There is nothing so beneficial to the young artist as the kindly and just criticism of a person who knows and nothing so stimulating as his praise. Among my most priceless possessions I treasure the words of encouragement given me by Patti and Sembrich, those wonderful artists, when I was beginning my career. Mme. Patti is a splendid example of the many sidedness necessary to artistic perfection. Her wonderful voice was always supplemented by complete knowledge of the art of singing, and her mastery of languages and of different fields of art made her not only a great artist, but a most interesting woman. To hear an artist of this kind is one of the most profitable parts of a musical education. But there are two ways of listening to a singer. There is the appreciative way, and there is the entirely critical. The beginner usually tries to show her knowledge by her intensely critical attitude. The older you become in your art the more readily you will be able to appreciate and learn from the singers you hear on the opera or concert stage. The greatest and the humblest singer can teach you something. But to learn you must be in a receptive attitude. The public has no real conception of what an amount of intelligent work besides talent and art is necessary to achieve the results which it sees or hears. Only those whose lives are devoted to the same ideals can understand the struggles of other artists, and it is for that reason that appreciation and not condemnation should be on the tongues of those who themselves have studied. The artist may demand the greatest things of herself, and what may be good enough for others is not good enough for her. As the poet says, "Art is long," though life may be short, and singing is one of the most fleeting of all arts, since once the note is uttered it leaves only a memory in the hearer's mind and since so many beautiful voices, for one reason or other, go to pieces long before their time. If the singer's health is good the voice should end only with life itself, provided, of course, it has been used with understanding and with art. In performing before the public one should be governed by the tastes of the public, not by one's own tastes. Just as the comedian usually wishes to play Hamlet and the man of tragic mien thinks he could be a comedy star, the singer who could make a fortune at interpreting chansonnettes usually wishes to sing operatic rôles, and the singer with a deep and heavy voice is longing to inflict baby songs on a long suffering public.
me when im obsessed with dead singers from 50 (well... mostly 70-120) years ago and im heartbroken to know i'll never see them on stage... never hear them breathe, never see them sweat, never even touch the hem of their garment...