It is better to leave the study of repertoire until later years; that is, until the study of voice has been pursued for a sufficient time to insure regular progress in the study of repertoire. Personally, I am opposed to those methods which take the student directly to the study of repertoire without any previous vocal drill. The voice, to be valuable to the singer, must be able to stand the wear and tear of many seasons. It is often some years before the young singer is able to achieve real success and the profits come with the later years. A voice that is not carefully drilled and trained, so that the singer knows how to get the most out of it, with the least strain and the least expenditure of effort, will not stand the wear and tear of many years of opera life.
After all, the study of repertoire is the easiest thing. Getting the voice properly trained is the difficult thing. In the study of repertoire the singer often makes the mistake of leaping right into the more difficult rôles. She should start with the simpler rôles; such as those of some of the lesser parts in the old Italian operas. Then, she may essay the leading rôles of, let us say, Traviata, Barber of Seville, Norma, Faust, Romeo and Juliet, and Carmen.
Instead of simple rôles, she seems inclined to spend her time upon Isolde, Mimi, Elsa or Butterfly. It has become so, that now, when a new singer comes to me and wants to sing Tosca or some rôle that (sic) the so-called new or verissimo Italian school, I almost invariably refuse to listen. I ask them to sing something from Norma or Puritani or Dinorah or Lucia in which it is impossible for them to conceal their vocal faults. But no, they want to sing the big aria from the second act of Madama Butterfly, which is hardly to be called an aria at all but rather a collection of dramatic phrases. When they are done, I ask them to sing some of the opening phrases from the same rôle, and ere long they discover that they really have nothing which an impresario can purchase. They are without the voice and without the complete knowledge of the parts which they desire to sing.
Then they discover that the impresario knows that the tell-tale pieces are the old arias from old Italian operas. They reveal the voice in its entirety. If the breath control is not right, it becomes evident at once. If the quality is not right, it becomes as plain as the features of the young lady's face. There is no dramatic—emotional—curtain under which to hide these shortcomings. Consequently, knowing what I do, I would insist upon my daughter having a thorough training in the old Italian arias.
Her Training in Acting
Her training in acting would depend largely upon her natural talent. Some children are born actors—natural mimics. They act from their childhood right up to old age. They can learn more in five minutes than others can learn in years. Some seem to require little or no training in the art of acting. As a rule they become the most forceful acting singers. Others improve wonderfully under the direction of a clever teacher.
The new school of opera demands higher histrionic ability from the singer. In fact, we have come to a time when opera is a real drama set to music which is largely recitative and which does not distract from the action of the drama. The librettos of other days were, to say the least, ridiculous. If the music had not had a marvelous hold upon the people they could not have remained in popular favor. To my mind it is an indication of the wonderful power of music that these operas retain their favor. There is something about the melodies which seems to preserve them for all time; and the public is just as anxious to hear them to-day as it was twenty-five and fifty years ago.
Richard Wagner turned the tide of acting in opera by his music dramas. Gluck and von Weber had already made an effort in the right direction; but it remained for the mighty power of Wagner to accomplish the final work. Now we are witnessing the rise of a school of musical dramatic actors such as Garden, Maurel, Renaud, and others which promises to raise the public taste in this matter and which will add vastly to the pleasure of opera going, as it will make the illusion appear more real.
This also imposes upon the impresario a new contingency which threatens to make opera more and more expensive. Costumes, scenery and all the settings nowadays must be both historically authentic and costly. The collection of wigs, robes, and armor, together with a few sets of scenery, often with the chairs and other furniture actually painted on the scenes, which a few years ago were thought adequate for the equipment of an opera company, have now given way to equipment more elaborate than that of a Belasco or a Henry Irving. Nothing is left undone to make the picture real and beautiful. In fact operatic productions, as now given in America, are as complete and luxurious as any performances given anywhere in the world.