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Great Singers on the Art of Singing

by James Francis Cooke

186 sections · Download EPUB

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  1. 1Introduction
  2. 2What Must the Singer Have?
  3. 3The Perfect Voice
  4. 4The Lure of Individuality
  5. 5Your Philosophy of Singing
  6. 6The History of Singing
  7. 7The Technic of Operatic Production
  8. 8A World of Detail
  9. 9The Technic of the Production
  10. 10Important Rehearsals
  11. 11The Ballet
  12. 12Frances Alda (Mme. Giulio Gatti-Casazza) — Biographical
  13. 13What the American Girl Should Know About an Operatic Career — Mme.…
  14. 14Moderation and Good Sense
  15. 15The Precious Head Voice
  16. 16The American Girl’s Chances in Opera
  17. 17The Need for Superior Intelligence
  18. 18Physical Strength and Singing
  19. 19Pasquale Amato — Biographical
  20. 20Modern Vocal Methods in Italy
  21. 21Italian Vocal Teaching
  22. 22David Bispham — Biographical
  23. 23The Main Elements of Interpretation David Bispham
  24. 24Dame Clara Butt Biographical
  25. 25Success in Concert Singing — Dame Clara Butt
  26. 26Misdirected Effort
  27. 27When to Begin
  28. 28Letting the Voice Grow
  29. 29Preparing a Repertoire
  30. 30Giuseppe Campanari — Biographical
  31. 31The Value of Self-Study in Voice Training
  32. 32The Value of Opera
  33. 33Singers Not Born, but Made
  34. 34Not Given to All to Study Successfully Without A Teacher
  35. 35Singers Make Their Own Methods
  36. 36Great Voices Are Rare
  37. 37Enrico Caruso — Biographical
  38. 38Italy, the Home of Song Enrico Caruso
  39. 39Italian, the Language of Music
  40. 40Audiences the Same the World Around
  41. 41Operatic Preparation in Italy
  42. 42Opera Will Always Be Expensive
  43. 43The Student’s Preparation
  44. 44Different Rôles
  45. 45Mme. Julia Claussen Biographical
  46. 46Modern Roads to Vocal Success — Mme. Julia Claussen
  47. 47Self-Criticism
  48. 48America’s Fatal Ambition
  49. 49Charles Dalmores — Biographical
  50. 50Self-Help in Voice Study
  51. 51At the Paris Conservatory
  52. 52A Discouraging Prospect
  53. 53A Test That Failed
  54. 54A Famous Opportunity
  55. 55Discouraging Advice
  56. 56A Critical Moment
  57. 57The Need for Great Care
  58. 58Fighting Your Own Way
  59. 59Andreas Dippel — Biographical
  60. 60If My Daughter Should Study for Grand Opera
  61. 61Her Very Early Training
  62. 62Her First Musical Training
  63. 63Languages
  64. 64The Study of the Voice Itself
  65. 65Her Training in Acting
  66. 66Mme. Emma Eames Biographical
  67. 67How a Great Master Coached Opera Singers — Mme. Emma Eames
  68. 68First Meeting With Gounod
  69. 69A Hearing at the Opera
  70. 70Gounod as a Modernist
  71. 71One Reason for Gounod’s Eminence
  72. 72Mme. Florence Easton Biographical
  73. 73The Open Door to Opera
  74. 74The School of Prime Donne
  75. 75The Best Beginning
  76. 76Necessity of Routine
  77. 77Watching for Opportunities
  78. 78Tales of Strauss
  79. 79The Singer’s Greatest Need
  80. 80Geraldine Farrar — Biographical
  81. 81What Must I Go Through to Become a Prima Donna?
  82. 82Lucia or Zaza
  83. 83Keep the Voice Strong and Flexible
  84. 84Lessons Must Be Adequate
  85. 85The Only Cure
  86. 86Mme. Johanna Gadski Biographical
  87. 87The Master Songs of Robert Schumann — Mme. Johanna Gadski
  88. 88The Intimate and Delicate Character of Schumann Songs
  89. 89The Love Interest in the Schumann Songs
  90. 90Schumann’s Love for the Romantic
  91. 91Peculiar Difficulties in Interpreting Schumann Songs
  92. 92Schumann’s Popularity in America
  93. 93Mme. Amelita Galli-Curci Biographical
  94. 94Teaching Yourself to Sing
  95. 95General Education
  96. 96Four Years of Hard Training
  97. 97Mary Garden — Biographical
  98. 98The Know How in the Art of Singing Mary Garden
  99. 99Mme. Alma Gluck Biographical
  100. 100Building a Vocal Repertoire
  101. 101Go to the Classics
  102. 102The Lyric Song Repertoire
  103. 103American Songs
  104. 104Art for Art’s Sake, a Farce
  105. 105Emilio de Gogorza Biographical
  106. 106Opportunities for Young Concert Singers
  107. 107Special Study Required for Concert Singing
  108. 108Study in Your Home Country
  109. 109Never Sing When Tired
  110. 110Frieda Hempel — Biographical
  111. 111Thoroughness in Vocal Preparation — Mme. Frieda Hempel
  112. 112A Good Legato
  113. 113Good Foundations
  114. 114A Large Repertoire
  115. 115More Opera for America
  116. 116Strong Educational Value of Opera
  117. 117Dame Nellie Melba Biographical
  118. 118Common Sense in Training and Preserving the Voice — Dame Nellie Melba
  119. 119What Work Should the Girl Under Eighteen Do?
  120. 120A General Musical Training
  121. 121The First Vocal Practice
  122. 122Preserving the Voice
  123. 123Is the Art of Singing Dying Out?
  124. 124Mme. Bernice de Pasquali Biographical
  125. 125Secrets of Bel Canto — Mme. Bernice de Pasquali
  126. 126The Secret of Conserving the Voice
  127. 127Courage in Singing
  128. 128The Reason for the Lack of Well-Trained Voices
  129. 129The Delicate Nature of the Human Voice
  130. 130Some Practice Suggestions
  131. 131Mme. Marcella Sembrich Biographical
  132. 132How Fortunes Are Wasted in Vocal Education — Mme. Marcella Sembrich
  133. 133Wrong to Encourage Voiceless Aspirants
  134. 134Piano or Violin Study Advisable for All Singers
  135. 135A Good General Education of Vast Importance
  136. 136Musical Advance in America
  137. 137Mme. Ernestine Schumann-Heink Biographical
  138. 138Keeping the Voice in Prime Condition — Mme. Ernestine Schumann-Heink
  139. 139The Advantage of an Early Training
  140. 140The Age for Starting
  141. 141Let Everybody Sing!
  142. 142The Singer’s Daily Routine
  143. 143Preparation for Heavy Rôles
  144. 144Daily Exercises of a Prima Donna
  145. 145The Singer Must Relax
  146. 146Antonio Scotti — Biographical
  147. 147Italian Opera in America
  148. 148Operatic Tendencies
  149. 149Opera the Natural Genius of Italy’s Composers
  150. 150The Composers of To-day
  151. 151The Influence of the Star System
  152. 152The Possible Influence of Strauss and Debussy
  153. 153Operatic Centers in Italy
  154. 154More New Operas Should Be Produced
  155. 155America’s Musical Future
  156. 156Henri Scott — Biographical
  157. 157The Singer’s Larger Musical Public
  158. 158Why Grand Opera Is Expensive
  159. 159A Revolution in Taste
  160. 160Singing for Millions
  161. 161The Art of “Putting It Over”
  162. 162How to Get an Engagement
  163. 163Excellent Conditions
  164. 164Emma Thursby — Biographical
  165. 165Singing in Concert and What It Means
  166. 166Health
  167. 167The Singer’s Early Training
  168. 168When to Begin Training
  169. 169Habits of Speech, Poise and Thinking
  170. 170Maurice Strakosch’s Ten Vocal Commandments
  171. 171Reinald Werrenrath — Biographical
  172. 172New Aspects of the Art of Singing in America
  173. 173Climatic Conditions a Serious Handicap
  174. 174Operatic Study
  175. 175Natural Methods of Singing
  176. 176Evan Williams — Biographical
  177. 177How I Regained a Lost Voice
  178. 178An Indisputable Record
  179. 179Tone Creates Its Own Support
  180. 180A Good Position
  181. 181Sensations
  182. 182Contrasting Timbres That Lead to a Beautiful Tone When Combined
  183. 183The Tongue Position
  184. 184A Practical Step
  185. 185A Comfortable Pitch
  186. 186Let Your Own Ears Convince You

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