MME. FRIEDA HEMPEL
Why Some Succeed and Some Fail
In every thousand girls who aspire to Grand Opera probably not more than one ever succeeds. This is by no means because of lack of good voices. There are great numbers of good voices; although many girls who want to be opera singers either deceive themselves or are deceived by others (often charlatan teachers) into believing that they have fine natural voices when they have not. There is nothing more glorious than a beautiful human voice—a voice strong, resonant, if necessary, but velvety and luscious if needs be. There are many girls with really beautiful natural voices who have lost their chances in Grand Opera largely because they have either not had the personal persistence necessary to carry them to the point where their services are in demand by the public or they have had the misfortune not to have the right kind of a vocal or musical drill master—a really good teacher.
Teachers in these days waste a fearful amount of time in what they consider to be their methods. They tell you to sing in the back, or on the side or through the mask or what not, instead of getting right down to the real work. My teacher in Berlin, at the Conservatory, insisted first of all upon having me sing tones and scales—mostly long sustained tones—for at least one entire year. These were sung very softly, very evenly, until I could employ every tone in my voice with sureness and certainty. I don't see how it could possibly have been accomplished in less time. Try that on the American girl and she will think that she is being cheated out of something. Why should she wait a whole year with silly tones when she knows that she can sing a great aria with only a little more difficulty?
The basis of all fine singing, whether in the opera house or on the concert stage, is a good legato. My teacher (Nicklass Kempner) was very insistent upon this. In working with such studies as those of Concone, Bordogni, Lütgen, Marchesi or Garcia—the best part of the attention of the teacher was given to the simple yet difficult matter of a beautiful legato. After one has been through a mass of such material, the matter of legato singing becomes more or less automatic. The tendency to slide from one tone to another is done away with. The connection between one tone and another in good legato is so clean, so free from blurs that there is nothing to compare it with. One tone takes the place of another just as though one coin or disk were placed directly on top of another without any of the edges showing. The change is instantaneous and imperceptible. If one were to gradually slide one coin over another coin you would have a graphic illustration of what most people think is legato. The result is that they sound like steam sirens, never quite definitely upon any tone of the scale.
A Good Legato
A good legato can only be acquired after an enormous amount of thorough training. The tendency to be careless is human. Habits of carefulness come only after much drill. The object of the student and the teacher should be to make a singer—not to acquire a scanty repertoire of a few arias. Very few of the operas I now sing were learned in my student days. That was not the object of my teacher. The object was to prepare me to take up anything from Martha to Rosenkavalier and know how to study it myself in the quickest and most thorough manner. Woe be to the pupil of the teacher who spends most of the time in teaching songs, arias, etc., before the pupil is really ready to study such things.
Good Foundations
Everything is in a good foundation. If you expect a building to last only a few weeks you might put up a foundation in a day or so—but if you watch the builders of the great edifices here in American cities you will find that more time is often spent upon the foundation than upon the building itself. They dig right down to the bed rock and pile on so much stone, concrete and steel that even great earthquakes are often withstood.