to sing it forward. Without the men- tal impression of correct placing, the reality cannot exist. It is much better to think the tone forward for five minutes and sing one minute, than to practice the reverse. One should practice in fifteen-minute periods and rest at least ten minutes between. The stu- dent should never sing more than two hours a day one in the morning and one in the after- noon. As most singers love their work, many are inclined to overdo. "Do not tamper with the two or three ex- treme upper or lower tones of your voice lest you strain and ruin it permanently. Never practice when suffering from a cold. "Ideal attack is the tone which starts with- out any scooping, breathiness or explosiveness. Breathe noiselessly, the secret of which is to breathe from down, up. Faulty emissions of tone are: nasal, guttural, throaty and tremu- lous. I will give you examples of all these from the record No. 33, which will show you first the fault and then the perfect example. If the pupil studies these perfect emissions of tone and tries to imitate them, there is no need for her to have the common faults mentioned. 234 Focal Mastery SUSTAINED TONES "The next step is to study sustained tones. As you see the artist begins in the middle of her voice always the best way and sings a whole tone on A, with the syllable Ah, always waiting a whole measure for the pupil to imi- tate the tone. Next she sings A flat and so on down to lower A, the pupil imitating each tone. She now returns to middle A and ascends by half steps to E natural, the pupil copying each tone after it is sung by the artist. "The tone should be free, round and full, but not loud, and the aim be to preserve the same quality throughout. Do not throw or push the tone, but spin it. UNITING SEVERAL TONES "We first begin by uniting two tones, smoothly and evenly, then three in the same way. After each pair or group of tones, the accompaniment is repeated and the pupil imi- tates what the artist has just sung. Now comes the uniting of five tones, up and down; after this the scale of one octave. The scale should be sung easily with moderate tone qual- ity. A slight accent can be given to the first and last tones of the scale. We all realize the Oscar Saenger 235 scale is one of the most important exercises for the building of the voice; the preceding exer- cises have prepared for it. ARPEGGIOS "For imparting flexibility to the voice, noth- ing can exceed the Arpeggio, but like all vocal exercises, it must be produced with precision of tone, singing each interval clearly, with careful intonation, always striving for beauty of tone. "There are various forms of arpeggios to be used. The second form is carried a third above the octave ; the third form a fifth above. This makes an exercise which employs every tone in the scale save one, and gives practice in rapid breathing. Remember, that the note before, taking breath is slightly shortened, in order to give time for taking breath, without disturbing the rhythm. THE TRILL "The trill is perhaps the most difficult of all vocal exercises, unless the singer is blessed with a natural trill, which is a rare gift. We begin with quarter notes, then add eighths and six- teenths. This exercise, if practiced daily, will produce the desired result. It is taken on each tone of the voice trilling in major seconds. 236 Focal Mastery VOCALIZES "The purpose of vocalizes is to place and fix the voice accurately and to develop taste, while singing rhythmically and elegantly. The rec- ords give some Concone exercises, ably inter- preted by one of our best known voices. You hear how even and beautiful are the tones sung, and you note the pauses of four measures be- tween each phrase, to allow the student to re- peat the phrase, as before. "I firmly believe this method of study is bound to revolutionize vocal study and teach- ing. You see it goes to the very foundation, and trains the student to imitate the best models. It even goes farther back, to the chil- dren, teaching them how to speak and sing cor- rectly, always making beautiful tones, without harshness or shouting. Young children can learn to sing tones and phrases from the rec- ords. Furthermore, I believe the time is com- ing when the technic and interpretation of every instrument will be taught in this way. "It is my intention to follow up this set of foundational records by others which will dem- onstrate the interpretation of songs and arias as they are sung by our greatest artists. The outlook is almost limitless. Oscar Saenger 237 "And now, do you think I have answered your questions about tone production, breath control and the rest ? Perhaps I have, as con- vincingly as an hour's talk can do." XXIV HERBERT WITHERSPOON MEMORY, IMAGINATION, ANALYSIS No doubt the serious teacher, who may be occupied in any branch of musical activity, has often pictured to himself what an ideal institu- tion of musical art might be like, if all students assembled should study thoroughly their par- ticular instrument, together with all that per- tained to it. They should by all means possess talent, intelligence, industry, and be far re- moved from a superficial attitude toward their chosen field. The studio used for instruction in this imagined institution, should also be ideal, quiet, airy, homelike, artistic. Some such vision perhaps floats before the minds of some of us teachers, when we are in the mood to dream of ideal conditions under which we would like to see our art work con- ducted. It has been possible for Mr. Herbert With- erspoon, the distinguished basso and teacher, to. make such a dream-picture come true. For he has established an institution of vocal art 238 Herbert Witherspoon 239 in effect if not in name where all the subjects connected with singing, are considered and taught in the order of their significance. Not less ideal is the building which contains these studios, for Mr. Witherspoon has fitted up his private home as a true abiding place for the muse. At the close of a busy day, marked like all the rest with a full complement of lessons, the master teacher was willing to relax a little and speak of the work in which he is so deeply ab- sorbed. He apologized for having run over the time of the last lesson, saying he never could teach by the clock. "I do not like to call this a school," he began, "although it amounts to one in reality, but only in so far as we take up the various subjects connected with vocal study. I consider lan- guages of the highest importance; we have them taught here. There are classes in analy- sis, in pedagogy teaching teachers how to in- struct others. We have an excellent master for acting and for stage deportment: I advise that students know something of acting, even if they do not expect to go in for opera; they learn how to carry themselves and are more graceful and self-possessed before an audience. "The work has developed far beyond my ex- 240 Focal Mastery pectations. There are over two hundred stu- dents, and I have eight assistants, who have been trained by me and know my ways and methods. Some of these give practice lessons to students, who alternate them with the les- sons given by me. These lessons are quite rea- sonable, and in combination with my work, give the student daily attention. "My plan is not to accept every applicant who comes, but to select the most promising. The applicants must measure up to a certain standard before they can enter. To this one fact is due much of our success." "And what are these requirements?" "Voice, to begin with; youth (unless the idea is to teach), good looks, musical intelligence, application. If the candidate possesses these requisites, we begin to work. In three months' time it can be seen whether the student is mak- ing sufficient progress to come up to our stand- ard. Those who do not are weeded out. You can readily see that as a result of this weeding process, we have some very good material and fine voices to work with. "We have many musicals and recitals, both public and private, where young singers have an opportunity to try their wings. There is a most generous, unselfish spirit among the stu- Herbert Witherspoon 241 dents; they rejoice in each others' success, with never a hint of jealousy. We have had a num- ber of recitals in both ^Bolian and Carnegie Halls, given by the artist students this season. On these occasions the other students always attend and take as much interest as though they were giving the recital themselves." BEL CANTO "You have remarked lately that 'singers are realizing that the lost art of bel canto is the thing to strive for and they are now searching for it.' Can you give a little more light on this point?" "I hardly meant to say that in any sense the art of bel canto was lost; how could it be? Many singers seem to attach some uncanny significance to the term. Bel canto means sim- ply beautiful singing. When you have per- fect breath control, and distinct, artistic enun- ciation, you will possess bel canto, because you will produce your tones and your words beau- tifully. "Because these magic words are in the Ital- ian tongue does not mean that they apply to something only possessed by Italians. Not at all. Any one can sing beautifully who does so with ease and naturalness, the American just 242 Focal Mastery as well as those of any other countries. In fact I consider American voices, in general, better trained than those of Italy, Germany or France. The Italian, in particular, has very little knowledge of the scientific side; he usually sings by intuition. "We ought to have our own standards in judging American voices; until we do so, we will be constantly comparing them with the voices of foreign singers. The quality of the American voice is different from the quality found in the voices of other countries. To my mind the best women's voices are found right here in our midst. MEMORY "I have also said that there are three great factors which should form the foundation stones upon which the singer should rear his structure of musical achievement. These fac- tors are Memory, Imagination, Analysis. I have put memory first because it is the whole thing, so to say. The singer without mem- ory a cultivated memory does not get far. Memory lies at the very foundation of his work, and must continue with it the whole journey through, from the bottom to the top. In the beginning you think a beautiful tone, Herbert Witherspoon 243 you tiy to reproduce it. When you come to it again you must remember just how you did it before. Each time you repeat the tone this effort of memory comes in, until at last it has become second nature to remember and pro- duce the result; you now begin to do so auto- matically. "As you advance there are words to remem- ber as well as notes and tones. Memory, of course, is just as necessary for the pianist. He must be able to commit large numbers of notes, phrases and passages. In his case there are a number of keys to grasp at once, but the singer can sing but one tone at a time. Both notes and words should be memorized, so the singer can come before the audience without being confined to the printed page. When acting is added there is still more to remember. Back of memory study lies concentration; without concentration little can be accom- plished in any branch of art. IMAGINATION "The central factor is imagination; what can be done without it! Can you think of a musician, especially a singer, without imagina- tion ? He may acquire the letter that is, exe- cute the notes correctly, but the performance is 244 Vocal Mastery dead, without life or soul. With imagination he comprehends what is the inner meaning of the text, the scene ; also what the composer had in mind when he wrote. Then he learns to ex- press these emotions in his own voice and ac- tion, through the imaginative power, which will color his tones, influence his action, render his portrayal instinct with life. Imagination in some form is generally inherent in all of us. If it lies dormant, it can be cultivated and brought to bear upon the singer's work. This is absolutely essential. ANALYSIS "I have put analysis last because it is the crowning virtue, the prime necessity. We study analysis here in the studios, learning how to separate music into its component parts, to- gether with simple chord formations, general form and structure of the pieces, and so on. Can you comprehend the dense ignorance of many music students on these subjects? They will come here to me, never having analyzed a bit of music in their lives, having not an inkling of what chord structure and form in music mean. If they played piano even a little, they could hardly escape getting a small notion of chord formation. But frequently vocal stu- Herbert Wither spoon 245 dents know nothing of the piano. They are too apt to be superficial. It is an age of super- ficiality and cramming: we see these evils all the way from the college man down. I am a Yale man and don't like to say anything about college government, yet I cannot shut my eyes to the fact that men may spend four years going through college and yet not be educated when they come out. Most of us are in too much of a hurry, and so fail to take time enough to learn things thoroughly; above all we never stop to analyze. "Analysis should begin at the very outset of our vocal or instrumental study. We analyze the notes of the music we are singing, and a little later its form. We analyze the ideas of the composer and also our own thoughts and ideas, to try and bring them in harmony with his. After analyzing the passage before us, we may see it in a totally different light, and so phrase and deliver it with an entirely differ- ent idea from what we might have done with- out this intelligent study." CONSCIOUS OR UNCONSCIOUS CONTROL "Do you advise conscious action of the parts comprising the vocal instrument, or do you pre- fer unconscious control of the instrument, with 246 Vocal Mastery thought directed to the ideal quality in tone production and delivery?" was asked. "By all means unconscious control," was the emphatic answer. "We wish to produce beau- tiful sounds ; if the throat is open, the breathing correct, and we have a mental concept of that beautiful sound, we are bound to produce it. It might be almost impossible to produce cor- rect tones if we thought constantly about every muscle in action. There is a great deal of non- sense talked and written about the diaphragm, vocal chords and other parts of the anatomy. It is all right for the teacher who wishes to be thoroughly trained, to know everything there is to know about the various organs and mus- cles; I would not discourage this. But for the young singer I consider it unnecessary. Think supremely of the beautiful tones you desire to produce; listen for them with the outer ear and the inner ear that is to say mentally and you will hear them. Mean- while, control is becoming more and more ha- bitual, until it approaches perfection and at last becomes automatic. When that point is reached, your sound producing instrument does the deed, while your whole attention is fixed on the interpretation of a master work, Herbert Witherspoon 247 the performance of which requires your undi- vided application. If there is action, you con- trol that in the same way until it also becomes automatic; then both singing and acting are spontaneous." DOES THE SINGER HEAR HIMSELF? This question was put to Mr. Witherspoon, who answered : "The singer of course hears himself, and with study learns to hear himself better. In fact I believe the lack of this part of vocal training is one of the greatest faults of the day, and that the singer should depend more upon hearing the sound he makes than upon feeling the sound. In other words, train the ear, the court of ultimate resort, and the only judge and forget sensation as much as possible, for the latter leads to a million confusions. "Undoubtedly a singer hears in his own voice what his auditors do not hear, for he also hears with his inner ear, but the singer must learn to hear his own voice as others hear it, which he can do perfectly well. Here we come to analy- sis again. "The phonograph records teach us much in this respect, although I never have considered 248 Focal Mastery that the phonograph reproduces the human voice. It comes near it in some cases, utterly fails in others, and the best singers do not al- ways make the best or most faithful reproduc- tions." XXV YEATMAN GRIFFITH CAUSATION "THE causation of beautiful singing can only be found through a pure and velvety produc- tion of the voice, and this is acquired in no other way than by a thorough understanding of what constitutes a perfect beginning that is the attack or start of the tone. If the tone has a perfect beginning it must surely have a perfect ending." Thus Mr. Yeatman Griffith began a confer- ence on the subject of vocal technic and the art of song. He had had a day crowded to. the brim with work although all days were usually alike filled yet he seemed as fresh and unwearied as though the day had only just begun. One felt that here was a man who takes true satisfaction in his work of imparting to others; his work is evidently not a tiresome task but a real joy. Mrs. Griffith shares this joy of work with her husband. "It is most ideal," she says; "we have so grown into it to- gether; we love it." 249 250 Focal Mastery As is well known, this artist pair returned to their home land at the outbreak of the war, after having resided and taught for five years in London, and previous to that for one year in Florence, Italy. Of course they were both singers, giving recitals together, like the Hen- schels, and appearing in concert and oratorio. But constant public activity is incompatible with a large teaching practice. One or the other has to suffer. "We chose to do the teaching and sacrifice our public career," said Mr. Griffith. During the five years in which these artists have resided in New York, they have accomplished much; their influence has been an artistic impulse toward the ideals of beautiful singing. Among their many artist pupils who are making names for themselves, it may be mentioned that Florence Macbeth, a charming coloratura soprano, owes much of her success to their careful guidance. "Michael Angelo has said," continued Mr. Griffith, "that 'a perfect start is our first and greatest assurance of a perfect finish.' And nowhere is this precept more truly exemplified than in vocal tone production. The tone must have the right beginning, then it will be right all through. A faulty beginning is to blame for most of the vocal faults and sins of singers. Yeatman Griffith 251 Our country is full of beautiful natural voices ; through lack of understanding many of them, even when devoting time and money to study, never become more than mediocre, when they might have developed into really glorious voices if they had only had the right; kind of treatment. TONE PLACEMENT "We hear a great deal about tone placement in these days; the world seems to have gone mad over the idea. But it is an erroneous idea. How futile to attempt to place the tone in any particular spot in the anatomy. You can focus the tone, but you cannot place it. There is but one place for it to come from and no other place. It is either emitted with artistic effect or it is not. If not, then there is stiff- ness and contraction, and the trouble ought to be remedied at once. "Every one agrees that if the vocal instru- ment were something we could see, our task would be comparatively easy. It is because the instrument is hidden that so many false theories about it have sprung up. One teacher advocates a high, active chest; therefore the chest is held high and rigid, while the abdom- inal muscles are deprived of the strength 252 Focal Mastery they should have. Another advises throwing the abdomen forward ; still another squares the shoulders and stiffens the neck. These things do not aid in breath control in the least ; on the contrary they induce rigidity which is fatal to easy, natural tone emission. IN THE BEGINNING "When the pupil comes to me, we at once establish natural, easy conditions of body and an understanding of the causes which produce good tone. We then begin to work on the vowels. They are the backbone of good sing- ing. When they become controlled, they are then preceded by consonants. Take the first vowel, A; it can be preceded by all the conso- nants of the alphabet one after another, then each vowel in turn can be treated in the same way. We now have syllables ; the next step is to use words. Here is where difficulties some- times arise for the student. The word be- comes perfectly easy to sing if vowels and con- sonants are properly produced. When they are not, words become obstacles. Correct un- derstanding will quickly obviate this. Yeatman Griffith 253 BREATH CONTROL "Breath control is indeed a vital need, but it should not be made a bugbear to be greatly feared. The young student imagines he must inflate the lungs almost to bursting, in order that he may take a breath long enough to sing a phrase. Then, as soon as he opens his lips, he allows half the air he has taken in to escape, before he has uttered a sound. With such a beginning he can only gasp a few notes of the phrase. Or he distends the muscles at the waist to the fullest extent and fancies this is the secret of deep breathing. In short, most stu- dents make the breathing and breath control a very difficult matter indeed, when it is, or should be an act most easy and natural. They do not need the large quantity of breath they imagine they do; for a much smaller amount will suffice to do the work. I tell them, 'Inhale simply and naturally, as though you inhaled the fragrance of a flower. And when you open your lips after this full natural breath, do not let the breath escape; the vocal chords will make the tone, if you understand how to make a perfect start. If the action is correct, the vocal chords will meet; they will not be held apart nor will they crowd each other. Allow 2o4 Vocal Mastery the diaphragm and respiratory muscles to do their work, never forcing them; then you will soon learn what breath control in singing means. Remember again, not a particle of breath should be allowed to escape. Every other part of the apparatus must be permitted to do its work, otherwise there will be interfer- ence somewhere.' CAUSATION "Everything pertaining to the study of vocal technic and the art of singing may be summed up in the one word Causation. A cause un- derlies every effect. If you do not secure the quality of tone you desire, there must be a rea- son for it. You evidently do not understand the cause which will produce the effect. That is the reason why singers possessing really beautiful voices produce uneven effects and va- riable results. They may sing a phrase quite perfectly at one moment. A short time after they may repeat the same phrase in quite a dif- ferent way and not at all perfectly. One night they will sing very beautifully ; the next night you might hardly recognize the voice, so changed would be its quality. This would not be the case if they understood causation. A student, rightly taught, should know the cause Ye at man Griffith 255 for everything he does, how he does thus and so and why he does it. A singer should be able to produce the voice correctly, no matter in what position the role he may be singing may require the head or body to be in. In opera the head or body may be placed in difficult un- natural positions, but these should not interfere with good tone production. "I am asked sometimes if I teach registers of the voice. I can say decidedly no, I do not teach registers. The voice should be one and entire, from top to bottom, and should be pro- duced as such, no matter in w r hat part of the voice you sing. Throughout the voice the same instrument is doing the work. So, too, with voices of different caliber, the coloratura, lyric and dramatic. Each and all of these may feel the dramatic spirit of the part, but the lighter quality of the voice may prevent the coloratura from expressing it. The world rec- ognizes the dramatic singer in the size of the voice and of the person. From an artistic point of view, however, there are two ways of looking at the question, since the lyric voice may have vivid dramatic instincts, and may be able to bring them out with equal or even 256 Focal Mastery greater intensity than the purely dramatic organ. VOCAL MASTERY "Vocal Mastery is acquired through correct understanding of what constitutes pure vowel sounds, and such control of the breath as will enable one to convert every atom of breath into singing tone. This establishes correct action of the vocal chords and puts the singer in pos- session of the various tints of the voice. "When the diaphragm and respiratory mus- cles support the breath sufficiently and the vocal chords are permitted to do their work, you produce pure tone. Many singers do not understand these two vital principles. They either sing with too much relaxation of the dia- phragm and respiratory muscles, or too much rigidity. Consequently the effort becomes lo- cal instead of constitutional, which renders the tone hard and strident and variable to pitch. Again the vocal chords are either forced apart or pinched together, with detriment to tone production. "The real value of control is lost when we attempt to control the singing instrument and the breath by seeking a place for the tone the singing instrument produces. When the vo- Yeatman Griffith 257 cal chords are allowed to produce pure vowels, correct action is the result and with proper breath support, Vocal Mastery can be as- sured." XXVI J. H. DUVAL SOME SECRETS OF BEAUTIFUL SINGING A YOUNG French girl had just sung a group of songs in her own language and had won ac- claim from the distinguished company present. They admired the rich quality of her voice, her easy, spontaneous tone production and clear diction. A brilliant future was predicted for the young singer. One critic of renown re- marked : "It is a long time since I have heard a voice so well placed and trained." "And who is your teacher?" she was asked. "It is Mr. Duval; I owe everything to him. He has really made my voice ; I have never had another teacher and all my success will be due to him," she answered. We at once expressed a desire to meet Mr. Duval and hear from his own lips how such results were attained. A meeting was easily arranged and we ar- rived at the appointed hour, just in time to hear one of the brilliant students of this American-French singing master. 258 J. H. Duval 259 Mr. Duval is young, slim and lithe of figure, with sensitive, refined features, which grow very animated as he speaks. He has a rich fund of humor and an intensity of utterance that at once arrests the listener. He came for- ward to greet the visitor with simple cordiality, saying he was pleased we could hear one of his latest "finds." The young tenor was at work on an air from Tosca. His rich, vibrant voice, of large power and range and of real Caruso-like qual- ity, poured forth with free and natural emis- sion. With what painstaking care this wise teacher aided him to mold each tone, each phrase, till it attained the desired effect. Being a singer himself, Mr. Duval is able to show and demonstrate as well as explain. He does both with the utmost clearness and with unfailing interest and enthusiasm. Indeed his interest in each pupil in his charge is unstinted. The lesson over, Mr. Duval came over to us. "There is a singer I shall be proud of," he said. "Several years ago I taught him for a few months, giving him the principles of voice placement and tone production. This was in Europe. I had not seen him since then till re- cently, when circumstances led Jiim to New York. He never forgot what he had previ- 260 Focal Mastery ously learned with me. He now has a lesson every day and is a most industrious worker. I believe he has a fortune in that voice. Xext season will see him launched, and he will surely make a sensation." "Will you give some idea of the means by which you accomplish such results?" "The means are very simple and natural. So many students are set on the wrong track by being told to do a multitude of things that are unnecessary, even positively harmful. For instance, they are required to sing scales on the vowels, A, E, I, O, U. I only use the vowel Ah, for exercises, finding the others are not needed, especially excluding E and U as injurious. Indeed one of the worst things a young voice can do is to sing scales on E and U, for these contract the muscles of the lips. Another injurious custom is to sing long, sus- tained tones in the beginning. This I do not permit. "After telling you the things I forbid, I must enlighten you as to our plan of study. "The secret of correct tone emission is entire relaxation of the lips. I tell the pupil, the be- ginner, at the first lesson, to sing the vowel Ah as loudly and as deeply as possible, thinking constantly of relaxed lips and loose lower jaw. J. H. Duval 261 Ah is the most natural vowel and was used ex- clusively in the old Italian school of Bel Canto. Long sustained tones are too difficult. One should sing medium fast scales at first. If we begin with the long sustained tone, the young singer is sure to hold the voice in his throat, or if he lets go, a tremolo will result. Either a throaty, stiff tone or a tremolo will result from practicing the single sustained tone. "Singing pianissimo in the beginning is an- other fallacy. This is one of the most difficult accomplishments and should be reserved for a later period of development. "The young singer adds to scales various in- tervals, sung twice in a breath, beginning, not at the extreme of the lower voice, but carried up as high as he can comfortably reach. I be- lieve in teaching high tones early, and in show- ing the pupil how to produce the head voice. Xot that I am a high tone specialist," he added smiling, "for I do not sacrifice any part of the voice to secure the upper notes. But after all it is the high portion of the voice that requires the most study, and that is where so many singers fail. "The young student practices these first exercises, and others, two half hours daily, at least two hours after eating, and comes to me 262 Vocal Mastery three times a week. I suggest she rest one day in each week, during which she need not sing at all, but studies other subjects connected with her art. As the weeks go by, the voice, through relaxed lips and throat and careful training, grows richer and more plentiful. One can almost note its development from day to day. WORDS IN THE VOICE "When the time comes to use words, the im- portant thing is to put the words in the voice, not the voice in the words, to quote Juliani, the great teacher, with whom I was associated in Paris. More voices have been ruined by the stiff, exaggerated use of the lips in pronounc- ing, than in any other way. When we put the words in the voice, in an easy, natural way, we have bel canto. "Another thing absolutely necessary is breath support. Hold up the breath high in the body, for high tones, though always with the throat relaxed. This point is not nearly enough insisted upon by teachers of singing. "The points I have mentioned already prove that a vocal teacher who desires the best results in his work with others, must know how to sing J. H. Duval 263 himself; he should have had wide experience in concert and opera before attempting to lead others along these difficult paths. Because a man can play the organ and piano and has ac- companied singers is not the slightest cause for thinking he can train voices in the art of song. I have no wish to speak against so-called teach- ers of singing, but say this in the interests of unsuspecting students. "It is impossible," continued Mr. Duval, "to put the whole method of vocal training into a few sentences. The student advances grad- ually and naturally, but surely, from the be- ginnings I have indicated, to the trill, the pizzi- cati, to more rapid scales, to learning the at- tack, and so on. Of course diction plays a large part in the singer's development. With the first song the student learns to put other vowels in the same voice with which the exer- cises on Ah have been sung, and to have them all of the same size, easily and loosely pro- nounced. Never permit the pronunciation to be too broad for the voice. The pronunciation should never be mouthed, but should flow into the stream of the breath without causing a rip- ple. This is bel canto ! "In teaching I advise two pupils sharing the 264 Focal Mastery hour, for while one is singing the other can rest the voice and observe what is being taught. It is too fatiguing to a young voice to expect it to work a full half hour without rest. "I was teaching in my Paris studio for a number of months after the war started, before coming to America. It is my intention, in fu- ture, to divide my time between New York and Paris. I like teaching in the French capital for the reason I can bring out my pupils in opera there. I am also pleased to teach in my own land, for the pleasant connections I have made here, and for the fresh, young American voices which come to me to be trained." VOCAL MASTERY "What is Vocal Mastery? There are so many kinds! Every great artist has his own peculiar manner of accomplishing results his own vocal mastery. Patti had one kind, Maurel another, Lehmann still another. Ca- ruso also may be considered to have his own vocal mastery, inasmuch as he commands a vocal technic which enables him to interpret any role that lies within his power and range. The greatest singer of to-day, Shalyapin, has also his individual vocal mastery, closely re- J. H. Duval 265 sembling the sort that enabled Maurel to run such a gamut of emotions with such astonishing command and resource. "In fine, as every great artist is different from his compeers, there can be no fixed and fast standard of vocal mastery, except the mas- tery of doing a great thing convincingly." XXVII THE CODA A RESUME THE student, seeking light on the many problems of vocal technic, the training for con- cert and opera, how to get started in the profes- sion, and kindred subjects of vital importance, has doubtless found, in the foregoing talks a rich fund of help and suggestion. It is from such high sources that a few words of personal experience and advice, have often proved to be to the young singer a beacon light, showing what to avoid and what to follow. It were well to gather up these strands of suggestion from great artists and weave them into a strong bul- wark of precept and example, so that the stu- dent may be kept within the narrow path of sound doctrine and high endeavor. At the very outset, two points must be borne in mind : 1. Each and every voice and mentality is indi- vidual. 2- The artist has become a law unto himself; it is not possible for him to make rules for others. First, as to difference in voices. When it is considered that the human instrument, unlike any fabricated by the hand of man, is a purely personal instrument, subject to endless varia- tion through variety in formation of mouth and throat cavities, also physical conditions of the anatomy, it is no cause for wonder that the hu- man instrument should differ in each iadivid- ual. Then think of all sorts and conditions of mentality, environment, ambitions and ideals. It is a self evident fact that the vocal instru- ment must be a part of each person, of whom there are "no two alike." Artists in general have strongly expressed themselves on this point: most of them agree with Galli-Curci, when she says: "There are as many kinds of voices as there are persons; therefore it seems to me each voice should be treated in the manner best suited to its posses- sor." "Singing is such an individual thing, after all," says Anna Case; "it is a part of one's very self." "Each person has a different men- tality and a different kind of voice," says Mar- tinelli; "indeed there are as many qualities of voice as there are people." 268 Focal Mastery Granting, then, that there are no two voices and personalities in the world, exactly alike, it follows, as a natural conclusion, that the re- nowned vocalist, who has won his or her way from the beginning up to fame and fortune, realizes that her instrument and her manner of training and handling it are peculiarly per- sonal. As she has won success through certain means and methods, she considers those means belong to her, in the sense that they especially suit her particular instrument. She is then a law unto herself and is unwilling to lay down any laws for others. Geraldine Farrar does not imply there is only one right way to train the voice, and she has found that way. In speaking of her method of study, she says: "These things seem best for my voice, and this is the way I work. But, since each voice is different, my ways might not suit any one else. I have no desire to lay down rules for others ; I can only speak of my own experience." Galli-Curci says: "The singer who under- stands her business must know just how she produces tones and vocal effects'. She can then do them at all times, even under adverse circumstances, when nervous or not in the mood. I have developed the voice and trained it in the way that seemed to me best for it. The Coda 269 How can any other person tell you how that is to be done?" "It rests with the singer what she will do with her voice how she will develop it," re- marks Mme. Homer. Martinelli says : "The voice is a hidden instrument and eventually its fate must rest with its possessor. After gen- eral principles are understood, a singer must work them out according to his ability." Flor- ence Easton remarks: "Each singer who has risen, who has found herself, knows by what path she climbed, but the path she found might not do for another." Instead of considering this reticence on the part of the successful singer, to explain the ways and means which enabled him to reach success, in the light of a selfish withholding of advice which would benefit the young student, we rather look upon it as a worthy and consci- entious desire not to lead any one into paths which might not be best for his or her instru- ment. In the beginning the student needs advice from an expert master, and is greatly benefited by knowing how the great singers have achieved. Later on, when principles have be- come thoroughly understood, the young sing- ers learn what is best for their own voices ; they, 270 Focal Mastery too, become a law unto themselves, capable of continuing the development of their own voices in the manner best suited to this most individ- ual of all instruments. AMERICAN VOICES We often hear slighting things said of the quality of American voices, especially the speaking voice. They are frequently com- pared to the beauty of European voices, to the disparagement of those of our own country. Remembering the obloquy cast upon the Amer- ican voice, it is a pleasure to record the views of some of the great singers on this point. "There are quantities of girls in America with good voices, good looks and a love for music," as- serts Mme. Easton. Mme. Hempel says: "I find there are quantities of lovely voices here in America. The quality of the American fe- male voice is beautiful; in no country is it finer, not even in Italy." Herbert Witherspoon, who has such wonderful experience in training voices, states: "We ought to have our own standards in judging American voices; until we do so, we will be constantly comparing them with the voices of foreign singers. The qual- ity of the American voice is different from the quality found in the voices of other countries. The Coda 271 To my mind, the best women's voices are found right here in our midst." And he adds : "Any one can sing beautifully who does so with ease and naturalness, the American just as well as those of any other country. In fact I consider American voices, in general, better trained than those of Italy, Germany or France. The Ital- ian, in particular, has very little knowledge of the scientific side; he usually sings by intui- tion." AMERICAN VOICE TEACHERS If this be accepted, that American voices are better trained than those of other countries, and there is no reason to doubt the statement of masters of such standing, it follows there must be competent instructors in the art of song right in our own land. Mme. Easton agrees with this. "There are plenty of good vocal teachers in America," she says, "not only in New York City, but in other large cities of this great country. There is always the problem, however, of securing just the right kind of a teacher. For a teacher may be excellent for one voice but not for another." Morgan Kingston asserts: "There is no need for an American to go out of his own country for vocal instruction or languages; all can be 272 Focal Mastery learned right here at home. I am a living proof of this. What I have done others can do." "You have excellent vocal teachers right here in America," says Mme. Hempel. Then she marvels, that with all these advantages at her door, there are not more American girls who make good. She lays it to the fact that our girls try to combine a social life with their musical studies, to the great detriment of the latter. ARE AMERICAN VOCAL STUDENTS SUPERFICIAL? It is doubtless a great temptation to the American girl who possesses a voice and good looks, who is a favorite socially, to neglect her studies at times, for social gaiety. She is in such haste to make something of herself, to get where she can earn a little with her voice; yet by yielding to other calls she defeats the very purpose for which she is striving by a lowered ideal of her art. Let us see how the artists and teachers view this state of things. Lehmann says: "The trouble with American girls is they are always in a hurry. They are not content to sit down quietly and study till they have developed themselves into something before they ever think of coming to Europe. They think if The Coda 273 they can only come over here and sing for an artist, that fact alone will give them prestige in America. With us American girls are too often looked upon as superficial because they come over here quite unprepared. I say to them: Go home and study; there are plenty of good teachers of voice and piano in your own land. Then, when you can sing, come here if you wish." Frieda Hempel speaks from close observa- tion when she says: "Here in America, girls do not realize the amount of labor and sacrifice involved, or they might not be so eager to enter upon a musical career. They are too much taken up with teas, parties, and social functions to have sufficient time to devote to vocal study and to all that goes with it. In order to study all the subjects required, the girl with a voice must be willing to give most of her day to work. This means sacrificing the social side, and being willing to throw herself heart and soul into the business of adequately preparing herself for her career." THE VOCAL STUDENT MUST NOT BE AFRAID TO WORK In the words of Caruso's message to vocal students, they must be willing "to work to 274 Focal Mastery work always and to sacrifice." But Geral- dine Farrar does not consider this in the light of sacrifice. Her message to the young singer is: "Stick to your work and study systematic- ally, whole-heartedly. If you do not love your work enough to give it your best thought, to make sacrifices for it, then there is something wrong with you. Better choose some other line of work, to which you can give undivided attention and devotion. For music requires both. As for sacrifices, they really do not ex- ist, if they promote the thing you honestly love most. You must never stop studying, for there is always so much to learn." "I have developed my voice through arduous toil," to quote Mme. Galli-Curci. Raisa says: "One cannot expect to succeed in the profession of music without giving one's best time and thought to the work of vocal training and all the other subjects that go with it. A man in business gives his day, or the most of it, to his office. My time is devoted to my art, and in- deed I have not any too much time to study all the necessary sides of it." "I am always studying, always striving to improve what I have already learned and try- ing to acquire the things I find difficult, or The Coda 275 have not yet attained to," testifies Mme. Homer. THE REQUIREMENTS FOR A TOCAL CAREER Those who have been through the necessary drudgery and struggle and have won out, should be able to give an authoritative answer to this all important question. They know what they started with, what any singer must possess at the beginning, and what she must ac- quire. Naturally the singer must have a voice, for there is no use trying to cultivate something which does not exist. All artists subscribe to this. They also affirm she should have good looks, a love for music and a musical nature. Let us hear from Mme. Homer on this subject. "1. Voice, first of all. 2. Intelligence; for intelligence controls, directs, shines through and illumines everything. What can be done without it? 3. Musical nature. 4. Capacity for Work. Without application, the gifts of voice, intelligence and a musical nature will not make an artist. 5. A cheerful optimism, which refuses to yield to discouragement. 6. Patience. It is only with patient striving, do- ing the daily vocal task, and trying to do it each day a little better than the day before, that any- 276 Vocal Mastery thing worth while is accomplished. The stu- dent must have unlimited patience to labor and wait for results." Mr. Witherspoon states, that students com- ing to him must possess "Voice, to begin with ; youth, good looks, musical intelligence and application. If the candidate possess these requisites, we begin to work." Anna Case an- swers the question as to the vital requisites nec- essary to become a singer: "Brains, Person- ality, Voice." Quotations could be multiplied to prove that all artists fully concur with those already men- tioned. There must be a promising voice to cultivate, youth, good looks, (for a public ca- reer) and the utmost devotion to work. WHAT BRANCHES OF STUDY MUST BE TAKEN UP ? All agree there are many other subjects to study besides singing; that alone is far from sufficient. Edward Johnson says: "Singing itself is only a part, perhaps the smaller part of one's equipment. If opera be the goal, there are languages, acting, make up, impersonation, interpretation, how to walk, all to be added to piano, harmony and languages. The most im- portant of all is a musical education." Most of the great singers have emphatically The Coda 277 expressed themselves in favor of piano study. Indeed, many were pianists in the beginning, before they began to develop the voice. Among those who had this training are: Gal- li-Curci, Lehmann, Raisa, D'Alvarez, Bar- rientos, Braslau, Case. Miss Braslau says: "I am so grateful for my knowledge of the piano and its literature ; it is the greatest help to me now. To my thinking all children should have piano lessons; the cost is trifling compared with the benefits they receive. They should be made to study, whether they wish it or not, for they do not know what is best for them." Mme. Raisa says : "There are so many sides to the singer's equipment besides singing itself. The piano is a necessity; the singer is greatly handicapped without a knowledge of that in- strument, for it not only provides accompani- ment but cultivates musical sense." "The vo- cal student should study piano as well as lan- guages," asserts Mme. Homer; "both are the essentials. Not that she need strive to become a pianist; that would not be possible if she is destined to be a singer. But the more she knows of the piano and its literature, the more this will cultivate her musical sense and develop her taste." 278 Focal Mastery Florence Easton is even more emphatic. "If a girl is fond of music, let her first study the piano, for a knowledge of the piano and its music is at the bottom of everything. All chil- dren should have this opportunity, whether they desire it or not. The child who early be- gins to study piano, will often unconsciously follow the melody with her voice. Thus the love of song is awakened in her, and a little later it is discovered she has a voice worth culti- vating." On the subject of languages, artists are equally specific. Languages are an absolute necessity, beginning with one's mother tongue. The student should not imagine that because he is born to the English language, it does not re- quire careful study. Galli-Curci remarks: "The singer can always be considered fortunate who has been brought up to more than one lan- guage. I learned Spanish and Italian at home. In school I learned French, German and English, not only a little smattering of each, but how to write and speak them." Rosa Raisa speaks eight languages, accord- ing to her personal statement. Russian, of course, as she is Russian, then French, Italian, German, Spanish, Polish, Roumanian and English. The Coda 279 "The duty is laid upon Americans to study other languages, if they expect to sing," says Florence Easton. "I know how often this study is neglected by the student. It is only another phase of that haste which is character- istic of the young student and singer." BREATH CONTROL Following the subject of requirements for a vocal career, let us get right down to the tech- nical side, and review the ideas of artists on Breath Control, How to Practice, What are the Necessary Exercises, What Vowels Should be Used, and so on. All admit that the subject of Breath Control is perhaps the most important of all. Leh- mann says: "I practice many breathing exer- cises without using tone. Breath becomes voice through effort of will and by use of vocal organs. When singing, emit the smallest quantity of breath. Vocal chords are breath regulators; relieve them of all overwork." Mme. Galli-Curci remarks: "Perhaps, in vocal mastery, the greatest factor of all is the breathing. To control the breath is what each student is striving to learn, what every singer endeavors to perfect, what every artist should master. It is an almost endless study and an 280 Vocal Mastery individual one, because each organism and mentality is different." Marguerite d'Alvarez: "In handling and training the voice, breathing is perhaps the most vital thing to be considered. To some breath control seems second nature; others must toil for it. With me it is intuition. Breathing is such an individual thing. With each person it is different, for no two people breathe in just the same way." Claudia Muzio: "Every singer knows how important is the management of breath. I al- ways hold up the chest, taking as deep breaths as I can conveniently. The power to hold the breath and sing more and more tones with one breath, grows with careful, intelligent prac- tice." Frieda Hempel: "The very first thing for a singer to consider is breath control always the breathing, the breathing. She thinks of it morning, noon and night. Even before ris- ing in the morning she has it on her mind, and may do a few little stunts while still reclining. Then, before beginning vocal technic in the morning, she goes through a series of breathing exercises." David Bispham: "Correct breath control must be carefully studied and is the result of The Coda 281 understanding and experience. When the manner of taking breath and the way to de- velop the diaphragm and abdominal muscles, is understood, that is only a beginning. Man- agement of the breath is an art in itself. The singer must know what to do with the breath once he has taken it in, or he may let it out in quarts when he opens his mouth. He learns how much he needs for each phrase; he learns how to conserve the breath." Oscar Saenger: "The management of the breath is a most important factor, as the life of the tone depends on a continuance of the breath. The student must cultivate the power of quickly inhaling a full breath, and exhaling it so gradually that she can sing a phrase last- ing from ten to twenty seconds. This needs months of arduous practice. In all breathing, inhale through the nose." Yeatman Griffith: "Breath control is in- deed a vital need, but should not be made a bugbear to be greatly feared. Most students make breathing and breath control a difficult matter, when it should be a natural and easy act. They do not need the large amount of breath they imagine they do, for a much smaller quantity will suffice. When you open the lips after a full, natural breath, do not let 282 Focal Mastery the breath escape; the vocal chords will make the tone, if you understand how to make a per- fect start." SPECIFIC EXERCISES Great singers are chary of giving out vocal exercises which they have discovered, evolved, or have used so constantly as to consider them a part of their own personal equipment, for rea- sons stated earlier in this chapter. However, a few artists have indicated certain forms which they use. Mme. d'Alvarez remarks : "When I begin to study in the morning, I give the voice what I call a massage. This consists of humming exercises, with closed lips. Hum- ming is the sunshine of the voice. One exercise is a short figure of four consecutive notes of the diatonic scale, ascending and descending several times; on each repetition of the group of phrases, the new set begins on the next higher note of the scale. This exercise brings the tone fully forward." Lehmann counsels the young voice to begin in the middle and work both ways. Begin sin- gle tones piano, make a long crescendo and re- turn to piano. Another exercise employs two connecting half tones, using one or two vowels. During practice stand before a mirror. The Coda 283 Raisa assures us she works at technic every day. "Vocalizes, scales, broken thirds, long, slow tones in mezza di voce that is beginning softly, swelling to loud, then diminuendo to soft, are part of the daily regime." Farrar works on scales and single tones daily. Muzio says: "I sing all the scales, one octave each, once slow and once fast all in one breath. Then I sing triplets on each tone, as many as I can in one breath. Another exercise is to take one tone softly, then go to the octave above; this tone is always sung softly, but there is a large crescendo between the two soft tones." Kingston says: "As for technical material, I have never used a great quantity. I do scales and vocalizes each day. I also make daily use of about a dozen exercises by Rubini. Beyond these I make technical exercises out of the pieces." De Luca sings scales in full power, then each tone alone, softly, then swelling to full strength and dying away. Bispham: "I give many vocalizes and exercises, which I in- vent to fit the need of each student. They are not written down, simply remembered. I also make exercises out of familiar tunes or themes from opera. Thus, while the student is study- ing technic, he is acquiring much beautiful ma- terial." 284 Vocal Mastery Oscar Saenger : "We begin by uniting two tones smoothly and evenly, then three in the same way ; afterwards four and five. Then the scale of one octave. Arpeggios are also most important. The trill is the most difficult of all vocal exercises. We begin with quarter notes, then eighths and sixteenths. The trill is taken on each tone of the voice, in major sec- onds." Werrenrath: "I do a lot of gymnas- tics each day, to exercise the voice and limber up the anatomy. These act as a massage for the voice; they are in the nature of humming, mingled with grunts, calls, exclamations, shouts, and many kinds of sounds. They put the voice in condition, so there is no need for all these other exercises which most singers find so essential to their vocal well being." Duval asserts: "Long, sustained tones are too difficult for the young voice. One should sing medium fast scales at first." LENGTH OF TIME FOR DAILY PRACTICE It may be helpful to know about how much time the artists devote to daily study, especially to technical practice. It is understood all great singers work on vocalizes and technical material daily. Caruso is a constant worker. Two or three The Coda 285 hours in the forenoon, and several more later in the day, whenever possible. Farrar devotes between one and two hours daily to vocalizes, scales and tone study, Lehmann counsels one hour daily on technic. Galli-Curci gives a half hour or so to vocalizes and scales every morn- ing. Martinelli practices exercises and vocal- izes one hour each morning ; then another hour on repertoire. In the afternoon an hour more three hours daily. Eastonsays: "It seems to me a young singer should not practice more than an hour a day, at most, beginning with two periods of fifteen or twenty minutes each." Anna Case says : "I never practice when I am tired, for then it does more harm than good. One must be in good condition to make good tones. I can study and not sing at all, for the work is all mental anyway." Muzio states she gives practically her whole day to study, di- viding it into short periods, with rest between. Frieda Hempel says: "I do about two hours or more, though not all of this for technic. I approve of a good deal of technical study, taken in small doses of ten to fifteen minutes at a time. Technic is a means to an end, more in the art of song than in almost any other form of art. Technic is the background of expressive singing." 286 Focal Mastery Sophie Braslau is an incessant worker, "at least six hours a day. Of these I actually sing three hours. The first hour to memory work on repertoire. The second hour to vocalizes. The rest of the time is given to repertoire and the things that belong to it." Barrientos states she gives about three-quarters of an hour to vocal technic scales and exercises each day. Duval advises the young student to practice two half hours daily, two hours after eating, and rest the voice one day each week, during which she studies other subjects connected with her art. Oscar Saenger says: "One should practice in fifteen-minute periods, and rest at least ten minutes between. Sing only two hours a day, one in the morning and one in afternoon." WHAT VOWELS TO USE There seems a divergence of opinion as to what vowels are most beneficial in technical practice and study. Galli-Curci says: "In my own study I use them all, though some are more valuable than others. The Ah is the most difficult of all. The O is good ; E needs great care. I have found the best way is to use mixed vowels, one melting into the other. The tone can be started with each vowel in The Coda 287 turn, then mingled with the rest of the vowels." Mme. d' Alvarez often starts the tone with Ah, which melts into O and later changes to U, as the tone dies away. Bispham has the student use various vowel syllables, as: Lah, Mali, May, and Mi. With Oscar Saenger the pupil in early stages at least, uses Ah for vocalizes. Duval requires students to use the vowel Ah, for exercises and scales, finding the others are not needed, especially excluding E and U as in- jurious. Griffith uses each vowel in turn, pre- ceded by all the consonants of the alphabet, one after another. HALF OR FULL VOICE? Shall the young singer practice with half or full voice seems a matter depending on one's individual attainments. De Luca uses full power during practice, while Raisa sings softly, or with medium tone, during study hours, ex- cept occasionally when she wishes to try out certain effects. Martinelli states he always practices with full voice, as with half voice he would not derive the needed benefit. Mme. Easton admits she does not, as a rule, use full voice when at work; but adds, this admission might prove injurious to the young singer, for half voice might result in faulty tone produc- 288 Focal Mastery tion. Anna Case says when at work on a song in her music room, she sings it with the same power as she would before an audience. She has not two ways of doing it, one for a small room and another for a large one. Mr. Duval advises the young pupil to sing tones as loudly and deeply as possible. Singing pianissimo is another fallacy for a young voice. This is one of the most difficult accomplishments, and should^ be reserved for a later period. Oscar Saenger: "The tone should be free, round and full, but not loud." HEARING YOURSELF Does the singer really hear himself is a ques- tion which has been put to nearly every artist. Many answered in a comparative negative, though with qualifications. Miss Farrar said: "No, I do not actually hear my voice, except in a general way, but we learn to know the sen- sations produced in throat, head, face, lips and other parts of the anatomy, which vibrate in a certain manner to correct tone production. We learn the feeling of the tone." "I can tell just how I am singing a tone or phrase," says De Luca, "by the feeling and sensation ; for of course I cannot hear the full effect; no singer can really hear the effect of his work, except on The Coda 289 the records." "The singer must judge so much from sensation, for she cannot very well hear herself, that is, she cannot tell the full ef- fect of what she is doing," says Anna Case. Mr. Witherspoon says : "The singer of course hears himself and with study learns to hear himself better. The singer should depend more on hearing the sound he makes than on feeling the sound. In other words, train the ear, the court of ultimate resort, and the only judge, and forget sensation as much as pos- sible, for the latter leads to a million confu- sions." VOCAL MASTERY, FROM THE ARTISTS' VIEWPOINT Farrar: "A thing that is mastered must be really perfect. To master vocal art, the singer must have so developed his voice that it is un- der complete control; then he can do with it what he wishes. He must be able to produce all he desires of power, pianissimo, accent, shading, delicacy and variety of color." Galli-Curci: "To sum up: the three re- quirements of vocal mastery are: Manage- ment of the Larynx; Relaxation of the Dia- phragm; Control of the Breath. To these might be added a fourth: Mixed Vowels. But when these are mastered, what then? Ah, 290 Vocal Mastery so much more it can never be put into words. It is self-expression through the medium of tone, for tone must always be a vital part of the singer's individuality, colored by feeling and emotion. To perfect one's own instrument, must always be the singer's joy and satisfac- tion." Raisa: "If I have developed perfect con- trol throughout the two and a half octaves of my voice, can make each tone with pure quality and perfect evenness in the different degrees of loud and soft, and if I have perfect breath con- trol as well, I then have an equipment that may serve all purposes of interpretation. For together with vocal mastery must go the art of interpretation, in which all the mastery of the vocal equipment may find expression. In or- der to interpret adequately one ought to possess a perfect instrument, perfectly trained. When this is the case one can forget mechan- ism, because confident of the ability to express any desired emotion." Homer: "The singer must master all dif- ficulties of technic, of tone production in or- der to be able to express the thought of the composer, and the meaning of the music." Werrenrath: "I can answer the question in one word Disregard. For if you have com- The Coda 291 plete control of your anatomy and such com- mand of your vocal resources that they will al- ways do their work ; that they can be depended on to act perfectly, then you can disregard mechanism and think only of the interpretation only of your vocal message. Then you have conquered the material and have attained Vocal Mastery." Kingston: "Vocal Mastery includes so many things. First and foremost, vocal tech- nic. One must have an excellent technic be- fore one can hope to sing even moderately well. Technic furnishes the tool with which the singer creates his vocal art work. Then the singer must work on his moral nature so that he shall express the beautiful and pure in music. Until I have thus prepared myself, I am not doing my whole duty to myself, my art or to my neighbor." Griffith: "Vocal Mastery is acquired through correct understanding of what consti- tutes pure vowel sounds, and such control of the breath as will enable one to convert every atom of breath into singing tone. This estab- lishes correct action of the vocal chords and puts the singer in possession of the various tints of the voice. "When the vocal chords are allowed to pro- 292 Focal Mastery duce pure vowels, correct action is the result, and with proper breath support, Vocal Mas- tery can be assured." Duval: "What is Vocal Mastery? Every great artist has his own peculiar manner of ac- complishing results has his own vocal mas- tery. Patti had one kind, Maurel another, Lehmanri still another. Caruso may also be said to have his own vocal mastery. "In fine, as every great artist is different from his compeers, there can be no fixed and fast standard of vocal mastery, except the mas- tery of doing a great thing greatly and con- vincingly." THE END University of California SOUTHERN REGIONAL LIBRARY FACILITY 405 Hilgard Avenue, Los Angeles, CA 90024-1388 Return this material to the library from which it was borrowed. REC'D LD-URL APR 18 1994 A 000 371 966 3 MUSIC LIBRARY MT 820 B811v *