There is another peculiar thing about Italian. If the student who has always studied and sung in English, German or French or Russian, attempts to sing in Italian, he is really turning a brilliant searchlight upon his own vocal ability. If he has any faults which have been concealed in his singing in his own language, they will be discovered at once the moment he commences to study in Italian. I do not know whether this is because the Italian of culture has a higher standard of diction in the enunciation of the vowel sounds, or whether the sounds themselves are so pure and smooth that they expose the deficiencies, but it is nevertheless the case. The American girl who studies Italian for six months and then hopes to sing in that language in a manner not likely to disturb the sense of the ridiculous is deceiving herself. It takes years to acquire fluency in a language.
Audiences the Same the World Around
Audiences are as sensitive as individuals. Italy is known as "the home of the opera"; but I find that, as far as manifesting enthusiasm goes, the world is getting pretty much the same. If the public is pleased, it applauds no matter whether it be in Vienna, Paris, Rome, Buenos Aires, New York, or Oshkosh. An artist feels his bond with his audience very quickly. He knows whether his auditors are delighted, whether they are merely interested or whether they are indifferent a few seconds after he has been upon the stage. I can judge my own work at once by the attitude of the audience. No artist sings exactly alike on two successive nights. That would be impossible. Although every sincere artist tries to do his best at all times, there are, nevertheless, occasions when one sings better than at others. If I sing particularly well the audience is particularly enthusiastic; if I am not feeling well and my singing indicates it, the audience will let me know at once by not being quite so enthusiastic. It is a barometer which is almost unfailing. This is also an important thing for the young singer to consider. Audiences judge by real worth and not by reputation.
Reputation may attract money to the box office, but once the people are inside the opera house the artist must really please them or suffer. Young singers should not be led to think that anything but real worth is of any lasting value. If the audience does not respond, do not blame the audience. It would respond if you could sing so beautifully that you could compel a response that you know should follow real artistic achievement. Don't blame your teacher or your lack of practice or anything or anybody but yourself. The verdict of the audience is better than the examination of a hundred so-called experts. There is something about an audience that makes it seem like a great human individual, whether in Naples or in San Francisco. If you touch the heart or please the sense of beauty, the appetite for lovely music—common to all mankind—the audience is yours, be it Italian, French, German or American.
Operatic Preparation in Italy
The American student with a really good voice and a really fine vocal and musical training, would have more opportunities for engagements in the smaller Italian opera houses, for the simple reason that there are more of these opera houses and more of these opera companies. Bear in mind, however, that opera in Italy depends to a large extent upon the standing of the artists engaged to put on the opera. In some cities of the smaller size the municipality makes an appropriation, which serves as a guarantee or subsidy. An impresario is informed what operas the community desires and what singers. He tries to comply with the demand. Often the city is very small and the demand very slightly indicated in real money. As a result the performances are comparatively mediocre. The American student sometimes fails to secure engagements with the big companies and tries to gain experience in these small companies. Sometimes he succeeds, but he should remember before undertaking this work that many native Italian singers with realty fine voices are looking for similar opportunities and that only a very few stand any chance of reaching really noteworthy success.
Opera Will Always Be Expensive
He should, of course, endeavor to seek engagements with the big companies if his voice and ability will warrant it. Where the most money is, there will be the salaried artists and the finest operatic spectacle. That is axiomatic. Opera is expensive and will always be expensive. The supply of unusual voices has always been limited and the services of their possessors have always commanded a high reward. This is based upon an economic law which applies to all things in life. The young singer should realize that, unless he can rise to the very top of his profession, he will be compelled to enlist in a veritable army of singers with little talent and less opportunity.
One thing exists in Italy which is very greatly missed in America. Even in small companies in Italy a great deal of time is spent in rehearsals. In America rehearsals are tremendously expensive and sometimes first performances have suffered thereby. In fact, I doubt whether the public realizes what a very expensive thing opera is. The public has little opportunity to look behind the scenes. It sees only the finished performance, which runs smoothly only when a tremendous amount of mental, physical and financial oil has been poured upon the machinery. I often hear men say here in New York, "I had to pay fifty dollars for my seat to-night." That is absurd—the money is going to speculators instead of into the rightful channels. This money is simply lost as far as doing any service whatever to art is concerned. It does not go into the opera house treasury to make for better performances, but simply into the hands of some fellow who had been clever enough to deprive the public of its just opportunity to purchase seats. The public seems to have money enough to pay an outrageous amount for seats when necessary. Would it not be better to do away with the speculator at the door and pay say $10.00 for a seat that now costs $7.00? This would mean more rehearsals and better opera and no money donated to the undeserving horde at the portals of the temple.