UC-NRLF F, 4SS $B 273 57b Five Tears of Focal Study Under Fernando Michelena By JnCARIA zANTONIA FIELD m Fyszv' Digitized by the Internet Archive in 2007 with funding from Microsoft Corporation http://www.archive.org/details/fiveyearsofvocalOOfielrich FIVE YEARS OF VOCAL STUDY UNDER FERNANDO MICHELENA By MARIA ANTONIA FIELD PRIVATELY PRINTED COPYRIGHT I922 by MARIA ANTONIA FIELD DEDICATION to the gentle memory of fernando michelena, kind, noble teacher, and friend of myself and family, this little sketch of my vocal work under his tutelage is sincerely dedicated Maria Antonia Field 475848 FOREWORD 1V/TY FIVE years of vocal study under the late *■*■* Fernando Michelena, may be described in brief, as five years of earnest but extremely pleasant work; five years which meant more to my health and educa- tion, than any other study or association. I now realize more than ever, the value of those all too brief years; in fact, to be exact, it lacked about one month of being five years ; for I took my first lesson on April 7, 1916, and continued until the time of Michelena's death, which occurred on March 4, 1921 ; having taken my last lesson a few days before his untimely and sudden passing. I will add here, that Fernando Michelena was ray first and last teacher; for prior to taking lessons from him, I had merely investigated the method of another teacher who happened to live in my home town, very quickly seeing, untutored though I was, that she lacked the requisites of a finished vocalist. Immediately I gave up all thought of taking lessons from her, and began my first instruction, wholly untrained, with the master Michelena. HANDICAPS DURING MY FIRST TWO YEARS OF STUDY SYNOPSIS OF WORK ACCOMPLISHED IN FIVE YEARS I WOULD feel very diffident about talking so much about myself, as I do in these pages, were it not for the fact that this sketch is merely intended as a private publication, to be read mostly, at least, by a few friends, and also that my primary object in writing this is for a personal remembrance of my tutelage under the Master, Fernando Michelena, endeavoring also to draw a "pen picture" of him, as an example of a perfect teacher and artist, in order that if this sketch should fall into the hands of some vocal aspirant who may be seeking a competent instructor, the correct information may be drawn (if desired) of the marks by which the real may be distinguished from either the counterfeit or poorly equipped teacher. I also venture to give a brief account of my personal handicaps and difficulties during the first two years of my work, because the joy of mastering difficulties and accomplishing something in spite of them is greater, when we recall the hard beginning. What I relate regarding my handicaps, may not sound at all big, especially as I eliminate all details; but do we stop to consider that a myriad trifling annoyances & " FIVE YEARS OF VOCAL STUDY may retard progress, depress the spirit and cut into the fine sensibilities, more than one really great trial which comes and goes and for which we receive our share of sympathy because more readily understood? It is said that "every rose has its thorns," so great blessings and everything destined to endure, must be cradled with trials of what nature soever they be; hence when kind Providence led me to place myself under the tutelage of such a distinguished master as Fernando Michelena, and while I did not lack many other advantages, such as pleasant home surroundings, facilities to go fairly often from Monterey (my home town) to San Francisco to take my lessons, etc., I had other difficulties when I began my vocal study. First of all, I was not physically strong, and suffered frequently from heavy and obstinate colds ; gradually, however, I became more and more rugged, and the propensity to colds disappeared, so that today I rarely catch one, and if I do, I quickly get rid of it. To my excellent vocal exercises, correct diaphramic breathing, and stimulus caused by interest in my work, I give, at least, most of the credit of this. During the first two years of my work, I also suffered numberless un- pleasantnesses and discouragements, in the relating of which I could fill many pages, but there is no need for that, especially as most of them came from insig- nificant sources. I will only say that while such things have a tendency to depress a sensitive beginner, especially if already handicapped by none too robust UNDER FERNANDO MICHELENA 9 health, still I had sufficient will power to work all the harder and not allow anything whatever to thwart me in the study I had always loved. My maternal grandfather, Prof. Rafael Danglada, was California's first professional musician, coming here from his native Spain in 1850; my mother inherited his musical talent, and my grandmother had a sweet contralto voice, so perhaps I came naturally by my love for song. From a child I was especially fond of opera, and a strain from most any of the operas always arrested my atten- tion, also I loved the display of feeling and noble emotions in song. I hated stiffness in singers. When I began studying, a certain few self-constituted ad- visers told me I must remember I was only studying to "learn to sing a few little songs sweetly and never think of anything beyond that." I said absolutely nothing, but kept to myself the secret ambition of learning operatic roles. Perchance I may never use my operatic roles on the stage, but little we know what is before us; I may yet have need of them, and if not, what a satisfaction it is for any of us to feel we could do a thing if we either had to or wanted to ; and if such a thing never came into my life, the pleasure and educational value of learning those noble compositions of great masters is worth the work. If I may be for- given for speaking so much about myself, I will say that when I asked Fernando Michelena if I could ever dare to think of learning a single operatic role, he turned to me as calmly as if I had asked him if I 10 FIVE YEARS OF VOCAL STUDY could ever learn "Home, Sweet Home," "Why not?" he said; "Has not the Creator given you brains and a vocal apparatus?" And when I told him I did not care to study for mere pastime (only to learn a "few little songs") but to become as good a singer as was possible for me to become, he gently told me, "It is the only attitude which will enable you to succeed in the study of vocal or of anything else. Those who only aim at mediocrity will never be more than mediocre, if that much." I happen to have a retentive memory, and having spoken Spanish from childhood, I never found diffi- culty in mastering the pronunciation or accent of any of the other Latin languages, of which I quickly acquired a knowledge. With these advantages I began paddling Donizetti's "Lucia di Lamermoor" when I had scarcely been studying one year, and learned the role of Lucia (in Italian) in about three months. The trills, and a few of its more exacting cadenzas, I learned a little later when more advanced in my work, and therefore no strain would ensue on my vocal ligaments. The quality of my voice is the lyric coloratura soprano, so in my opera work I learned the leading lyric or coloratura roles. After "Lucia" I studied Balfe's "Bohemian Girl" (in English) then Leoncovallo's "Pagliacci" (in Italian); these three I learned thoroughly (admitting, of course, that we can always improve in our work). Then, I fairly well learned Planquette's "Chimes of Nor- UNDER FERNANDO MICHELENA 11 mandy" (in English), Verdi's "Rigoletto," and Verdi's "La Traviata" (the two latter in Italian). I was beginning Puccini's "Madama Butterfly," when my lamented teacher died. I have also a goodly reper- toire of sacred selections (which I sing both in Latin and the vernacular), arias and classic as well as simple ballads (which I sing in Spanish, French, Italian and English). Donizetti's "Lucia," which I learned first and amid my beginner's difficulties and annoyances, has always remained my favorite opera. It is the one I can set aside for months and not forget, from the Cavatina in Act I to the "Mad Scene" in Act III, every part was deeply stamped in my mind. One great advantage of studying with Fernando Michelena, was that besides being a thorough vocal master, he was a celebrity of the operatic stage, and not only gave me beautiful cadenzas for the various arias, but made my work exceedingly interesting with anecdotes and intimate details of his association with other celebri- ties, with whom he sang the very operas he was teaching me. Emma Yuch, Emma Nevada, Emma Abbott and Nellie Melba are among the prime donne with whom he sang the leading tenor roles (the quality of his voice having been dramatic tenor). With Clara Louisa Kellogg he did some concert work. And how pure and resonant was his voice production, how per- fect his trill, how faultless his enunciation, and how exquisitely delicate his nuances to the day he died! When I began taking lessons, I could scarcely make 12 FIVE YEARS OF VOCAL STUDY or sing the pitch of sol (High G), in three years I could not only make but sustain re in alt (High D) with perfect ease, and now mi in alt (E in alt). As to practice, I could hardly practice more than ten minutes at a time without fatigue; now, granting that I am in good physical shape, I can sing one hour at a time, although I scarcely ever attempt it. My practice periods are from twenty minutes to one-half hour at a time, and altogether I never practice more than one hour and a half a day; although I may over and above that time take a song or aria and memorize the words without singing them, or allow a melody to run through my mind ; read the history of an opera or a biographical sketch of the composer. Of course my real work is accomplished at the piano, at my regular practice, and the memorizing of the words of a piece is done simultaneously with the sing- ing of the melody, or at least playing the piece, going over the words, mentally; (the last named is a good way to accomplish at least something, when a cold or fatigue prevents one from indulging in more serious practice.) As I maintain we can always improve, and that in my case much of my early work was somewhat handi- capped, I had no thought of discontinuing my vocal lessons with my late master; but since the All-Merciful Creator willed otherwise, I am proud of and thankful for the five years of study I did have with him. It has been said that among the hundreds of vocal UNDER FERNANDO MICHELENA 13 teachers in New York City, there is hardly one dozen who are really masters. Can we say they are abundant in the West? Many conscientious and good singing teachers, no doubt, but how many masters with the advantages of experience and a distinguished career? It would be rash to say none, but are they many? Is it any wonder, then, that many of the late Michelena's pupils having tasted the worth of his instructions, should have decided to seek no other teacher, but if having studied with him at least long enough to acquire a good foundation should simply continue practicing and developing "by themselves" the method they learned from him? During the third year of my vocal training, my mother presented me with a beautiful Steinway parlor grand piano. Previous to that I had practiced on mother's old square Steinway, which was in remark- ably good condition. I always liked the Steinway pianos and believe them to be the best, especially for vocal work. A piano should not be placed so close to the wall as to touch it, but slightly away from it; nor should too many pictures, ornaments, or other objects be placed on the piano, as they mar the resonance; hangings should also be used sparingly in the practice room, as they interfere with the acoustics, while a damp or sunless room is bad in the extreme — for singer and piano as well. 14 FIVE YEARS OF VOCAL STUDY AN INSIGHT INTO MICHELENA'S METHOD OF TEACHING AND SOME OF HIS VOCAL THEORIES DERCHANCE the keynote of Fernando Michelena's ■*• teaching may be said to have been simplicity. How often he would say : "Apparently we are doing nothing, in reality we are accomplishing a great deal." And so it ever proved. His method was so simple because it was so natural. " Cobweb rules which amount to nothing," he would call the numberless frills and foolish theories which captivate so many. Another characteristic of Michelena was a marvelous patience and evenness of disposition. I am sure none of his pupils can say he ever displayed the least shadow of impatience at a lesson, no matter how often he had to repeat a thing or what "bete noir" a pupil would encounter in an exercise or aria. He demanded per- fection in his pupils' work, was careful of the least details, and the slightest mistake never escaped him, but all instructions and corrections were given in the most affable manner. "I do not believe in it," he once said to me, in speaking of displays of temper and im- patience, "and the teacher who indulges in such things is a vulgarian, nothing less." Michelena believed that any one with a normal vocal apparatus and not UNDER FERNANDO MICHELENA IS devoid of musical sense and intelligence, could learn to produce beautiful voice, no matter how many- faults he or she might have to overcome as a beginner, and cited the fact that not all the excellent singers whom we admire, or who have been admired in other generations, were gifted with a natural aptitude to sing beautifully, nor started under promising circum- stances, yet with proper training and perseverance became beautiful singers and often surpassed others more naturally gifted. Michelena never flattered a pupil: "That is much better," "Good," or "You are improving," were about all the compliments his pupils heard from him; but in speaking with others he was most appreciative of his pupils and their efforts, and proud of their successes. His method was drawn from the best of the Spanish and Italian schools; and a thorough course in solfeggio he considered essential; he started teaching solfeggio from the first lesson and never dropped it. To the disregard of solfeggio or its superficial teaching, he blamed the poor articulation and enunciation so common nowadays in so many singers. Also for acquiring accuracy in time, and for learning the various marks of expression or nuances, solfeggio is unequaled, he taught, and his belief is shared by the most eminent masters. "Every good singer is necessarily a good solfeggist," he would say. He deplored the deterioration in the art of song, especially of the old bel canto, and with a tinge of sadness once mentioned how different were the 16 FIVE YEARS OF VOCAL STUDY audiences of today from those of former years, inas- much as they sometimes accept mediocrity which former audiences would not endure. Happily, however, many see a growing appreciation for fine artists, mak- ing its appearance once more. I have spoken of the importance which Michelena attached to solfeggio, but exercises for attack, resonance, flexibility and splendid vocalizzi also received marked attention ; and he was most particular that every arpeggio and roulade be absolutely "clean cut" and the attack sure. Fervor, aplomb and spon- taneity, he also considered essential to good singing, and frequently mentioned those three words in his instructions. "Let your audiences know you are glad you are alive," was one of his naive expressions, and "do not precipitate the time, nor slide into pitch, as many commonly do, but in pitch and time, let the words of your song come out like a bullet out of a gun." He instructed me in Spanish, most of the time, and how delightful it was to hear his beautiful Spanish in his vocal theories and original expressions! Correct pronunciation and faultless articulation were almost an obsession with him; the result being that the Michelena pupils are noted for these qualities. A critic once wrote "It is a pleasure to hear the Michelena products, because among other qualities of correct voice production, every word they sing is understood and whether they sing in English or the foreign languages, every word is perfectly pronounced." How UNDER FERNANDO MICHELENA 17 many there are, even among otherwise splendid singers, who will poorly pronounce the double r (rr) also the t, d /and short e, especially in the foreign languages; for example, where the e is short as in "get," they will pronounce it ay as in "day." And when singing in English, how often are the ts so poorly articulated that they sound like ds, and the vowel u, instead of giving it its forward sound of oo, is smothered back of the larynx ; while with many if the double r has been mastered, their single r suffers, inasmuch as they go to the other extreme of convert- ing r into rr.t Speaking of the pronunciation of r, Michelena never allowed his pupils to use the Parisian r when singing in French, calling it an innovation in the French language which the best French singers disregard (in song) and taught them to sing their French with the purer r of the provencal and Breton pronunciation, the suggestion of g in the Parisian r he considered detrimental to pure pronunciation ; the same fault he found with the German r (in song) which also has a suggestion of g, and which the best German singers also discard, but unfortunately frequently con- vert into the double r instead of keeping to the pure single r ; thus often will we hear singers pronounce the name Maria as though it were spelled Marria, and the Latin word "miserere" as though it were spelled •jThere are a few instances, such as when r occurs at the be- ginning of a word, when it may be "rolled" like the double r, but not invariably. 18 FIVE YEARS OF VOCAL STUDY miserrerre. Also the double consonants should not be disregarded, thus pp, tt or 11 should be given their value, and not pronounced as though they were p, t or 1. This is especially important in the pronuncia- tion of the Italian language, as every Italian scholar knows well. The Spanish and Italian languages, Michelena con- sidered the best for song, because of the consistency of their pronunciation, and open vowel sounds, although he maintained that all languages, when well pro- nounced, were perfectly amenable to beautiful song; and also maintained that the five vowels a, e, i, o, u, being the same in every language, pronounced proper- ly; namely, a (ah) e (short as in get) i (ea as in eat) o (as in ought) and u (as in oo) and the consonants well defined and not jumbled, there was no reason why the gift of song should be denied to any language, only admitting that the Latin races have produced more singers, because of their natural artistic ten- dencies, but also because a lesser number of impurities have crept into their languages. How often Michelena would instil the following theories into his pupils: "An instrument can produce melody, but never pronounce a word ; only the human instrument can sing both melody and words; if every word, then, is not heard by the listener, well pro- nounced and clearly articulated, the message of song is lost, for singing is but speaking in entonation; remember you are singing words not notes; in opera UNDER FERNANDO MICHELENA 19 think libretto, not musical score, and the same with anything else you sing. This of course does not mean the disregard of pitch rythm and nuances." He also taught that before a word is sung, it should, so to speak, be made in the mind, and the lips adjusted to the shape required for pronouncing the vowel to be sung, and the adjustment of the lips should not be destroyed as soon as the last word in a phrase has been sung, but kept until the breath has gone over the vowel or consonant, as the case may be. The vowel always takes the value of the note, and the words should be given their correct inflection in song as well as in speech. Michelena was also emphatic in this: that singing does not come from the throat, but from the whole being of the singer. "It is not your throat, but yourself who is singing," he would say. While sore throat and congestion in the vocal appa- ratus and nasal passages render singing impossible, for these organs are necessary in order to produce voice, still the least we think of the throat and the more intelligence we put into our song, the better. The throat is only capable of making an ugly sound, but the breath properly manipulated passing through the vocal apparatus produces beautiful voice; while any physical effort of the throat produces "throaty" and "reedy" voice. The meaning and true expression of what is sung should always be primarily brought out, and the feeling and personality of the singer allowed full scope, but without exaggeration. "Put 20 FIVE YEARS OF VOCAL STUDY your soul and inner consciousness into your song," Michelena would say, "and remember that voice is not a personality as some would make it, but some- thing abstract produced by an action of the will with the intellectual and physical gifts which the singer has at his command; hence, technically speaking, you should rather say 'so and so has a beautiful voice production' rather than 'so and so has a beautiful voice' (or poor production of voice) as the case may be — or speak of the aptitude of so and so for producing beautiful voice." With regard to the necessity of intelligence and brains for the skillful artist, Michelena, in common with every artist, insisted that these gifts were of course necessary, and remarked that the British Museum which paid sixty thousand pounds for the tiny bone of the larynx of the great Malibran, would have more fittingly paid the price for her skull which contained her brains. The texture of the vocal ligaments is of course what determines the quality of voice; the coarser the texture of the ligaments, the graver the voice pro- duction ; the finer the ligaments, the more elastic they are, and therefore the acuter the production of voice — hence we have the basso profundo, basso, baritone serio, brilliant or lyric baritone, robust and dramatic tenor and lyric tenor in the male voice, the contralto, mezzo-soprano, dramatic soprano, the versatile mezzo carater or dramatic lyric soprano, the lyric, or so- UNDER FERNANDO MICHELENA 21 prano leggero, and lyric coloratura in the female voice. The range and volume of the human voice may certainly be increased — good training will invariably do that — but the quality of voice will never change; that is, a contralto can never become a lyric soprano, or a mezzo soprano a coloratura, any more than a baritone can become a tenor. This may sound almost ridiculous to even mention, yet teachers have been known to attempt it, and permanently injure the vocal ligaments of their pupils (or rather their vic- tims). Many teachers there are, also, who seem unable to determine the quality of voice. I heard one naturally gifted mezzo-soprano say that her teacher was unable to tell her whether she was a mezzo or dramatic soprano; fortunately she made a good change for a teacher who was able to determine the quality of voice. It seems to me that even a "layman" who has never studied vocal, could tell the quality of a voice on hearing it. Of course, Michelena always referred to the notes as do, re, mi, fa, sol, la, si; and this method, arranged since the twelfth century by the Italian monk, Guido of Arrezzo,f is incomparably superior to the recent innovation of designating the notes as c, d, e, f, g, a, b. As already hinted above, Michelena also main- tained that there are many theories and expressions regarding vocal, as technically incorrect as our com- fln the original notation of Guido of Arezzo "do" was referred to as "ut." 22 FIVE YEARS OF VOCAL STUDY mon saying "the sun rises," and "the sun sets;" and especially as time went on, under his tutelage, one could clearer see the perfect reasonableness of his theories. I remember how at my first lesson he asked me how many sounds there were on the piano I was puzzled. "But one," he said, "namely, the sound of the piano; but how many notes? Ah, that is different; as many as there are white and black keys." One thing he also taught me at my very first lesson was that the expressions "high voice" and "low voice" are far from correct; acute or grave voice production being far more technical, as well as the expressions, "how high a note can you take?" or "how high can you go or reach?" are absurdly incorrect. He often expressed it thus: "You go nowhere, you reach no- where, you take nothing ; but you make a certain pitch." Therefore, "how acute a pitch or how grave a pitch can you make?" is the correct expression. Then he would explain, "You reach for something when you stretch your arm out to get it, take something when you lay your hand on it and draw it to you, and go somewhere when you walk, also you strike a note when you play it on the piano or other instrument, but in singing you do none of these things, you merely make a certain pitch, which may be as acute or as grave as you are able or willing to make." Another expression he considered incorrect was "beat time." "We do not beat time, we compass time," he would say, and used the expression in all my sol- UNDER FERNANDO MICHELENA 23 feggio exercises which he taught me always to sing while compassing the time. I will close this chapter far from having related many things Michelena taught; partly because I am not by any means attempting a history of his vocal method in the real sense of the word, partly because so many things are difficult to explain clearly in writing; but I will add one more; that is concerning the mistaken idea some people have about what they term "powerful voice" and "small or weak voice," and "such a voice is too weak to fill a large room, but such a one is powerful and can fill any hall or theatre." Now, a voice may be powerful yet unresonant, a real 'voce di legno" as the Italians correctly put it, also one may have a powerful voice and enunciate extremely poor, while one possessed of a smaller voice, may enunciate perfectly, and the voice production be res- onant and clear, such a person can surpass the more powerful singer, who has not these good qualities, any time and in any room, whether large or small; but let us set aside this comparison; a singer need not have a powerful voice to be heard to advantage in any room no matter how large, provided the enunciation is good and the voice production resonant; these are the qualities that have the "carrying power," just as the softest note of a violin or piano may be heard in the largest room. Of course, when speaking of a weaker or less powerful voice, we mean the terms, comparatively speaking, with regard to the possibili- 24 FIVE YEARS OF VOCAL STUDY ties for power in the dramatic soprano and contralto voices, for example, on the one hand, and the naturally less powerful lyric and lyric coloratura voices on the other, and not a "weak" voice production in the true sense of the word, for certainly a singer must have some power and volume to be a good singer. Now another notion some have is that when singing in a very large room the voice production must be forced, that in other words, the singer's strength must be taxed and an extra strain put on the vocal appa- ratus. This idea is absolutely false; under no circum- stances should any strain be put on the vocal ap- paratus, besides being injurious, the least physical effort on the throat would produce an ugly voice, and the singer should sing in the same manner and with the same ease, without the least strain on any part of his or her being, whether in a small room, or in the largest theatre or auditorium. As to sympathy and intelligence, they are so essen- tial to a good singer that they can hardly be separated from true art — in fact, art can no more thrive without them than the flowers without sun; and an artist who was noted for his rich mellow song, and gave as one great reason for it the fact that he had sounded every depth of human sympathy, was certainly cor- rect in his statement. UNDER FERNANDO MICHELENA 25 VALUE OF VOICE CULTURE Many wonder how old a child may be in order to begin the study of vocal; also many will absolutely forbid a young child to sing at all. In answer to this I will say that Fernando Michelena always said that it was wrong to curb the natural desire of a child to let out his voice, and to let it out freely at that; be- cause if not exercised, the vocal apparatus would become like any other part of our being; if our limbs are not exercised, they become numb, and if the vocal apparatus is not allowed its natural exercise in song and speech the same thing happens; however, he added, that if a child is a genius and can imitate any aria he or she hears, no matter how difficult, that he or she should not be allowed to do, as undue strain is then the result, and will in most cases injure the child's possibilities for after life. Michelena often spoke of Emma Nevada's daughter, who could warble any- thing she heard her mother sing, even the most diffi- cult arias with all their trills and embellishments, and this at seven and eight years of age; but her wise mother would not allow her to do it, with the result that later she became a most beautiful singer. But barring the exacting arias and vocal selections which cannot but be a strain on the child to sing, a child 26 FIVE YEARS OF VOCAL STUDY should be encouraged to sing, and training may begin (if it be under a very careful teacher) at eight years of age. Serious study, of course, should not be begun before the age of sixteen or eighteen. Michelena sang in the Catholic Churches of his native city when only four and a half years of age; he stood on a table while singing, as the choir railing would have covered him and prevented his singing from being properly heard; at eight he began his vocal study and at nine, on the occasion of a special feastf on July sixteenth, he sang the soprano parts of the Mass, at the Cathedral of Caracas, Venezuela. He continued singing in church all during his child- hood years, and his vocal apparatus was never injured. In the case of a boy, all vocal study should be sus- pended during the years when the voice production undergoes a change. In the case of a girl no change that affects the vocal apparatus takes place, therefore study may be uninterrupted, although many teachers contend differently, but it should be undertaken in an extremely careful manner. What is bad for either boy or girl is that too much study of anything should be crowded onto them, and consume their strength and energy. For this reason, too, practise periods should be brief and never be made unpleasant. Then, some ask, until how old may a person take vocal instruction, or begin vocal instruction. This depends ■jThe feast of Our Lady of Mount Carmel, in the Roman Catholic calendar. UNDER FERNANDO MICHELENA 27 greatly on the individuality of the particular person. There are cases of persons who did not begin studying until they were thirty and more, and yet not only became beautiful singers, but made a mark profes- sionally. (However it is a pity, when an earlier op- portunity has not been presented.) As to the length of time required to become a good singer. Some say six or eight years; but the truth is, some have acquired in five years what others have not in ten ; others have begun to make a mark profession- ally with only four years of study. Michelena once said he had had experiences with pupils who at their first lesson would ask him if he did not think that in five or six years they could earn four hundred dollars a week as professionals on the stage, or be well known teachers, etc. "How can I tell," he would say, "per- haps in less time than that, they may become splendid singers, and perhaps never; but their absurd questions make me think — never, as they do not evince a level head or artist stuff." The time required for becoming an excellent singer, in other words, is when the intelli- gence of the student grasps the principles of the art of song and puts them in practise; and his gift for memorizing, acquiring languages, pronouncing and enunciating well, etc., has greatly to do with helping him toward this goal. It must also be borne in mind that no singer ever emancipates him or herself from practise; and unless one wishes to become a "has been," one has to keep 28 FIVE YEARS OF VOCAL STUDY up not only one's practise, but in touch with the affairs of the "music world," the artists, and their work. My teacher never had to tell me to subscribe to some of the musical magazines, nor to buy the collection of records I have slowly acquired of the best artists of the reproducing machines, nor many other details; neither did he have to tell me to go to the first class concerts, operatic or theatrical performances (when I had the opportunity) and not copy but be stimulated by the singing, dynamics or artistic work of others. My common sense and interest in my work would tell me that. True, my teacher would mention the fact that a particularly good artist or performance was coming or tell me of some excellent new Victor record by some well known singer, but in most instances I already knew about it, so interested was I in my work. And any intelligent pupil whose heart is in his or her work should think of these details without having to be told and led around to them like babies beginning to walk. I will add here, that one of the most beneficial things we have at our command are the records of the fine artists for the reproducing machines, provided we have not a cheap, but good machine that will do justice to the reproduction of the artist's voice. A useful thing for a vocal student to remember is that a person who knows the principles of correct voice production, in other words one who has studied vocal, will be able to sing resonantly and well for many more years than one who never studied; also the regular UNDER FERNANDO MICHELENA 29 habits and physique of a person have greatly to do with the longevity of his or her power for beautiful voice production. Sensational papers and uncharitable (perhaps jealous) people love to expatiate on disedifying things concerning the lives of professional singers; but it is a known fact that more than fifty per cent of these rumors are false, and in truth, freedom from dissipa- tion, proper rest and diet and good health being essential to singers and especially to the demands made upon the energy and strength of professionals, little time is left for the truly successful singer for anything but right living, at least as far as freedom from dissipation is concerned. Vocal study may mean a great deal, not only to a person's happiness, but to the health as well, hence it is unpardonable to discourage anyone from study- ing vocal or in any way mar or render unpleasant their practise hours or their study in general. It is always either the one who has never studied this beautiful art or the jealous person who will engage in such things; and what we must remember is that only the criticism of well established professionals or good unbiased singers should be sought, also that everybody has possibilities, some may have more natural aptitude than others, but there is a possibility for everyone, and the mere fact that a person loves song and yearns to become a beautiful singer, is some sign that talent is there, whether latent or revealed. 30 FIVE YEARS OF VOCAL STUDY And lastly, beware of the biased or unsympathetic person, for had many a celebrity listened to such people, they would never be where they are today! As to health in relation to singing; whatever im- proves the health, improves the production of voice, vice versa, there is nothing that tends to improve the health, especially weak lungs and throats, as vocal study. It is better than elocution by far, and, in fact, if taught properly, it embraces what is taught in elocution and dramatic art, for it includes, ex- pression, pronunciation, articulation and acting, and adds the gift of song besides. One of the chief values of vocal culture is correct breathing, which should always be diaphramic. Deep breathing from the diaphram is invaluable to health and song; it is said that while swimming it is impos- sible to breathe incorrectly, therefore swimming is a good exercise for singers; but violent or fatiguing exercises should be eliminated from a singer's routine. With regard to diet; ices and indigestible foods, also foods which tend to irritate the membrane of the throat, such as pepper, nuts, etc., should be dis- pensed with. This, however, does not mean that a slight indulgence in these things, when one is not about to sing, would do any real harm. And lastly, everybody knows that singing should never be at- tempted immediately after a meal. UNDER FERNANDO MICHELENA 31 THE AESTHETIC PROPOSITION IN SINGING Grimaces and contortions of the face, as well as exaggerated movements of the body are most rep- rehensible in singing, whether in opera or concert; but this must not be confused with a certain graceful ease which puts stiffness to flight, nor with the cor- rect interpretation of emotion; while a cheerful countenance is always to be desired; but stretching the neck and arms, and even standing on the tips of the toes, when making an acute pitch, as some are known to do, is absurd, and conveys the idea that the Master Michelena scorned, namely, that some people imagine they are "reaching something or going some- where" when they make a pitch ; besides if they stretch the neck, they elongate the larynx, making the pro- duction of good tone, especially in an acute pitch, all the more impossible. The more difficult the vocal selection, the more naturally it should be sung, in reality as if it were no effort at all. Uncomfortable clothing, high collars, tight lacing and ill fitting shoes, are things which should never be indulged in by singers; especially the muscles around the throat and diaphram should be perfectly free. No one should attempt to sing in public when they know they will appear under some real dis- 32 FIVE YEARS OF VOCAL STUDY advantage; if suffering from a serious cold or any other ailment which will render good singing im- possible, nor under the disadvantages of a poor ac- companist or of an unpleasant atmosphere, etc. It is very easy for others to coax another to do these things, little they care (as long as they are accom- modated) under what disadvantages an adaptible and good-natured singer is placed, and little appre- ciation is shown in the "long run," for a singer who can be "too easily gotten." Numberless times have I, through accommodation and consideration, sung at various benefit performances under countless dis- advantages of some kind or other and consented to sing in programs which were not at all in keeping with my teaching and possibilities, simply because some "home town" people pleaded; and yet received but small appreciation; hence, after these experiences, I have learned to be "on my guard" against coaxing, when I see that my horizon is not clear of disadvan- tages which would not do justice to the training I have received. By this I do not mean to advocate meanness of disposition, nor to disappoint audiences for trifling disadvantages which are apt to come many times. The training of the master, Fernando Michelena, included acting and whatever else went with artistic singing, and he maintained these were part of the vocal teacher's work; for acting in opera or concert is nothing more than the true and simple interpreta- UNDER FERNANDO MICHELENA 33 tion of what one is singing ; whether it be the emotions of fear, anger, love, hatred or any other. Neither he, in spite of his brilliant career, nor his pupils who have attained distinction, nor many other celebrities, ever found it necessary to take lessons in dramatic art, aside from their vocal, and Michelena scorned the idea of sending his pupils to this or that teacher for "side issues" which ought to be included in the vocal master's work, neither did he believe in crowding his pupils' brains with numberless set rules, and damper- ing their individuality, but merely guided their origin- ality along the proper lines. The Michelena pupils have always been known for not being stereotyped, and for not using meaningless gestures. (I do not mean intelligent ones.) Michelena was always against copying from anyone or merging one's individuality into another's even into that of a celebrity. "Be yourself always," he would say. Once after a brilliant opera season at the old Tivoli Opera House in San Francisco, a benefit performance was given at which someone was to act a playful caricature imitating the particular gestures and mannerisms of the principals of the company ; and it was found that Michelena was the hardest to imitate, owing to the fact that he had no particular fad or mannerism in singing; but just put his natural self into his song and never acted a part in any set manner. In concert, of course neither costuming nor acting are like that employed in opera, however the stereotyped "concern position" need not be entirely 34 FIVE YEARS OF VOCAL STUDY adhered to; life, ease and grace with some display of emotion are always appreciated. The correct standing position in singing is the same as that in oratory ; and of course the etiquette of singing requires that a singer should neither leave the stage nor acknowledge the applause he or she may receive until the accom- panist has finished playing the last note of the piece; which, besides being a courtesy due the accompanist, adds to the dramatic or artistic effect of the selection rendered. In a woman a becoming gown and the accessories of flowers or a fan, etc., according to the hour of the day and occasion, are attractive additions to the aesthetic proposition of her singing; for while these things are by no means part of singing, the charm and natural refinement of the singer have greatly to do with the pleasure her art imparts, and the ad- dress and personality of the individual go hand in hand with his or her song. I will say here that Michelena did not oblige his pupils to study operatic roles. The pupil was at liberty to specialize in opera, concert, oratorio or in whatever line he or she wished. It was good, beautiful voice production, with the language well pronounced, clearly articulated and intelligently sung that he primarily aimed at. Michelena was also extremely versatile in his talents and tastes; his knowledge of musical compositions was not confined to the music of the Latin countries, but the music of Wagner, UNDER FERNANDO MICHELENA 35 Mozart, Brahms, Schumann, Grieg, as well as that of the Russian masters, was most intelligently handled by him; he was a linguist, and this also is essential to a teacher of vocal; or at least a good working know- ledge of the principal foreign languages with an ab- solute mastery of their pronunciation. Eccentricities and displays of so-called tempera- ment, should never have place in the true artist's life. Real feeling and temperament do not show themselves in eccentricities and bursts of uncontrolled temper; an artist need be no different than any other normal human being, and truth to tell, the greatest among them are the most natural. His operatic roles excepted, it was in the Spanish Zarzuelas and folk songs, that Michelena's art and originality most revealed themselves; he rendered the music of Spain in the most captivating manner. When before the great San Francisco fire he sang many of the Spanish folk songs for the Edison re- producing machine (the wax cylinders then being the only ones used and the Victrola then being un- known) his records were sold as quickly as they could be supplied; also a costume recital of his repertoire of Spanish songs which he gave at the old Tivoli, is still remembered. 36 FIVE YEARS OF VOCAL STUDY A FEW OBSERVATIONS OF THE CHARACTER OF THE LATE FERNANDO MICHELENA FERNANDO MICHELENA was born on his family estate, near Caracas, Venezuela, of dis- tinguished Spanish parentage, many members of his family are celebrated in history, in the branches of art, medicine, literature and diplomacy; and he, be- sides his brilliant career in Grand Opera, was given a decoration from his Government and was a graduate of the University of Caracas. His achievements in his chosen line of art and intercourse with distinguished singers and composers, from the time he made his debut as Don Carlos in Donizetti's "Linda di Cha- mounix" at the age of twenty- three, in the Royal Opera House of Sicily, just after he was graduated from the Conservatory of Milan (where he was sent for three years to finish his vocal course) would fill an interesting volume; yet he rarely spoke of these things, and when he did, it was in a "matter of fact way" to relate some amusing anecdote in connection with them. "Comparisons are odious," but one cannot help contrasting the conduct of the masters like Michelena, with the countless would-be vocal teachers who so quickly flaunt before the public the least word of commendation they may have engineered to receive, or use their pupils (sometimes recently UNDER FERNANDO MICHELENA 37 acquired from another teacher) to advertise them- selves; whereas if they were really distinguished, if aught, it should be the other way. How many teachers who advertise themselves as vocal masters, were merely musical directors in some Opera Company, others who claim to have belonged to this or that Opera Company were merely in the chorus, and with advertisement, charging a high price for their doubt- fully beneficial lessons and setting up a so-called fashionable studio, etc. captivate the inexperienced pupil! Other teachers build or try to build their reputation by criticism of other teachers and singers, not sparing even celebrities in their absurd remarks; of course well-founded criticism is not to be found fault with, but the criticism referred to above, is the. jealous or unintelligent criticism. "A sour pickle will never make an artist," was one of Michelena's many sayings ; and a happy disposition, open and free from pettiness and especially from foolish jealousy, he always con- sidered inseparable from the true artist. "See that you can do a thing right, never mind who else cannot do it," was another of his expressions. His was a kindly, charitable, generous and simple nature, who had no room for foolish pride, pettiness or deception of any kind, he harbored no ill will toward anyone, and was ever glad to praise another teacher or singer whenever he felt he could honestly do so. He was also possessed of the brilliant gift of repartee, and like most artists was not in the least commercial. 38 FIVE YEARS OF VOCAL STUDY Michelena had little use for advertisement or for speaking of his distinguished career. Yet real worth is always recognized; he was widely known, especially in the "music world" (even his funeral bore witness to that) and excellent press reports he never lacked, although it was years since he had left the operatic stage, after which he established himself as vocal master, in San Francisco, where many remember his succession of triumphs throughout the United States, previous to which he had won laurels in Europe and South America. Whenever I hear anyone, especially a singer, flaunting any recognition or prone to pettiness or inexpert criticism of other singers, I cannot but feel they stamp themselves with the stamp of inefficiency, and have never yet been mistaken. I will add here, that I have been asked if Fernando Michelena was the sole teacher of his gifted daughters. He certainly was from their first to their last lesson; he also trained several other prime donne, as well as excellent non professional singers. Michelena always spoke with the greatest apprecia- tion of his teachers; both, of his first boyhood teacher in Caracas and of the great Varayi with whom he studied later in Milan, and this is something else which many singers forget when they become well known; namely, to mention the painstaking teacher who imparted to them their knowledge, but not so with Michelena. When it came to an affectionate remem- UNDER FERNANDO MICHELENA 39 brance, not only his family, his teachers and friends, but the old servants of his boyhood home were never forgotten. How really great characters cherish these memories! As we have previously observed, Michelena sang in the church choir at the age of four, and at the age of nine he first sang by note the soprano soli of a Mass at the Cathedral of Caracas, on July sixteenth 1867; he always affectionately recalled the day, and looked upon it as the day of his debut. From the child who sang in the church choir at the age of four until he passed away at the age of sixty-three his voice was never hushed ; he gave lessons until the day before he died from a sudden apoplectic stroke which took him within a day, and always took the greatest pleasure in his work. After a Requiem High Mass from St. Mary's Cathedral, San Francisco, his remains were laid to rest in Holy Cross Cemetary with all the rites of the Roman Catholic Church. And what an impressive funeral it was! A fitting testimony of the esteem in which a singer, teacher and generous friend was held by members of many professions and stations in life. 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