The Value of Opera
This leads us to the subject at hand. The students in Italy in the past have had advantages for self-study that were of greatest importance. On all sides good singing and great singing might be heard conveniently and economically. Opera was and is one of the great national amusements of Italy. Opera houses may be found in all of the larger cities and in most of the smaller ones. The prices of admission are, as a rule, very low. The result is that the boys in the street are often remarkably familiar with some of the best works. Indeed, it would not be extravagant to say that they were quite as familiar with these musical masterpieces as some of the residents of America are with the melodramatic doings of Jesse James or the "Queen of Chinatown." Thus it is that the average Italian boy with a fair education and quick powers of observation reaches his majority with a taste for singing trained by many opportunities to hear great singers. They have had the best vocal instruction in the world, providing, of course, they have exercised their powers of judgment. Thus it is that it happens that such a singer as Caruso, certainly one of the greatest tenors of all time, could be accidentally heard by a manager while singing and receive an offer for an engagement upon the spot. Caruso's present art, of course, is the result of much training that would fall under the head of "coaching," together with his splendid experience upon the operatic stage itself.
I trust that I have not by this time given the reader of this page the impression that teachers are unnecessary. This is by no means the case. A good teacher is extremely desirable. If you have the good fortune to fall into the hands of a careful, experienced, intelligent teacher, much may be accomplished; but the teacher is by no means all that is required. The teacher should be judged by his pupils, and by nothing else. No matter what he may claim, it is invariably the results of his work (the pupil's) which must determine his value. Teachers come to me with wonderful theories and all imaginable kinds of methods. I always say to them: "Show me a good pupil who has been trained by your methods and I will say that you are a good teacher."
Before our national elections I am asked, "Which one of the candidates do you believe will make the best President?" I always reply, "Wait four years and I will pass my opinion upon the ability of the candidate the people select." In other words, "the proof of the pudding is in the eating."
Singers Not Born, But Made
We often hear the trite expression, "Singers are born, not made." This, to my mind, is by no means the case. One may be born with the talent and deep love for music, and one may be born with the physical qualifications which lead to the development of a beautiful voice, but the singer is something far more than this. Given a good voice and the love for his music, the singer's work is only begun. He is at the outstart of a road which is beset with all imaginable kinds of obstacles. In my own case I was extremely ambitious to be a singer. Night after night I played 'cello in the orchestra at La Scala, in Milan, always wishing and praying that I might some day be one of the actors in the wonderful world behind the footlights. I listened to the famous singers in the great opera house with the minutest attention, making mental notes of their manner of placing their voices—their method of interpretation, their stage business, and everything that I thought might be of any possible use to me in the career of the singer, which was dearest to my heart. I endeavored to employ all the common sense and good judgment I possessed to determine what was musically and vocally good or otherwise. I was fortunate in having the training of the musician, and also in having the invaluable advantage of becoming acquainted with the orchestral scores of the famous operas. Finally the long-awaited opportunity came and I made my début at the Teatro dal Verme, in Milan. I had had no real vocal instruction in the commonly accepted sense of the term; but I had really had a kind of instruction that was of inestimable value.
Not Given To All To Study Successfully Without A Teacher
Success brought with it its disadvantages. I foolishly strained my voice through overwork. But this did not discourage me. I realized that many of the greatest singers the world has ever known were among those who had met with disastrous failure at some time in their careers. I came to America and played the violoncello in the Boston Symphony Orchestra. All the time I was practicing with the greatest care and with the sole object of restoring my voice. Finally it came back better than ever and I sang for Maurice Grau, the impresario of the Metropolitan Opera House, in New York. He engaged me and I sang continuously at the Metropolitan for several years. Notwithstanding this varied experience, I will seek to learn, and to learn by practical example, not theory. The only opera school in the world is the opera house itself. No school ever "made" a great singer or a great artist. The most they have done has been to lay the foundation. The making of the artist comes later.
In order to do without instruction one must be very peculiarly constituted. One must be possessed of the pedagogical faculty to a marked degree. One must have within oneself those qualities for observing and detecting the right means leading to an artistic end which every good teacher possesses. In other words, one must be both teacher and pupil. This is a rare combination, since the power to teach, to impart instruction, is one that is given to very few. It is far better to study alone or not at all than with a poor teacher. The teacher's responsibility, particularly in the case of vocal students, is very great. So very much depends upon it. A poor teacher can do incalculable damage. By poor teachers I refer particularly to those who are carried away by idiotic theories and quack methods. We learn to sing by singing and not by carrying bricks upon our chest or other idiotic antics. Consequently I say that it is better to go all through life with a natural or "green" voice than to undergo the vocal torture that is sometimes palmed off upon the public as voice teaching. At best, all the greatest living teacher can do is to put the artist upon the right track and this in itself is responsibility enough for one man or one woman to assume.