New-York tribune., 1901-08-24
MADAME MARCHESI.
HER IDEAS ON THE ART OF LEARNING
TO SING.


Preface by Nine Melba- INTRODUCTION by w. j.
Henderson. limo, pp. xxi, lsS Harper * Broth
There are many wise words OF advice and in
struction in these ten lessons that may serve 10
set aspiring songstresses on the right road tow
ard a mastery Of their art, though none Of them
may learn 10 sing from reading OF the book.
The title is in so far nisnomer; for what Mime.
Marchesi has done IS 10 give some hints as 10
her own views on method in vocal training, and
many suggestions as TO the life TO be lived and
the surroundings 10 be chosen by those who
would become singers. She could not have done
more, for the art OF singing IS not 20 be taught
in a book As she is one OF the greatest and
most successful teachers of the pure style of
bel canto," what she has put into these some
what fragmentary papers will be read with at
tention, and deserves TO be. Nine. Marchesi not
unnaturally takes occasion 10 deny the reports
OF her extreme severity with her pupils-the
floods of tears" the music books flying in the
air" her excessive demands for study. 1t is "a
new discovery and sheer nonsense" But she
demands many sacrifices and precautions OF her
pupils:
Bicycling rowing. dancing, long walks read
ing late at night, singing too soon after meals.
exposure to excessive heat or cold, too frequent
theatre parties social gatherings-all must be
abandoned.
drinking to preserve the digestion; ice water,
fresh bread and sweets, Of which she finds her
American pupils especially fond. she frowns
upon. Her advice as 10 the life young women
should lead in Paris is especially tc be com
mended 70 the ambitious American girl She
should not go thither without a companion; she
should have money enough TO live at com
Portable pension. in sunny, airy room, where
the table Is good and enough 10 extend her
studies over a sufficient time 20 acquire all that
should be acquired. Finally, she should be will
ing to regard the cOnventionalities of Partisan
life, and thereby avoid distressing complications
that may put an end 10 her work The qualih-
cations for those who would succeed in opera are
numerous:
An attractive appearance. the gifts Of musi-
clan, quickness of conception and the power of
representation together with requisites Of rela-
lively minor Importance; a good ear. a sound
and rich voice of extended compass, added 70 an
ardent desire to become an artist
The national characteristics OF the Americans
and especially of the English. are hindrance to
success in the operate career. and must be
fought against. AS children they are fettered in
conventionalities and repressed in the free eX-
preston Of the feelings which is Indispensable
to lyric defamation:
An icy coating so 10 speak, has formed about
the youthful heart: 10 thaw IL not merely years
Of study, but the contact and influence OF lively
and happy men and women all aglow with the
spirit Of art is needed
For those who have not or can not acquire the
temperament for the stage there is the concert
platform, hut for this the musical requirements
are more exacting: lacking the help OF stage set
ting orchestra, chorus and the progress of the
drama, the concert singer must master her art
more completely even than the operate song
stress and her work must be more finished. AS
a mistress OF the old 'bel canto." Nine Marchesi
is of those who still believe that in opera the
singing is everything. and will never reconcile
herself to the present day ideals of the lyric
drama Her views on this subject need dis
quiet nobody: operagoers in New-York have in
recent years learned through noble and beauti-
full examples that Wagner has not dealt the
bel canto a heavy blow; that the true way OF
singing is still the true way. in his works as
well in the obsolescent operas OF the hurdy
gurdy type and that for the voices that are
fitted for them the tasks he has set for singers
and their throats lot too gigantic" Nine
Marchesi labors under the impression that Wag-
ner knows not melody. for which her fondness is
Unborn. she says: What has been admired
and revered in the past by the whole world
must not be condemned or dragged I'm the dust;
but admiring and revering she does. II is not
little amusing to find her giving such testi-
mony as this TO the demands OF Wagner upon
the intelligence and conscience OF his inter
prefers:
In former days the difficulties OF music were
more easily overcome; Italian music, with IT'S
fluent melodies. more readily comprehended
and learned; but now one must. especially
80 far the opera Is concerned. possess Ii thor
ough musical education.
But 10 Nine. Marchesis severity upon the
methods OF singing and enunciating prnctised by
those who claim. in opposition to wagner's own
expressed belief, 20 represent his views the dis
| cern!ng Will give cordial agreement.