The courier. (Lincoln, Neb.) 1894-1903, 1897-04-10

among those unacquainted with the
difficulty Of getting even footing upon
the operate stage at all. than to suppose
that a young girl with an agreeable
voice has only to study singing for
year or two in order to become prima
donna. or course il the singer has, like
Patti, the most beautiful voice in the
world, ste may like Patti, learn few
operas and sing them over and over
again-ad nausedm | was about to say.
But the most beautiful voice in the
world can in the nature OF things be-
long to a comparatively limited number
OF young girls. If the impr ession Of an
unimportant member Of the musical
fraternity, one who has no: been a sue
cessful public singer but only teacher
and an observer OF the successful and
unsuccessful in this branch OF art may
not be wholly without value, should
like to set down an opinion as to what
nowadays constitutes successful
singer In the first place one must OF
course have health and properly train
ed vice, besides an attractive appear
ance and that sine qua non which I'm
want OF better word) We call "tempera-
ment." One must also be able to ac at
least little and have a repertory of
operas. oratorios. church music, or con-
cert numbers. if song recital be tho
specially undertaken. But this is not
all, even il it requires years to secure
this position as it undoubtedly will do
with talent and the most competent in
struction. / contend that in addition to
these things the singer must nowadays
when ten operas of the grade of
Martha and Lucia di Lamuermoor'
constituted stock in trade, when a
competent ~ professional singer re-
auired coaching at the pianoforte in the
rudimentary matters of rhythm and
pitch. A more intellectual, more en-
liphtened day has come. and a re ally sue
cessful singer must, be he a choir singer
concert oratorio or opera singer, be
musician who can think his part in solo
and ensemble. ard underst md as we'll
the instrumental accompaniment. For
one has but to glance at the score OF
modern vocal works Of much less diff
f;cuIty than Wagnerian music drama in
order to see that there is a great differ
ence between the old tinkling harmonies
an simple rhythns OF Bellini and his
school and the complex rhythmic and
tonal difficulties Of Rubinstein. Brahms,
Massenet. Mascagni, Mcdowell, or any
OF the ultra modern composers. Nor
can one sing Beethoven or the art ballad
of Schubert unless he is musician.
do not mean that one must be a pro-
fessional pianist or organist IN order to
sing well, but do mean that in add
ton to the technique OF singing and to
the physical equipment. the singer must
first OF all be able to think at sight any
ordinary music he may have to sing.
This implies the study Of intervals and
what is commonly called "sClfege," or
sight reading; and also purely mental
effort n the same direction, besides
absolute rhythmic certainty. l know
many singers who are inartistic solely on
this accouut-because they are unsafe
to hold steady rhythm with such slight
variations as may be required by the
emotional stress Of the moment. These
unrhythmical singers are the bane OF
accompan:st. organist and director alike.
In the second place the singer must