Vocal Mastery

SUCCEED A CO

1920 without Farrar-it is inconceivable! Farrar, more than any other singer, has been the triumphant living symbol of the new day for the American artist at the Metropolitan. She paved the way. Since that night, in 1906, when her Juliette stirred the

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oung singers all over the country, who have been inspired by the career of this representat

ersonation of Juliette. It is a matter of history that from the moment of her auspicious return to America she has been constantly before the public, from the beginning to end

s, means constant, unremitting labor. There must be daily work on vocal technic; repertoire must be kept up

er strength must be devoted to the service of her art. She must keep healthy hours, be always ready to appear, and

dy and achievement can find her. While making a rule not to try voices of the throng of young singers who would like to have her verdict on their ability and prospects, Miss Farrar is very gracious to those who really ne

warmth and above all, quiet. A thick crimson carpet hushes the footfall. A luxurious couch piled with silken cushions, and comfortable arm chairs are all in the same warm tint; over the grand piano is thrown a cover of red velvet, gold embroidered. Portraits of artists and many costly trifles are scattered here and there. The young lady who acts as secretary happened to be i

rar herself appeared, and

omed me so graciously? The first impression was one of friendliness and sincerity, which

s. She did not imply-there is only one right way, and I have found it. "These things seem best for my voice, and this is the way I work. But, sinc

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skate, play croquet or tennis, or such things. I never wanted to exercise violently, and, to me, unnecessarily, because it interfered with my singing; took energy which I thought might be better applied. As I grew older I did not care to keep late hours and be in an atmosphere where people smoked and perhaps drank, for these things were bad for my voice and I co

ICAL

nd two hours daily to vocalizes, scales and tone study. But I love it! A scale is beautiful to me, if it is rightly sung. In fact it is not merely a succession of notes; it represents color. I always translate sound into color. It is a fascinating study to make different qualit

hear herself, Mis

f throat, head, face, lips and other parts of the anatomy, which vibrate in a certain manner to correct tone production.

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g to her, both in America and Paris. You see, I always sang, even as a very little girl. My mother has excellent taste and knowledge in music, and finding I wa

which inclose you, make a very different space to fill compared to an opera house; you must take this fact into consideration and study accordingly.' No one ever said a truer word. If one only studies or sings i

first set of wings. They do not consider that within recent years the size of the orchestra has been largely increased, so that we are obliged to sing against this great number of instruments, which are making every possible kind of

to sing in public, if not with her old-time power, yet with good tone quality. It shows what an artist she really is. I always went over to her every summer, until the war came. We

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itting to memory is very easy for me. I was trained to learn by heart from the very start. When I sang my little songs at six years old, mother would

LORATURA AND D

higher portion, but becomes weaker and thinner as it descends; whereas the dramatic voice has a thicker, richer quality all through, especially in its lower register. The coloratur

YOUNG

h to give it your best thought, to make sacrifices for it, there is something wrong with you. Then choose some other line of work, to which you can give

ver stop studying, for there is always so much to learn. If I have sung a r?le a hundred times, I always find places that can be improved; indeed

but don't become discouraged. Go right on! I knew a beautiful American in Paris who possessed a lovely voice. But she had a very sensitive nature, which could not endure hard knocks. She began to worry over

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estras. The singer could stand still in the middle of the stage and pour out beautiful tones, with few movements of body to mar his serenity. But we, in these days, demand action as well as song. We need singing actors and actresses. The music is declamatory; th

appearance of great creative genius right here in this country, perhaps in the near future. Why should we not expect it? We have not yet produced a

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ers whose natural quality is mezzo-let us say-who try to force the voice up into a higher register. There is one artist of great dramatic gifts, who not content with the rich quality of her natural organ, tried to add several high notes to the upper portion.

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aster vocal art, the singer must have so developed his voice that it is under complete control; then he can do with it whatsoever he wishes

moment; then she said, an

only heard the latter do little Irish tunes, have no idea of what he is capable. I have heard him sing Mozart as no one else I