Great Singers on the Art of Singing Part 3

I do not know enough of American vocal training to give an intelligent criticism, but I wonder if American vocal teachers give as much attention to special parts of the training as teachers in Italy do. I hope they do, as I consider it very necessary. Consider the matter of staccato. A good vocal staccato is really a very difficult thing--difficult when it is right; that is, when on the pitch--every time, clear, distinct, and at the same time not hard and stiff. It took me weeks to acquire the right way of singing such a pa.s.sage as _Un di, quando le veneri_, from _Traviata_, but those were very profitable weeks--

[Ill.u.s.tration: musical notation

Un di, quan-do le ve-ne-ri il tem-po a-vra fu-ga-te ]

Accurate attack in such a pa.s.sage is by no means easy. Anyone can sing it--but _how it is sung_ makes the real difference.

The public has very odd ideas about singing. For instance, it would be amazed to learn that _Trovatore_ is a much more difficult role for me to sing and sing right than either _Parsifal_ or _Pelleas and Melisande_.

This largely because of the pure vocal demands and the flowing style.

The Debussy opera, wonderful as it is, does not begin to make the vocal demands that such a work as _Trovatore_ does.

When the singer once acquires proficiency, the acquisition of new roles comes very easy indeed. The main difficulty is the daily need for drilling the voice until it has the same quality every day. It can be done only by incessant attention. Here are some of the exercises I do every day with my accompanist:

[Ill.u.s.tration: musical notation

_First time forte second time piano._]

DAVID BISPHAM

BIOGRAPHICAL

David Bispham, in many ways the most distinguished of all American singers, was born in Philadelphia January 5th, 1857. Educated at Haverford College, Pa. At first a highly successful amateur in Philadelphia choirs and theatricals, he went to Milan in 1886, studying with Vannuccini, Lamperti and later in London with Shakespeare and Randegger. His operatic debut was made in Messager's _Basoche_ at the Royal English Opera House, 1891. In 1892 he appeared as Kurvenal and met with great favor. His Wagnerian roles have been especially distinctive since the start. From 1896 to 1909 he sang alternately at the Metropolitan in New York and at Covent Garden in London, and was admittedly one of the foremost attractions of those great companies in the golden era of our operatic past. He was also immensely in demand as a recital and as an oratorio singer and as a dramatic reader. Few singers have shown the versatility and mastery of David Bispham and few have been so justly ent.i.tled to the academic honors LL.D., B.A., and Mus. Doc., which he had earned. He was the author of numerous articles on singing--the very successful autobiography, "A Quaker Singer's Reminiscences," and the collections, "David Bispham's Recital Alb.u.m,"

"The David Bispham Song Book" (for schools). He was also ever a strong champion of the use of the English language in singing. He died in New York City Oct. 2d, 1921.

[Ill.u.s.tration: DAVID BISPHAM.]

THE MAIN ELEMENTS OF INTERPRETATION

DAVID BISPHAM

So many things enter into the great problem of interpretation in singing that it is somewhat difficult to state definitely just what the young singer should consider the most important. Generally speaking, the following factors are of prime significance:

1. Natural Apt.i.tude.

2. General Education and Culture.

3. Good Musical Training.

4. Accurate Vocal Training.

5. Familiarity with Traditions.

6. Freedom of Mind.

7. Good Health.

8. Life Experience.

9. Personal Magnetism--one of the most essential,--and 10. Idealism.

1. _Natural Apt.i.tude._--You will notice that foremost consideration is given to those broad general qualities without which all the technical and musical training of the world is practically worthless. The success of the art worker in all lines depends first upon the nature of the man or woman. Technical training of the highest and best kind is essential, but that which moves great audiences is not alone the mechanics of an art, but rather the broad education, experience, ideals, culture, the human sympathy and magnetism of the artist.

2. _The Value of Education and Culture._--I cannot emphasize too strongly the value of a good general education and wide culture for the singer. The day has pa.s.sed when a pretty face or a well-rounded ankle could be mistaken for art on the operatic stage. The public now demands something more than the heroic looking young fellow who comes down to the footlights with the a.s.surance of youth and offers, for real vocal art, a voice fresh but crudely trained, and a bungling interpretation.

Good education has often been responsible for the phenomenal success of American singers in European opera houses. Before the last war, in nearly all of the great operatic centers of the Continent, one found Americans ranking with the greatest artists in Europe. This was a most propitious condition, for it meant that American audiences have been compelled to give the long-delayed recognition to our own singers, and methods of general and vocal education.

In most cases the young people of America who aspire to operatic triumphs come from a somewhat better cla.s.s than singers do in Europe.

They have had, in most cases, better educational, cultural and home advantages than the average European student. Their minds are trained to study intelligently; they are acquainted with the history of the great nations of the world; their tastes are cultivated, and they are filled with the American energy which is one of the marvels of the centuries.

More than this, they have had a kind of moral uplift in their homes which is of immense value to them. They have higher ideals in life, they are more businesslike and they keep their purposes very clearly in view.

This has created jealousy in some European centers; but it is simply a case of the survival of the fittest, and Europe was compelled to bow in recognition of this. Vocal art in our own land is no longer to be ignored, for our standards are as high as the highest in the world, and we are educating a race of singers of which any country might be proud.

3. _Good Musical Training._--A thorough musical training--that is, a training upon some musical instrument such as the piano--is extremely desirable, but not absolutely essential; for the instrument called the Human Voice can be played on as effectively as a violin. The singer who is convinced of his ability, but who has not had such advantages in early youth, should not be discouraged. He can acquire a thorough knowledge of the essentials later on, but he will have to work very much harder to get his knowledge--as I was obliged to do. Artistic ability is by no means a certain quality. The famous art critic, Va.s.sari, has called our attention to the fact that one painter who produced wonderful pictures had an exhaustive technical training, another arising at his side who also achieved wonderful results had to secure them by means of much bungling self-study. It is very hard to repress artistic ability.

As the Bible says: "Many waters cannot quench love." So it is with music; if the ability is there, it will come to the front through fire and water.

4. _Accurate and Rational Vocal Training._--I have added the word rational for it seems a necessary term at a time when so much vocal teaching is apparently in the hands of "faddists." There is only one way to sing, that is _the right way_, the way that is founded upon natural conditions. So much has been said in print about breathing, and placing the voice, and resonance, that anything new might seem redundant at this time. The whole thing in a nutsh.e.l.l is simply to make an effort to get the breath under such excellent control that it will obey the will so easily and fluently that the singer is almost unconscious of any means he may employ to this end. This can come only through long practice and careful observation. When the breath is once under proper control the supply must be so adjusted that neither too much nor too little will be applied to the larynx at one time. How to do this can be discovered only by much practice and self-criticism. When the tone has been created it must be reinforced and colored by pa.s.sing through the mouth and nose, and the latter is a very present help in time of vocal trouble. This leads to a good tone on at least twenty-six steps and half-steps of the scale and with twenty or more vowel sounds--no easy task by any means.

All this takes time, but there is no reason why it should take an interminable amount of time. If good results are not forthcoming in from nine months to a year, something is wrong with either the pupil or the teacher.

The matter of securing vocal flexibility should not be postponed too long, but may in many instances be taken up in conjunction with the studies in tone production, after the first principles have been learned. Thereafter one enters upon the endless and indescribably interesting field of securing a repertoire. Only a teacher with wide experience and intimacy with the best in the vocal literature of the world can correctly grade and select pieces suitable to the ever-changing needs of the pupil.

No matter how wonderful the flexibility of the voice, no matter how powerful the tones, no matter how extensive the repertoire, the singer will find all this worthless unless he possesses a voice that is susceptible to the expression of every shade of mental and emotional meaning which his intelligence, experience and general culture have revealed to him in the work he is interpreting. At all times his voice must be under control. Considered from the mechanical standpoint, the voice resembles the violin, the breath, as it pa.s.ses over the vocal cords, corresponding to the bow and the resonance chambers corresponding to the resonance chambers in the violin.

5. _Familiarity With Vocal Traditions._--We come to the matter of the study of the traditional methods of interpreting vocal masterpieces. We must, of course, study these traditions, but we must not be slaves to them. In other words, we must know the past in order to interpret masterpieces properly in the present. We must not, however, sacrifice that great quality--individuality--for slavery to convention. If the former Italian method of rendering certain arias was marred by the tremolo of some famous singers, there is no good artistic reason why any one should retain anything so hideous as a tremolo solely because it is traditional.

There is a capital story of a young American singer who went to a European opera house with all the characteristic individuality and inquisitiveness of his people. In one opera the stage director told him to go to the back of the stage before singing his princ.i.p.al number and then walk straight down to the footlights and deliver the aria. "Why must I go to the back first?" asked the young singer. The director was amazed and bl.u.s.tered: "Why? Why, because the great Rubini did it that way--he created the part; it is the tradition." But the young singer was not satisfied, and finally found an old chorus man who had sung with Rubini, and asked him whether the tradition was founded upon a custom of the celebrated singer. "Yes," replied the chorus man, "da gretta Rubini he granda man. He go waya back; then he comea front; then he sing. Ah, grandissimo!" "But," persisted the young American, "_Why did he go to the back before he sang?_" "Oh!" exclaimed the excited Italian; "Why he go back? He go to spit!"

Farcical as this incident may seem, many musical traditions are founded upon customs with quite as little musical or esthetic importance. Many traditions are to-day quite as useless as the b.u.t.tons on the sleeves of our coats, although these very b.u.t.tons were at one time employed by our forefathers to fasten back the long cuffs. There are, however, certain traditional methods of rendering great masterpieces, and particularly those marked by the florid ornamentation of the days of Handel, Bach and Haydn, which the singer must know. Unfortunately, many of these traditions have not been preserved in print in connection with the scores themselves, and the only way in which the young singer can acquire a knowledge of them is through hearing authoritative artists, or from teachers who have had wide and rich experience.

6. _Freedom of Mind._--Under ideal conditions the mind should be free for music study and for public performance. This is not always possible; and some artists under great mental pressure have done their best work solely because they felt that the only way to bury sorrow and trouble was to thrust themselves into their artistic life and thus forget the pangs of misfortune. The student, however, should do everything possible to have his mind free so that he can give his best to his work. One who is wondering where the next penny is coming from is in a poor condition to impress an audience. Nevertheless, if the real ability is there it is bound to triumph over all obstacles.

7. _Good Health._--Good health is one of the great factors of success in singing. Who needs a sounder mind than the artist? Good health comes from good, sensible living. The singer must never forget that the instrument he plays upon is a part of his body and that that instrument depends for its musical excellence and general condition upon good health. A $20,000 Stradivarius would be worthless if it were placed in a tub of water; and a larynx that earns for its owner from $500 to $1,500 a night is equally valueless when saturated with the poisons that come from intemperate or unwise living. Many of the singer's throat troubles arise from an unhealthy condition of the stomach caused by excesses of diet; but, aside from this, a disease localized in any other part of the body affects the throat sympathetically and makes it difficult for the singer to get good results. Recital work, with its long fatiguing journeys on railroads, together with the other inconveniences of travel and the responsibility and strain that come from knowing that one person alone is to hold from 1,000 to 5,000 people interested for nearly two hours, demands a very sound physical condition.

8. _Life Experience._--Culture does not come from the schoolroom alone.

The refining processes of life are long and varied. As the violin gains in richness of tone and intrinsic value with age, so the singer's life experience has an effect upon the character of his singing. He must have seen life in its broadest sense, to place himself in touch with human sympathy. To do this and still retain the freshness and sweetness of his voice should be his great aim. The singer who lives a narrow and bigoted existence rarely meets with wide popular approval. The public wants to hear in a voice that wonderful something that tells them that it has had opportunities to know and to understand the human side of song, not giving parrot-like versions of some teacher's way of singing, but that the understanding comes from the very center of the mind, heart and soul. This is particularly true in the field of the song recital. Most of the renowned recital singers of the last half century, including Schumann-Heink, Sembrich, Wullner, the Henschels and others, were considerably past their youth when they made their greatest successes. A painting fresh from the artist's brush is raw, hard and uninteresting, till time, with its damp and dust, night and day, heat and cold, gives the enriching touch which adds so wonderfully to the softness and beauty of a picture. We singers are all living canvases. Time, and time only, can give us those shades and tints which reveal living experience. The young artist should hear many of the best singers, actors, and speakers, should read many of the best books, should see many beautiful pictures and wonderful buildings. But most of all, he should know and study many people and learn of their joys and their sorrows, their successes and their failures, their strength and their weaknesses, their loves and their hates. In all art human life is reflected, and this is particularly true in the case of vocal art. For years, in my youth, I never failed to attend all of the musical events of consequence in my native city. This was of immense value to me, since it gave me the means of cultivating my own judgment of what was good or bad in singing. Do not fear that you will become _blase_. If you have the right spirit every musical event you attend will spur you on.

You may say that it is expensive to hear great singers, and that you can only attend recitals and the opera occasionally. If this is really the case you still have a means of hearing singers which you should not neglect. I refer to the reproducing machines which have grown to be of such importance in vocal education. Phonograph records are nothing short of marvelous, and my earnestness in this cause is shown by the fact that I have long advocated their employment in the public schools, and have placed the matter before the educational authorities of New York. I earnestly urge the music teachers of this country, who are working for the real musical development of our children, to take this matter up in all seriousness. I can a.s.sure them that their efforts will bring them rich dividends in increased interest in musical work of their pupils, and the forming of a musical public. But nothing but the cla.s.sics of song must be used. The time for the scorning of "high-brow" songs is past, and music must help this country to rid itself of the vogue of the "low-brow" and the "tough." Let singers strive to become educated ornaments of their lofty profession.

9. _Personal Magnetism._--One of the most essential. The subject of "personal magnetism" is ridiculed by some, of course, but rarely laughed at by the artist who has experienced the astonis.h.i.+ng phenomena in the opera house or the concert room. Like electricity it is intangible, indefinable, indescribable, but makes its existence known by manifestations that are almost uncanny. If personal magnetism does not exist, how then can we account for the fact that one pianist can sit down to the instrument and play a certain piece, and that another pianist could play the same piece with the same technical effect but losing entirely the charm and attractiveness with which the first pianist imbued the composition? Personal magnetism does not depend upon personal beauty nor erudition nor even upon perfect health. Henry Irving and Sarah Bernhardt were certainly not beautiful, but they held the world of the theater in the palm of their hand. Some artists have really been in the last stages of severe illness but have, nevertheless, possessed the divine electric spark to inspire hundreds, as did the hectic Chopin when he made his last famous visit to England and Scotland.

Personal magnetism is not a kind of hypnotic influence to be found solely in the concert hall or the theater. Most artists possess it to a certain degree. Without this subtle and mysterious force, success with the public never comes.

10. _Idealism._--Ideals are the flowers of youth. Only too often they are not tenderly cared for, and the result is that many who have been on the right track are turned in the direction of failure by materialism.

It is absolutely essential for the young singer to have high ideals.

Direct your efforts to the best in whatever branch of vocal art you determine to undertake. Do not for a moment let mediocrity or the subst.i.tution of artificial methods enter your vision. Holding to your ideal will mean costly sacrifices to you; but all sacrifices are worth while if one can realize one's ideal. The ideal is only another term for Heaven to me. If we could all attain to the ideal, we would all be in a kind of earthly Paradise. It has always seemed to me that when our Lord said "The Kingdom of Heaven is at hand," he meant that it is at hand for us to possess now; that is the _ideal_ in life.

[Ill.u.s.tration: DAME CLARA b.u.t.t.]