Besides this, the opera singer who aspires to rise to great heights must possess a keen nervous susceptibility, for only a man or woman of high nervous temperament can reasonably hope to succeed as a lyrico-dramatic artist. Again, in the great operas a most severe strain is placed upon the leading singers, for while they are portraying various emotions—-Love, Hate, Rage, or Laughter—they have, at the same time, to watch the conductor with most minute care lest they fail in time and rhythm.
In fine, though I think but few other than really conscientious students of singing entirely appreciate the fact, the opera-singer of to-day is called upon to possess a far greater knowledge of vocal technique than was ever demanded of him before in the history of singing, as those "good and golden days"—golden only to the moderate performer with but little ambition—when the singer who perhaps scarcely knew more than a few notes of music could, nevertheless, still arouse the plaudits of the public are gone—never to return.
I hope, by the way, that it will not be thought that I have entered too technically into the requirements demanded from an aspirant to operatic fame to-day. I scarcely think, however, that I can have done so, for I feel sure every really aspiring vocalist would prefer to know the exact heights to which he must cultivate his voice either on the operatic stage or concert platform, or even for the drawing-room, that is to say, if he is ever to make a great name for himself in preference to resting content to remain one of the "moderates," of which the musical profession is altogether already too full, not because there is a lack of singers with good voices, but largely, as I have always maintained, because there is a far too prevalent tendency amongst singers these days to shirk the real hard work which must be accomplished before lasting success can be attained.
In conclusion, in order to allow singers' voices to develop in a satisfactory manner, let me counsel them never to attempt those selections in public the range of which taxes and strains them to the utmost, for when a singer "exceeds" his proper range injury to the throat is always liable to follow. Better rather, therefore, is it that a song should be transposed to a lower key if a singer is determined to attempt it than that the voice should be unduly taxed.
And now I will say addio, though I would add that it is my sincere hope that some of the few hints I have given on the cultivation of the voice and of the heights of excellence to which ambitious singers should aspire may prove of real value to those with sufficient pluck to face the task of studying the art of the cultivation of the voice in a really conscientious manner. Hard work accomplishes wonders where the voice is concerned. Let me, therefore, counsel singers never to despair of attaining a state as near to perfection as possible, for it is those who are most alive to their own imperfections who will assuredly "go farthest" in the singing world.
HOW TO ATTAIN SUCCESS IN SINGING.
By BEN DAVIES.
To a certain extent it must be admitted at once that it is undoubtedly true that there is no royal, infallible road to success in the acquirement of perfect mastery over any art. At the same time, however, I would lay particular stress on the fact that it is equally true that there are not a few hints and wrinkles which, if studiously borne in mind and practised, must inevitably prove of real value to all who will apply themselves to these said words of advice in a thoroughly whole-hearted manner.
And, in particular, this somewhat trite aphorism applies with great force to the art of learning to sing, for the human voice, as every conscientious student of music must be well aware, is an exceptionally responsive organ. Neglect it, and it will assuredly "run to seed"; tend it carefully, cultivate it in a common-sense manner, give it time to "grow up," and it will reward you for your pains a hundredfold.
Let me, therefore, try and give a few hints based on an experience extending over more years than I sometimes care to think about, which I trust will prove of real value to aspiring singers. I have already said that there is no royal road to success in the art of learning to sing, but, nevertheless, the possessor of a moderate voice can improve his or her voice in a most gratifying manner by studying in the right way. Bad habits in singing are peculiarly difficult to rid oneself of; it is well to avoid the risk of acquiring those bad habits by setting out on the right road at once. And having started, push forward with unfailing energy and courage.