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The Project Gutenberg Ebook of Great Singers on the Art of Singing, by James Francis Cooke The Project Gutenberg eBook of Great Singers on the Art of Singing, by James Francis Cooke. 17/11/12 10:39 The Project Gutenberg EBook of Great Singers on the Art of Singing, by James Francis Cooke This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Great Singers on the Art of Singing Educational Conferences with Foremost Artists Author: James Francis Cooke Release Date: August 6, 2010 [EBook #33358] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK GREAT SINGERS ON THE ART OF SINGING *** Produced by Chuck Greif and the Online Distributed Proofreading Team at http://www.pgdp.net http://www.gutenberg.org/files/33358/33358-h/33358-h.htm Page 1 sur 165 The Project Gutenberg eBook of Great Singers on the Art of Singing, by James Francis Cooke. 17/11/12 10:39 http://www.gutenberg.org/files/33358/33358-h/33358-h.htm Page 2 sur 165 The Project Gutenberg eBook of Great Singers on the Art of Singing, by James Francis Cooke. 17/11/12 10:39 GREAT SINGERS ON THE ART of SINGING EDUCATIONAL CONFERENCES WITH FOREMOST ARTISTS BY JAMES FRANCIS COOKE A SERIES OF PERSONAL STUDY TALKS WITH http://www.gutenberg.org/files/33358/33358-h/33358-h.htm Page 3 sur 165 The Project Gutenberg eBook of Great Singers on the Art of Singing, by James Francis Cooke. 17/11/12 10:39 THE MOST RENOWNED OPERA CONCERT AND ORATORIO SINGERS OF THE TIME ESPECIALLY PLANNED FOR VOICE STUDENTS THEO. PRESSER CO. PHILADELPHIA, PA. COPYRIGHT, 1921, BY THEO. PRESSER CO. INTERNATIONAL COPYRIGHT SECURED CONTENTS PAGE INTRODUCTION 5 THE TECHNIC OF OPERATIC PRODUCTION 21 WHAT THE AMERICAN GIRL SHOULD KNOW ABOUT AN Frances Alda 31 OPERATIC CAREER MODERN VOCAL METHODS IN ITALY Pasquale Amato 38 THE MAIN ELEMENTS OF INTERPRETATION David Bispham 45 SUCCESS IN CONCERT SINGING Dame Clara Butt 58 THE VALUE OF SELF-STUDY IN VOICE TRAINING Giuseppe Campanari 68 ITALY, THE HOME OF SONG Enrico Caruso 79 MODERN ROADS TO VOCAL SUCCESS Julia Claussen 90 SELF-HELP IN VOICE STUDY Charles Dalmores 100 IF MY DAUGHTER SHOULD STUDY FOR GRAND OPERA Andreas Dippel 110 HOW A GREAT MASTER COACHED OPERA SINGERS Emma Eames 121 THE OPEN DOOR TO OPERA Florence Easton 133 WHAT MUST I GO THROUGH TO BECOME A PRIMA DONNA? Geraldine Farrar 144 THE MASTER SONGS OF ROBERT SCHUMANN Johanna Gadski 154 http://www.gutenberg.org/files/33358/33358-h/33358-h.htm Page 4 sur 165 The Project Gutenberg eBook of Great Singers on the Art of Singing, by James Francis Cooke. 17/11/12 10:39 TEACHING YOURSELF TO SING Amelita Galli-Curci 166 THE KNOW HOW IN THE ART OF SINGING Mary Garden 176 BUILDING A VOCAL REPERTOIRE Alma Gluck 185 OPPORTUNITIES FOR YOUNG CONCERT SINGERS Emilio de Gogorza 191 THOROUGHNESS IN VOCAL PREPARATION Frieda Hempel 200 COMMON SENSE IN TRAINING AND PRESERVING THE VOICE Dame Nellie Melba 207 SECRETS OF BEL CANTO Bernice de Pasquali 217 HOW FORTUNES ARE WASTED IN VOCAL EDUCATION Marcella Sembrich 227 Ernestine Schumann- KEEPING THE VOICE IN PRIME CONDITION 235 Heink ITALIAN OPERA IN AMERICA Antonio Scotti 251 THE SINGER'S LARGER MUSICAL PUBLIC Henri Scott 260 SINGING IN CONCERT AND WHAT IT MEANS Emma Thursby 269 NEW ASPECTS OF THE ART OF SINGING IN AMERICA Reinald Werrenrath 283 HOW I REGAINED A LOST VOICE Evan Williams 292 INTRODUCTION VOCAL GOLD MINES AND HOW THEY ARE DEVELOPED Plutarch tells how a Laconian youth picked all the feathers from the scrawny body of a nightingale and when he saw what a tiny thing was left exclaimed, "Surely thou art all voice and nothing else!" Among the tens of thousands of young men and women who, having heard a few famous singers, suddenly determine to follow the trail of the footlights, there must be a very great number who think that the success of the singer is "voice and nothing else." If this collection of conferences serves to indicate how much more goes into the development of the modern singer than mere voice, the effort will be fruitful. Nothing is more fascinating in human relations than the medium of communication we call speech. When this is combined with beautiful music in song, its charm is supreme. The conferences collected in this book were secured during a period of from ten to fifteen years; and in every case the notes have been carefully, often microscopically, reviewed and approved by the artist. They are the record of actual accomplishment and not mere metempirical opinions. The general design was directed by the hundreds of questions that had been presented to the writer in his own experience in teaching the art of singing. Only the practical teacher of singing has the opportunity to discover the real needs of the student; and only the artist of wide experience can answer many of the serious questions asked. http://www.gutenberg.org/files/33358/33358-h/33358-h.htm Page 5 sur 165 The Project Gutenberg eBook of Great Singers on the Art of Singing, by James Francis Cooke. 17/11/12 10:39 The writer's first interest in the subject of voice commenced with the recollection of the wonderfully human and fascinating vocal organ of Henry Ward Beecher, whom he had the joy to know in his early boyhood. The memory of such a voice as that of Beecher is ineradicable. Once, at the same age, he was taken to hear Beecher's rival pulpit orator, the Rev. T. de Witt Talmage, in the Brooklyn Tabernacle. The harsh, raucous, nasal, penetrating, rasping, irritating voice of that clergyman only served to emphasize the delight in listening to Beecher. Then he heard the wonderful orotund organ of Col. Robert J. Ingersoll and the sonorous, mellow voice of Edwin Booth. Shortly he found himself enlisted as a soprano in the boy choir of a large Episcopal church. While there he became the soloist, singing many of the leading arias from famous oratorios before he was able to identify the musical importance of such works. Then came a long training in piano and in organ playing, followed by public appearances as a pianist and engagements as an organist and choirmaster in different churches. This, coupled with song composition, musical criticism and editing, experience in conducting, managing concerts, accompanying noted singers and, later, in teaching voice for many years, formed a background that is recounted here only to let the reader know that the conferences were not put down by one unacquainted with the actual daily needs of the student, from his earliest efforts to his platform triumphs. WHAT MUST THE SINGER HAVE? What must the singer have? A voice? Of course. But how good must that voice be? "Ah, there's the rub!" It is this very point which adds so much fascination to the chances of becoming a great singer; and it is this very point upon which so many, many careers have been wrecked. The young singer learns that Jenny Lind was first refused by Garcia because he considered her case hopeless; he learns that Sir George Henschel told Bispham that he had insufficient voice to encourage him to take up the career of the singer; he learns dozens of similar instances; and then he goes to hear some famous singer with slender vocal gifts who, by force of tremendous dramatic power, eclipses dozens with finer voices. He thereupon resolves that "voice" must be a secondary matter in the singer's success. There could not be a greater mistake. There must be a good vocal basis. There must be a voice capable of development through a sufficient gamut to encompass the great works written for such a voice. It must be capable of development into sufficient "size" and power that it may fill large auditoriums. It must be sweet, true to pitch, clear; and, above all, it must have that kind of an individual quality which seems to draw the musical interest of the average person to it. THE PERFECT VOICE Paradoxically enough, the public does not seem to want the "perfect" voice, but rather, the "human" voice. A noted expert, who for many years directed the recording laboratories of a famous sound reproducing machine company, a man whose acquaintance with great singers of the time is very wide, once told the writer of a singer who made records so perfect from the standpoint of tone that no musical critic could possibly find fault with them. Yet these records did not meet with a market from the general public. The reason is that the public demands something far more than a flawless voice and technically correct singing. It demands the human quality, that http://www.gutenberg.org/files/33358/33358-h/33358-h.htm Page 6 sur 165 The Project Gutenberg eBook of Great Singers on the Art of Singing, by James Francis Cooke. 17/11/12 10:39 wonderful something that shines through the voice of every normal, living being as the soul shines through the eyes. It is this thing which gives individuality and identity to the voice and makes the widest appeal to the greatest number of people. Patti was not great because her dulcet tones were like honey to the ear. Mere sweetness does not attract vast audiences time and again. Once, in a mediæval German city, the writer was informed that a nightingale had been heard in the glacis on the previous night.
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