"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.