COMMON SENSE IN TRAINING AND PRESERVING THE VOICE
DAME NELLIE MELBA
How Can a Good Voice be Detected?
The young singer's first anxiety is usually to learn whether her voice is sufficiently good to make it worth while to go through the enormous work of preparing herself for the operatic stage. How is she to determine this? Surely not upon the advice of her immediate friends, nor upon that of those to whom she would naturally turn for spiritual advice, medical advice or legal advice. But this is usually just what she does. Because of the honored positions held by her rector, her physician, or her family lawyer, their services are all brought to bear upon her, and after an examination of her musical ability their unskilled opinion is given a weight it obviously does not deserve. The only one to judge is a skilled musician, with good artistic taste and some experience in voice matters. It is sometimes difficult to approach a singing teacher for this advice, as even the most honest could not fail to be somewhat influenced where there is a prospect of a pupil. I do not mean to malign the thousands of worthy teachers, but such a position is a delicate one, and the pupil should avoid consulting with any adviser except one who is absolutely disinterested.
In any event the mere possession of a voice that is sweet and strong by no means indicates that the owner has the additional equipment which the singer must possess. Musical intelligence is quite as great an asset as the possession of a fine voice. By musical intelligence I mean something quite different from general intelligence. People seem to expect that the young person who desires to become a fine pianist or a fine violinist, or a fine composer, should possess certain musical talents. That is, they should experience a certain quickness in grasping musical problems and executing them. The singer, however, by some peculiar popular ruling seems to be exempted from this. No greater mistake could possibly be made. Very few people are musically gifted. When one of these people happens to possess a good voice, great industry, a love for vocal art, physical strength, patience, good sense, good taste and abundant faith in her possibilities, the chances of making a good singer are excellent. I lay great stress upon great determination and good health. I am often obliged to sing one night, then travel a thousand miles to sing the next night. Notwithstanding such journeys, the singer is expected to be in prime condition, look nice, and please a veritable multitude of comparative strangers all expecting wonderful things from her. Do you wonder that I lay stress upon good health?
The youthful training of the singer should be confined quite strictly to that of obtaining a good general and musical education. That is, the vocal training may be safely postponed until the singer is seventeen or eighteen years of age. Of course there have been cases of famous singers who have sung during their childhood, but they are exceptions to all rules. The study of singing demands the direction of an intelligent, well-ordered mind. It is by no means wholly a matter of imitation. In fact, without some cultivation of the taste, that is, the sense of discriminating between what is good and bad, one may imitate with disastrous results.
What Work Should the Girl Under Eighteen Do?
I remember well an incident in my own youth. I once went to a concert and heard a much lauded singer render an aria that was in turn vociferously applauded by the audience. This singer possessed a most wonderful tremolo. Every tone went up and down like the teeth of a saw. It was impossible for her to sing a pure even tone without wobbling up and down. But the untrained audience, hungry to applaud anything musical, had cheered the singer despite the tremolo. Consequently I went home and after a few minutes' work I found that it was possible for me to produce a very wonderful tremolo. I went proudly to my teacher and gave an exhibition of my new acquirement. "Who on earth have you been listening to?" exclaimed my teacher. I confessed and was admonished not to imitate.
The voice in childhood is a very delicate organ despite the wear and tear which children give it by unnecessary howling and screaming. More than this, the child-mind is so susceptible to impressions and these impressions become so firmly fixed that the best vocal training for the child should be that of taking the little one to hear great singers. All that the juvenile mind hears is not lost, although much will be forgotten. However, the better part will be unconsciously stowed away in the subconscious mind, to burst forth later in beautiful song through no different process than that by which the little birds store away the song of the older birds. Dealers in singing birds place them in rooms with older and highly developed singing birds to train them. This is not exactly a process of imitation, but rather one of subconscious assimilation. The bird develops his own song later on, but has the advantage of the stored-up impressions of the trained birds.