In the first place I would counsel the ambitious singer, before proceeding with the development of the voice to ascertain its real character and quality. Thus, some voices, to the ear of the trained expert, although they may be actually untrained and undeveloped, nevertheless possess a decided and marked quality when still uncultivated, while, on the other hand, there are other voices whose positive nature it is far from easy to determine. I would therefore emphasise the fact that it is not upon its range and extent that the real character of any individual voice depends, but rather upon its quality and timbre.
I would lay stress, too, on another point—namely, that the real power of expression is found in the middle quality of every voice, and that it is not force which tends to make this middle quality full and resonant, but the cultivated ease and steadiness by which the vocal sounds are produced and sustained. There is nothing more painful to the ear of an expert musician than to hear a singer forcing his voice in an effort to produce an effect of expansion and vibration. Would-be artistic singers should thus nurse their voices with unfailing care, for ease and steadiness are infinitely more artistic than forcing the voice.
I will not here enter into the question of what particular exercises the student should follow in his or her early days, for such matters are too elementary a kind and can safely be trusted to any competent teacher. At the same time I would point out that the careful vocal student will be wise to adopt the style of music best adapted to his or her voice, for, obvious though this point should be, it is none the less true that many singers overlook the fact that to give the voice an adequate chance of developing it should be cultivated and "fed" upon the particular style of music for which Nature would seem to have given it birth.
Again, I am taking it for granted that the singer has safely weathered the storms inseparable from the initial or drudgery side of voice cultivation—particular care should be exercised in the selection of songs, for I have frequently noted that many singers who should surely have known better, have, nevertheless, frequently failed to give their voices a chance of showing their real merit by selecting songs utterly unsuited to them. Thus, maybe, a male singer has gone out of his way to select a song especially intended for a lady, while the latter has shown a pronounced predilection for singing songs intended solely for men. The result of such an unwise selection is surely best left to the imagination.
And now let me say a few words about the manner in which students should study their musical compositions. Almost every singer possibly possesses some small peculiarity in this respect, but I think I cannot do better than quote the system of study followed out by those two great artists, Grisi and Mario; for, frankly, to a great extent their methods may, among future generations, well become "standard methods."
"In studying any new composition, whether the most important opera, or the simplest ballad, they followed a set plan. It was this: the words were first considered, and when the intention and meaning of the text had been clearly ascertained and fully understood, then, and not till then, the music with which it was associated, was learnt by heart—every salient feature and opportunity for effect being most carefully thought over and decided upon."
"It was one of Mario's maxims, that unless a singer had all he was singing about thoroughly in his head, as well as in his throat, he could never do himself justice."
"'But,' he used to say, 'if you get as familiar as you should be with your work, then, when you are in the humour, and in good voice, you can let yourself go, with the certainty almost of producing the effect you intend upon your audience—that is to say, if you ever have any moments of inspiration.'"
"Whether in considering the dramatic effects to be made by 'Raoul and Valentina,' or in taking in hand 'Good-bye, Sweetheart,' or 'The Minstrel Boy,' the plan they followed was the same. The words were thought of first, then the music, and, with the words and music combined, particular attention was given to the points to be dwelt on and made prominent. These latter were not allowed to be too frequent, but were so chosen as to make the deepest impression."
"The importance of such a plan as this can hardly be overrated. It seems not only to ensure singing with intelligence, but to save a singer very much unnecessary exertion, by marking down the intervals where energy has to be used, as well as those where the voice may, so to speak, be nursed and kept in reserve."