Great Singers on the Art of Singing. James Francis Cooke
The General Director, the Stage Manager, and often the Musical Director make innumerable suggestions to the singers regarding the proper histrionic presentation of their rôles. 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, Aïda, 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 début 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 rôle in the Italian version of Louise), she made her American début 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 rôles 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 début. 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 rôles 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