Part 15

Some roles demand maturity. It is suicidal for the young singer to attempt them. The composer and the conductor naturally think only of the effect at the performance. The singer's welfare with them is a secondary consideration. I have sung under the great composers and conductors, from Richard Wagner to Richard Strauss. Some of the Strauss roles are even more strenuous than those of Wagner. They call for great energy as well as great vocal ability. Young singers essay these heavy roles and the voices go to pieces. Why not wait a little while? Why not be patient?

The singer is haunted by the delusion that success can only come to her if she sings great roles. If she can not ape Melba in _Traviata_, Emma Eames as Elizabeth in _Tannhaeuser_ or Geraldine Farrar in _Butterfly_, she pouts and refuses to do anything. Offer her a small part and she sneers at it. Ha! Ha! All my earliest successes were made in the smallest kinds of parts. I realized that I had only a little to do and only very little time to do it in. Consequently, I gave myself heart and soul to that part. It must be done so artistically, so intelligently, so beautifully that it would command success. Imagine the roles of Erda and Norna, and Marie in _Flying Dutchman_. They are so small that they can hardly be seen. Yet these roles were my first door to success and fame. Wagner did not think of them as little things. He was a real master and knew that in every art-work a small part is just as important as a great part. It is a part of a beautiful whole. Don't turn up your nose at little things. Take every opportunity, and treat it as though it were the greatest thing in your life. It pays.

Everything that amounts to anything in my entire career has come through struggle. At first a horrible struggle with poverty. No girl student in a hall bedroom to-day (and my heart goes out to them now) endures more than I went through. It was work, work, work, from morning to night, with domestic cares and worries enough all the time to drive a woman mad. Keep up your spirits, girls. If you have the right kind of fight in you, success will surely come. Never think of discouragement, no matter what happens. Keep working every day and always hoping. It will come out all right if you have the gift and the perseverance. Compulsion is the greatest element in the vocalist's success. Poverty has a knout in its hand driving you on. Well, let it,--and remember that under that knout you will travel twice as fast as the rich girl possibly can with her fifty-horse-power automobile. Keep true to the best. _Muss_--"I MUST," "I will," the mere necessity is a help not a hindrance, if you have the right stuff in you. Learn to depend upon yourself, and know that when you have something that the public wants it will not be slow in running after you. Don't ask for help. I never had any help. Tell that to the aspiring geese who think that I have some magic power whereby I can help a mediocre singer to success by the mere twist of the hand.

DAILY EXERCISES OF A PRIMA DONNA

Daily vocal exercises are the daily bread of the singer. They should be practiced just as regularly as one sits down to the table to eat, or as one washes one's teeth or as one bathes. As a rule the average professional singer does not resort to complicated exercises and great care is taken to avoid strain. It is perfectly easy for me, a contralto, to sing C in alt but do you suppose I sing it in my daily exercises? It is one of the extreme notes in my range and it might be a strain. Consequently I avoid it. I also sing most of my exercises _mezza voce_.

There should always be periods of intermission between practice. I often go about my routine work while on tour, walking up and down the room, packing my trunk, etc., and practicing gently at the same time. I enjoy it and it makes my work lighter.

Of course I take great pains to practice carefully. My exercises are for the most part simple scales, arpeggios or trills. For instance, I will start with the following:

This I sing in middle voice and very softly. Thereby I do not become tired and I don't bother the neighborhood. If I sang this in the big, full lower tones and sang loud, my voice would be fatigued rather than benefited and the neighbors would hate me. This I continue up to _D_ or _E_ flat.

Above this I invariably use what is termed the head tone. Female singers should always begin the head tone on this degree of the staff and not on _F_ and _F#_, as is sometimes recommended.

I always use the Italian vowel _ah_ in my exercises. It seems best to me. I know that _oo_ and _ue_ are recommended for contraltos, but I have long had the firm conviction that one should first perfect the natural vocal color through securing good tones by means of the most open vowel. After this is done the voice may be further colored by the judicious employment of other vowels. Sopranos, for instance, can help their head tones by singing _ee_ (Italian _i_).

I know nothing better for acquiring a flexible tone than to sing trills like the following:

and at the same time preserve a gentle, smiling expression. Smile naturally, as though you were genuinely amused at something,--smile until your upper teeth are uncovered. Then, try these exercises with the vowel _ah_. Don't be afraid of getting a trivial, colorless tone. It is easy enough to make the tone sombre by willing it so, when the occasion demands. You will be amazed what this smiling, genial, _liebenswuerdig_ expression will do to relieve stiffness and help you in placing your voice right. The old Italians knew about it and advocated it strongly. There is nothing like it to keep the voice youthful, fresh and in the prime of condition.

THE SINGER MUST RELAX

Probably more voices are ruined by strain than through any other cause. The singer must relax all the time. This does not mean flabbiness. It does not mean that the singer should collapse before singing. Relaxation in the singer's sense is a delicious condition of buoyancy, of lightness, of freedom, of ease and entire lack of tightening in any part. When I relax I feel as though every atom in my body were floating in space. There is not one single little nerve on tension. The singer must be particularly careful when approaching a climax in a great work of art. Then the tendency to tighten up is at its greatest. This must be anticipated.

Take such a case as the following passage from the famous aria from Saint-Saens' _Samson et Delila_, "_Mon coeur s'ouvre a ta voix_." The climax is obviously on the words "Ah!--verse moi." The climax is the note marked by a star (_f_ on the top line).

When I am singing the last notes of the previous phrase to the word "tendresse," anyone who has observed me closely will notice that I instinctively let my shoulders drop,--that the facial muscles become relaxed as when one is about to smile or about to yawn. I am then relaxing to meet the great melodic climax and meet it in such a manner that I will have abundant reserve force after it has been sung. When one has to sing before an audience of five or six thousand people such a climax is immensely important and it requires great balance to meet it and triumph in it.

ANTONIO SCOTTI

BIOGRAPHICAL

Antonio Scotti was born at Naples, Jan. 25, 1866, and did much of his vocal study there with Mme. Trifari Paganini. His debut was made at the Teatro Reale, in the Island of Malta, in 1889. The opera was _Martha_. After touring the Italian opera houses he spent seven seasons in South America at a time when the interest in grand opera on that continent was developing tremendously. He then toured Spain and Russia with great success and made his debut at Covent Garden, London, in 1899. His success was so great that he was immediately engaged for the Metropolitan in New York, where he has sung every season since that time. His most successful roles have been in _La Tosca_, _La Boheme_, _I Pagliacci_, _Carmen_, _Falstaff_, _L'Oracolo_ and _Otello_. His voice is a rich and powerful baritone. He is considered one of the finest actors among the grand opera singers. During recent years he has toured with an opera company of his own, making many successful appearances in some of the smaller as well as the larger American cities.

ITALIAN OPERA IN AMERICA

ANTONIO SCOTTI

So closely identified is Italy with all that pertains to opera, that the question of the future of Italian opera in America is one that interests me immensely. It has been my privilege to devote a number of the best years of my life to singing in Italian opera in this wonderful country, and one cannot help noticing, first of all, the almost indescribable advance that America has made along all lines. It is so marvelous that those who reside continually in this country do not stop to consider it. Musicians of Europe who have never visited America can form no conception of it, and when they once have had an opportunity to observe musical conditions in America, the great opera houses, the music schools, the theatres and the bustling, hustling activity, together with the extraordinary casts of world-famous operatic stars presented in our leading cities, they are amazed in the extreme.

It is very gratifying for me to realize that the operatic compositions of my countrymen must play a very important part in the operatic future of America. It has always seemed to me that there is far more variety in the works of the modern Italian composers than in those of other nations. Almost all of the later German operas bear the unmistakable stamp of Wagner. Those which do not, show decided Italian influences. The operas of Mozart are largely founded on Italian models, although they show a marvelous genius peculiar to the great master who created them.

OPERATIC TENDENCIES

The Italian opera of the future will without doubt follow the lead of Verdi, that is, the later works of Verdi. To me _Falstaff_ seems the most remarkable of all Italian operas. The public is not well enough acquainted with this work to demand it with the same force that they demand some of the more popular works of Verdi. Verdi was always melodious. His compositions are a beautiful lace-work of melodies. It has seemed to me that some of the Italian operatic composers who have been strongly influenced by Wagner have made the mistake of supposing that Wagner was not a master of melody. Consequently they have sacrificed their Italian birthright of melody for all kinds of cacophony. Wagner was really wonderfully melodious. Some of his melodies are among the most beautiful ever conceived. I do not refer only to the melodies such as "Oh, Thou Sublime Evening Star" of _Tannhaeuser_ or the "Bridal March" of _Lohengrin_, but also to the inexhaustible fund of melodies that one may find in most every one of his astonishing works. True, these melodies are different in type from most melodies of Italian origin, but they are none the less melodies, and beautiful ones. Verdi's later operas contain such melodies and he is the model which the young composers of Italy will doubtless follow. Puccini, Mascagni, Leoncavallo, and others, have written works rich in melody and yet not wanting in dramatic charm, orchestral accompaniment and musicianly treatment.

OPERA THE NATURAL GENIUS OF ITALY'S COMPOSERS

When the Italian student leaves the conservatory, in ninety-nine cases out of a hundred his ambitions are solely along the line of operatic composition. This seems his natural bent or mould. Of course he has written small fugues and perhaps even symphonies, but in the majority of instances these have been mere academic exercises. I regret that this is the case, and heartily wish that we had more Bossis, Martuccis and Sgambattis, but, again, would it not be a great mistake to try to make a symphonist out of an operatic composer? In the case of Perosi I often regret that he is a priest and therefore cannot write for the theatre, because I earnestly believe that notwithstanding his success as a composer of religious music, his natural bent is for the theatre or the opera.

THE COMPOSERS OF TO-DAY

Of the great Italian opera composers of to-day, I feel that Puccini is, perhaps, the greatest because he has a deeper and more intimate appreciation of theatrical values. Every note that Puccini writes smells of the paint and canvas behind the proscenium arch. He seems to know just what kind of music will go best with a certain series of words in order to bring out the dramatic meaning. This is in no sense a depreciation of the fine things that Mascagni, Leoncavallo and others have done. It is simply my personal estimate of Puccini's worth as an operatic composer. Personally, I like _Madama Butterfly_ better than any other Italian opera written in recent years. Aside from _Falstaff_, my own best role is probably in _La Tosca_. The two most popular Italian operas of to-day are without doubt _Aida_ and _Madama Butterfly_. That is, these operas draw the greatest audiences at present. It is gratifying to note a very much unified and catholic taste throughout the entire country. That is to say, in Chicago, San Francisco, Boston and Philadelphia one finds the public taste very similar. This indicates that the great musical advance in recent years in America has not been confined to one or two eastern cities.

THE INFLUENCE OF THE STAR SYSTEM

It is often regretable that the reputation of the singer draws bigger audiences in America than the work to be performed. American people go to hear some particular singer and not to hear the work of the composer. In other countries this is not so invariably the rule. It is a condition that may be overcome in time in America. It often happens that remarkably good performances are missed by the public who are only drawn to the opera house when some great operatic celebrity sings.

The intrinsic beauties of the opera itself should have much to do with controlling its presentation. In all cases at present the Italian opera seems in preponderance, but this cannot be said to be a result of the engagement of casts composed exclusively of Italian singers. In our American opera houses many singers of many different nationalities are engaged in singing in Italian opera. Personally, I am opposed to operas being sung in any tongue but that in which the opera was originally written. If I am not mistaken, the Covent Garden Opera House and the Metropolitan Opera House are the only two opera houses in the world where this system is followed. No one can realize what I mean until he has heard a Wagner opera presented in French, a tongue that seems absolutely unfitted for the music of Wagner.

THE POSSIBLE INFLUENCE OF STRAUSS AND DEBUSSY

I do not feel that either Strauss or Debussy will have an influence upon the music of the coming Italian composers similar to that which the music of Wagner had upon Verdi and his followers. Personally, I admire them very much, but they seem unvocal, and Italy is nothing if not vocal. To me _Pelleas and Melisande_ would be quite as interesting if it were acted in pantomime with the orchestral accompaniment. The voice parts, to my way of thinking, could almost be dispensed with. The piece is a beautiful dream, and the story so evident that it could almost be played as an "opera without words." But vocal it certainly is not, and the opportunities of the singer are decidedly limited. Strauss, also, does not even treat the voice with the scant consideration bestowed upon it in some of the extreme passages of the Wagner operas. Occasionally the singer has an opportunity, but it cannot be denied that to the actor and the orchestra falls the lion's share of the work.

OPERATIC CENTERS IN ITALY

Americans seem to think that the only really great operatic center of Italy is Milan. This is doubtless due to the celebrity of the famous opera house, La Scala, and to the fact that the great publishing house of Ricordi is located there, but it is by no means indicative of the true condition. The fact is that the appreciation of opera is often greater outside of Milan than in the city. In Naples, Rome and Florence opera is given on a grand scale, and many other Italian cities possess fine theaters and fine operatic companies. The San Carlos Company, at Naples, is usually exceptionally good, and the opera house itself is a most excellent one. The greatest musical industry centers around Milan owing, as we have said, to the publishing interests in that city. If an Italian composer wants to produce one of his works he usually makes arrangements with his publisher. This, of course, brings him at once to Milan in most cases.

MORE NEW OPERAS SHOULD BE PRODUCED

It is, of course, difficult to gain an audience for a new work, but this is largely the fault of the public. The managers are usually willing and glad to bring out novelties if the public can be found to appreciate them. _Madama Butterfly_ is a novelty, but it leaped into immediate and enormous appreciation. Would that we could find a number like it! _Madama Butterfly's_ success has been largely due to the fact that the work bears the direct evidences of inspiration. I was with Puccini in London when he saw for the first time John Luther Long's story, dramatized by a Belasco, produced in the form of a one-act play. He had a number of librettos under consideration at that time, but he cast them all aside at once. I never knew Puccini to be more excited. The story of the little Japanese piece was on his mind all the time. He could not seem to get away from it. It was in this white heat of inspiration that the piece was moulded. Operas do not come out of the "nowhere." They are born of the artistic enthusiasm and intellectual exuberance of the trained composer.

AMERICA'S MUSICAL FUTURE

One of the marvelous conditions of music in this country is that the opera, the concert, the oratorio and the recital all seem to meet with equal appreciation. The fact that most students of music in this land play the piano has opened the avenues leading to an appreciation of orchestral scores. In the case of opera the condition was quite different. The appreciation of operatic music demands the voice of the trained artist and this could not be brought to the home until the sound reproducing machine had been perfected. The great increase in the interest in opera in recent years is doubtless due to the fact that thousands and thousands of those instruments are in use in as many homes and music studios. It is far past the "toy" stage, and is a genuine factor in the art development and musical education of America. At first the sound reproducing machine met with tremendous opposition owing to the fact that bad instruments and poorer records had prejudiced the public, but now they have reached a condition whereby the voice is reflected with astonishing veracity. The improvements I have observed during the past years have seemed altogether wonderful to me. The thought that half a century hence the voices of our great singers of to-day may be heard in the homes of all countries of the globe gives a sense of satisfaction to the singer, since it gives a permanence to his art which was inconceivable twenty-five years ago.

HENRI SCOTT

BIOGRAPHICAL

Henri Scott was born at Coatesville, Pa., April 8, 1876. He was intended for a business career but became interested in music, at first in an amateur way, in Philadelphia. Encouraged by local successes he went to study voice with Oscar Saenger, remaining with him for upward of eleven years. He was fortunate in making appearances with the "Philadelphia Operatic Society," a remarkable amateur organization giving performances of grand opera on a large scale. With this organization he made his first stage appearances as Ramphis in _Aida_, in 1897. He had his passage booked for Europe, where he was assured many fine appearances, when he accidentally met Oscar Hammerstein, who engaged him for five years. Under this manager he made his professional debut as Ramphis at the Manhattan Opera House in New York, in 1909. Hammerstein, a year thereafter, terminated his New York performances by selling out to the Metropolitan Opera Company. Mr. Scott then went to Rome, where he made his first appearance in _Faust_, with great success. He was immediately engaged for the Chicago Opera Company where, during three years, he sang some thirty-five different roles. In 1911 he was engaged as a leading basso by the Metropolitan, where he remained for many seasons. He has sung on tour with the Thomas Orchestra, with Caruso and at many famous festivals. He has appeared with success in over one hundred cities in the United States and Canada. In response to many offers he went into vaudeville, where he has sung to hundreds of thousands of Americans, with immense success. Mr. Scott is therefore in a position to speak of this new and interesting phase of bringing musical masterpieces to "the masses."

THE SINGER'S LARGER MUSICAL PUBLIC

HENRI SCOTT

Like every American, I resent the epithet, "the masses," because I have always considered myself a part of that mysterious unbounded organization of people to which all democratic Americans feel that they belong. One who is not a member of the masses in America is perforce a "snob" and a "prig." Possibly one of the reasons why our republic has survived so many years is that all true Americans are aristocratic, not in the attitude of "I am as good as everyone," but yet human enough to feel deep in their hearts, "Any good citizen is as good as I."

WHY GRAND OPERA IS EXPENSIVE

Music in America should be the property of everybody. The talking machines come near making it that, if one may judge from the sounds that come from half the homes at night. But the people want to hear the best music from living performers "in the flesh." At the same time, comparatively, very few can pay from two to twenty dollars a seat to hear great opera and great singers. The reason why grand opera costs so much is that the really fine voices, with trained operatic experience, are very, very few; and, since only a few performances are given a year, the price must be high. It is simply the law of supply and demand.

There are, in America, two large grand opera companies and half a dozen traveling ones, some of them very excellent. There are probably twenty large symphony orchestras and at least one hundred oratorio societies of size. To say that these bodies and others purveying good music, reach more than five million auditors a year would possibly be a generous figure. But five million is not one-twentieth of the population of America. What about the nineteen-twentieths?

On the other hand, there are in America between two and three thousand good vaudeville and moving picture houses where the best music in some form is heard not once or twice a week for a short season, but several times each day. Some of the moving picture houses have orchestras of thirty-five to eighty men, selected from musicians of the finest ability, many of whom have played in some of the greatest orchestras of the world. These orchestras and the talking machines are doing more to bring good music to the public than all the larger organizations, if we consider the subject from a standpoint of numbers.

A REVOLUTION IN TASTE