The singer is haunted by the delusion that success can only come to her if she sings great rôles. If she can not ape Melba in Traviata, Emma Eames as Elizabeth in Tannhäuser or Geraldine Farrar in Butterfly, she pouts and refuses to do anything. Offer her a small part and she sneers at it. Ha! Ha! All my earliest successes were made in the smallest kinds of parts. I realized that I had only a little to do and only very little time to do it in. Consequently, I gave myself heart and soul to that part. It must be done so artistically, so intelligently, so beautifully that it would command success. Imagine the rôles of Erda and Norna, and Marie in Flying Dutchman. They are so small that they can hardly be seen. Yet these rôles were my first door to success and fame. Wagner did not think of them as little things. He was a real master and knew that in every art-work a small part is just as important as a great part. It is a part of a beautiful whole. Don't turn up your nose at little things. Take every opportunity, and treat it as though it were the greatest thing in your life. It pays.
Everything that amounts to anything in my entire career has come through struggle. At first a horrible struggle with poverty. No girl student in a hall bedroom to-day (and my heart goes out to them now) endures more than I went through. It was work, work, work, from morning to night, with domestic cares and worries enough all the time to drive a woman mad. Keep up your spirits, girls. If you have the right kind of fight in you, success will surely come. Never think of discouragement, no matter what happens. Keep working every day and always hoping. It will come out all right if you have the gift and the perseverance. Compulsion is the greatest element in the vocalist's success. Poverty has a knout in its hand driving you on. Well, let it,—and remember that under that knout you will travel twice as fast as the rich girl possibly can with her fifty-horse-power automobile. Keep true to the best. Muss—"I MUST," "I will," the mere necessity is a help not a hindrance, if you have the right stuff in you. Learn to depend upon yourself, and know that when you have something that the public wants it will not be slow in running after you. Don't ask for help. I never had any help. Tell that to the aspiring geese who think that I have some magic power whereby I can help a mediocre singer to success by the mere twist of the hand.
Daily Exercises of a Prima Donna
Daily vocal exercises are the daily bread of the singer. They should be practiced just as regularly as one sits down to the table to eat, or as one washes one's teeth or as one bathes. As a rule the average professional singer does not resort to complicated exercises and great care is taken to avoid strain. It is perfectly easy for me, a contralto, to sing C in alt
but do you suppose I sing it in my daily exercises? It is one of the extreme notes in my range and it might be a strain. Consequently I avoid it. I also sing most of my exercises mezza voce.
There should always be periods of intermission between practice. I often go about my routine work while on tour, walking up and down the room, packing my trunk, etc., and practicing gently at the same time. I enjoy it and it makes my work lighter.
Of course I take great pains to practice carefully. My exercises are for the most part simple scales, arpeggios or trills. For instance, I will start with the following:
This I sing in middle voice and very softly. Thereby I do not become tired and I don't bother the neighborhood. If I sang this in the big, full lower tones and sang loud, my voice would be fatigued rather than benefited and the neighbors would hate me. This I continue up to D or E flat.