Still, any ordinary term spent in vocal study cannot be regarded as wasted, for no system of physical exercise is so beneficial to a woman as that involved in the higher branches of vocal culture. At least the disappointed one carries back with her a pleasing and expressive voice for ordinary conversation. Here is a matter to which little attention is paid, yet how much pleasure does a beautiful speaking voice convey! It is surely a valuable asset all through life.
As to extraneous aids to vocal study, there is none so beneficial as the constant hearing of great singers in the roles which have secured them fame. Indeed, no matter what branch of music a girl selects for her special study, I should strongly urge her to hear all the fine music possible, whether opera, orchestra, concert, or oratorio. She can learn something valuable from all. Let me emphasise this point, for in this way the student will see theory put into practice. It is as if a young painter should visit the marvellous Tribuna of the Uffizi Palace in Florence, where the supreme examples of the great masters are hung; or the young sculptor should study Michel Angelo in the vast galleries of the Vatican. Thus no opportunity of hearing accepted interpreters should be lost.
The student who goes to Europe, of course, has exceptional opportunities all the year round; but the American or English girl can hear in New York or London during the musical season a combination of singers, conductors, and instrumentalists that is the best of the entire musical world.
In addition, she should read everything authoritative on music and musicians, at the same time not confining herself to musical subjects. For a wide and wise reading of everything that broadens the mind and gives one a truer knowledge of art and nature is of supreme importance. Nothing so helps the interpretative sense as a fine and cultivated imagination, and an appreciation of nature's beauties, great paintings, statuary, and the best literature gives one an artistic grasp not possible to the student who is merely well informed on musical matters.
While I am a strong advocate of foreign study, I think it a pity that so many American and British students elect to swell permanently the over-crowded ranks of the musical profession on the continent of Europe instead of returning to the less crowded centres of their home lands, and giving their compatriots the benefit of their experience and example. It is given to few of us to attain world prominence, and those to whom such fame is manifestly impossible should not fear to try for the best their own country offers, which may be a great and dignified meed.
Adequate study in Europe requires a good deal of money. For most young girls a chaperon or companion is essential; although there are a number of places where a solitary young student may find the comfort and the protection of a home. Where this is possible the expenses are naturally much less.
The leading professors on the Continent charge from a guinea to two guineas a lesson, with a certain reduction of an extended term. Three lessons a week are usual. As to the expenses of living, even on the most moderate scale they cannot be reasonably estimated at less than five guineas a week for board, dress, allowance, concert and opera tickets, and general expenses. This, with lessons extending over eighteen months or more, runs into a considerable sum.
To the student with wealth as well as voice the way would appear smooth; yet I would offer a word of warning. First, the flattery of friends and possibly unscrupulous advisers is dangerous. Besides, the fact of affluence tends to diminish the sense of responsibility. Money, it must be borne in mind, cannot buy purity of tone, temperament, or correct breathing. These entail hard work, even with natural gifts. One cannot buy brains with money, or even the ability to appreciate the brains of others, and the loveliest voice that ever charmed the world must be guided and used through the intellect; otherwise it must fall far short of the highest standard.
The point is that a wealthy student may become slack, and forget how wide must be the culture of a great singer. A complete study of piano, counterpoint, and harmony are as necessary as grammar to the spoken language; and all that is best in this big, busy world must be seized upon and brought into service, for divine music is an exigent goddess.
The poor student with an exceptional voice is unfortunately placed, and advice to her must be of a negative kind. She may fall into the mistake of thinking that if she can get into choir or chorus she will be advancing to some extent. But while a well-trained voice may be used in a chorus without serious harm, the girl who knows nothing about placing her voice, and is prodigal in the use of it, may find chorus work most injurious.