There has been a most marvelous advance in this respect, however, in America. Not only in nature love but in art it has been my pleasure to watch a wonderful growth. When I first came here in 1883 things were entirely different in many respects. Now the great operatic novelties of Europe are presented here in magnificent style, and often before they are heard in many European capitals.
In this respect America to-day ranks with the best in the world. Will you not kindly permit me to digress for a moment and say to the music lovers of America that I appreciate in the deepest manner the great kindnesses that have been shown to me everywhere? For this reason, I know that my criticisms, if they may be called such, will be received as they are intended.
The singer should make a serious study of languages. French, German, English and Italian are the most necessary ones. I include English as I am convinced that it is only a matter of a short time when a school of opera written by English-speaking composers will arise. The great educational and musical advance in America is an indication of this.
As for voice exercises, I have always been of the opinion that it is better to leave that matter entirely to the discretion of the teacher. There can be no universal voice exercise that will apply to all cases. Again, it is more a matter of how the exercise is sung than the exercise itself.
The simplest exercise can become valuable in the hands of the great teacher. I have no faith in the teachers who make each and every pupil go through one and the same set of exercises in the same way. The voice teacher is like the physician. He must originate and prescribe certain remedies to suit certain cases. Much money is wasted by trying to do without a good teacher. If the pupil really has a great voice and the requisite talent, it is economical to take her to the best teacher obtainable.
American women have wonderful voices. Moreover, they have great energy, talent and temperament. Their accomplishments in the operatic world are matters of present musical history. With such splendid effort and such generosity, it is easy to prophesy a great future for musical America. This is the land of great accomplishments.
With time Americans will give more attention to the cultivation of details in art, they will acquire more repose perhaps, and then the tremendous energy which has done so much to make the country what it is will be a great factor in establishing a school of music in the new world which will rank with the greatest of all times.
MME. ERNESTINE SCHUMANN-HEINK
Biographical
Mme. Ernestine Schumann-Heink (née Roessler) was born near the city of Prague, July 15, 1861. She relates that her father was a Czech and her mother was of Italian extraction. She was educated in Ursuline Convent and studied singing with Mme. Marietta von Leclair in Graz. Her first appearance was at the age of 15, when she is reported to have taken a solo part in a performance of the Beethoven Ninth Symphony, at an important concert in Graz. Her operatic début was made at the Royal Opera, Dresden, in Trovatore. There she studied under Krebs and Franz Wüllner. It is impossible to detail Mme. Schumann-Heink's operatic successes here, since her numerous appearances at the leading operatic houses of the world have been followed by such triumphs that she is admittedly the greatest contralto soloist of her time. At Bayreuth, Covent Garden, and at the Metropolitan her appearances have drawn multitudes. In concert she proved one of the greatest of all singers of art songs. In 1905 she became an American citizen, her enthusiasm for this country leading her to name one of her sons George Washington. During the great war (in which four of her sons served with the American colors) she toured incessantly from camp to camp, giving her services for the entertainment of the soldiers and winning countless admirers in this way. Her glorious voice extends from D on the third line of the bass clef to C on the second leger line above the treble clef.