Any exercises that give strength to the diaphragm are of special value, since this is the principal muscle of inspiration. Expiration, however, is not so easily controlled as inspiration, and on that score calls for the most careful practice. Faulty or hurried breathing always interferes with the true vibration of the vocal strands, and all circumstances that tend toward either should be scrupulously avoided; more especially at the time of a singer's first entrance on the stage or concert platform, which is always a moment of nervousness and doubt.
It is an excellent practice for a nervous singer to take a few deep breaths on entering, and the inexperienced should avoid numbers with exacting opening bars.
Few people, by the way, realise how much even the most famous of singers is at the mercy of the audience, and how a wave of indifference or apathy borne from the serried thousands of a theatre or concert-hall can often take all the colour out of the loveliest voice, and all the necessary abandon out of an interpretation. I have known some of the greatest singers of our day—and myself, too—to fall incredibly below their normal standard for no other reason than that of irresponsiveness on the part of their audience. In this respect I confess I am myself extremely sensitive. I can almost always give my best when I feel that the heart of the audience bids me excel.
Even a good general knowledge of music does not imply knowledge of scientific voice production. Correct vocalisation is only possible on strict physiological principles. I insist upon this, because it is rational and logical. In this way faults are better recognised and explained; the student may the more surely guide her own development or effectively restore an injured voice, and generally advance her physical welfare, which is a vital point.
Therefore those who do not believe in attainment through patient and intelligent labour would do well to abandon an art career, for that way lies disappointment. "Hasten slowly" applies supremely in the highest voice culture; but, unhappily, this is not the note of our age.
According to my idea, the student of singing can best learn this subtle and complex art in those centres where music has been longest established and most generally practised; where it is, in a word, part of the daily life of the people rather than the recreation or luxury of the few. For this reason I consistently recommend study in Italy, France, and Germany, and particularly for American, Canadian, English, and Australian students. I put my own country last, in the spirit of courtesy; but as a producer of voices it really ought to come first in consideration.
As I have said, I am opposed to every girl with a little knowledge of music embracing the art as a profession merely because she considers it more "genteel" than other avenues to earning a livelihood. A girl should have some real qualification before she looks forward to becoming a professional singer. Kindly and necessarily biassed compliments from relatives and friends on the singing of a few ballads in the home-circle or at an amateur concert should not be sufficient to thrust her upon the patience of the musical public. High and unprejudiced authority should be sought for her guidance, preferably from a singer who knows the conditions and atmosphere of the world's greatest musical centres.
In this regard a person who has had only local experience cannot possibly be a good judge of what is needed for the career of a great singer. An invaluable factor in musical success is the study of foreign languages. These are always most successfully acquired in the countries where they are the native tongue.
Thus, residence in the established centres of music in the Old World and intimacy with their language and traditions give the student a surety and authority in her work that cannot possibly be gained in any other way. Of course, robust physical health is of paramount importance. Without it a great vocal career is absolutely barred.
I admit that there is much in a singer's life conducive to this physical robustness; as, for example, the vigorous use of the breathing apparatus. But this may be more than counteracted by late hours, much travelling by night, concentrated efforts, and disappointment resulting from the caprice of public taste or other causes. Plenty of fresh air, plain food, a reasonable amount of exercise, and eight or nine hours' sleep are all necessary to the young singer, whose larynx is quick to reflect the general physical condition.