People imagine that the opera requires a higher kind of vocal preparation than the concert or oratorio stage. This is also a great misconception. The operatic singers who have been successful as concert singers at once admit that concert singing is much more difficult. Comparatively few opera singers succeed as concert singers. Why? Because in opera the voice needs to be concentrated and more or less uniform. An opera house is really two buildings, the auditorium and the stage. The stage with its tall scene-loft is frequently as large from the standpoint of cubic feet as the auditorium. Sometimes it is larger. To fill these two immense buildings the voice must be strong and continually concentrated, dans le Masque. The delicate little effects that the concert singer is obliged to produce would not be heard over the footlights. In order to retain interest without the assistance of scenery and action the concert singer's interpretative work must be marked by an attention to details that the opera singer rarely considers. The voice, therefore, requires a different treatment. It must be so finely trained that it becomes susceptible to the most delicate change of thought in the singer's mind. This demands a really enormous amount of work.
The successful concert singer must also have an endurance that enables her to undergo strains that the opera singer rarely knows. The grand opera singer in the great opera houses of the world rarely sings more than two or three times a week. The concert singer is often obliged to sing every night for weeks. They must learn how to relax and save the voice at all times, otherwise they will lose elasticity and sweetness.
A young woman vocal student, with talent, a good natural voice, intelligence, industry, sufficient practice time, a high school education, and a knowledge of the rudiments of music, might complete a course of study leading to a successful concert début in three years. More frequently four or five years may be required. With a bungling teacher she may spend six or seven. The cost of her instruction, with a good teacher in a great metropolis, will be more per year than if she went to almost any one of the leading universities admitting women. She will have to work harder than if she took a regular college course. Progress depends upon the individual. One girl will accomplish more in two years than another will accomplish in five years. Again, the rate of progress depends upon personal development. Sometimes a course of study with a good teacher will awaken a latent energy and mental condition that will enable the student to make great strides.
My most important work has been done by self-study with the assistance and advice of many singers and teachers who have been my friends. No pupil who depends entirely upon a teacher will succeed. She must work out her own salvation. It is the private thought, incessant effort and individual attitude that lead to success.
Study in Your Home Country
I honestly believe that the young vocal student can do far better by studying in America than by studying abroad. European residence and travel are very desirable, but the study may be done to better advantage right here in our own country. Americans want the best and they get it. In Europe they have no conception whatever of the extent of musical culture in America. It is a continual source of amazement to me. In the West and Northwest I find audiences just as intelligent and as appreciative as in Boston. There is the greatest imaginable catholicity of taste. Just at present the tendency is away from the old German classics and is leading to the modern works of French, German and American composers. Still I find that I can sing a song like Schumann's "Widmung" in Western cities that only a few years ago were mere collections of frontier huts and shacks, and discover that the genius of Schumann is just as potent there as in New York City. I have recently been all over Europe, and I have seen no such condition anywhere as that I have just described. It is especially gratifying to note in America a tremendous demand for the best vocal works of the American composers.
The young concert singer must have a very comprehensive repertoire. Every new work properly mastered is an asset. In oratorio she should first of all learn those works that are most in demand, like the Messiah, the Elijah, the Creation and the Redemption. Then attention may be given to the modern works and works more rarely performed, like those of Elgar, Perosi and others. After the young singer has proven her worth with the public she may expect an income of from $10,000.00 to $15,000.00 a year. That is what our first-class singers have received for high-class concert work. Some European prima donnas like Schumann-Heink and others have commanded much higher figures.
You ask me what influence the sound reproducing machines have had upon the demand for good vocal music in America. They have unquestionably increased the demand very greatly. They have even been known to make reputations for singers entirely without any other road to publicity. Take the case of Madame Michaelowa, a Russian prima donna who has never visited America. Thousands of records of her voice have been sold in America, and now the demand for her appearance in this country has been so great that she has been offered huge sums for an American tour. I believe that if used intelligently the sound reproducing machine may become a great help to the teacher and student. It is used in many of the great opera houses of the world as an aid in determining the engagement of new singers who cannot be personally heard. Some of the records of my own voice have been so excellent that they seem positively uncanny to me when I hear them reproduced.
I have no patent exercises to offer to singing students. There are a thousand ways of learning to breathe properly and they all lead to one end. Breathing may best be studied when it is made coincident with the requirements of singing. I have no fantastic technical studies to offer. My daily work simply consists of scales, arpeggios and the simplest kind of exercises, the simpler the better. I always make it a point to commence practicing very softly, slowly and surely. I never sing notes outside my most comfortable range at the start. Taking notes too high or too low is an extremely bad plan at first. Many young students make this fault. They also sing much too loud. The voice should be exercised for some considerable time on soft exercises before loud notes are even attempted. It is precisely the same as with physical exercises. The athlete who exerts himself to his fullest extent at first is working toward ultimate exhaustion. I have known students who sang "at the top of their lungs" and called it practice. The next day they grew hoarse and wondered why the hoarseness came.