This is not to say that many great singers have not perfected their art and even attained the very highest positions in a much shorter time. In my own case my period of actual systematic training in the strict sense of the term was comparatively brief—six months. But then in another sense I was learning from my childhood. Moreover, I was exceptionally lucky in that my voice was pitched just right, and had not to be trained to do what is usually regarded as difficult.
Almost from my infancy it was my ambition to become an operatic singer, and circumstances enabled me to benefit to the utmost extent by the constant hearing of opera, and also the constant criticism of singers by competent judges, so that I might be considered to have been studying and gaining experience for my after career all my life.
Most students, however, are not so fortunately situated, and for them I cannot urge too strongly the necessity of giving ample time to their studies if they hope to make the best of their powers and to establish their art on a firm foundation.
One can hardly write differently as to the period of training for the amateur than for the professional. If Patti said that she was still learning when she had retired from professional singing, no amateur can hope ever to have learned all there is to be known about the art of singing. And since he will always be a lover of song he will always be anxious to learn.
Chapter V
QUALITIES NEEDED
NEXT comes the question: What are the qualities which the vocal aspirant, professional or amateur, should possess?
A famous teacher who was once asked this question made answer: “Voice! Voice! Voice!” I agree, and in the case of the professional I should be inclined to add also: “Work! Work! Work!” and then Faith, Hope, and Charity. Without hard work nothing can be done, and the practice of these three virtues will undoubtedly prevent one growing weary in his effort to attain the highest success.
But the truth is, of course, that many other qualities besides voice and industry are necessary here. There are, indeed, so many that I hardly know which to name first.
Lamperti on this point used to say: “First there must be a voice and good ear, but also an artistic soul and a musical disposition.” Further, he used to insist upon sound judgment, deep conscientiousness in study, and untiring industry.
Very necessary also are general intelligence and keen perception, because no matter how good a teacher may be the greater part of the work must be done through the brain of the student himself.