Vocal Mastery / Talks with Master Singers and Teachers, Comprising Interviews with Caruso, Farrar, Maurel, Lehmann, and Others

by Harriette Brower

LOUISE HOMER

THE REQUIREMENTS OF A MUSICAL CAREER

Madame Louise Homer is a native artist to whom every loyal American can point with pardonable pride. Her career has been a constant, steady ascent, from the start; it is a career so well known in America that there is hardly any need to review it, except as she herself refers to it on the rare occasions when she is induced to speak of herself. For Mme. Homer is one of the most modest artists in the world; nothing is more distasteful to her than to seek for publicity through ordinary channels. So averse is she to any self-seeking that it was with considerable hesitation that she consented to express her views to the writer, on the singer's art. As Mr. Sidney Homer, the well known composer and husband of Mme. Homer, remarked, the writer should prize this intimate talk, as it was the first Mme. Homer had granted in a very long time.

LOUISE HOMER

The artist had lately returned from a long trip, crowded with many concerts, when I called at the New York residence of this ideal musical pair and their charming family. Mme. Homer was at home and sent down word she would see me shortly. In the few moments of waiting, I seemed to feel the genial atmosphere of this home, its quiet and cheer. A distant tinkle of girlish laughter was borne to me once or twice; then a phrase or two sung by a rich, vibrant voice above; then in a moment after, the artist herself descended and greeted me cordially.

"We will have a cup of tea before we start in to talk," she said, and, as if by magic, the tea tray and dainty muffins appeared.

How wholesome and fresh she looked, with the ruddy color in her cheeks and the firm whiteness of neck and arms. The Japanese robe of "midnight blue," embroidered in yellows, heightened the impression of vigorous health by its becomingness.

FOR THE GIRL WHO WANTS TO MAKE A CAREER

"There is so much to consider for the girl who desires to enter the profession," began Mme. Homer, in response to my first query. "First, she must have a voice, there is no use attempting a career without the voice; there must be something to develop, something worth while to build upon. And if she has the voice and the means to study, she must make up her mind to devote herself exclusively to her art; there is no other way to succeed. She cannot enter society, go to luncheons, dinners and out in the evening, and at the same time accomplish much in the way of musical development. Many girls think, if they attend two or three voice lessons a week and learn some songs and a few operatic arias, that is all there is to it. But there is far more. They must know many other things. The vocal student should study piano and languages; these are really essential. Not that she should strive to become a pianist; that would not be possible if she is destined to become a singer; but the more she knows of the piano and its literature, the more this will cultivate her musical sense and develop her taste.

HOW AN ARTIST WORKS

"I am always studying, always striving to improve what I have already learned and trying to acquire the things I find difficult, or that I have not yet attained to. I do vocal technic every day; this is absolutely essential, while one is in the harness. It is during the winter that I work so industriously, both on technic and repertoire, between tours. This is when I study. I believe in resting the voice part of the year, and I take this rest in the summer. Then, for a time, I do not sing at all. I try to forget there is such a thing as music in the world, so far as studying it is concerned. Of course I try over Mr. Homer's new songs, when they are finished, for summer is his time for composition.

"Since the voice is such an intangible instrument, the singer needs regular guidance and criticism, no matter how advanced she may be. As you say, it is difficult for the singer to determine the full effect of her work; she often thinks it much better than it really is. That is human nature, isn't it?" she added with one of her charming smiles.

THE START IN OPERA

"How did you start upon an operatic career?" the singer was asked.

Just here Mr. Homer entered and joined in the conference.

"I do not desire to go into my life-history, as that would take too long. In a few words, this is how it happened—years ago.

"We were living in Boston; I had a church position, so we were each busy with our musical work. My voice was said to be 'glorious,' but it was a cumbersome, unwieldy organ. I could only sing up to F; there were so many things I wanted to do with my voice that seemed impossible, that I realized I needed more training. I could have remained where I was; the church people were quite satisfied, and I sang in concert whenever opportunity offered. But something within urged me on. We decided to take a year off and spend it in study abroad. Paris was then the Mecca for singers and to Paris we went. I plunged at once into absorbing study; daily lessons in voice training and repertoire; languages, and French diction, several times a week, and soon acting was added, for every one said my voice was for the theater. I had no idea, when I started out, that I should go into opera. I had always loved to sing, as far back as I can remember. My father was a Presbyterian clergyman, and when we needed new hymn books for church or Sunday School, they used to come to our house. I would get hold of every hymn book I could find and learn the music. So I was always singing; but an operatic career never entered my thought, until the prospect seemed to unfold before me, as a result of my arduous study in Paris. Of course I began to learn important arias from the operas. Every contralto aspires to sing the grand air from the last act of Le Prophete; you know it of course. I told my teacher I could never do it, as it demanded higher tones than I had acquired, going up to C. He assured me it would be perfectly easy in a little while, if I would spend a few moments daily on those high notes. His prediction was correct, for in a few months I had no trouble with the top notes.

"I studied stage deportment and acting from one of the greatest singing actors of the French stage, Paul Lherie. What an artist he was! So subtle, so penetrating, so comprehensive. The principles he taught are a constant help to me now, and his remarks often come back to me as I study a new rôle.

"As I say, I studied this line of work, not knowing what would grow out of it; I did it on faith, hoping that it might prove useful."

"It seems to me," remarked the composer, "that young singers would do well to make a study of acting, along with languages and piano. Then, if the voice developed and an operatic career opened to them, they would be so much better prepared; they would have made a start in the right direction; there would not be so much to learn all at once, later on."

"If the girl could only be sure she was destined for a stage career," said Mme. Homer, thoughtfully, "she might do many things from the start that she doesn't think of doing before she knows.

"To go on with my Paris story. I kept faithfully at work for a year, preparing myself for I knew not just what; I could not guess what was in store. Then I got my first opera engagement, quite unexpectedly. I was singing for some professional friends in a large saale. I noticed a man standing with his back to me, looking out of one of the long windows. When I finished, he came forward and offered me an engagement at Vichy, for the summer season. The name Vichy only suggested to my mind a kind of beverage. Now I learned the town had a flourishing Opera House, and I was expected to sing eight rôles. Thus my stage career began."

WHAT ARE THE ASSETS FOR A CAREER?

"And what must the girl possess, who wishes to make a success with her singing?" was asked.

"First of all, as I have already said, she must have a voice; she can never expect to get very far without that. Voice is a necessity for a singer, but it rests with her what she will do with it, how she will develop it.

"The next asset is intelligence; that is as great a necessity as a voice. For through the voice we express what we feel, what we are; intelligence controls, directs, shines through and illumines everything. Indeed what can be done without intelligence? I could mention a young singer with a good natural voice, who takes her tones correctly, who studies well; indeed one can find no fault with the technical side of her work; but her singing has no meaning—it says absolutely nothing; it only represents just so many notes."

"That is because she has not a musical nature," put in Mr. Homer. "To my mind that is the greatest asset any one can have who wishes to become a musician in any branch of the art. What can be done without a musical nature? Of course I speak of the young singer who wishes to make a career. There are many young people who take up singing for their own pleasure, never expecting to do much with it. And it is a good thing to do so. It gives pleasure to their family and friends—is a healthful exercise, and last but not least, is financially good for the teacher they employ.

"But the trouble comes when these superficial students aspire to become opera singers, after a couple of seasons' study. Of course they all cast eyes at the Metropolitan, as the end and aim of all striving.

"Just as if, when a young man enters a law office, it is going to lead him to the White House, or that he expects it will," said Mr. Homer.

"Then," resumed the artist, "we have already three requirements for a vocal career; Voice, Intelligence and a Musical Nature. I think the Fourth should be a Capacity for Work. Without application, the gifts of voice, intelligence and a musical nature will not make an artist. To accomplish this task requires ceaseless labor, without yielding to discouragement. Perhaps the Fifth asset would be a cheerful optimism as proof against discouragement.

"That is the last thing the student should yield to—discouragement, for this has stunted or impaired the growth of many singers possessed of natural talent. The young singer must never be down-hearted. Suppose things do not go as she would like to have them; she must learn to overcome obstacles, not be overcome by them. She must have backbone enough to stand up under disappointments; they are the test of her mettle, of her worthiness to enter the circle with those who have overcome. For she can be sure that none of us have risen to a place in art without the hardest kind of work, struggle and the conquering of all sorts of difficulties.

"The sixth asset ought to be Patience, for she will need that in large measure. It is only with patient striving, doing the daily vocal task, and trying to do it each day a little better than the day before, that anything worth while is accomplished. It is a work that cannot be hurried. I repeat it; the student must have unlimited patience to labor and wait for results.

COLORATURA AND DRAMATIC

"I would advise every student to study coloratura first. Then, as the voice broadens, deepens and takes on a richer timbre, it will turn naturally to the more dramatic expression. The voice needs this background, or foundation in the old Italian music, in order to acquire flexibility and freedom. I was not trained to follow this plan myself, but my daughter Louise, who is just starting out in her public career, has been brought up to this idea, which seems to me the best.

MEMORIZING

"I memorize very easily, learning both words and music at the same time. In taking up a new rôle, my accompanist plays it for me and we go over it carefully noting all there is in language and notes. When I can take it to bed with me, and go over it mentally; when I can go through it as I walk along the street, then it has become a part of me; then I can feel I know it."

"Mme. Homer holds the banner at the Metropolitan, for rapid memorizing," said her husband. "On one occasion, when Das Rheingold was announced for an evening performance, the Fricka was suddenly indisposed and unable to appear. Early in the afternoon, the Director came to Mme. Homer, begging her to do the part, as otherwise he would be forced to close the house that night. A singer had tried all forenoon to learn the rôle, but had now given it up as impossible. Mme. Homer consented. She started in at three o'clock and worked till six, went on in the evening, sang the part without rehearsal, and acquitted herself with credit. This record has never been surpassed at the Metropolitan." "I knew the other Frickas of the Ring," said Madame, "but had never learned the one in the Rheingold; it is full of short phrases and difficult to remember, but I came through all right. I may add, as you ask, that perhaps Orfeo is my favorite rôle, one of the most beautiful works we have."