The morning call. [volume] (San Francisco [Calif.]) 1878-1895, 1890-05-11

AN'S Dack6u cnalr, at convenient us
lance from mirror,sin which an occasional
turn of the head would enable her to admire
her red tresses. With a big bunch of yiolets
( TO bury her face in and one, perhaps both. OF
| her absurd little blonde dogs on her knee,
| she looked like thoroughly happy and we'll
| conditioned woman of five or six years less
| than her full age.
| She had promised to give me, for the
benefit of the millions of young women who
| imagine themselves budding prima donnas,
| her views as to how girl should be trained
| for singer.
There are more good voices" she began,
among American women than among
those of any other country. l have heard
many American girls who sang dvinely.
| The success of American singers abroad is
| noticeable. The uncultivated American
| tone is nasal but the cultivated American
| voice is most musical"
'At what age should a girl begin to
| sing?"
THAT depends on her voice entirely.
People have an idea that too early use of
| the voice is hurtful, but l sang in public
| when l was only Z. They gave ne my doll
| to carry upon the stage when l was to
MARBLE, 'Ah! non giunge.' 1t is not often
that child has voice of such strength or
compass, but Alboni, the great contralto,
was very little girl when she sang the
difficult roulades of Rossini, and BOsio
| made her debut in opera before she was 10.
| The earlier singing is taught the better,
| provided always the voice is not strained
| A girl should not be allowed to re ach after
high notes or to test the range of her voice
| too severely. | was withdrawn from stage
! singing at II or - but Strakosch kept me
at hard study until l was 10. Then L made
my debut in New York as Lucia. That
was in 1859 and l have been singing since
constantly. No, it is not true that there is
anything abnormal in the very early de-
velopment of musical gifts"
What kind Of training would you recon-
mend ?'
Hard work. That's about all there is to
it, except, of course, one must have good
master who will not give
FALSE METHODS.
rs it possible for singer to get thorough
musical training in this country"
II know very little about your masters.
There must be some excellent ones.'
IF girl goes abroad should she study in
Paris or Milan or Munich?"
Munich! Now you're swearingW Both
hands went up in horror. Pluck found his
seat uncomfortable and sprang to the floor.
Germany for singer? Neverl For
harmony, yes. For thorough grounding in
the principles of musical composition, yes.
But for the voice, oh. no. Now, if you quote
me, don't make me say this unkindly or
rudely, for indeed L am extremely fond of
the German opera, but would never ad-
wise woman to sing in it who isn't pre-
pared to sacrifice her voice for a brief tri-
umph just as the bee does his life when he
Stlngs. Wagncrian music calls for con-
slant succession OF new singers. Materna
has been singing some time, and she sings
magnifcently, but that is not the rule. [
never heard Lehman. She was not talked
of when L sang in Germany. Wagner's
operas are not constructed with the slightest
reference to the possibilities of the voice,
and his demands on it are wildly unreason-
able.
"A girl vino would make a singer, pure
and simple, should go TO Paris and put her
self under the charge of Nine. Marchesi,
the best teacher of singing in the orld.
Then she will learn something Of the laws
OF g0od voice production. Marehesi trained
such yocalists as Gerster and TTebeli. Or
else student should go TO Milan, for a
good Italian master"
Which Of Wagner's operas do you pre-
d" Tristan and Isolde is beautiful. So is
Lohengrin'
WHO is your favorite italian composer?"
That can hardly tell; but composers
VINO wrote for singers were Rossini, Doni-
zetti and Bellini. Think of Grisi and Cata-
lini and Pasta and Persiani and Viardot
and Malebran. The German opera can
never develop such finished singers.
Operas like La Sonnambula' bring out the
best work OF the best singers. A vocalist
always delights in the brilliant finale of the
third act, An non giunge.' l am very fond
of Delibes' 'Lakme.'
WHAT WILL BE THE OPERA OF THE
FUTURE?'
WHO knows, but at least it will be sing
able. 1t is not possible to believe that the
world will ever give up melody or finished
song"
"How would you advise young singer
TO regulate her food"
dieting for the sake of the voice Is nom
sense. There must be moderation, of
course, in all things, for the singer, above
all other persons, must study intelligently
her individual health conditions. She must
learn how to keep herself well. The girl
who is ambitious to sing need not deny her
self anything she faneies at the table unless
that particular thing happens to disagree
with her, or unless, indeed, she is to appear
ON the stage that same day. On the day of
public performance it is necessary to eat
"Soup is really the best food for singers,
strong soup, well made. Rare beef is good,
fruit and vegetables. Pastry and sweets
are not good. but are to be avoided moro be-
cause they hurt the complexion than be-
cause they affect the voice especially"
what wines may young singer allow
herself ?''
If she really means to succeed. no wines
at all. don't believe in wine it hurts the
throat almost invariably. Some young
singers, L know, are not strong, and doctors
prescribe claret for them, but it is bad
practice to drink it. For myself l never
touch wine. drink water, or, if l need
in it,"
Ii you were interested in a girl with
voice would you have her go in for athletics
TO build herself up physically ?"
mat would be ruinous policy. The girl
who is going to take rank as a singer must
keep out of the gymnasium. She can't
renee. She can't row. She can't ride horse
BACK. l enjoy nothing more than horse
Dack-riding, and ride well. used to ride
about Mount Vernon up above here when
L was only years old. But l have given
up all that entirely. | never ride now. 1t
lnterferes with the firmness and eyenness
OF the voice and gives a tremolo.
Walking is the singers exercise The
singer who has good pair Of legs must
think herself highly fortunate. l can walk
three OF four hours
AT GOOD PACE,
And do so frequently | believe in regu-
lar exercise, and the best way to take it is
to drive, then leave the carriage for while,
but let 1T follow to pick you up if you find
yourself getting tired.
Ii were interested in student would
urge her to be careful about the sort of air
she breathes. 1t is very necessary to give
attention to the ventilation of ones bed
room. 1t sheSld not have a fire in it and
the air should be frequently renewed. She
should not associate too closely with to-
bacco users. Even the fumes Of the weed
are bad for the throat
How would you dress young singer?"
No directions are necessary. except the
hint that good voices have been spoiled be-
fore now by tlght-lacng. l believe in
well made and properly fitted French
corset, but it should not be drawn closely
enough to impede free breathing and the
proper expansion of the lungs. Growing
girls especially should be careful not 10
practice with lacings tightly drawn.
Everything is summed up in the advice
to take sensible care of ones self. The
singer must go to bed early and not allow
herself to get tired. She mustn't fret.
Weariness and worry tell on the voice ter
ribly. She must have as few outside cares
as possible, concentrate her efforts in
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