I would not advise a big meal before singing, but I would advise taking something, depending entirely on the individual. A cup of black coffee, a glass of water, a glass of claret, an orange, a raw egg, or anything that agrees with you. Give the stomach some work to do and that "giddy feeling" will entirely disappear. I always take a raw egg before singing.
One of our noted tenors, before walking out on the stage, lights a cigarette, takes three puffs and throws it away. Three puffs could be of very little value, but he imagines he sings better. Judging from his age and voice, and its endurance, it has evidently not injured him, though I would not advise singers to use tobacco.
Those suffering from phlegm in the throat will find almost instant relief in eating a dry prune. I acquired this habit in Italy, where it is very popular with the singers. Dried prunes are beneficial for the general health as well as the throat. Find what agrees with you, for what might be agreeable to one may be disagreeable to another.
When you step out on the stage take time to fully relax, get your mind on the introduction your accompanist is playing. This prepares you for your song. Look beyond your audience, not at them.
By this time you will have fairly good control of yourself. Think of what you are going to sing, and not of how you are feeling. Sing to your audience as if you were telling them a story. Speak distinctly and make them understand and feel what you are saying. Don't wear anything that binds you, such as tight shoes, tight corsets or tight collars, as they all tend to contract instead of relax. It is through nervousness that singers have "wobbled" off the stage after their solo, before the accompanist has finished. Remember in the interval between the end of your solo and the last note of the accompaniment you should stand perfectly still. Say to your audience (mentally), "Don't move until the accompaniment is finished." You will be surprised to see how well you can hold them. All these little thoughts will help make you forget yourself.
I once read an article on stage fright. The author advised the singer to look at his audience as though they were so many cabbage heads. I cannot agree with him. You, no doubt, have heard people sing as though they were inspired. I have felt that way many times when singing, and I am sure my audience inspired me. It would have been impossible to sing like that to empty chairs or a field of cabbage heads.
Analyze yourself and your work as much as you please at home, but when you go before an audience, forget yourself and let your aim be to win them.
THE ACCOMPANIST.
I FIND that only about one in every hundred, who study voice culture, are able to accompany themselves on the piano. Nearly all know the keyboard and can get along after a fashion, therefore it is necessary that the student of voice culture should secure a first-class accompanist.
Your voice teacher here, or abroad, is always in a position to furnish you with one. You must arrange for his services at least twice a week. You can have no idea of the progress this will mean in your work. If you are asked to sing at an entertainment, do not take anyone's word that "there will be a good accompanist on hand," but see to it yourself. If it is not possible for you to have your own accompanist, be sure that you have ample time for rehearsal, and if the accompanist present is not a good one, do not sing.