As I have already said, most every singer makes a method unto himself. It is all the same in the end. The Chinese may, for instance, have one name for God, the Persians another, the Mohammedans another, and the people of Christian lands another. But the God principle and the worship principle are the same with all. It is very similar in singing. The means that apply to my own case may apparently be different from those of another, but we are all seeking to produce beautiful tones and interpret the meaning of the composer properly.
One thing, however, the student should seek to possess above all things, and this is a thorough foundation training in music itself. This can not begin too early. In my own home we have always had music. My children have always heard singing and playing and consequently they become critical at a very early age.
I can not help repeating my advice to students who hope to find a vocal education in books or by the even more ridiculous correspondence method. Books may set one's mental machinery in motion and incite one to observe singers more closely, but teach they can not and never can. The sound-reproducing machines are of assistance in helping the student to understand the breathing, phrasing, etc., but there is nothing really to take the place of the living singer who can illustrate with his voice the niceties of placing and timbre.
My advice to the voice students of America is to hear great singers. Hear them as many times as possible and consider the money invested as well placed as any you might spend in vocal instruction. The golden magnet, as well as the opportunities in other ways offered artists in America, has attracted the greatest singers of our time to this country. It is no longer necessary to go abroad to listen to great singers. In no country of the world is opera given with more lavish expenditure of money than in America. The great singers are now by no means confining their efforts to the large Eastern cities. Many of them make regular tours of the country, and students in all parts of this land are offered splendid opportunities for self-help through the means of concerts and musical festivals. After all, the most important thing for any singer is the development of the critical sense. Blind imitation is, of course, bad, but how is the student to progress unless he has had an opportunity to hear the best singers of the day? In my youth I heard continually such artists as La Salle, Gayarre, Patti, De Reszke and others. How could I help profiting by such excellent experiences?
Great Voices are Rare
One may be sure that in these days few, if any, great voices go undiscovered. A remarkable natural voice is so rare that some one is sure to notice it and bring it to the attention of musicians. The trouble is that so many people are so painfully deluded regarding their voices. I have had them come to me with voices that are obviously execrable and still remain unconvinced when I have told them what seemed to me the truth. This business of hearing would-be singers is an unprofitable and an uncomfortable one; and most artists try to avoid the ordeal, although they are always very glad to encourage real talent. Most young singers, however, have little more than the bare ambition to sing, coupled with what can only be described by the American term, "a swelled head." Someone has told them that they are wonderfully gifted, and persons of this kind are most always ready to swallow flattery indiscriminately. Almost everyone, apparently, wants to go into opera nowadays. To singers who have not any chance whatever I have only to say that the sooner this is discovered the better. Far better put your money in bank and let compound interest do what your voice can not.
ENRICO CARUSO
Biographical
Enrico Caruso was born at Naples, February 25th, 1873. His fondness for music dates from his earliest childhood; and he spent much of his spare money in attending the opera at San Carlo and hearing the foremost singers of his time in many of the rôles in which he appeared later on. His actual study, however, did not start until he was eighteen, when he came under the tuition of Guglielmo Vergine. In 1895 he made his début at the Teatro Cimarosa in Caserta. His first appearances drew comparatively little attention to his work and his future greatness was hardly suspected by many of those who heard him. However, by dint of long application to his art he gained more and more recognition. In 1902 he made his début in London. The following year he came to New York, where the world's greatest singers had found an El Dorado for nearly a quarter of a century. There he was at once proclaimed the greatest of all tenors and from that time his success was undeviating. Indeed his voice was so wonderful and so individual that it is difficult to compare him with any of his great predecessors; Tamagno, Campanini, de Reszke and others. In Europe and in America he was welcomed with acclaim and the records of his voice are to be found in thousands of homes of music lovers who have never come in touch with him in any other way. Signor Caruso had a remarkable talent for drawing and for sculpture. His death, August 2d, 1921, ended the career of the greatest male singer of history.
