The Wichita daily eagle. [volume] (Wichita, Kan.) 1890-1906, 1891-06-18

young girl DESTROYS of becoming singer,
would be to warn her of the very great
obstacles to be surmounted; to give her an
idea of the courage and patience which are
necessary to success, and to ask her if she
was perfectly sure that she was destined
and fitted for this career.
If her voice really warrants cultivation,
and if she has the necessary determine
ton, / would then say, go ahead, and
godspeedr' l succeeded, and why should
not she succeed also?
At the same time it often seems to me as
if many pupils of vocal culture in our days
begin, and are permitted to begin, in the
wrong way. They often begin too late;
and more than this, not enough weight rs
placed upon what | consider the absolute
necessity of a thorough, all round musical
education / was particularly fortunate in
this respect, and attribute great deal Of
my success as a singer to the fact that
| was well trained in all the other branches
of music
When I was eight years old was thor
oughly conversant with nearly all the
classical pianoforte music, and could play
most of the Beethoven and Mozart sonatas.
When left Albany and went to Paris to
study was seventeen years old, and al
though my whole idea was to study music,
strangely enough had no idea of becom-
ing singer.
l studied in Paris the pianoforte and
organ playing, composition and also the
voice. Dear old DupreZ, my master, finally
told me that ought to give up all the rest
and devote myself solely to singing, and
this determined to do.
! At that time Prince Poniatowski, the
well known Polish musician and composer,
told me that the French school was not
suited for my voice, and insisted that I
should study in Italy. 1t was finally de-
cided that I should go to Lamperti, the
celebrated AIilanese master. With him /
remained nine months. This may at first
seem short time, but it must be remem-
bered how much and how thoroughly !
had studied before.
CARE OF THE VOICE.
If a student has the real genius of song,
! it will show itself very soon under proper
teaching. If she is destined to sing she
will sing; and although it is very far from
my idea to recommend slovenliness or
Sinking, it is also true that the mere train
ing of the voice can be oEerdone.
Assuming that the beginner has reached
the point where her public career is about
/ to begin, the time comes when some really
! valuable advice can be given. Up to that
time her master will be her helper and
| guide. She must, of course, take the great
est care of her health, for anything which
is bad for the general health of the body is
also bad for the voice, and vice versa
| 1t is especially necessary that the stom-
ach and digestive organs should be in a
thoroughly good condition, and for this
reason a singer should avoid all indigesti-
BILE food. Nuts, cakes and candies are es-
pecially bad for the voice, and a strength
ening, simple diet is the best to adopt.
| A great deal of exercise and fresh air are
absolutely necessary. For an opera singer,
who is probably getting plenty of active
exercise on the stage, / consider driving to
be the best open air exercise; and there is
never day, no matter what the weather
may be, that do not drive for an hour and
half, making a special point of this on
singing days.
THE FIRST APPEARANCE.
With regard to clothing, the chief thing,
of course, is not to catch cold. Singers
should be careful not to muffle up their
Threats, for this only makes that precious
organ the more susceptible to exposure
Conversation is to be avoided on singing
days, but otherwise it is an excellent ex-
erclse for the voice, and to be recommended
within moderate limits.
These simple precautions are not difficult
to follow. They do not inconvenience TO
any great extent, and they repay tenfold.
The first appearance Of a beginner will
always be a very trying occasion, but to
her her art must be sacred, and she must
live up to its highest canonS. Not only
must she show what she has learned, but
also what she is herself. The voice itself
comes from God, and the requirement. of
vocal technique is mere matter of routine
1t is in the singing itself, the phrasing and
the defamation, that the artist shows what
Is her very own-her artistic personality
Probably the young cantatrice will be in
toXicated by her first applause. 1t is, in
deed, the most grateful of all tributes to
the artist; but she must not be induced by
this to think that she is perfect. Artists
should never cease to study; and they will
find that, however well they sing, it is al
ways possible to improve.
/ have been particularly fortunate in the
degree of success l have obtained during
my career, but this has not debsrred me
from constantly studying Even now, in
my oldest operas, often find that an i'm
singing some of the passages and phrases. !
wAGNER's MUSIC.
1t Is very necessary thing for singer
TO take vacation every year, during W hich
time all singing is absolutely given up.
Although vacations are undoubtedly
necessary, both for the student and for the /
finished singer, still they should not be too
long, Tor In chat case ground would be lost /.
which 1t might be laborious matter to re-
cover.
Before closing / want most especially to 1
speak of Nagner's music in its relation TO /
the singer, because wish most positively /
TO deny the theory that it is in itself injuri- 1
Gus TO the voice. Of course most of his /
beautiful music is very difficult 10 sing.
The intervals are new and unusual, and |
there are many very long sustained notes |
ana cantAolle passages which must be sung
carefully. But maintain that to a prom /
erly trained singer, and there is the whole !.
point of my argument, Wagner's uusis 4
need have no terrors
Ii young and inexperienced artist at |
tempts 10 sing these parts, 1t is very likely |
that the result will be injurious. TIE /
school days are only just over. and the voice /
has not Yet learned how best 10 make use /
Of its freedom. II is always best to bexin 4
with simple tasks in any art or profession: /
but in the case OF singer, when a few
years have brought experience and self re-
lance, she should be able TO sing ANYTHING I
without injury 10 her voice. always pro- /
Nided that 1t is properly trained in the first 4
instanee.-Mme. Emma Alhani in Youths i
Companion.