Physical Strength and Singing
Few singers seem to realize that an operatic career will be determined in its success very largely through physical strength, all other factors being present in the desired degree. That is, the singer must be strong physically in order to succeed in opera. This applies to women as well as to men. No one knows what the physical strain is, how hard the work and study are. In front of you is a sea of highly intelligent, cultured people, who for years have been trained in the best traditions of the opera. They pay the highest prices paid anywhere for entertainment. They are entitled to the best. To face such an audience and maintain the high traditions of the house through three hours of a complicated modern score is a musical, dramatic and intellectual feat that demands, first of all, a superb physical condition. Every day of my life in New York I go for a walk, mostly around the reservoir in Central Park, because it is high and the air is pure and free. As a result I seldom have a cold, even in mid-winter. I have not missed a performance in eight years, and this, of course, is due to the fact that my health is my first daily consideration.
PASQUALE AMATO
Biographical
Pasquale Amato, for so many years the leading baritone at the Metropolitan Opera House in New York, was born at Naples March 21st, 1878. He was intended for the career of an engineer and was educated at the Instituto Tecnico Domenico. He then studied at the Conservatory of Naples from 1896 to 1899. His teachers there were Cucialla and Carelli. He made his début as Germont in La Traviata in the Teatro Bellini at Naples in 1900. Thereafter his successes have been exceptionally great in the music centers of South America, Italy, Russia, England, Egypt, and Germany. He has created numerous rôles at the Metropolitan Opera House, among them Jack Rance in the Girl of the Golden West; Golaud in Pelleas and Melisande (Milan); L'Amore di Tre Re; Cyrano (Damrosch); Lodoletta (Mascagni); Madame Sans Gene. He has visited South America as an artist no less than ten times. His voice is susceptible of fine dramatic feeling.
MODERN VOCAL METHODS IN ITALY
PASQUALE AMATO
When I was about sixteen years of age my voice was sufficiently settled to encourage my friends and family to believe that I might become a singer. This is a proud discovery for an Italian boy, as singing—especially operatic singing—is held in such high regard in Italy that one naturally looks forward with joy to a career in the great opera houses of one's native country and possibly to those over the sea. At eighteen I was accordingly entered in the conservatory, but not without many conditions, which should be of especial interest to young American vocal students. The teachers did not immediately accept me as good vocal material. I was recognized to have musical inclinations and musical gifts and I was placed under observation so that it might be determined whether the state-supported conservatory should direct my musical education along vocal lines or along other lines.