LEARNING A RÔLE
"In taking up a new part I vocalize the theme first, to get an idea of the music; then I learn the words. After this I work with the accompanist who comes to me every morning. Of course, besides this, I do daily vocalizes and vocal exercises; one must always keep up one's vocal technic.
"But learning words and music is only a part of the work to be done on a rôle. It must then be interpreted; more than this it must be visualized. This part of the work rests largely with the singer, and gives opportunity for his individuality to assert itself. Of course the general idea of the characterization is given us, the make-up, posturing and so on. To work out these ideas, to make the part our own, to feel at home in it, so that it shall not seem like acting, but appear perfectly natural—all this takes a great deal of thought, time and study. It is all a mental process, as every one knows; we must project our thought out to the audience, we must 'get it over,' or it will never strike fire!"
INTERPRETATION
On the subject of individuality in interpretation, Mr. Johnson was convincing. "I feel that if I have worked out a characterization, I must stick to my idea, in spite of what others say. It is my own conception, and I must either stand or fall by it. At times I have tried to follow the suggestions of this or that critic and have changed my interpretation to suit their taste. But it always rendered me self conscious, made my work unnatural and caused me speedily to return to my own conception.
LEARNING BY DOING
"The singer finds the stage a great teacher. Before the footlights he has constant opportunity to try out this or that effect, to note which placement of the voice best fits the tones he wishes to produce. Then, too, he soon learns to feel whether he has made the impression he had hoped, whether he has the audience with him. If he cannot win the audience, he takes careful thought to see why. In order to win his hearers, to get his work across the footlights, there are certain things he must have, virtues he must possess. For instance,"—and the artist counted them off on his finger tips,—"he must have Accent, Diction, Characterization, and above all, Sincerity. No matter what other good qualities he may possess, he must be sincere before anything else. If he lack this the audience soon finds it out. There's nothing that wins its way like the grace of sincerity. You see I give prominent place to accent and diction. Whatever fault the critics found with me, they have always conceded to me both these virtues.
"But time passes and soon the work of the night will begin. I trust that our informal conference may contain a few points of personal experience which may be helpful to those who are striving to enter the field of opera." And with his pleasant smile and genial greeting, Mr. Johnson closed the conference.