Musical.

Southern Cross, Volume 1, Issue 5, 29 April 1893, Page 5

Musical.

HINTS TO YOUNG SINGERS. (By Madame Albani, in the Queen.) I have often been asked to give advice to young artistes, and I can think of no better method of doing so than by describing the way I have studied myself; and as I have succeeded in making a certain reputation — though 1 say this with great diffidence, for I always think that there is no reputation so high but that it can rise higher still—my experience may prove useful to those who are beginners. Especially, I may add, to those who are earnest in their desire to become true artistes, and who also are not afraid of hard work—real hard work, I mean. Doubtless artistes must be “born,” but they must be “ made ” too. At the age of four years I began tft learn music, and between four and eight years old I studied all the classical music as thoroughly as it was possible for any child to do. At eight I could read and play at sight all the principal works of Beethoven, Mozart, Hayden, Handel, Gluck, &c. I could read them with ease, and every other description of pianoforte music came to me without the least difficulty, and I cannot help believing an early musical education to be of the greatest importance to an artiste. On leaving the convent in Montreal where I was educated, I sang in St. Joseph’s Church in Albany. I was engaged for three years there as first soprano, although I was then but fourteen, and the training I had gone through stood me in good stead, for even at that early age I was there able to sing all Mozart’s and Cherubini’s masses, and even Beethoven’s great mass in D, and “ Hear ye, Israel,” I often sang. I am quite sure that to the singing and study of this sacred music at that time I am greatly indebted for whatever success I may have had since in oratorios. I have often heard the remark made, that singing suchj music when so young must, or rather ought, to have hurt my voice; but this distinctly was not the case, and indeed, if a voice he properly used it is never spoilt. And this is a truth I would earnestly impress upon all young singers, for it is the “use,” and not the “ abuse,” of it which they should unceasingly bear in mind. From Albany I went to Paris, and studied under the celebrated M. Duprez. In a happy moment I was advised to go to Milan to study under Signor Lamperti, whom I cannot help considering as one of the very first masters in the world, and without whom I never could have done what I have. His is the pure Italian method, the only one by which an artiste can sing properly, the only one which teaches the right and true production of the voice, and the right way of breathing, in fact, the only “method” I am able to recognise. His care of his pupils was remarkable, never allowing them to sing for more than twenty minutes at a time, and then insisting on a rest of an hour. Indeed, this is a necessity with young artistes, and a regulation about which Signor Lamperti was most severe.

With regard to Wagner’s music being supposed to hurt the voice, I can only repeat the opinion here which I have so often expressed before, that I consider, if the method be good, nothing can hurt the voice. When the singing of Wagner s music has done so, it is because a young artiste has begun to sing it without having first learnt to sing properly, and without having acquired the true method. To bear out my view of this, when the great Wagnerian musician and pianist, Herr von Bulow (to whose unremitting efforts the first recognition in Germany of Wagner’s talent and music is mainly due), heard me in “ Lohengrin” the first time I ever sang it, he said “If ever Mdlle. Albani go to Germany, she will prove to the Germans that Wagner can be sung.”