New-York tribune., 1908-09-05
THE NEW. TRAINING
FOR OPERATIC STAGE
Pupils Taught Hozg to Crook Their
Fingers and Bend Their Elbozcs
to EGpress Emotion.

Under the method of training would-be
operate stars the young aspirants for grand
eLera fame begin their course by learning some
thing about their bodies. They introduced
to the Persian method of physical culture. which,
though it does not involve gymnasunI work,
nevertheless corrects physical deformities ant
removes physical weakness They are told "a
stand erect. to walk that their heels will faU
in line; they take breathing exercises to des
velop their lung power, and practise walking
and jumping: they made TO walk down
flight of stairs the ball of the foot High
heeIed shoes, walking shoes and shoes with
rubber heels are barred; the pupils must get
used to light footwear and to the natural poise
that comes from feet well placed the ground
Directly opposite to the methods pursued by
Nine. Patti, who in the winter time n1uff1ed hery
self in furs, rode in tightly closed vehicles anG
even when going from room to another COW
cred her mouth and throat. the singers under
DEVELOPMENT to-day take cold sponge baths
every morning and subject their throats to
extra severe treatment; otherwise their habits
are normal and they take only the ordinary pre-
cautions.
In many schools the first year the pupils study
physical culture and general department Tho,
short stretch themselves up; the lean are niad9
! plump: the fat are thinned: hollow chests ara
filed out dull eyes frightened and voices.
The pupils who aspire to shine in concert oa,
oratorio are taught to walk neither too fast noa
too slow to carry themselves airily, not awk4
wardly, and to show repose under all circunae
stances. Besides the girl must wear = dress
of ideal length, falling almost to the toes: sha
must not mince her steps, nor yet stride like @
man. If she accompanies herself on the piano
/ she must, as she sits down, let loose folds OF
! her gown fall on the side the audiences
and then she sits leaning forward little The
vertical position and the swaying motion that
some virtuosi affect are alike condemned by the
leaders of the new school
Speaking of only phase of my work.
lyric action said Il leading instructor the other
| day Il need hardly make the comment that
many of the singers whom you hear in opera
have hardly anything under control but their
voices The De Reszkes admirable expo
| nents of rational action IN opera They always
know when and how to- do the right thing and
so to mention few others. do Scotti, the Ital-
ian barytone and Plancon. the French basso.
Among the women Nine. CsIye is conspicu-
Gus example of the artists who have cultivated
physical technique.
And If you come down step there Is Lii
liam Russell Why, when she was here last she
had nothing with her but her technique; owing
to Illness she was not in good voice, but she
carried herself so WELL she expressed herself SO
artisticaIIy by every movement of her body,
that you would hardly notice any vocal defect
| 1T is the same on the dramatic stage Bern
hardt is well along in years. and even to-day
| her technique hides her infirmities- Other ac-
tresses of the same age cannot act at all now
adays, and simply because they reiied not Oh
/ technique but on emotions"