Part 3
There is nothing so beneficial to the young artist as the kindly and just criticism of a person who knows and nothing so stimulating as his praise.
Among my most priceless possessions I treasure the words of encouragement given me by Patti and Sembrich, those wonderful artists, when I was beginning my career.
Mme. Patti is a splendid example of the many sidedness necessary to artistic perfection. Her wonderful voice was always supplemented by complete knowledge of the art of singing, and her mastery of languages and of different fields of art made her not only a great artist, but a most interesting woman.
To hear an artist of this kind is one of the most profitable parts of a musical education.
But there are two ways of listening to a singer. There is the appreciative way, and there is the entirely critical. The beginner usually tries to show her knowledge by her intensely critical attitude.
The older you become in your art the more readily you will be able to appreciate and learn from the singers you hear on the opera or concert stage.
The greatest and the humblest singer can teach you something. But to learn you must be in a receptive attitude.
The public has no real conception of what an amount of intelligent work besides talent and art is necessary to achieve the results which it sees or hears. Only those whose lives are devoted to the same ideals can understand the struggles of other artists, and it is for that reason that appreciation and not condemnation should be on the tongues of those who themselves have studied.
The artist may demand the greatest things of herself, and what may be good enough for others is not good enough for her. As the poet says, "Art is long," though life may be short, and singing is one of the most fleeting of all arts, since once the note is uttered it leaves only a memory in the hearer's mind and since so many beautiful voices, for one reason or other, go to pieces long before their time.
If the singer's health is good the voice should end only with life itself, provided, of course, it has been used with understanding and with art.
In performing before the public one should be governed by the tastes of the public, not by one's own tastes. Just as the comedian usually wishes to play Hamlet and the man of tragic mien thinks he could be a comedy star, the singer who could make a fortune at interpreting chansonnettes usually wishes to sing operatic rôles, and the singer with a deep and heavy voice is longing to inflict baby songs on a long suffering public.
It is easy enough to find out what the public wishes to hear, and, though one should always be enlarging one's repertory, it is not a bad idea to stick to that field for which one is particularly fitted vocally and physically.
In studying a rôle after one has mastered the technical difficulties one should try to steep one's personality into that of the character one is to portray, and for that reason all study, no matter what it is, and reading of all kinds help one in developing a part.
The great Italian tragedienne, Duse, told me that one of her greatest pleasures was to wander about the streets incognito watching the types of people, following them round, observing them in their daily lives and remembering all the small details of action, gesture or expression which she could some day embody into a rôle.
The more one sees and studies people with sympathy, the more points one gets for the study of life which is embodied in the art one gives forth. But it is sympathy with one's fellow beings and kindly observation which help one here, never the critical attitude.
An artist can only afford to be coldly critical toward his own work and not toward the work of others.
Recently a young woman who started her vocal career as a contralto has sung the most difficult of Wagnerian soprano parts. Her high notes, it is true, were not the high notes of a natural soprano voice, but the care and perfection with which each high note was attacked were worthy of closest attention and admiration and defied criticism.
Hearing the smaller singers, the beginners who are still struggling with their art, should awaken in the heart of the intelligent listener not contemptuous criticism, but should be one means of realizing one's own vocal defects and the possible ways of overcoming them.
There are bad singing teachers, of course, but often the pupils are worse and will not listen to advice. The large and shrieking voice usually belongs to this type of pupil, for it is easier to force the voice when the temperament is robust and the vocal cords equally strong than it is to learn gently and quietly the correct and natural position in voice placement, and it is easier to make a noise as best you can than to use intelligently the different resonance cavities for the blending of the perfect tone.
Another fault severely criticised in the youthful singer is a lack of correct pronunciation or diction. It is only after the voice is perfectly controlled that the lips and tongue can function freely for the pronunciation of syllables.
While the voice is in what might be called a state of ferment the singer is only anxious to produce tones, and diction slips by the wayside. The appreciative listener should be able to know whether a lack of diction on the singer's part means immaturity or simply slovenliness.
Still another fault in voice production is the tremolo. It is the over-ambitious singer, the singer who forces a small, light organ to do heavy work, who develops the tremolo.
The tremolo is a sure sign that the vocal chords have been stretched beyond their natural limits, and there is only one thing can cure this. That is absolute rest for some time and then beginning the study of the voice, first singing with the mouth closed and relying entirely on very gentle breath pressure for the production of the sound.
The pupil suffering from tremolo or even very strong vibrato must have courage to stop at once and to forego having a big voice. After all, the most beautiful voices in the world are not necessarily the biggest voices, and certainly the tremolo is about the worst fault a singer can have. But that, like almost any other vocal defect, can be cured by persistent effort of the right kind.
In singing in public as well as when practicing the singer must stand so that the body will be perfectly and firmly poised. One should always stand in such a position as to be able to inhale comfortably and control a large breath, to allow the throat absolute freedom, with the head sufficiently raised to let the inflowing air penetrate all the resonance cavities.
The great thing to avoid is stiffness or discomfort of any kind in the pose. At the same time one must have a gracious air, and while feeling perfectly solidly poised on the feet, must make the impression of a certain lightness and freedom from all bodily restraint.
I have not meant in these short articles to give you anything but a very general idea of the salient points of the art of singing. After all, each one must do the real work herself.
The road is full of discouragements and hardships, but there is always something new and interesting to learn, and to achieve success, whether for the public or merely for the home circle, is worth all the trouble one can take. And so I wish you all success.
THE ART OF SINGING
By Enrico Caruso
[Illustration: ENRICO CARUSO]
The Career of Enrico Caruso
HOW A NEAPOLITAN MECHANIC'S SON BECAME THE WORLD'S GREATEST TENOR
Enrico Caruso enjoys the reputation of being the greatest tenor since Italo Campanini. The latter was the legitimate successor of Brignoli, an artist whose wonderful singing made his uncouth stage presence a matter of little moment. Caruso's voice at its best recalls Brignoli to the veteran opera habitué. It possesses something of the dead tenor's sweetness and clarity in the upper register, but it lacks the delicacy and artistic finish of Campanini's supreme effort, although it is vastly more magnetic and thrill inspiring.
That Caruso is regarded as the foremost living tenor is made good by the fact that he is the highest priced male artist in the world. Whenever and wherever he sings multitudes flock to hear him, and no one goes away unsatisfied. He is constantly the recipient of ovations which demonstrate the power of his minstrelsy, and his lack of especial physical attractiveness is no bar to the witchery of his voice.
Caruso is a Neapolitan and is now thirty-five years of age. Unlike so many great Italian tenors, he is not of peasant parentage. His father was a skilled mechanic who had been put in charge of the warehouses of a large banking and importing concern. As a lad Enrico used to frequent the docks in the vicinity of these warehouses and became an expert swimmer at a very early age. In those halcyon days his burning ambition was to be a sailor, and he had a profound distaste for his father's plan to have him learn a trade.
At the age of ten he was still a care free and fun loving boy, without a thought beyond the docks and their life. It was then that his father ruled that since he would not become a mechanic he must be sent to school. He had already learned to read a little, but that was all. He was sent to a day school in the neighborhood, and he accepted the restraint with such bad grace that he was in almost constant disgrace. His long association with the water front had made him familiar with the art of physical defense, and he was in frequent trouble on that account.
The head master of the school was a musician, and he discovered one day that his unruly pupil could sing. He was an expert in the development of the boy soprano and he soon realized that in young Caruso he had a veritable treasure. He was shrewd enough to keep his discovery to himself for some time, for he determined to profit by the boy's extraordinary ability. The lad was rehearsed privately and was stimulated to further effort by the promise of sweetmeats and release from school duties. Finally the unscrupulous master made engagements for the young prodigy to sing at fashionable weddings and concerts, but he always pocketed the money which came from these public appearances.
At the end of the second year, when Caruso was twelve years of age, he decided that he had had enough of the school, and he made himself so disagreeable to the head master that he was sent home in disgrace. His irate father gave him a sound thrashing and declared that he must be apprenticed to a mechanical engineer. The boy took little interest in his new work, but showed some aptitude for mechanical drawing and calligraphy. In a few months he became so interested in sketching that he began to indulge in visions of becoming a great artist.
When he was fifteen his mother died, and, since he had kept at the mechanical work solely on her account, he now announced his intention of forsaking engineering and devoting himself to art and music. When his father heard of this open rebellion he fell into a great rage and declared that he would have no more of him, that he was a disgrace to the family and that he need not show his face at home.
So Caruso became a wanderer, with nothing in his absolute possession save a physique that was perfect and an optimism that was never failing. He picked up a scanty livelihood by singing at church festivals and private entertainments and in time became known widely as the most capable boy soprano in Naples. Money came more plentifully, and he was able to live generously. In a short time his voice was transformed into a marvelous alto, and he soon found himself in great demand and was surfeited with attention from the rich and powerful. It was about this time that King Edward, then Prince of Wales, heard him sing in a Neapolitan church and was so delighted that he invited the boy to go to England, an invitation which young Caruso did not accept. Now that he had "arrived" Naples was good enough for him.
One day something happened which plunged him into the deepest despair. Without a warning of any sort his beautiful alto voice disappeared, leaving in its place only the feeblest and most unmusical of croaks. He was so overcome at his loss that he shut himself up in his room and would see no one. It was the first great affliction he had ever known, and he admits that he meditated suicide. He had made many friends, and some of them would have been glad to comfort him, but his grief would admit of no partnership.
One evening when he was skulking along an obscure highway, at the very bottom of the well of his despair, a firm hand was laid on his shoulder and a cheery voice called out: "Whither so fast? Come home with me, poor little shaver!"
It was Messiani, the famous baritone, who had always felt an interest in the boy and who would not release him in spite of his vigorous efforts to escape. The big baritone took him to his lodging and when he had succeeded in cheering the unhappy lad into a momentary forgetfulness of his misery asked him to sing.
"But I can't," sobbed Caruso. "It has gone!"
Messiani went to the piano and struck a chord. The weeping boy piped up in a tone so thin and feeble that it was almost indistinguishable.
"Louder!" yelled the big singer, with another full chord. Caruso obeyed and kept on through the scale. Then Messiani jumped up from the piano stool, seized the astonished boy about the waist and raised him high off his feet, at the same time yelling at the top of his voice: "What a little jackass! What a little idiot!"
Almost bursting with rage, for the miserable boy thought his friend was making sport of him, Caruso searched the apartment for some weapon with which he might avenge himself. Seizing a heavy brass candlestick, he hurled it at Messiani with all his force, but it missed the baritone and landed in a mirror.
"Hold, madman!" interposed the startled singer. "Your voice is not gone. It is magnificent. You will be the tenor of the century."
Messiani sent him to Vergine, then the most celebrated trainer of the voice in Italy. The maestro was not so enthusiastic as Messiani, but he promised to do what he could. He offered to instruct Caruso four years, only demanding 25 per cent. of his pupil's receipts for his first five years in opera. Caruso signed such a contract willingly, although he realized afterward that he was the victim of a veritable Shylock.
When Vergine was through with the young tenor he dismissed him without lavish commendation, but with a reminder of the terms of his contract. Caruso obtained an engagement in Naples, but did not achieve marked success at once. On every payday Vergine was on hand to receive his percentage. His regularity finally attracted the attention of the manager, and he made inquiry of Caruso. The young tenor showed him his copy of the contract and was horrified to be told that he had bound himself to his Shylock for a lifetime; that the contract read that he was to give Vergine five years of actual singing. Caruso would have reached the age of fifty before the last payment came. The matter was finally adjusted by the courts, and the unscrupulous teacher lost 200,000 lire by the judgment.
In Italy every man must serve his time in the army, and Caruso was checked in his operatic career by the call to go into barracks. Not long, however, was he compelled to undergo the tedium of army life. In consideration of his art he was permitted to offer his brother as a substitute after two months, and he returned to the opera. He was engaged immediately for a season at Caserta, and from that time his rise has been steady and unimpeded. After singing in one Italian city after another he went to Egypt and thence to Paris, where he made a favorable impression. A season in Berlin followed, but the Wagner influence was dominant, and he did not succeed in restoring the supremacy of Italian opera. The next season was spent in South America, and in the new world Caruso made his first triumph. From Rio he went to London, and on his first appearance he captured his Covent Garden audience. When he made his first appearance in the United States he was already at the top of the operatic ladder, and, although many attempts to dislodge him have been made, he stands still on the topmost rung.
From a Personal Viewpoint
Of the thousands of people who visit the opera during the season few outside of the small proportion of the initiated realize how much the performance of the singer whom they see and hear on the stage is dependent on previous rehearsal, constant practice and watchfulness over the physical conditions that preserve that most precious of our assets, the voice.
Nor does this same great public in general know of what the singer often suffers in the way of nervousness or stage fright before appearing in front of the footlights, nor that his life, outwardly so fêted and brilliant, is in private more or less of a retired, ascetic one and that his social pleasures must be strictly limited.
These conditions, of course, vary greatly with the individual singer, but I will try to tell in the following articles, as exemplified in my own case, what a great responsibility a voice is when one considers that it is the great God-given treasure which brings us our fame and fortune.
I am perhaps more favored than many in the fact that my voice was always "there," and that, with proper cultivation, of course, I have not had to overstrain it in the attempt to reach vocal heights which have come to some only after severe and long-continued effort. But, on the other hand, the finer the natural voice the more sedulous the care required to preserve it in its pristine freshness to bloom. This is the singer's ever present problem--in my case, however, mostly a matter of common sense living.
As regards eating--a rather important item, by the way--I have kept to the light "continental" breakfast, which I do not take too early; then a rather substantial luncheon toward two o'clock. My native macaroni, specially prepared by my chef, who is engaged particularly for his ability in this way, is often a feature in this midday meal. I incline toward the simpler and more nourishing food, though my tastes are broad in the matter, but lay particular stress on the excellence of the cooking, for one cannot afford to risk one's health on indifferently cooked food, no matter what its quality.
On the nights when I sing I take nothing after luncheon, except perhaps a sandwich and a glass of Chianti, until after the performance, when I have a supper of whatever I fancy within reasonable bounds. Being blessed with a good digestion, I have not been obliged to take the extraordinary precautions about what I eat that some singers do. Still, I am careful never to indulge to excess in the pleasures of the table, for the condition of our alimentary apparatus and that of the vocal chords are very closely related, and the unhealthy state of the one immediately reacts on the other.
My reason for abstaining from food for so long before singing may be inquired. It is simply that when the large space required by the diaphragm in expanding to take in breath is partly occupied by one's dinner the result is that one cannot take as deep a breath as one would like and consequently the tone suffers and the all-important ease of breathing is interfered with. In addition a certain amount of bodily energy is used in the process of digestion which would otherwise be entirely given to the production of the voice.
These facts, seemingly so simple, are very vital ones to a singer,
## particularly on an "opening night." A singer's life is such an active
one, with rehearsals and performances, that not much opportunity is given for "exercise," and the time given to this must, of course, be governed by individual needs. I find a few simple physical exercises in the morning after rising, somewhat similar to those practiced in the army, or the use for a few minutes of a pair of light dumbbells, very beneficial. Otherwise I must content myself with an occasional automobile ride. One must not forget, however, that the exercise of singing, with its constant deep inhalation (and acting in itself is considerable exercise also), tends much to keep one from acquiring an over-supply of embonpoint.
A proper moderation in eating, however, as I have already said, will contribute as much to the maintenance of correct proportion in one's figure as any amount of voluntary exercise which one only goes through with on principle.
As so many of you in a number of States of this great country are feeling and expressing as well as voting opinions on the subject of whether one should or should not drink intoxicants, you may inquire what practice is most in consonance with a singer's well being, in my opinion. Here, again, of course, customs vary with the individual. In Italy we habitually drink the light wines of the country with our meals and surely are never the worse for it. I have retained my fondness for my native Chianti, which I have even made on my own Italian estate, but believe and carry out the belief that moderation is the only possible course. I am inclined to condemn the use of spirits, whisky in
## particular, which is so prevalent in the Anglo-Saxon countries, for it
is sure to inflame the delicate little ribbons of tissue which produce the singing tone and then--_addio_ to a clear and ringing high C!
Though I indulge occasionally in a cigarette, I advise all singers,
## particularly young singers, against this practice, which can certainly
not fail to have a bad effect on the delicate lining of the throat, the vocal chords and the lungs.
You will see by all the foregoing that even the gift of a good breath is not to be abused or treated lightly, and that the "goose with the golden egg" must be most carefully nurtured.
Outside of this, however, one of the great temptations that beset any singer of considerable fame is the many social demands that crowd upon him, usually unsought and largely undesired. Many of the invitations to receptions, teas and dinners are from comparative strangers and cannot be considered, but of those from one's friends which it would be a pleasure to attend very few indeed can be accepted, for the singer's first care, even if a selfish one, must be for his health and consequently his voice, and the attraction of social intercourse must, alas, be largely foregone.