Chapter 13

"It is impossible," continued Mr. Duval, "to put the whole method of vocal training into a few sentences. The student advances gradually and naturally, but surely, from the beginnings I have indicated, to the trill, the pizzicati, to more rapid scales, to learning the attack, 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 exercises on Ah have been sung, and to have them all of the same size, easily and loosely pronounced. 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 ripple. This is bel canto!

"In teaching I advise two pupils sharing the 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 future, 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. Caruso also may be considered to have his own vocal mastery, inasmuch as he commands a vocal technic which enables him to interpret any rôle that lies within his power and range. The greatest singer of to-day, Shalyapin, has also his individual vocal mastery, closely resembling 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 mastery of doing a great thing convincingly."

XXVII

=THE CODA=

A RESUMÉ

The student, seeking light on the many problems of vocal technic, the training for concert and opera, how to get started in the profession, 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 bulwark of precept and example, so that the student 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 individual.

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 variation through variety in formation of mouth and throat cavities, also physical conditions of the anatomy, it is no cause for wonder that the human instrument should differ in each individual. Then think of all sorts and conditions of mentality, environment, ambitions and ideals. It is a self evident fact that the vocal instrument 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 possessor." "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 mentality and a different kind of voice," says Martinelli; "indeed there are as many qualities of voice as there are people."

Granting, then, that there are no two voices and personalities in the world, exactly alike, it follows, as a natural conclusion, that the renowned 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 personal. 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 understands 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. 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," remarks Mme. Homer. Martinelli says: "The voice is a hidden instrument and eventually its fate must rest with its possessor. After general principles are understood, a singer must work them out according to his ability." Florence 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 conscientious desire not to lead any one into paths which might not be best for his or her instrument.

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 become thoroughly understood, the young singers learn what is best for their own voices; they, too, become a law unto themselves, capable of continuing the development of their own voices in the manner best suited to this most individual of all instruments.

AMERICAN VOICES

We often hear slighting things said of the quality of American voices, especially the speaking voice. They are frequently compared to the beauty of European voices, to the disparagement of those of our own country. Remembering the obloquy cast upon the American 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," asserts Mme. Easton. Mme. Hempel says: "I find there are quantities of lovely voices here in America. The quality of the American female 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 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." 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 Italian, in particular, has very little knowledge of the scientific side; he usually sings by intuition."

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 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 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 observation 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 work always--and to sacrifice." But Geraldine Farrar does not consider this in the light of sacrifice. Her message to the young singer is:

"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, 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 exist, 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 indeed 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 trying to acquire the things I find difficult, or have not yet attained to," testifies Mme. Homer.

THE REQUIREMENTS FOR A VOCAL 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 acquire.

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, doing the daily vocal task, and trying to do it each day a little better than the day before, that anything worth while is accomplished. The student must have unlimited patience to labor and wait for results."

Mr. Witherspoon states, that students coming 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 answers the question as to the vital requisites necessary to become a singer: "Brains, Personality, Voice."

Quotations could be multiplied to prove that all artists fully concur with those already mentioned. There must be a promising voice to cultivate, youth, good looks, (for a public career) 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 important of all is a musical education."

Most of the great singers have emphatically 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: Galli-Curci, Lehmann, Raisa, D'Alvarez, Barrientos, 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 instrument, for it not only provides accompaniment but cultivates musical sense." "The vocal student should study piano as well as languages," 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."

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 children should have this opportunity, whether they desire it or not. The child who early begins 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 cultivating."

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 require careful study. Galli-Curci remarks: "The singer can always be considered fortunate who has been brought up to more than one language. 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, according to her personal statement. Russian, of course, as she is Russian, then French, Italian, German, Spanish, Polish, Roumanian and English.

"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 characteristic of the young student and singer."

BREATH CONTROL

Following the subject of requirements for a vocal career, let us get right down to the technical 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. Lehmann says: "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."

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 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 always 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 practice."

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 rising 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 understanding and experience. When the manner of taking breath and the way to develop the diaphragm and abdominal muscles, is understood, that is only a beginning. Management 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 lasting from ten to twenty seconds. This needs months of arduous practice. In all breathing, inhale through the nose."

Yeatman Griffith: "Breath control is indeed 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 the breath escape; the vocal chords will make the tone, if you understand how to make a perfect 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 reasons 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. Humming 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 single tones piano, make a long crescendo and return to piano. Another exercise employs two connecting half tones, using one or two vowels. During practice stand before a mirror.

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 régime." 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 invent 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 studying technic, he is acquiring much beautiful material."

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 seconds." Werrenrath: "I do a lot of gymnastics 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