Daily inter mountain. [volume] (Butte, Mont.) 1881-1901, 1900-06-23
HOW To Be A
FINE SINGER
Good Points Set Forth by One OF
the Worlds Famous Stage
Women.

The gift which belongs to the teacher
is frequently quite apart from the quail
ties that go to make up a fine concert
singer or p%roeatic artist.
There is no person SO important in the
world of music as the teacher.
Voices that have natural promise are
frequently made or ruined by the meth
DDS adopted by teachers.
The voice is a natural element as mys-
terious in it's possibilities almost as the
element of electricity in the air. Unless
it is harnessed murtured, developed and
disciplined by expert teaching, 1t be-
comes noise without meaning or ]. lost
altogether.
If you have the slightest musical gift,
go at once to a good teacher.
You will very quickly discover wha
your prospects are. 1t is no use to evade
this point.
It is no use to buy a book of vocal
exercises, to sit down at the piano and
sing scales without the skilled advice of
a singing teacher.
If you are in difficulties, you go to a
lawyer, if you are i'll you send for a
DOCTOR; so, if you thin you have a voice,
go to a teacher and find out if you have
one or not.
You can ascertain from friends or mu-
sicians What teacher to go to, and it is as
well to be liberal in your original outlay
for this important information.
At first your voice will be an un-
known quantity to yourself and you
teacher. Not until you have studied for
three months will your voice begin to
sho signs of any improvement in quail
ity.
1t may have only an almost impercep-
tible promise of anything when you be-
gin. Only the teacher's ear and knoWl-
edge of VOirp-wOrk can Annrpciatp or
even surmise the possibilities.
It will take three months, at least, for
a beginner with al average voice to re-
ceive in some degree a musical compre-
hension of what singing means.
At the end of hat time the student
will be justified with the advice of a
teacher, to decide if he or she shall con-
tinue to develop the Gift fully.
Above all things, trust your teacher.
and get a good one.
WHERE TO STUDY.
about the various advantages to be
gained by studying music in different
places.
The location is immaterial, the frs
essential is to have a competent teacher
preferably of the old Italian school.
All voices are not capable of operate
work. There is as much difference be-
tween the demands of the concert plat,
form and the operate stage as there il
between the languages.
There are fewer voices capable Of op
cratic singing.
The first and foremost condition to b.
considered for students who expect t.
become operate singers is a good voice
All success in grand opera is founded OF
the quality and stability of the voice.
Having this foundation, a fine pres
ence is another requisite for operati
work.
Grand opera is usually given on yer.
large stages, and there is probably NOR
necessity for fine presence on the oper
attic stage than there is on the dramati
stage.
Another essential for grand opera wor
Is an unusually strong physique.
The strain involved in sustaining
great operate role is perhaps create
h q that Of any other dramatic pei
Torrance. Not only must the SINCE
memOrize the music and execute tn
technical difficulties of vocalization, bu
ne or she 0ust retain characteristic