The Richmond palladium and sun-telegram. [volume] (Richmond, Ind.) 1907-1939, 1909-03-23
- HERE IL nothing so benehcfal
&c the young artist as the kind
- ~ and just criticism of u per-

Among my most priceless possess
sions I treasure the words Of encour-
agenent given me by Patti and Sem
brich. those wonderful artists. when
was beginning my career.
Nine. Patti il a splendid example Of
the many sidedness necessary to artis-
tic perfection. Her wonderful voice
was always supplemented by complete
her mastery Of languages and Of DIFF
ferent fields of art made her not only
a great artist. but most Interesting
woman.
To hear an artist Of this kind is one
Of the most profitable parts Of a mu-
steal education.
But there are two ways Of listening
to a singer. There is the appreciative
way. and there is the entirely critical.
The beginner usually tries to show her
knowledge by her intensely critical
attitude.
The older you become in your art
the more readily you will be able to
appreciate and learn from the singers
you hear on the opera or concert stage.
The greatest and the humblest sing
er can teach you something. But to
tude.
The public has no real conception Of
what an amount Of Intelligent work
besides talent and art is necessary to
achieve the results which it sees or
hears. Only those whose lives are de-
voted to the same ideals can under
stand the struggles Of other artists.
and 1t il for that reason that apprccia-
ton and not condemnation should be
en- the tongues Of those who them
selves have studied.
The artist must demand the greatest
things of herself. and what may be
good enough for others Is not good
enough for her. As the poet says. cart
is long," though life may be short. and
singing is one Of the most neetiug of
all arts. since once the note is uttered
It leaves only a memory In the hear
er's mind and since SO many beautiful
voices. for one reason or other. 60 to
pieces long before their time.
II the singers health is good the
voice should end only with life itself.
provided. Of course. 1t has been used
with understanding and with art.
In performing before the public one
should be governed by the tastes of
the public. not by ones own tastes.
just as the comedian usually wishes to
play Hamlet and the man Of tragic
mien thinks he could be a comedy star.
the singer who could make a fortune
at Interpreting chansonnettes usually
wishes to sing operate roles. and the
singer with a deep and heavy voice Is
longing to infIiet baby songs on a long
suffering public.
It is easy enough to find out what
the public wishes to hear. and. though
one should always be charging ones
repertory. it II not a bad idea to stick
to that field for which one is particu-
Larry fitted vocally and physically.
In studying q role after one has mas
tered the technical difficulties one
should try to steep ones personality
into that Of the character ono IL to
portray. and for that reason all study.
no matter what it is. and reading Of
all kinds help one In developing a
part.
The great Italian tragedienne Dusc
told me that one Of her greatest pleas
ures was to wander about the streets
incognito watching the types Of peo-
pie, following them round. observing
them in their daily lives and remem-
bering all the small details Of action.
gesture or expression which she could
some day embody into role.
The more one sees and studies PEG
pie with sympathy the more points
one gets for the study Of life which is
embodied in the art one gives forth
But 1t is sympathy with ones fellow
beings and kindly observation which
help one here. never the critical atti.
tude.
An artist can only afford to be cold.
ly critical toward his own work and
not toward the work Of others.
Recently young woman who start
ed her vocal career as a contralto has
sung the NEST difficult Of Wagnerian
soprano parts Her high notes. 1t is
true. were not the high notes Of q nat
ufal soprano voice. but the care and
perfection with which each high ncte
was attacked were worthy Of closest
attention and admiration and defed
criticism.
Hearing the smaller singers. the be-
ginners who are still struggling with
their art should awaken n the heart
Of the intelligent listener not con-
temptueus criticism. but should be one
means of realizing ones ewn vocal de-
fects and the possible ways Of over
coming them.
There are bad singing teachers. Of
course. hut often the pupils arc worse
and viii not listen to advice The
large and shrieking Voice usually be-
longs to this type Of pupii. fer 1t is
easier to force the voice when the
temperament IS robust and the vocal
cords equally strong than II Is to learn
gently ard quietly the correct and
natural position In Voice placement.
and It Is easier to make noise as best
you can than to use intelifgently the
different resonance caTities for the
blending Of the perfect tone.
Another fault severely criticised In
the youthful singer is lack Of ccr-
rect pronunciation or diction. II Is
only after the voice II perfectly con-
trolled that the lips and tongue can