The Grenada sentinel. [volume] (Grenada, Miss.) 1868-1955, 1907-05-18

the earlier will you arrive at the des'
tination where you would be. Use your
own mind, do not rely Oh some one
Csc to supply you with thoughts. In
duire into what you are doinS, KNOW
| the why and wherefore. That III It
| self does not imply that you are 10
question the correctness OF views adj
vanced by those of experience, but that
YOU should find out how they reach
SUCH conclusions and their reasons for
doing so. To think for ourselves IN
every direction and IN every detail OF
our daily lives helps naturally, and
as well In the advancement or our
art-for after all our art is the result
of everything hat we have learned.
..Geniu is willing to lay the founda-
ton of her structure unobcerved.
The being in a foreign country,
such as Italy, go picturesque and 1uii
of color, awakens the IMAGINATION
strongly. Music is there an Ola sweet
story learned unconsciously through
hundreds Of years, until It Is IN
| stinctlve rather than acquired. no"
quickly the audiences in those little
opera houses will tell you whether you
have anything in you or not! lhey
are not infallible, out If they do not
receive a young singer with some de-
gree of recognition it is time for that
singer to undergo a rigorous s~elf-ques-
tioning as to what the matter was,
and her set about fectifying 1t to TIE
best of her ability.
In early life, when we would have
every season JUICE, the months that
come before the wished-for time seem
long ones. but without their passage
June would never be.
Every young prina longs
some day TO sing Brunnhilde, but be-
fore she can do that she must have
sung her Violetta, her Leonore and the
lighter of the old Italian roles. When
that is done the Aida, the Elsa and
the rest come in their order. Gradu-
ally, with the growth of strength,
physiuue. routine and experience, she
reaches a height where B~runnhllde and
Isolde stand among the immortals.
Here again it is the same maxim:
Make haste slOwly'-to do each thing
that we undertake SO we'll that 1t be-
| comes a part of us before We go on to
the next.
Nowadays, when an opera singer is
called upon to sing in three or four
languages. the study OF those Ian
guages becomes of great Importance
and cannot be begun too early. 1t
proves a source Of surprise to those
whose opinion is asked by young sing
ers. that so many Of them, even in the
delivery Of a familiar, time-worn aria.
do not know what At is about. With
out a full knowledge of the meaning
of each word and of the situation in
which an aria is placed the singer
destroys its prime element. 1t is
impossible to make others feel that
which you do not feel yourself. How
can we feel that which is sealed to us
in meaning? 1t is out of the ques-
ton.
This leads again to an important
matter and a critical one-eXcess OF
feeling. The moment that n loses
command Of ones self, in that mo-
ment is lost also the command of ones
audience. Between genuine feeling
and the loss Of ~Self-cOntrOl there Is
as distinct a difference as between sem
timent and sentimentality. A painter
in depicting a scene on canva must
work with enthusiasm, imagination,
fervor and ample technique. The mo-
ment, however, that he loses the quail
ity of self-command, he loses as well
the control of his subject and a blur
and tumble is the result. With the
singer conditions are Identical.
BY a paradox, which is as we'll an
unalterable law, the singer must be Pc
culiarly responsive on the emotional
side. which means a highly developed
nervous organization, and yet she
must have her nerves under absolute
control.
1t is scarcely necessary to repeat
here anything SO we'll recognized as
the fact that a singer must lead the
most abstemious of lives, enjoying
pleasures always Ill mOUeTdIlOu, Out
never in excess. Another truism, and
vet one that is not always recognized
by the layman, is the fact that no
singer can safely give way to a dis
play Of temper, for nothing is more
INJURIOUS to tho voice. Much has
been said and written OF the giving
way by singers to fits Of Ill temper.
A long series of nagging worries and
nervous strain to which the singer is
so frequently subjected may result in
an occasional outburst, but the singer
who gives way to such outbreaks hab-
itually is not likely to sing very
long.
In the days when the good old Ital-
ian operas made up the complete rep
e-.ory of the most ambitious prima
donna the lines were easy ones COM
pared to the present. A knowledge or
literature, of life, through close observ-
ation-and always so fruitful a study
-development through travel, and