Great Singers on the Art of Singing Part 5

The result is that the boys in the street are often remarkably familiar with some of the best works. Indeed, it would not be extravagant to say that they were quite as familiar with these musical masterpieces as some of the residents of America are with the melodramatic doings of Jesse James or the "Queen of Chinatown." Thus it is that the average Italian boy with a fair education and quick powers of observation reaches his majority with a taste for singing trained by many opportunities to hear great singers. They have had the best vocal instruction in the world, providing, of course, they have exercised their powers of judgment. Thus it is that it happens that such a singer as Caruso, certainly one of the greatest tenors of all time, could be accidentally heard by a manager while singing and receive an offer for an engagement upon the spot.

Caruso's present art, of course, is the result of much training that would fall under the head of "coaching," together with his splendid experience upon the operatic stage itself.

I trust that I have not by this time given the reader of this page the impression that teachers are unnecessary. This is by no means the case.

A good teacher is extremely desirable. If you have the good fortune to fall into the hands of a careful, experienced, intelligent teacher, much may be accomplished; but the teacher is by no means all that is required. The teacher should be judged by his pupils, and by nothing else. No matter what he may claim, it is invariably the results of his work (the pupil's) which must determine his value. Teachers come to me with wonderful theories and all imaginable kinds of methods. I always say to them: "Show me a good pupil who has been trained by your methods and I will say that you are a good teacher."

Before our national elections I am asked, "Which one of the candidates do you believe will make the best President?" I always reply, "Wait four years and I will pa.s.s my opinion upon the ability of the candidate the people select." In other words, "the proof of the pudding is in the eating."

SINGERS NOT BORN, BUT MADE

We often hear the trite expression, "Singers are born, not made." This, to my mind, is by no means the case. One may be born with the talent and deep love for music, and one may be born with the physical qualifications which lead to the development of a beautiful voice, but the singer is something far more than this. Given a good voice and the love for his music, the singer's work is only begun. He is at the outstart of a road which is beset with all imaginable kinds of obstacles. In my own case I was extremely ambitious to be a singer.

Night after night I played 'cello in the orchestra at La Scala, in Milan, always wis.h.i.+ng and praying that I might some day be one of the actors in the wonderful world behind the footlights. I listened to the famous singers in the great opera house with the minutest attention, making mental notes of their manner of placing their voices--their method of interpretation, their stage business, and everything that I thought might be of any possible use to me in the career of the singer, which was dearest to my heart. I endeavored to employ all the common sense and good judgment I possessed to determine what was musically and vocally good or otherwise. I was fortunate in having the training of the musician, and also in having the invaluable advantage of becoming acquainted with the orchestral scores of the famous operas. Finally the long-awaited opportunity came and I made my debut at the Teatro dal Verme, in Milan. I had had no real vocal instruction in the commonly accepted sense of the term; but I had really had a kind of instruction that was of inestimable value.

NOT GIVEN TO ALL TO STUDY SUCCESSFULLY WITHOUT A TEACHER

Success brought with it its disadvantages. I foolishly strained my voice through overwork. But this did not discourage me. I realized that many of the greatest singers the world has ever known were among those who had met with disastrous failure at some time in their careers. I came to America and played the violoncello in the Boston Symphony Orchestra. All the time I was practicing with the greatest care and with the sole object of restoring my voice. Finally it came back better than ever and I sang for Maurice Grau, the impresario of the Metropolitan Opera House, in New York. He engaged me and I sang continuously at the Metropolitan for several years. Notwithstanding this varied experience, I will seek to learn, and to learn by practical example, not theory. The only opera school in the world is the opera house itself. No school ever "made" a great singer or a great artist. The most they have done has been to lay the foundation. The making of the artist comes later.

In order to do without instruction one must be very peculiarly const.i.tuted. One must be possessed of the pedagogical faculty to a marked degree. One must have within oneself those qualities for observing and detecting the right means leading to an artistic end which every good teacher possesses. In other words, one must be both teacher and pupil. This is a rare combination, since the power to teach, to impart instruction, is one that is given to very few. It is far better to study alone or not at all than with a poor teacher. The teacher's responsibility, particularly in the case of vocal students, is very great. So very much depends upon it. A poor teacher can do incalculable damage. By poor teachers I refer particularly to those who are carried away by idiotic theories and quack methods. We learn to sing by singing and not by carrying bricks upon our chest or other idiotic antics.

Consequently I say that it is better to go all through life with a natural or "green" voice than to undergo the vocal torture that is sometimes palmed off upon the public as voice teaching. At best, all the greatest living teacher can do is to put the artist upon the right track and this in itself is responsibility enough for one man or one woman to a.s.sume.

SINGERS MAKE THEIR OWN METHODS

As I have already said, most every singer makes a method unto himself.

It is all the same in the end. The Chinese may, for instance, have one name for G.o.d, the Persians another, the Mohammedans another, and the people of Christian lands another. But the G.o.d principle and the wors.h.i.+p principle are the same with all. It is very similar in singing. The means that apply to my own case may apparently be different from those of another, but we are all seeking to produce beautiful tones and interpret the meaning of the composer properly.

One thing, however, the student should seek to possess above all things, and this is a thorough foundation training in music itself. This can not begin too early. In my own home we have always had music. My children have always heard singing and playing and consequently they become critical at a very early age.

I can not help repeating my advice to students who hope to find a vocal education in books or by the even more ridiculous correspondence method.

Books may set one's mental machinery in motion and incite one to observe singers more closely, but teach they can not and never can. The sound-reproducing machines are of a.s.sistance in helping the student to understand the breathing, phrasing, etc., but there is nothing really to take the place of the living singer who can ill.u.s.trate with his voice the niceties of placing and _timbre_.

My advice to the voice students of America is to hear great singers.

Hear them as many times as possible and consider the money invested as well placed as any you might spend in vocal instruction. The golden magnet, as well as the opportunities in other ways offered artists in America, has attracted the greatest singers of our time to this country.

It is no longer necessary to go abroad to listen to great singers. In no country of the world is opera given with more lavish expenditure of money than in America. The great singers are now by no means confining their efforts to the large Eastern cities. Many of them make regular tours of the country, and students in all parts of this land are offered splendid opportunities for self-help through the means of concerts and musical festivals. After all, the most important thing for any singer is the development of the critical sense. Blind imitation is, of course, bad, but how is the student to progress unless he has had an opportunity to hear the best singers of the day? In my youth I heard continually such artists as La Salle, Gayarre, Patti, De Reszke and others. How could I help profiting by such excellent experiences?

GREAT VOICES ARE RARE

One may be sure that in these days few, if any, great voices go undiscovered. A remarkable natural voice is so rare that some one is sure to notice it and bring it to the attention of musicians. The trouble is that so many people are so painfully deluded regarding their voices. I have had them come to me with voices that are obviously execrable and still remain unconvinced when I have told them what seemed to me the truth. This business of hearing would-be singers is an unprofitable and an uncomfortable one; and most artists try to avoid the ordeal, although they are always very glad to encourage real talent.

Most young singers, however, have little more than the bare ambition to sing, coupled with what can only be described by the American term, "a swelled head." Someone has told them that they are wonderfully gifted, and persons of this kind are most always ready to swallow flattery indiscriminately. Almost everyone, apparently, wants to go into opera nowadays. To singers who have not any chance whatever I have only to say that the sooner this is discovered the better. Far better put your money in bank and let compound interest do what your voice can not.

ENRICO CARUSO

BIOGRAPHICAL

Enrico Caruso was born at Naples, February 25th, 1873. His fondness for music dates from his earliest childhood; and he spent much of his spare money in attending the opera at San Carlo and hearing the foremost singers of his time in many of the roles in which he appeared later on.

His actual study, however, did not start until he was eighteen, when he came under the tuition of Guglielmo Vergine. In 1895 he made his debut at the Teatro Cimarosa in _Caserta_. His first appearances drew comparatively little attention to his work and his future greatness was hardly suspected by many of those who heard him. However, by dint of long application to his art he gained more and more recognition. In 1902 he made his debut in London. The following year he came to New York, where the world's greatest singers had found an El Dorado for nearly a quarter of a century. There he was at once proclaimed the greatest of all tenors and from that time his success was undeviating. Indeed his voice was so wonderful and so individual that it is difficult to compare him with any of his great predecessors; Tamagno, Campanini, de Reszke and others. In Europe and in America he was welcomed with acclaim and the records of his voice are to be found in thousands of homes of music lovers who have never come in touch with him in any other way. Signor Caruso had a remarkable talent for drawing and for sculpture. His death, August 2d, 1921, ended the career of the greatest male singer of history.

[Ill.u.s.tration: ENRICO CARUSO.]

ITALY, THE HOME OF SONG

ENRICO CARUSO

OPERA AND THE PUBLIC IN ITALY

Anyone who has traveled in Italy must have noticed the interest that is manifested at the opening of the opera season. This does not apply only to the people with means and advanced culture but also to what might be called the general public. In addition to the upper cla.s.ses, the same cla.s.s of people in America who would show the wildest enthusiasm over your popular sport, base-ball, would be similarly eager to attend the leading operatic performances in Italy. The opening of the opera is accompanied by an indescribable fervor. It is "in the air." The whole community seems to breathe opera. The children know the leading melodies, and often discuss the features of the performances as they hear their parents tell about them, just as the American small boy retails his father's opinions upon the political struggles of the day or upon the last ball game.

It should not be thought that this does not mean a sacrifice to the ma.s.ses, for opera is, in a sense, more expensive in Italy than in America; that is, it is more expensive by comparison in most parts of the country. It should be remembered that monetary values in Italy are entirely different from those in America. The average Italian of moderate means looks upon a lira as a coin far more valuable than its equivalent of twenty cents in United States currency. His income is likely to be limited, and he must spend it with care and wisdom. Again, in the great operatic centers, such as Milan, Naples or Rome, the prices are invariably adjusted to the importance of the production. In first-cla.s.s productions the prices are often very high from the Italian standpoint. For instance, at La Scala in Milan, when an exceptionally fine performance is given with really great singers, the prices for orchestra chairs may run as high as thirty lira or six dollars a seat.

Even to the wealthy Italian this amount seems the same as a much larger amount in America.

To give opera in Italy with the same spectacular effects, the same casts composed almost exclusively of very renowned artists, the same _mise en scene_, etc., would require a price of admission really higher than in America. As a matter of fact, there is no place in the world where such a great number of performances, with so many world-renowned singers, are given as at the Metropolitan Opera House in New York. There is no necessity for any one to make a special trip to Europe to hear excellent performances in these days. Of course such a trip would be interesting, as the performances given in many European centers are wonderfully fine, and they would be interesting to hear if only from the standpoint of comparing them with those given at the Metropolitan. However, the most eminent singers of the world come here constantly, and the performances are directed by the ablest men obtainable, and I am at loss to see why America should not be extremely proud of her operatic advantages. In addition to this the public manifests a most intelligent appreciation of the best in music. It is very agreeable to sing in America, as one is sure that when he does well the public will respond at once.

ITALIAN, THE LANGUAGE OF MUSIC

Perhaps the fact that in Italy the audiences may understand the performances better because of their knowledge of their native language may add to the pleasure of opera-going. This, however, is a question, except in the case of some of the more modern works. The older opera librettos left much to be desired from the dramatic and poetic standpoints. Italian after all is the language of music. In fact it is music in itself when properly spoken. Note that I say "when properly spoken." American girls go to Italy to study, and of course desire to acquire a knowledge of the language itself, for they have heard that it is beneficial in singing. They get a mere smattering, and do not make any attempt to secure a perfect accent. The result is about as funny as the efforts of the comedians who imitate German emigrants on the American stage.

If you start the study of Italian, persist until you have really mastered the language. In doing this your ear will get such a drill and such a series of exercises as it has never had before. You will have to listen to the vowel sounds as you have never listened. This is necessary because in order to understand the grammar of the language you must hear the final vowel in each word and you must hear the consonants distinctly.

There is another peculiar thing about Italian. If the student who has always studied and sung in English, German or French or Russian, attempts to sing in Italian, he is really turning a brilliant searchlight upon his own vocal ability. If he has any faults which have been concealed in his singing in his own language, they will be discovered at once the moment he commences to study in Italian. I do not know whether this is because the Italian of culture has a higher standard of diction in the enunciation of the vowel sounds, or whether the sounds themselves are so pure and smooth that they expose the deficiencies, but it is nevertheless the case. The American girl who studies Italian for six months and then hopes to sing in that language in a manner not likely to disturb the sense of the ridiculous is deceiving herself. It takes years to acquire fluency in a language.

AUDIENCES THE SAME THE WORLD AROUND

Audiences are as sensitive as individuals. Italy is known as "the home of the opera"; but I find that, as far as manifesting enthusiasm goes, the world is getting pretty much the same. If the public is pleased, it applauds no matter whether it be in Vienna, Paris, Rome, Buenos Aires, New York, or Oshkosh. An artist feels his bond with his audience very quickly. He knows whether his auditors are delighted, whether they are merely interested or whether they are indifferent a few seconds after he has been upon the stage. I can judge my own work at once by the att.i.tude of the audience. No artist sings exactly alike on two successive nights.

That would be impossible. Although every sincere artist tries to do his best at all times, there are, nevertheless, occasions when one sings better than at others. If I sing particularly well the audience is particularly enthusiastic; if I am not feeling well and my singing indicates it, the audience will let me know at once by not being quite so enthusiastic. It is a barometer which is almost unfailing. This is also an important thing for the young singer to consider. Audiences judge by real worth and not by reputation.

Reputation may attract money to the box office, but once the people are inside the opera house the artist must really please them or suffer.

Young singers should not be led to think that anything but real worth is of any lasting value. If the audience does not respond, do not blame the audience. It would respond if you could sing so beautifully that you could compel a response that you know should follow real artistic achievement. Don't blame your teacher or your lack of practice or anything or anybody but yourself. The verdict of the audience is better than the examination of a hundred so-called experts. There is something about an audience that makes it seem like a great human individual, whether in Naples or in San Francisco. If you touch the heart or please the sense of beauty, the appet.i.te for lovely music--common to all mankind--the audience is yours, be it Italian, French, German or American.

OPERATIC PREPARATION IN ITALY

The American student with a really good voice and a really fine vocal and musical training, would have more opportunities for engagements in the smaller Italian opera houses, for the simple reason that there are more of these opera houses and more of these opera companies. Bear in mind, however, that opera in Italy depends to a large extent upon the standing of the artists engaged to put on the opera. In some cities of the smaller size the munic.i.p.ality makes an appropriation, which serves as a guarantee or subsidy. An impresario is informed what operas the community desires and what singers. He tries to comply with the demand.

Often the city is very small and the demand very slightly indicated in real money. As a result the performances are comparatively mediocre. The American student sometimes fails to secure engagements with the big companies and tries to gain experience in these small companies.

Sometimes he succeeds, but he should remember before undertaking this work that many native Italian singers with realty fine voices are looking for similar opportunities and that only a very few stand any chance of reaching really noteworthy success.

OPERA WILL ALWAYS BE EXPENSIVE