Part 2

"Let us now consider some of the reasons why some American singers have failed to succeed. How do American women begin their studies? Many commence their lessons in December or January. They take two or three half-hour lessons a week, even attending these irregularly, and ending their year's instruction in March or, at the latest, in April. Surely music study under such circumstances is little less than farcical. The voice, above all things, needs careful and constant attention. Moreover, many are lacking lamentably in the right preparations. Some are evidently so benighted as to believe that preparation is unnecessary. Or do they believe that the singing teacher must also provide a musical and general education?

"Is there one among them, for instance, who can enunciate her own language faultlessly; that is, as the stage demands? Many fail to realize that they should, first of all, be taught elocution (diction) by teachers who can show them how to pronounce vowels purely and beautifully, and consonants correctly and distinctly, so as to give words their proper sounds. How can anyone expect to sing in a foreign language when he has no idea of his own language--no idea how this wonderful member, the tongue, should be used--to say nothing of the terrible faults in speaking? I endorse the study of elocution as a preparatory study for all singing. No one can realize how much simpler and how much more efficient it would make the work of the singing teacher."

Finally, the writer feels that there is much to be inferred from the popular criticism of the man in the street--"There is no music in that voice." Mr. Hoipolloi knows just what he means when he says that. As a matter of fact, the average voice has very little music in it. By music the man means that the pitch of the tones that he hears shall be so unmistakable and so accurate, that the quality shall be so pure and the thought of the singer so sincere and so worth-while, that the auditor feels the wonderful human emotion that comes only from listening to a beautiful human voice. Put real music in every tone and your success will not be far distant.

JAMES FRANCIS COOKE.

Bala, Pa.

THE TECHNIC OF OPERATIC PRODUCTION

WHAT THE STUDENT WHO ASPIRES TO GO INTO OPERA SHOULD KNOW ABOUT THE MECHANICAL SIDE OF GIVING AN OPERATIC PERFORMANCE

Even after one has mastered the art of singing there is still much that the artist must learn about the actual working of the opera house itself. This of course is best done by actual experience; but the writer has found that much can be gained by insight into some of the conditions that exist in the modern opera house.

In the childhood of hundreds of people now living opera was given with scenery and costumes that would be ridiculed in vaudeville if seen to-day. Pianos, lamps, chairs and even bird cages were often painted right on the scenery. One set of costumes and properties was made to do for the better part of the repertoire in such a way that even the most flexible imagination was stretched to the breaking point several times during the performance. Now, most of this has changed and the modern opera house stage is often a mechanical and electrical marvel.

It is most human to want to peep behind the scenes and see something of the machinery which causes the wonderful spectacle of the stage. We remember how, as children, we longed to open the clock and see the wheels go round. Behind the asbestos curtain there is a world of ropes, lights, electrical and mechanical machinery, paints and canvas, which is always a territory filled with interest to those who sit in the seats in front.

Much of the success of the opera in New York, during the early part of the present century, was due to the great efficiency of the Director, Giulio Gatti-Casazza. Gatti-Casazza was a graduate of the Royal Italian Naval Academy at Leghorn, and had been intended for a career as a naval engineer before he undertook the management of the opera at Ferrara. This he did because his father was on the board of directors of the Ferrara opera house, and the institution had not been a great success. His directorship was so well executed that he was appointed head director of the opera at La Scala in Milan and astonished the musical world with his wonderful Italian productions of Wagner's operas under the conductorship of Toscanini. In New York many reforms were instituted, and later took the New York company to Paris, giving performances which made Europe realize that opera in New York is as fine as that in any music center in the world, and in some particulars finer. The New York opera is more cosmopolitan than that of any other country. Its company included artists from practically every European country, but fortunately includes more American singers and musicians to-day than at any time in our operatic history. We are indebted to the staff of the Metropolitan Opera House, experts who, with the kind permission of the director, furnished the writer with the following interesting information:

A WORLD OF DETAIL

Few people have any idea of how many persons and how many departments are connected with the opera and its presentation. Considering them in order, they might be classed as follows:

The General Manager and his assistants. The Musical Director and his assistants. The Stage Director and his assistants. The Technical Director and his assistants. The Business Director and his assistants. The Wardrobe Director and his assistants. The Master of Properties and his assistants. The Head Engineer and his assistants. The Accountant and his assistants. The Advertising Manager and his assistants. The Press Representatives and his assistants. The Superintendent and his assistants. The Head Usher and his assistants. The Electrician and his assistants.

Few of these important and necessary factors in the production ever appear before the public. Like the miners who supply us with the wealth of the earth, they work, as it were, underground. No one is more directly concerned with making the production than the Technical Director. In that we are fortunate in having the views of Mr. Edward Siedle, Technical Director of the Metropolitan Opera Company, of New York. The complete picture that the public sees is made under the supervision of Mr. Siedle, and during the actual production he is responsible for all of the technical details. His experience has extended over a great many years in different countries. He writes:

THE TECHNIC OF THE PRODUCTION

I understand you wish me to give you some idea of the technicalities involved in producing the stage pictures which go to form an opera. Let us suppose it is an opera by an American composer. My first procedure would be to place myself in touch with the author and composer. After having one or two talks with them I secure a libretto. When a mutual understanding is agreed upon between us as to the character of the scenes required and the positions of particular things in relation to the business which has to take place during the performance, I make my plans accordingly, and look up all the data available bearing upon the subject.

It is now time to call in the scenic artist, giving him my views and ideas, so that he can start upon the designing and painting of the scenery. His first design would be in the form of a rough sketch and a more clearly worked-out ground plan. After further discussion and alterations we should definitely agree upon a scheme, and he would proceed to make a scale model. When this model is finished it is a perfect miniature scene of the opera as it will appear on the night the opera is produced.

The author and composer are then called in to meet the impresario and myself for a final consultation. We now finally criticize our plans, making any alterations which may seem necessary to us. When these alterations are completed the plans are handed over to the carpenter, who immediately starts making his frames and covering them with canvas, working from the scale model. The scenic artist is now able to commence his work in earnest.

The "properties" are our next consideration. Sketches and patterns are made, authorities are consulted, and everything possible is done to aid the Property Master in doing his part of the work.

Unless the opera in question calls for special mechanical effects, or special stage machinery, the scene is adapted to the stage as it is. If anything exceptional has to be achieved, however, special machinery is constructed.

The designing of the costumes is gone over in much the same way as the construction of the scenery. The period in which the opera is laid, the various characters and their station in life, are all well talked over by the composer, author and myself. The costume designer is then called in, and after listening to what every one has to say and reading the libretto, he submits his designs. These, when finished, are criticized by the impresario, the composer, the author and myself, and any suggestion which will improve them is accepted by the designer, and alterations are made until everything is satisfactory. The designs are then sent to the costume maker.

The important matter of lighting and electrical effects is not dealt with until after the scenery has been completed, painted and set up on the stage, except in the case when exceptional effects are demanded. The matter is then carefully discussed and arranged so that the apparatus will be ready by the time the earlier rehearsals are taking place.

The staff required by a Technical Director in such an institution as the Metropolitan Opera House is necessarily a large one. He needs an able scenic artist with his assistants and an efficient carpenter with his assistants to complete the scenic arrangements as indicated in the models. The completed scenery is delivered over to the stage carpenter who has a large body of assistants, and is held responsible for the running of the opera during rehearsals and performances. The stage carpenter has also under his control a body of carpenters who work all night, commencing their duties after the opera is over, removing all the scenery used in the opera just finished from the opera house and bringing from the various storehouses the scenery required for the next performance or rehearsal. The electrician is an important member of my staff, and he, of course, has a number of assistants. The Property Master and his assistants and the Wardrobe Mistress and her assistants also are extremely important. Then the active engineer who is responsible for the heating and ventilating, and also for many of the stage effects, is another necessary and important member. In all, the Opera House, when in full swing, requires for the technical or stage detail work alone about 185 people.

Thus far we have not considered the musical side of the production. This is, of course, under the management of the General Director and the leading Musical Director. Very little time at best is at the disposal of the musical director. A director like Toscanini would, in a first-class opera house, with a full and competent company, require about fifteen days to complete the rehearsals, and other preparations for such a production as _Aida_, should such a work be brought out as a novelty. A good conductor needs at least four orchestra rehearsals. _Pelleas et Melisande_ would require more extensive rehearsing, as the music is of a new order and is, in a sense, a new form of art.

IMPORTANT REHEARSALS

While the head musical director is engaged with the principals and the orchestra, the Chorus-master spends his time training the chorus. If his work is not efficiently done, the entire production is greatly impeded. The assistant conductors undertake the work of rehearsing the soloists prior to their appearance in connection with the orchestra. They must know the Head Director's ideas perfectly, and see that the soloists do not introduce interpretations which are too much at variance with his ideas and the accepted traditions. In all about ten rehearsals are given to a work in a room set aside for that purpose, then there are five stage rehearsals, and finally four full ensemble rehearsals with orchestra. In putting on an old work, such as those in the standard repertoire, no rehearsals are demanded.

The musical forces of the Metropolitan Opera House, for instance, make a company of at least two leading conductors, twelve assistant conductors, about ninety soloists, a chorus numbering at least one hundred and twenty-five singers, thirty musicians for stage music, about twenty stage attendants and an orchestra of from eighty to one hundred performers, to say nothing of the costume, scenic and business staff, making a little industry all in itself.

The General Director, the Stage Manager, and often the Musical Director make innumerable suggestions to the singers regarding the proper histrionic presentation of their roles. As a rule singers give too little attention to the dramatic side of their work and demand too much of the stage manager. In recent years there has been a great improvement in this. Prior to the time of Gluck, Weber and Wagner, acting in opera was a matter of ridicule.

THE BALLET

About seventy or one hundred persons make up the ballet of a modern grand opera. At least ten years of continuous study are required to make a finished ballet dancer in the histrionic sense. Many receive very large fees for their services. The art of stage dancing also has undergone many great reforms in recent years; and the ballets of to-day are therefore much more popular than they were in the latter part of the last century. The most popular ballets of to-day are the _Coppelia_ and _Sylvia_ of Delibes. The ballets from the operas of _La Gioconda_, _Samson et Delila_, _Armide_, _Mephistophele_, _Aida_, _Orfeo_, _L'Africaine_, and _The Damnation of Faust_ also are very popular.

At a modern opera house like the Metropolitan in New York City the number of employees will be between six hundred and seven hundred, and the cost of a season will be about one million dollars.

FRANCES ALDA

(MME. GIULIO GATTI-CASAZZA)

BIOGRAPHICAL

Mme. Frances Alda was born at Christ Church, New Zealand, May 31st, 1883. She was educated at Melbourne and studied singing with Mathilde Marchesi in Paris. Her debut was made in Massenet's _Manon_, at the Opera Comique in Paris in 1904. After highly successful engagements in Paris, Brussels, Parma and Milan (where she created the title role in the Italian version of _Louise_), she made her American debut at the Metropolitan Opera House in New York as Gilda in Verdi's _Rigoletto_. Since her initial success in New York she has been connected with the Metropolitan stage every season. In 1910 she married Giulio Gatti-Casazza, manager of the Metropolitan Opera House, and is probably better able to speak upon the subject herewith discussed than any one in America. She has also appeared with great success in London, Warsaw, Buenos Aires and other cities, in opera and in concert. Many of the most important leading roles in modern opera have been created by her in America.

WHAT THE AMERICAN GIRL SHOULD KNOW ABOUT AN OPERATIC CAREER

MME. FRANCES ALDA (MME. GATTI-CASAZZA)

REGULARITY AND SUCCESS

To the girl who aspires to have an operatic career, who has the requisite vocal gifts, physical health, stage presence and--most important of all--a high degree of intelligence, the great essential is regular daily work. This implies regular lessons, regular practice, regular exercise, regular sleep, regular meals--in fact, a life of regularity. The daily lesson in most cases seems an imperative necessity. Lessons strung over a series of years merely because it seems more economical to take one lesson a week instead of seven rarely produce the expected results. Marchesi, with her famous wisdom on vocal matters, advised twenty minutes a day and then not more than ten minutes at a time.

For nine months I studied with the great Parisian maestra and in my tenth month I made my debut. Of course, I had sung a great deal before that time and also could play both the piano and the violin. A thorough musical knowledge is always valuable. The early years of the girl who is destined for an operatic career may be much more safely spent with Czerny exercises for the piano or Kreutzer studies for the violin than with Concone Solfeggios for the voice. Most girls over-exercise their voices during the years when they are too delicate. It always pays to wait and spend the time in developing the purely musical side of study.

MODERATION AND GOOD SENSE

More voices collapse from over-practice and more careers collapse from under-work than from anything else. The girl who hopes to become a prima donna will dream of her work morning, noon and night. Nothing can take it out of her mind. She will seek to study every imaginable thing that could in any way contribute to her equipment. There is so much to learn that she must work hard to learn all. Even now I study pretty regularly two hours a day, but I rarely sing more than a few minutes. I hum over my new roles with my accompanist, Frank La Forge, and study them in that way. It was to such methods as this that Marchesi attributed the wonderful longevity of the voices of her best-known pupils. When they followed the advice of the dear old maestra their voices lasted a long, long time. Her vocal exercises were little more than scales sung very slowly, single, sustained tones repeated time and again until her critical ear was entirely satisfied, and then arpeggios. After that came more complicated technical drills to prepare the pupil for the fioriture work demanded in the more florid operas. At the base of all, however, were the simplest kind of exercises. Through her discriminating sense of tone quality, her great persistence and her boundless enthusiasm, she used these simple vocal materials with a wizardry that produced great _prime donne_.

THE PRECIOUS HEAD VOICE

Marchesi laid great stress upon the use of the head voice. This she illustrated to all her pupils herself, at the same time not hesitating to insist that it was impossible for a male teacher to teach the head voice properly. (Marchesi herself carried out her theories by refusing to teach any male applicants.) She never let any pupil sing above F on the top line of the treble staff in anything but the head voice. They rarely ever touched their highest notes with full voice. The upper part of the voice was conserved with infinite care to avoid early breakdowns. Even when the pupils sang the top notes they did it with the feeling that there was still something in reserve. In my operatic work at present I feel this to be of greatest importance. The singer who exhausts herself upon the top notes is neither artistic nor effective.

THE AMERICAN GIRL'S CHANCES IN OPERA

The American girl who fancies that she has less chances in opera than her sisters of the European countries is silly. Look at the lists of artists at the Metropolitan, for instance. The list includes twice as many artists of American nationality as of any other nation. This is in no sense the result of pandering to the patriotism of the American public. It is simply a matter of supply and demand. New Yorkers demand the best opera in the world and expect the best voices in the world. The management would accept fine artists with fine voices from China or Africa or the North Pole if they were forthcoming. A diamond is a diamond no matter where it comes from. The management virtually ransacks the musical marts of Europe every year for fine voices. Inevitably the list of American artists remains higher. On the whole, the American girls have better natural voices, more ambition and are willing to study seriously, patiently and energetically. This is due in a measure to better physical conditions in America and in Australia, another free country that has produced unusual singers. What is the result? America is now producing the best and enjoying the best. There is more fine music of all kinds now in New York during one week than one can get in Paris in a month and more than one can get in Milan in six months. This has made New York a great operatic and musical center. It is a wonderful opportunity for Americans who desire to enter opera.

THE NEED FOR SUPERIOR INTELLIGENCE

There was a time in the halcyon days of the old coloratura singers when the opera singer was not expected to have very much more intelligence than a parrot. Any singer who could warble away at runs and trills was a great artist. The situation has changed entirely to-day. The modern opera-goer demands great acting as well as great singing. The opera house calls for brains as well as voices. There should properly be great and sincere rivalry among fine singers. The singer must listen to other singers with minute care and patience, and then try to learn how to improve herself by self-study and intelligent comparison. Just as the great actor studies everything that pertains to his role, so the great singer knows the history of the epoch of the opera in which he is to appear, he knows the customs, he may know something of the literature of the time. In other words, he must live and think in another atmosphere before he can walk upon the stage and make the audience feel that he is really a part of the picture. Sir Herbert Beerbohm Tree gave a presentation that was convincing and beautiful, while the mediocre actor, not willing to give as much brain work to his performance, falls far short of an artistic performance.

A modern performance of any of the great works as they are presented at the Metropolitan is rehearsed with great care and attention to historical detail. Instances of this are the performances of _L'Amore di Tre Re_, _Carmen_, _Boheme_, and _Lohengrin_, as well as such great works as _Die Meistersinger_, and _Tristan und Isolde_.

PHYSICAL STRENGTH AND SINGING

Few singers seem to realize that an operatic career will be determined in its success very largely through physical strength, all other factors being present in the desired degree. That is, the singer must be strong physically in order to succeed in opera. This applies to women as well as to men. No one knows what the physical strain is, how hard the work and study are. In front of you is a sea of highly intelligent, cultured people, who for years have been trained in the best traditions of the opera. They pay the highest prices paid anywhere for entertainment. They are entitled to the best. To face such an audience and maintain the high traditions of the house through three hours of a complicated modern score is a musical, dramatic and intellectual feat that demands, first of all, a superb physical condition. Every day of my life in New York I go for a walk, mostly around the reservoir in Central Park, because it is high and the air is pure and free. As a result I seldom have a cold, even in mid-winter. I have not missed a performance in eight years, and this, of course, is due to the fact that my health is my first daily consideration.

PASQUALE AMATO

BIOGRAPHICAL