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e divine electric spark to inspire hundreds, as did the hectic Chopin when he made his last famous visit to England and Scotland.

Personal magnetism is not a kind of hypnotic influence to be found solely in the concert hall or the theater. Most artists possess it to a certain degree. Without this subtle and mysterious force, success with the public never comes.

DAME CLARA BUTT

BIOGRAPHICAL

Dame Butt was born at Southwick, Sussex, February 1, 1873. Her first lessons were with D. W. Rootham in Bristol.

SUCCESS IN CONCERT SINGING

DAME CLARA BUTT

HEALTH AND SINGING

MISDIRECTED EFFORT

The cruel part of it all is that many aspire to become great singers who can never possibly have their hopes realized. Natural selection rather than destiny seems to govern this matter. The ugly caterpillar seems like an unpromising candidate for the brilliant career of the butterfly, and it oftentimes happens that students who seem unpromising to some have just the qualities which, with the right time, instruction and experience, will entitle them to great success. It is the little ant who hopes to grow iridescent wings, and who travels through conservatory after conservatory, hoping to find the magic chrysalis that will do this, who is to be pitied. Great success must depend upon special gifts, intellectual as well as vocal. Oh, if we only had some instinct, like that possessed by animals, that would enable us to determine accurately in advance the safest road for us to take, the road that will lead us to the best development of our real talents--not those we imagine we may have or those which the flattery of friends have grafted upon us! Mr. Rumford and I have witnessed so much very hard and very earnest work carried on by students who have no rational basis to hope for success as singers, that we have been placed in the uncomfortable position of advising young singers to seek some other life work.

WHEN TO BEGIN

The eternal question, "At what age shall I commence to study singing?" is always more or less amusing to the experienced singer. If the singer's spirit is in the child, nothing will stop his singing. He will sing from morning until night, and seems to be guided in most cases by an all-providing Nature that makes its untutored efforts the very best kind of practice. Unless the child is brought into contact with very bad music he is not likely to be injured. Children seem to be trying their best to prove the Darwinian theory by showing us that they can mimic quite as well as monkeys. The average child comes into the better part of his little store of wisdom through mimicry. Naturally if the little vocal student is taken to the vaudeville theatre, where every imaginable vocal law is smashed during a three-hour performance, and if the child observes that the smashing process is followed by the enthusiastic applause of the unthinking audience, it is only reasonable to suppose that the child will discover in this what he believes to be the most approved art of singing.

It is evident then that the first thing which the parent of the musical child should consider is that of teaching him to appreciate what is looked upon as good and what is looked upon as bad. Although many singers with fine voices have appeared in vaudeville, the others must be regarded as "horrible" examples, and the child should know that they are such. On the other hand, it is quite evident that the more good singing that the child hears in the impressionable years of its youth the greater will be the effect upon the mind which is to direct the child's musical future. This is a branch of the vocalist's education which may begin long before the actual lessons. If it is carefully conducted the teacher should have far less difficulty in starting the child with the actual work. The only possible danger might be that the child's imitative faculty could lead it to extremes of pitch in imitating some singer. Even this is hardly more likely to injure it than the shouting and screaming which often accompanies the play of children.

I was fortunate in having in my first teacher, D. W. Rootham, a man too thoroughly blessed with good British common sense to have any "tricks." He had no fantastic way of doing things, no proprietary methods, that none else in the world was supposed to possess. He listened for the beautiful in my voice and, as his sense of musical appreciation was highly cultivated, he could detect faults, explain them to me and show me how to overcome them by purely natural methods. The principal part of the process was to make me realize mentally just what was wrong and then what was the more artistic way of doing it.

LETTING THE VOICE GROW

After leaving Rootham, I won the four hundred guinea scholarship at the Royal College of Music and studied with Henry Blower. This I followed with a course with Bouhy in Paris and Etelka Gerster in Berlin. Mr. Rumford and I both concur in the opinion that it is necessary for the student who would sing in any foreign language to study in the country in which the language is spoken. In no other way can one get the real atmosphere. The preparatory work may be done in the home country, but if one fails to taste of the musical life of the country in which the songs came into being, there seems to be an indefinable absence of the right flavor. I believe in employing the native tongue for songs in recital work. It seems narrow to me to do otherwise. At the same time, I have always been a champion for songs written originally with English texts, and have sung innumerable times with programs made from English lyrics.

PREPARING A REPERTOIRE

The idea that concert and recital work is not as difficult as operatic work has been pretty well exploded by this time. In fact, it is very much more difficult to sing a simple song well in concert than it is to sing some of the elaborate Wagnerian recitatives in which the very complexities of the music make a convenient hiding place for the artist's vocal shortcomings. In concert everything is concentrated upon the singer. Convention has ever deprived him of the convenient gestures that give ease to the opera singer.

The selection of useful material for concert purposes is immensely difficult. It must have artistic merit, it must have human interest, it must suit the singer, in most cases the piano must be used for accompaniment and the song must not be dependent upon an orchestral accompaniment for its value. It must not be too old, it must not be too far in advance of popular tastes. It is a bad plan to wander indiscriminately about among countless songs, never learning any really well. The student should begin to select numbers with great care, realizing that it is futile to try to do everything. Lord Bolingbroke, in his essay on the shortness of human life, shows how impossible it is for a man to read more than a mere fraction of a great library though he read regularly every day of his life. It is very much the same with music. The resources are so vast and time is so limited that there is no opportunity to learn everything. Far better is it for the vocalist to do a little well than to do much ineffectually.

Good music well executed meets with very much the same appreciation everywhere. During our latest tour we gave almost the very same programs in America as those we have been giving upon the European Continent. The music-loving American public is likely to differ but slightly from that of the great music centers of the old world. Music has truly become a universal language.

In developing a repertoire the student might look upon the musical public as though it were a huge circle filled with smaller circles, each little circle being a center of interest. One circle might insist upon old English songs, such as the delightful melodies of Arne, Carey, Monroe. Another circle might expect the arias of the old Italian masters, Carissimi, Jomelli, Sacchini or Scarlatti. Another circle would want to hear the German Lieder of such composers as Schumann, Schubert, Brahms, Franz and Wolf. Still another circle might go away disappointed if they could not hear something of the ultra modern writers, such as Strauss, Debussy or even that freak of musical cacophony, Schoenberg. However diverse may be the individual likings of these smaller circles, all of the members of your audience are united in liking music as a whole.

It is not safe to say that you do not like things in this way. I think that even Schoenberg is trying to be true to his muse. We must remember that Haydn, Beethoven, Wagner and Brahms passed through the fire of criticism in their day. The more breadth a singer puts into her work the more likely is she to reap success. Time only can produce the accomplished artist. The best is to find a joy in your work and think of nothing but large success. If you have the gift, triumph will be yours.

GIUSEPPE CAMPANARI

BIOGRAPHICAL

Giuseppe Campanari was born at Venice, Italy, Nov. 17th, 1858. His parents were not particularly musical but were very anxious for the boy to become a musician. At the age of nine he commenced to study the piano and later he entered the Conservatory of Milan, making his principal instrument the violoncello. Upon his graduation he secured a position in the 'cello section of the orchestra at "La Scala." Here for years he heard the greatest singers and the greatest operas, gaining a musical insight into the works through an understanding of the scores which has seldom if ever been possessed by a great opera singer. His first appearance as singer was at the Teatro dal Verme in Milan. Owing to voice strain he was obliged to give up singing and in the interim he took a position as a 'cellist in the Boston Symphony Orchestra, remaining with that organization some years. He then made appearances with the Emma Juch Opera Company, the Heinrichs Opera Company, and eventually at the Metropolitan Opera Company in New York, where he achieved his greatest triumphs as leading baritone. Mr. Campanari long since became an American citizen and has devoted his attention to teaching for years.

His conference which follows is particularly interesting, as from the vocal standpoint he is almost entirely self taught.

THE VALUE OF SELF-STUDY IN VOICE TRAINING

GIUSEPPE CAMPANARI

So much has been written upon the futility of applying one method to all cases in vocal instruction that it seems useless for me to say anything that would add to the volume of testimony against the custom of trying to teach all pupils in the same manner. No one man ever has had, has, or ever will have, a "method" superior to all others, for the very simple reason that the means one vocalist might employ to reach artistic success would be quite different from that which another singer, with an entirely different voice, different throat and different intellect, would be obliged to employ. One of the great laws of Nature is the law of variation; that is, no two children of any parents are ever exactly alike. Even in the case of twins there is often a great variation. The great English philosopher, Darwin, made much of this principle. It is one which all voice students and teachers should consider, for although there are, from the nature of things, many foundation principles which must remain the same in all cases, the differences in individual cases are sufficient to demand the greatest keenness of observation, the widest experience and an inexhaustible supply of patience upon the part of the teacher.

THE VALUE OF OPERA

This leads us to the subject at hand. The students in Italy in the past have had advantages for self-study that were of greatest importance. On all sides good singing and great singing might be heard conveniently and economically. Opera was and is one of the great national amusements of Italy. Opera houses may be found in all of the larger cities and in most of the smaller ones. The prices of admission are, as a rule, very low. The result is that the boys in the street are often remarkably familiar with some of the best works. Indeed, it would not be extravagant to say that they were quite as familiar with these musical masterpieces as some of the residents of America are with the melodramatic doings of Jesse James or the "Queen of Chinatown." Thus it is that the average Italian boy with a fair education and quick powers of observation reaches his majority with a taste for singing trained by many opportunities to hear great singers. They have had the best vocal instruction in the world, providing, of course, they have exercised their powers of judgment. Thus it is that it happens that such a singer as Caruso, certainly one of the greatest tenors of all time, could be accidentally heard by a manager while singing and receive an offer for an engagement upon the spot. Caruso's present art, of course, is the result of much training that would fall under the head of "coaching," together with his splendid experience upon the operatic stage itself.

I trust that I have not by this time given the reader of this page the impression that teachers are unnecessary. This is by no means the case. A good teacher is extremely desirable. If you have the good fortune to fall into the hands of a careful, experienced, intelligent teacher, much may be accomplished; but the teacher is by no means all that is required. The teacher should be judged by his pupils, and by nothing else. No matter what he may claim, it is invariably the results of his work which must determine his value. Teachers come to me with wonderful theories and all imaginable kinds of methods. I always say to them: "Show me a good pupil who has been trained by your methods and I will say that you are a good teacher."

Before our national elections I am asked, "Which one of the candidates do you believe will make the best President?" I always reply, "Wait four years and I will pass my opinion upon the ability of the candidate the people select." In other words, "the proof of the pudding is in the eating."

SINGERS NOT BORN, BUT MADE

We often hear the trite expression, "Singers are born, not made." This, to my mind, is by no means the case. One may be born with the talent and deep love for music, and one may be born with the physical qualifications which lead to the development of a beautiful voice, but the singer is something far more than this. Given a good voice and the love for his music, the singer's work is only begun. He is at the outstart of a road which is beset with all imaginable kinds of obstacles. In my own case I was extremely ambitious to be a singer. Night after night I played 'cello in the orchestra at La Scala, in Milan, always wishing and praying that I might some day be one of the actors in the wonderful world behind the footlights. I listened to the famous singers in the great opera house with the minutest attention, making mental notes of their manner of placing their voices--their method of interpretation, their stage business, and everything that I thought might be of any possible use to me in the career of the singer, which was dearest to my heart. I endeavored to employ all the common sense and good judgment I possessed to determine what was musically and vocally good or otherwise. I was fortunate in having the training of the musician, and also in having the invaluable advantage of becoming acquainted with the orchestral scores of the famous operas. Finally the long-awaited opportunity came and I made my d?but at the Teatro dal Verme, in Milan. I had had no real vocal instruction in the commonly accepted sense of the term; but I had really had a kind of instruction that was of inestimable value.

NOT GIVEN TO ALL TO STUDY SUCCESSFULLY WITHOUT A TEACHER

Success brought with it its disadvantages. I foolishly strained my voice through overwork. But this did not discourage me. I realized that many of the greatest singers the world has ever known were among those who had met with disastrous failure at some time in their careers. I came to America and played the violoncello in the Boston Symphony Orchestra. All the time I was practicing with the greatest care and with the sole object of restoring my voice. Finally it came back better than ever and I sang for Maurice Grau, the impresario of the Metropolitan Opera House, in New York. He engaged me and I sang continuously at the Metropolitan for several years. Notwithstanding this varied experience, I will seek to learn, and to learn by practical example, not theory. The only opera school in the world is the opera house itself. No school ever "made" a great singer or a great artist. The most they have done has been to lay the foundation. The making of the artist comes later.

SINGERS MAKE THEIR OWN METHODS

As I have already said, most every singer makes a method unto himself. It is all the same in the end. The Chinese may, for instance, have one name for God, the Persians another, the Mohammedans another, and the people of Christian lands another. But the God principle and the worship principle are the same with all. It is very similar in singing. The means that apply to my own case may apparently be different from those of another, but we are all seeking to produce beautiful tones and interpret the meaning of the composer properly.

One thing, however, the student should seek to possess above all things, and this is a thorough foundation training in music itself. This can not begin too early. In my own home we have always had music. My children have always heard singing and playing and consequently they become critical at a very early age.

My advice to the voice students of America is to hear great singers. Hear them as many times as possible and consider the money invested as well placed as any you might spend in vocal instruction. The golden magnet, as well as the opportunities in other ways offered artists in America, has attracted the greatest singers of our time to this country. It is no longer necessary to go abroad to listen to great singers. In no country of the world is opera given with more lavish expenditure of money than in America. The great singers are now by no means confining their efforts to the large Eastern cities. Many of them make regular tours of the country, and students in all parts of this land are offered splendid opportunities for self-help through the means of concerts and musical festivals. After all, the most important thing for any singer is the development of the critical sense. Blind imitation is, of course, bad, but how is the student to progress unless he has had an opportunity to hear the best singers of the day? In my youth I heard continually such artists as La Salle, Gayarre, Patti, De Reszke and others. How could I help profiting by such excellent experiences?

GREAT VOICES ARE RARE

One may be sure that in these days few, if any, great voices go undiscovered. A remarkable natural voice is so rare that some one is sure to notice it and bring it to the attention of musicians. The trouble is that so many people are so painfully deluded regarding their voices. I have had them come to me with voices that are obviously execrable and still remain unconvinced when I have told them what seemed to me the truth. This business of hearing would-be singers is an unprofitable and an uncomfortable one; and most artists try to avoid the ordeal, although they are always very glad to encourage real talent. Most young singers, however, have little more than the bare ambition to sing, coupled with what can only be described by the American term, "a swelled head." Someone has told them that they are wonderfully gifted, and persons of this kind are most always ready to swallow flattery indiscriminately. Almost everyone, apparently, wants to go into opera nowadays. To singers who have not any chance whatever I have only to say that the sooner this is discovered the better. Far better put your money in bank and let compound interest do what your voice can not.

ENRICO CARUSO

BIOGRAPHICAL

ITALY, THE HOME OF SONG

ENRICO CARUSO

OPERA AND THE PUBLIC IN ITALY

Anyone who has traveled in Italy must have noticed the interest that is manifested at the opening of the opera season. This does not apply only to the people with means and advanced culture but also to what might be called the general public. In addition to the upper classes, the same class of people in America who would show the wildest enthusiasm over your popular sport, base-ball, would be similarly eager to attend the leading operatic performances in Italy. The opening of the opera is accompanied by an indescribable fervor. It is "in the air." The whole community seems to breathe opera. The children know the leading melodies, and often discuss the features of the performances as they hear their parents tell about them, just as the American small boy retails his father's opinions upon the political struggles of the day or upon the last ball game.

It should not be thought that this does not mean a sacrifice to the masses, for opera is, in a sense, more expensive in Italy than in America; that is, it is more expensive by comparison in most parts of the country. It should be remembered that monetary values in Italy are entirely different from those in America. The average Italian of moderate means looks upon a lira as a coin far more valuable than its equivalent of twenty cents in United States currency. His income is likely to be limited, and he must spend it with care and wisdom. Again, in the great operatic centers, such as Milan, Naples or Rome, the prices are invariably adjusted to the importance of the production. In first-class productions the prices are often very high from the Italian standpoint. For instance, at La Scala in Milan, when an exceptionally fine performance is given with really great singers, the prices for orchestra chairs may run as high as thirty lira or six dollars a seat. Even to the wealthy Italian this amount seems the same as a much larger amount in America.

ITALIAN, THE LANGUAGE OF MUSIC

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