The Norfolk weekly news-journal. (Norfolk, Neb.) 1900-19??, 1909-05-07
Calks on Singing
IV.-GOOd Diction a Requisite

By ENRICO CARUSO


the practical significance Of such nerv-
BUSINESS. Artists who do not experience
II are those who lack real genius.
There are really two kinds OF fear
that arising from a realization Of the
Importance OF what is to be done, the
other from n lack Of confidence In
ones power. IL singer has no con-
science in his performance he never is
nervous. but full Of assurance.
II Is seldom that true artists are
much troubled with nervousness after
going upon the stage. Generally. as
l have before mentioned, they are apt
to be III during the day Of the per.
Torrance but once before the public
they forget everything and are DOM
mated only by the,real love OF their
art and sustained by the knowledge of
possessing proper method"
1t is certain that with good breath
support even nervousness need not
prevent one from singing well, al
though one may be actually suffering
from trepidation. Yet we know that
sometimes the greatest Of artists are
prevented thus from doing their best
work. The principle, however, re-
mains mistaken that singing in cor
rect way Is the greatest possible
"bracer."
1t is best to remain absolutely quiet
and see no one on the day Of the per-
Torrance, so as not to be enervated by
the effort Of talking much, to say moth
ing Of firing the vocal chords. One
prima donna Of my acquaintance occu-
pies herself in trimming hats on the
days when she sings. believing that
this provides distraction and rests
her nerves. 1t is just as well not to
pass through" the role that is to be
In the morning few technical exer-
cises to keep the voice in tune. as 1t
were, are to be recommended. The
great italian singers of other days fol
lowed this rule. and 1t still holds good.
If the singer gives much'of himself
as well as of his voice to the public he
should still hold his breathing supply
capital from which comes his income
Failure should be thus impossible II
there is always a reserve to draw on.
So the more one sings with good
breath support the more beautiful the
voice becomes. On the other hand
those who sing haphazard sometimes
begin the evening well. but deteriorate
more and more as the performance ad-
vances and at the end are uttering
mere raucous cries. They are like a
man unable to swim who Is in a deep
river-their voices control them In
place of they controlling their voices
They struggle vainly against obsta-
Giles. but are carried away by the food
and are finally engulfed in the waters.
Many too ambitious students are
their own worst enemies in the culture
of their voices. Because they have a
large vocal power they want to shout
all the time in spite Of the repeated
admonitions Of their masters, who beg
them to sing piano. But they hear
nothing except the noise they make
themselves. Such headstrong ones will
never make career. even with the
finest voices in the world. Their teach
ers should give up trying to make
them listen to reason and devote their
attention to those who merit it and
want to study seriously. Singing as an
art Is usually not considered with
enough earnestness. One should 60 to
a singing master as one goes to spe.
cialist for consultation and follow
with the greatest care his directions.
IL one does not have the same respect
and confidence one places in physi-
clan ii must be because the singing
master does not really merit 1t. and 1t
would be much better to make a
change at once.
| In general II is better not to stick
| entirely to one teacher, for it is easy
to get into a rut In this way, and some
one else may have a quite different
and more enlightening way of setting
forth his ideas,
In taking up operate work 1t is un.
derstood. Of course that the singer
must have mastered most Of the tech
nical difficulties. so as not to be trou-
bled with them when they are encoun-
tered In some aria.
1t is most excellent thing to secure
an engagement in one Of the small
theaters abroad, where one may get a
large experience before trying to effect
an entrance into the bigger organiza-
tons of the great capitals
But he sure that the voice is well
placed before trying any of this sort Of
work and never attempt to sing a role
above your powers In the earlier stage
of your career. which otherwise may
be compromised permanently.
One more hit of advice in closing.
The best sort of lesson possible is ia
go often TO the opera and note well the
methods of the great artists. This per-
sonal example is worth more and is
more illuminating than many precepts.
This is not so much that any form
of imitation may be attempted as ia
teach the would be artist how to pre-
sent at his best all those telling quail.
ties with which he may be endowed
II Is the best of schools.
Faith, Hope and Charity.
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