Part 12

As I have said, Debussy was a gorgeous pianist. He could play with the greatest delicacy and could play in the leonine fashion of Rubinstein. He was familiar with Beethoven, Bach, Handel and the classics, and was devoted to them. Wagner he could not abide. He called him a "griffe papier"--a scribbler. He thought that he had no importance in the world of music, and to mention Wagner to him was like waving a red flag before a bull.

It is difficult to account for such an opinion. Wagner, to me, is the great tone colorist, the master of orchestral wealth and dramatic intensity. Sometimes I have been so Wagner-hungry that I have not known what to do. For years I went every year to Munich to see the wonderful performances at the Prinzregenten Theater.

In closing let me say that it seems to me a great deal of the failure among young singers is that they are too impatient to acquire the "know how." They want to blossom out on the first night as great prima donnas, without any previous experience. How ridiculous this is! I worked for a whole year at the Opera Comique, at $100 a month, singing such a trying opera as _Louise_ two and three times a week. When they raised me to $175 a month I thought that I was rich, and when $400 a month came, my fortune had surely been made! All this time I was gaining precious experience. It could not have come to me in any other way. As I have said, the natural school--the natural school, like that of the Italians--stuffed as it is with glorious red blood instead of the white bones of technic in the misunderstood sense, was the only possible school for me. If our girls would only stop hoping to make a debut at $1,000 a night and get down to real hard work, the results would come much quicker and there would be fewer broken hearts.

MME. ALMA GLUCK

BIOGRAPHICAL

Mme. Alma Gluck was born at Jassy, Roumania. Her father played the violin, but was not a professional musician. At the age of six she was brought to America. She was taught the piano and sang naturally, but had no idea of becoming a singer. Her vocal training was not begun until she was twenty years of age. Her teacher, at that time, was Signor Buzzi-Peccia, with whom she remained for three years, going directly from his studio to the Metropolitan Opera House of New York. She remained there for three years, when the immense success of her concert work drew her away from opera. She then studied with Jean de Reszke, and later with Mme. Sembrich for four or five years. Since then she has appeared in all parts of the United States with unvarying success. Her records have been among the most popular of any ever issued. Together with her husband, Efrem Zimbalist, the distinguished violinist, she has appeared before immense audiences in joint recitals.

[Illustration: MME. ALMA GLUCK.

(C) Mishkin.]

BUILDING A VOCAL REPERTOIRE

ALMA GLUCK

Many seem surprised when I tell them that my vocal training did not begin until I was twenty years of age. It seems to me that it is a very great mistake for any girl to begin the serious study of singing before that age, as the feminine voice, in most instances, is hardly settled until then. Vocal study before that time is likely to be injurious, though some survive it in the hands of very careful and understanding teachers.

The first kind of a repertoire that the student should acquire is a repertoire of solfeggios. I am a great believer in the solfeggio. Using that for a basis, one is assured of acquiring facility and musical accuracy. The experienced listener can tell at once the voice that has had such training. Always remember that musicianship carries one much further than a good natural voice. The voice, even more than the hands, needs a kind of exhaustive technical drill. This is because in this training you are really building the instrument itself. In the piano, one has the instrument complete before he begins; but in the case of the voice, the instrument has to be developed and sometimes _made_ by study. When the pupil is practicing, tones grow in volume, richness and fluency.

There are exercises by Bordogni, Concone, Vaccai, Lamperti, Marchesi, Panofka, Panserson and many others with which I am not familiar, which are marvelously beneficial when intelligently studied. These I sang on the syllable "Ah," and not with the customary syllable names. It has been said that the syllables Do, Re, Mi, Fa, etc., aid one in reading. To my mind, they are often confusing.

GO TO THE CLASSICS

After a thorough drilling in solfeggios and technical exercises, I would have the student work on the operatic arias of Bellini, Rossini, Donizetti, Verdi, and others. These men knew how to write for the human voice! Their arias are so vocal that the voice develops under them and the student gains vocal assurance. They were written before modern philosophy entered into music--when music was intended for the ear rather than for the mind. I cannot lay too much stress on the importance of using these arias. They are a tonic for the voice, and bring back the elasticity which the more subdued singing of songs taxes.

When one is painting pictures through words, and trying to create atmosphere in songs, so much repression is brought into play that the voice must have a safety-valve, and that one finds in the bravura arias. Here one sings for about fifty bars, "The sky is clouded for me," "I have been betrayed," or "Joy abounds"--the words being simply a vehicle for the ever-moving melody.

When hearing an artist like John McCormack sing a popular ballad it all seems so easy, but in reality songs of that type are the very hardest to sing and must have back of them years of hard training or they fall to banality. They are far more difficult than the limpid operatic arias, and are actually dangerous for the insufficiently trained voice.

THE LYRIC SONG REPERTOIRE

Then when the student has her voice under complete control, it is safe to take up the lyric repertoire of Mendelssohn, Old English Songs, etc. How simple and charming they are! The works of the lighter French composers, Hahn, Massenet, Chaminade, Gounod, and others. Then Handel, Haydn, Mozart, Loewe, Schubert, Schumann and Brahms. Later the student will continue with Strauss, Wolf, Reger, Rimsky-Korsakoff, Mousorgsky, Borodin and Rachmaninoff. Then the modern French composers, Ravel, Debussy, Georges, Koechlin, Hue, Chausson, and others. I leave French for the last because it is, in many ways, more difficult for an English-speaking person to sing. It is so full of complex and trying vowels that it requires the utmost subtlety to overcome these difficulties and still retain clarity in diction. For that reason the student should have the advice of a native French coach.

When one has traveled this long road, then he is qualified to sing English songs and ballads.

AMERICAN SONGS

In this country we are rich in the quantity of songs rather than in the quality. The singer has to go through hundreds of compositions before he finds one that really says something. Commercialism overwhelms our composers. They approach their work with the question, "Will this go?" The spirit in which a work is conceived is that in which it will be executed. Inspired by the purse rather than the soul, the mercenary side fairly screams in many of the works put out by every-day American publishers. This does not mean that a song should be queer or ugly to be novel or immortal. It means that the sincerity of the art worker must permeate it as naturally as the green leaves break through the dead branches in springtime. Of the vast number of new American composers, there are hardly more than a dozen who seem to approach their work in the proper spirit of artistic reverence.

ART FOR ART'S SAKE, A FARCE

Nothing annoys me quite so much as the hysterical hypocrites who are forever prating about "art for art's sake." What nonsense! The student who deceives himself into thinking that he is giving his life like an ascetic in the spirit of sacrifice for art is the victim of a deplorable species of egotism. Art for art's sake is just as iniquitous an attitude in its way as art for money's sake. The real artist has no idea that he is sacrificing himself for art. He does what he does for one reason and one reason only--he can't help doing it. Just as the bird sings or the butterfly soars, because it is his natural characteristic, so the artist works.

Time and again a student will send me an urgent appeal to hear her, saying she is poor and wants my advice as to whether it is worth while to continue her studies. I invariably refuse such requests, saying that if the student could give up her work on my advice she had better give it up without it. One does not study for a goal. One sings because one can't help it! The "goal" nine times out of ten is a mere accident.

Art for art's sake is the mask of studio idlers. The task of acquiring a repertoire in these days, when the vocal literature is so immense, is so overwhelming, that the student with sense will devote all his energies to work, and not imagine himself a martyr to art.

EMILIO DE GOGORZA

BIOGRAPHICAL

Emilio Edoardo de Gogorza was born in Brooklyn, New York, May 29th, 1874, of Spanish parents. His boyhood was spent in Spain, France and England. In the last named country he became a boy soprano and sang with much success. Part of his education was received at Oxford. He returned to America, where his vocal teachers were C. Moderati and E. Agramonte. His debut was made in 1897 in a concert with Mme. Marcella Sembrich. His rich fluent baritone voice made him a great favorite at musical festivals in America. He has sung with nearly all of the leading American orchestras. The peculiar quality of his voice is especially adapted to record making and his records have been immensely popular. He married Emma Eames, July 13th, 1911.

[Illustration: EMILIO DE GOGORZA.

(C) Dupont]

OPPORTUNITIES FOR YOUNG CONCERT SINGERS

EMILIO DE GOGORZA

There has never been a time or a country presenting more inviting opportunities to the concert and the oratorio singer than the America of to-day. As a corollary to this statement there is the obvious fact that the American public, taken as a whole, is now the most discriminating public to be found anywhere in the world. Every concert is adequately reviewed by able writers; and singers are continually on their mettle. It therefore follows that while there are opportunities for concert and oratorio singers, there is no room for the inefficient, the talentless, brainless aspirants who imagine that a great vocal career awaits them simply because they have a few good tones and a pleasing stage presence.

This is the age of the brain. In singing, the voice is only a detail. It is the mentality, the artistic feeling, the skill in interpretation that counts. Some of the greatest artists are vocally inferior to singers of lesser reputation. Why? Because they read, because they study, because they broaden their intellects and extend their culture until their appreciation of the beautiful is so comprehensive that every degree of human emotion may be effectively portrayed. In a word they become artists. Take the case of Victor Maurel, for instance. If he were ninety years old and had only the shred of a voice but still retained his artistic grasp, I would rather hear him than any living singer. I have learned more from hearing him sing than from any other singer. Verdi chose him to sing in _Otello_ against the advice of several friends, saying: "He has more brain than any five singers I know."

Some people imagine that when an artist is embarked upon his professional work study ceases. It is a great mistake. No one works harder than I do to broaden my culture and interpretative skill. I am constantly studying and trust that I may never cease. The greater the artist the more incessant the study. It is one of the secrets of large success.

SPECIAL STUDY REQUIRED FOR CONCERT SINGING

People imagine that the opera requires a higher kind of vocal preparation than the concert or oratorio stage. This is also a great misconception. The operatic singers who have been successful as concert singers at once admit that concert singing is much more difficult. Comparatively few opera singers succeed as concert singers. Why? Because in opera the voice needs to be concentrated and more or less uniform. An opera house is really two buildings, the auditorium and the stage. The stage with its tall scene-loft is frequently as large from the standpoint of cubic feet as the auditorium. Sometimes it is larger. To fill these two immense buildings the voice must be strong and continually concentrated, _dans le Masque_. The delicate little effects that the concert singer is obliged to produce would not be heard over the footlights. In order to retain interest without the assistance of scenery and action the concert singer's interpretative work must be marked by an attention to details that the opera singer rarely considers. The voice, therefore, requires a different treatment. It must be so finely trained that it becomes susceptible to the most delicate change of thought in the singer's mind. This demands a really enormous amount of work.

The successful concert singer must also have an endurance that enables her to undergo strains that the opera singer rarely knows. The grand opera singer in the great opera houses of the world rarely sings more than two or three times a week. The concert singer is often obliged to sing every night for weeks. They must learn how to relax and save the voice at all times, otherwise they will lose elasticity and sweetness.

A young woman vocal student, with talent, a good natural voice, intelligence, industry, sufficient practice time, a high school education, and a knowledge of the rudiments of music, might complete a course of study leading to a successful concert debut in three years. More frequently four or five years may be required. With a bungling teacher she may spend six or seven. The cost of her instruction, with a good teacher in a great metropolis, will be more per year than if she went to almost any one of the leading universities admitting women. She will have to work harder than if she took a regular college course. Progress depends upon the individual. One girl will accomplish more in two years than another will accomplish in five years. Again, the rate of progress depends upon personal development. Sometimes a course of study with a good teacher will awaken a latent energy and mental condition that will enable the student to make great strides.

My most important work has been done by self-study with the assistance and advice of many singers and teachers who have been my friends. No pupil who depends entirely upon a teacher will succeed. She must work out her own salvation. It is the private thought, incessant effort and individual attitude that lead to success.

STUDY IN YOUR HOME COUNTRY

I honestly believe that the young vocal student can do far better by studying in America than by studying abroad. European residence and travel are very desirable, but the study may be done to better advantage right here in our own country. Americans want the best and they get it. In Europe they have no conception whatever of the extent of musical culture in America. It is a continual source of amazement to me. In the West and Northwest I find audiences just as intelligent and as appreciative as in Boston. There is the greatest imaginable catholicity of taste. Just at present the tendency is away from the old German classics and is leading to the modern works of French, German and American composers. Still I find that I can sing a song like Schumann's "Widmung" in Western cities that only a few years ago were mere collections of frontier huts and shacks, and discover that the genius of Schumann is just as potent there as in New York City. I have recently been all over Europe, and I have seen no such condition anywhere as that I have just described. It is especially gratifying to note in America a tremendous demand for the best vocal works of the American composers.

The young concert singer must have a very comprehensive repertoire. Every new work properly mastered is an asset. In oratorio she should first of all learn those works that are most in demand, like the _Messiah_, the _Elijah_, the _Creation_ and the _Redemption_. Then attention may be given to the modern works and works more rarely performed, like those of Elgar, Perosi and others. After the young singer has proven her worth with the public she may expect an income of from $10,000.00 to $15,000.00 a year. That is what our first-class singers have received for high-class concert work. Some European prima donnas like Schumann-Heink and others have commanded much higher figures.

You ask me what influence the sound reproducing machines have had upon the demand for good vocal music in America. They have unquestionably increased the demand very greatly. They have even been known to make reputations for singers entirely without any other road to publicity. Take the case of Madame Michaelowa, a Russian prima donna who has never visited America. Thousands of records of her voice have been sold in America, and now the demand for her appearance in this country has been so great that she has been offered huge sums for an American tour. I believe that if used intelligently the sound reproducing machine may become a great help to the teacher and student. It is used in many of the great opera houses of the world as an aid in determining the engagement of new singers who cannot be personally heard. Some of the records of my own voice have been so excellent that they seem positively uncanny to me when I hear them reproduced.

I have no patent exercises to offer to singing students. There are a thousand ways of learning to breathe properly and they all lead to one end. Breathing may best be studied when it is made coincident with the requirements of singing. I have no fantastic technical studies to offer. My daily work simply consists of scales, arpeggios and the simplest kind of exercises, the simpler the better. I always make it a point to commence practicing very softly, slowly and surely. I never sing notes outside my most comfortable range at the start. Taking notes too high or too low is an extremely bad plan at first. Many young students make this fault. They also sing much too loud. The voice should be exercised for some considerable time on soft exercises before loud notes are even attempted. It is precisely the same as with physical exercises. The athlete who exerts himself to his fullest extent at first is working toward ultimate exhaustion. I have known students who sang "at the top of their lungs" and called it practice. The next day they grew hoarse and wondered why the hoarseness came.

NEVER SING WHEN TIRED

Never sing when out of sorts, tired or when the throat is sore. It is all very well to try to throw such a condition off as if it were a state of mind. My advice is, DON'T. I have known singers to try to sing off a sore throat and secure as a result a loss of voice for several days.

Our American climate is very bad for singers. The dust of our manufacturing cities gets in the throat and irritates it badly. The noise is very nerve racking, and I have a theory that the electricity in the air is injurious.

As I have said, the chances in the concert and operatic field are unlimited for those who deserve to be there. Don't be misled. Thousands of people are trying to become concert and oratorio singers who have not talent, temperament, magnetism, the right kind of intelligence nor the true musical feeling. It is pitiful to watch them. They are often deluded by teachers who are biased by pecuniary necessity. It is safe to say that at the end of a year's good instruction the teacher may safely tell what the pupil's chances are. Some teachers are brutally frank. Their opinions are worth those of a thousand teachers who consider their own interests first. Secure the opinions of as many artists as possible before you determine upon a professional career. The artist is not biased. He does not want you for a pupil and has nothing to gain in praising you. If he gives you an unfavorable report, thank him, because he is probably thinking of your best interests.

As I have said, progress depends upon the individual. One man can go into a steel foundry and learn more in two years than another can in five. If you do not become conscious of audible results at the end of one or two years' study do some serious thinking. You are either on the wrong track or you have not the natural qualifications which lead to success on the concert and oratorio stage.

[Illustration: MME. FRIEDA HEMPEL.

(C) Mitzi]

FRIEDA HEMPEL

BIOGRAPHICAL

Frieda Hempel was born at Leipzig, June 26, 1885. She studied piano for a considerable time at the Leipzig Conservatory and the Stern Conservatory. Later she studied singing with Mme. Nicklass Kempner, to whom she is indebted for her entire vocal education up to the time of her debut in opera. Her first appearance was in the _Merry Wives of Windsor_, at the Royal Opera in Berlin. After many very successful appearances in leading European Opera Houses she was engaged for the Metropolitan Opera House in New York where she immediately became very popular in stellar roles. Her repertoire runs from the _Marriage of Figaro_ to _Die Meistersinger_. Her voice is a clear, pure, sweet soprano; and, like Mme. Sembrich and Mme. Galli-Curci, she clearly shows the value of her instrumental training in the accuracy, precision and clarity of her coloratura work. She has made many successful concert tours of the United States. In addition to being a brilliant singer she is an excellent actress. She is now an American citizen and the wife of an American business man.

THOROUGHNESS IN VOCAL PREPARATION

MME. FRIEDA HEMPEL

WHY SOME SUCCEED AND SOME FAIL

In every thousand girls who aspire to Grand Opera probably not more than one ever succeeds. This is by no means because of lack of good voices. There are great numbers of good voices; although many girls who want to be opera singers either deceive themselves or are deceived by others (often charlatan teachers) into believing that they have fine natural voices when they have not. There is nothing more glorious than a beautiful human voice--a voice strong, resonant, if necessary, but velvety and luscious if needs be. There are many girls with really beautiful natural voices who have lost their chances in Grand Opera largely because they have either not had the personal persistence necessary to carry them to the point where their services are in demand by the public or they have had the misfortune not to have the right kind of a vocal or musical drill master--a really good teacher.