Evening star. [volume] (Washington, D.C.) 1854-1972, 1905-03-04

voice itself, feel that ! cannot press homO
too strongly that the best method by far 10
TO take lessons as frequently as possible
three times a week. at least-and thus throw
the whole responsibility on the teacher. 1t
is false economy to take lesson a week at
most. The argument usually advanced in
favor of this plan is something like this:
But am short of funds. IL take several
lessons week l shall soon be without
money. AS 1t Is now 1 can study for per-
haps two years and practice between les
sons. 1t is this very practice between les
sons that gives rise to more mistakes than
a teacher can ever hope to correct a the
succeeding lesson. and gradually even
promising voice thus dsieriorates instead of
improying-and the poor student wonders
why!
Must Know Languages.
while the voice is being cultivated the
student should not neglect language. There
should be lessons given by some well-recom-
mended teacher and there should also be
diction lessons, to give the student perfect
singing control of the language. which is an
entirely different matter from speaking the
words and sentences. Speech with foreign
infection will pass muster and scarcely be
noticed. but such an infection in singing
never, Heaven pity the American student
who neglects this part of her preparation.
and, appearing before an audience of
Frenchmen Germans, is literally laughed
into oblivion.
Just as a good many students fail to
realize the full significance of this essential.
so they neglect the study of action. Next
to voice | should place action. woman
may have glorious voice and yet be con-
demned because in action she is stiff and
wooden. Action should lie the handmaiden,
the companion, of the grand opera voice.
One is well-ngh useless for all practical
purposes without the other: combined. they
are more precious than rubies. 1t is exceed
ingly necessary to have good teacher in
action: and the quest for the right instruct
ar he this side of the wafer
among grand opera singers.
LAS a preliminary to action, l strongly
advise a course in gestures before the stu
dent has gone abroad. This study Will
early teach the graceful use and disposition
of the arms. legs and body. Besides i'm
parting an unconscious grace TO the student,
these gestures win undoubtedly stand her
voice in good stead. All gestures are
more or less calisthenic in their nature:
ca,isthenics are splendid for the physical
well-being of the body in general, and gen.
eral good health is essential to the good
voice. And as action is gestures highly de-
veloped. it also is an aid in the develop
ment of the voice.
The Rewards.
Il have often been asked whether or not
the rewards of the grand opera student
who has preserved and gained the stage
are commensurate with the efforts put
forth--the sacrifice in time. money energy;
the separation from family and friends;
the exclusion largely of all else except
music? Yes, they are. If for no other reason
than the great intellectual stimulus result
ing from a study of grand opera music.
The student is brought into intimate con-
tact with the highest form of expressed
thought of some of the worlds greatest
men. Besides, the student must needs be-
come a linguist In every sense of the word,
and this Is broadening of itself. And again,
she gamers an intellectual harvest by
merely associating with the musical de-
voices of the entire civilized world. Truly,
the intellectual reward is itself sufficient.
This reward is for all share and share
alike. The material reward, on the other
hand. is not SO evenly distributed. But
whatever it is it is not all, every true
servant of grand opera knows