It is interesting to note, by the way, that Caruso practised always, or nearly always, with the full voice—a procedure which is not, however, as I have already said, to be generally recommended.
Incidentally in practising the student should avoid the acquisition of bad habits of standing, undesirable movements with the hands, and so on, and should also keep careful check upon his facial expressions. For the latter purpose it is an excellent plan to practise before a mirror, since this is the surest way to avoid the unconscious cultivation of undesirable tricks which, once they have been acquired, may prove most difficult to get rid of.
In the case of operatic artists it is a good plan also to practise in costume in order to become accustomed to the dress which one will be wearing in the actual performance, and thus to avoid any sense of awkwardness which may be otherwise experienced. And for the same reason when any particular number has to be sung in any special manner from the physical point of view, as, for instance, sitting down, or kneeling, it is well to become accustomed to this also beforehand.
Chapter XXIV
THE ARTIST AND THE GRAMOPHONE
BEFORE leaving the subject of practising I should like to add a word as to the value of the gramophone to the intelligent student. This is, indeed, a truly invaluable adjunct. If to hear the greatest singers is the finest of all experiences for the student, how can it indeed be otherwise? For here in the most convenient manner possible is the means provided for doing this. In the earlier pages of this volume I have recorded what inestimable advantages I derived in my own case from the constant hearing of fine singing from my earliest childhood. Now, by means of the gramophone, the same advantage is at the command of every one wheresoever he, or she, may happen to reside.
In my younger days only those dwelling in the great capitals could hope to hear such artists as Patti, Tamagno, Caruso, Battistini, and so forth, and even those only if means permitted, which was not often in the case of poor students.
To-day any one can enjoy this priceless privilege, wherever he may happen to reside, for a comparatively small outlay through the agency of the gramophone.
And he can hear them not only now and again, but as often as ever he likes and by his own fireside. If he happens to be studying some particular rôle he can be “coached” in this most practical and unrivalled manner by all the greatest artists of the day. He can take a particular aria and hear it sung by Caruso again and again until he is familiar with every detail of his rendering—can note his breathing, his phrasing, and every other detail in a manner which would be quite impossible by any other means.
And having heard Caruso he can then hear the same number sung by various other great artists if he chooses, and benefit still more by comparing their respective readings—by noting how they resemble one another or how they differ, as the case may be, incidentally learning in the process how widely one interpretation may differ from another and still be of the highest order.
Not only this, but he can familiarise himself with entire operas in the same way, for certain of the companies issue complete albums of the best known works which are reproduced in their entirety—vocal parts, orchestra, and all in this marvellous manner. One would think, indeed, that the coming generation should provide us with fine singers in such plenty as the world has never known before with the aid of such priceless help.