THE MORAL SIDE
"I believe strongly that a singer cannot adequately express the beautiful and pure in music while cherishing at the same time, a bad heart and a mean nature behind it. Singing is such a personal thing, that one's mentality, one's inner nature, is bound to reveal itself. Each one of us has evil tendencies to grapple with, envy, jealousy, hatred, sensuality and all the rest of the evils we are apt to harbor. If we make no effort to control these natural tendencies, they will permanently injure us, as well as impair the voice, and vitiate the good we might do. I say it in all humility, but I am earnestly trying to conquer the errors in myself, so that I may be able to do some good with my voice. I have discovered people go to hear music when they want to be soothed and uplifted. If they desire to be amused and enjoy a good laugh, they go to light opera or vaudeville; if they want a soothing, quieting mental refreshment, they attend a concert, opera or oratorio. Therefore I want to give them, when I sing, what they are in need of, what they are longing for. I want to have such control of myself that I shall be fitted to help and benefit every person in the audience who listens to me. Until I have thus prepared myself, I am not doing my whole duty to myself, to my art or to my neighbor.
"We hear about the petty envy and jealousy in the profession, and it is true they seem to be very real at times. Picture two young women singing at a concert; one receives much attention and beautiful flowers, the other—none of these things. No doubt it is human nature, so-called, for the neglected one to feel horribly jealous of the favored one. Now this feeling ought to be conquered, for I believe, if it is not, it will prevent the singer making beautiful, correct tones, or from voicing the beauty and exaltation of the music. We know that evil thoughts react on the body and result in diseases, which prevent the singer from reaching a high point of excellence. We must think right thoughts for these are the worth while things of life. Singing teachers utterly fail to take the moral or metaphysical side into consideration in their teaching. They should do this and doubtless would, did they but realize what a large place right thinking occupies in the development of the singer.
"One could name various artists who only consider their own self-aggrandizement; one is compelled to realize that, with such low aims, the artist is bound to fall short of highest achievement. It is our right attitude towards the best in life and the future, that is of real value to us. How often people greet you with the words: 'Well, how is the world treating you to-day?' Does any one ever say to you—'How are you treating the world to-day?' That is the real thing to consider.
"As I said a few moments ago, I have studied ten years on vocal technic and repertoire. I have not ventured to say so before, but I say it to-night—I can sing! Of course most of the operatic tenor rôles are in my repertoire. This season I am engaged for fourteen rôles at the Metropolitan. These must be ready to sing on demand, that is at a moment's notice,—or say two hours' notice. That means some memory work as well as constant practice.
"Would I rather appear in opera, recital or oratorio? I like them all. A recital program must contain at least a dozen songs, which makes it as long as a leading operatic rôle.
"The ten years just passed, filled as they have been with close study and public work, I consider in the light of preparation. The following ten years I hope to devote to becoming more widely known in various countries. And then—" a pleasant smile flitted over the fine, clean-cut features,—"then another ten years to make my fortune. But I hasten to assure you the monetary side is quite secondary to the great desire I have to do some good with the talent which has been given me. I realize more and more each day, that to develop the spiritual nature will mean happiness and success in this and in a future existence, and this is worth all the effort and striving it costs."