FRIEDA HEMPEL
A LESSON WITH A PRIMA DONNA
There is no need to say that Frieda Hempel is one of the most admired artists on the opera and concert stage to-day. Every one knows the fact. Miss Hempel has endeared herself to all through her lovely voice, her use of it, her charm of manner and the sincerity of her art.
Photo by Alfred Chancy Johnston
FRIEDA HEMPEL
It is seven years since Miss Hempel first came to sing at the Metropolitan. America has advanced very greatly in musical appreciation during this period. Miss Hempel herself has grown in artistic stature with each new character she has assumed. This season she has exchanged the opera field for that of the concert room, to the regret of opera patrons and all music lovers, who desired to see her at the Metropolitan. Being so constantly on the wing, it has been extremely difficult to secure a word with the admired artist. Late one afternoon, however, toward the end of her very successful concert season, she was able to devote an hour to a conference with the writer on the principles of vocal art.
How fair, slender and girlish she looked, ensconced among the cushions of a comfortable divan in her music room, with a favorite pet dog nestling at her side.
"And you ask how to master the voice; it seems then, I am to give a vocal lesson," she began, with an arch smile, as she caressed the little creature beside her.
BREATHING
"The very first thing for the singer to consider is breath control; always the breathing—the breathing. She thinks of it morning, noon and night. Even before rising in the morning, she has it on her mind, and may do a few little stunts while still reclining. Then, before beginning her vocal technic in the morning, she goes through a series of breathing exercises. Just what they are is unnecessary to indicate, as each teacher may have his own, or the singer has learned for herself what forms are most beneficial.
VOCAL TECHNIC
"The pianist before the public, or the player who hopes to master the instrument in the future, never thinks of omitting the daily task of scales and exercises; he knows that his chances for success would soon be impaired, even ruined, if he should neglect this important and necessary branch of study.
"It is exactly the same thing with the singer. She cannot afford to do without scales and exercises. If she should, the public would soon find it out. She must be in constant practice in order to produce her tones with smoothness and purity; she must also think whether she is producing them with ease. There should never be any strain, no evidence of effort. Voice production must always seem to be the easiest thing in the world. No audience likes to see painful effort in a singer's face or throat.
VOCAL PRACTICE
"The young singer should always practice with a mirror—do not forget that; she must look pleasant under all circumstances. No one cares to look at a singer who makes faces and grimaces, or scowls when she sings. This applies to any one, young or older. Singing must always seem easy, pleasant, graceful, attractive, winning. This must be the mental concept, and, acted upon, the singer will thus win her audience. I do not mean that one should cultivate a grin when singing; that would be going to the other extreme.
"Let the singer also use a watch when she practices, in order not to overdo. I approve of a good deal of technical study, taken in small doses of ten to fifteen minutes at a time. I myself do about two hours or more, though not all technic; but I make these pauses for rest, so that I am not fatigued. After all, while we must have technic, there is so much more to singing than its technic. Technic is indeed a means to an end, more in the art of song than in almost any other form of art. Technic is the background for expressive singing, and to sing expressively is what every one should be striving for.
WHAT IT MEANS TO BE A SINGER
"A beautiful voice is a gift from heaven, but the cultivation of it rests with its possessor. Here in America, girls do not realize the amount of labor and sacrifice involved, or they might not be so eager to enter upon a career. They are too much taken up with teas, parties and social functions to have sufficient time to devote to vocal study and all that goes with it. There are many other things to study; some piano if possible, languages of course, physical culture and acting, to make the body supple and graceful. I say some piano should be included, at least enough to play accompaniments at sight. But when she has mastered her song or rôle, she needs an accompanist, for she can never play the music as it should be played while she endeavors to interpret the song as that should be sung. One cannot do complete justice to both at the same time.
"In order to study all the subjects required, the girl with a voice must be willing to give most of her day to the work. This means sacrificing the social side and being willing to throw herself heart and soul into the business of adequately preparing for her career.
AMERICAN VOICES
"I find there are quantities of lovely voices here in America. The quality of the American female voice is beautiful; in no country is it finer, not even in Italy. You have good teachers here, too. Then why are there so few American singers who are properly prepared for a career? Why do we hear of so few who make good and amount to something? If the girl has means and good social connections, she is often not ready to sacrifice social gayeties for the austere life of the student. If she is a poor girl, she frequently cannot afford to take up the subjects necessary for her higher development. Instruction is expensive here, and training for opera almost impossible. The operatic coach requires a goodly fee for his services. And when the girl has prepared several rôles where shall she find the opportunity to try them out? Inexperienced singers cannot be accepted at the Metropolitan; that is not the place for them. At the prices charged for seats the management cannot afford to engage any but the very best artists. Until there are more opera houses throughout the country, the American girl will still be obliged to go to Europe for experience and routine. In Europe it is all so much easier. Every little city and town has its own opera house, where regular performances are given and where young singers can try their wings and gain experience. The conductor will often help and coach the singer and never expect a fee for it.
THE YOUNG SINGER BEFORE AN AUDIENCE
"The singer who wishes to make a career in concert, should constantly study to do things easily and gracefully. She is gracious in manner, and sings to the people as though it gave her personal pleasure to stand before them. She has a happy expression of countenance; she is simple, unaffected and sincere. More than all this her singing must be filled with sentiment and soul; it must be deeply felt or it will not touch others. Of what use will be the most elaborate technic in the world if there is no soul back of it. So the young singer cultivates this power of expression, which grows with constant effort. The artist has learned to share her gift of song with her audience, and sings straight across into the hearts of her listeners. The less experienced singer profits by her example.
"Shall the singer carry her music in a song recital, is a much discussed question. Many come on with nothing in hand. What then happens? The hands are clasped in supplication, as though praying for help. This attitude becomes somewhat harrowing when held for a whole program. Other singers toy with chain or fan, movements which may be very inappropriate to the sentiment of the song they are singing. For myself I prefer to hold in hand a small book containing the words of my songs, for it seems to be more graceful and Jess obtrusive than the other ways I have mentioned. I never refer to this little book, as I know the words of my songs backward; I could rise in the middle of the night and go through the program without a glance at words or music, so thoroughly do I know what I am singing. Therefore I do not need the book of words, but I shall always carry it, no matter what the critics may say. And why should not the executive artist reassure himself by having his music with him? It seems to me a pianist would feel so much more certain of himself if he had the notes before him; he of course need not look at them, but their presence would take away the fear that is often an obsession. With the notes at hand he could let himself go, give free reign to fancy, without the terrible anxiety he must often feel.
OPERA OR CONCERT
"People often ask whether I prefer to sing in opera or concert. I always answer, I love both. I enjoy opera for many reasons; I love the concert work, and I am also very fond of oratorio. Of course in the opera I am necessarily restrained; I can never be Frieda Hempel, I must always be some one else; I must always think of the others who are playing with me. In concert I can be myself and express myself. I get near the people; they are my friends and I am theirs. I am much in spirit with oratorio also.
COLORATURA OR DRAMATIC
"Do I think the coloratura voice will ever become dramatic? It depends on the quality of the voice. I think every dramatic singer should cultivate coloratura to some extent—should study smooth legato scales and passages. To listen to some of the dramatic rôles of to-day, one would think that smooth legato singing was a lost art. Nothing can take its place, however, and singers should realize this fact."
Miss Hempel believes that every singer, no matter how great, should realize the advantage of constant advice from a capable teacher, in order to prevent the forming of undesirable habits. She also considers Vocal Mastery implies the perfection of everything connected with singing; that is to say, perfect breath control, perfect placement of the voice, perfect tone production, together with all requisite grace, feeling and expressiveness.