What Every Singer Should Know — John Stuart Mill — John Shaqi
What Every Singer Should Know
John Stuart Mill · en
You must have a fine voice, a "big" voice, a voice of great power and
endurance, fine enunciation, clear and correct pronunciation, knowledge
of the modern languages, have at least twenty-five operas committed to
memory, fine dramatic ability, good physique, size, personality and
"pull." And you must also be on the other side of the ocean to accept
the engagement; and then, your acceptance by a director to "star" is
about as difficult as an audience with a king.
[Illustration: ALBERT MILDENBERG
The well known composer who has enaugerated a plan to establish
Municipal Grand Opera in New York City. Mr. Mildenberg's experience as
conductor in the Municipal Opera Houses in France and Italy has fitted
him well for this laudable undertaking which will pave the way for the
training and placing of many talented pupils in this country, who have
heretofore been compelled to go abroad in order to secure positions on
the Grand Opera Stage.]
There is no reason why a person with voice and talent who has to make
his own living, could not do so after several years of study. I have
over one hundred pupils who are making a good living by singing, and as
many more holding church positions paying them enough to enable them to
continue their studies.
Show me a pupil who has to make his own living, and who has studied with
one teacher for eight or nine years and is not making his living by
singing, and you are showing me one who =never will=.
There is, of course, no end to the study of voice culture. I have
studied more or less for over twenty years and am still studying, but if
you have to make your own living, secure whatever position may be open
to you. The church or concert position is =equally= valuable as the opera.
In Europe, where you hear grand opera all the year around, it becomes a
second nature, but here in our western cities, until recently, grand
opera was almost unknown; two or three performances a year was about all
we could hope for. This was not enough to thoroughly acquaint the people
with the operas, and not enough to create a demand.