Оглавление
Harriette Brower. Vocal Mastery
Vocal Mastery
Table of Contents
ILLUSTRATIONS
FOREWORD
VOCAL MASTERY
I
ENRICO CARUSO
THE VALUE OF WORK
IN EARLY DAYS
RIGID DISCIPLINE
THE FIRST REAL CHANCE
A REVELATION
RESULTS OF THE REVELATION
THE VALUE OF WORK TO THE SINGER
CEASELESS STUDY
A LAST WORD
II
GERALDINE FARRAR
THE WILL TO SUCCEED A COMPELLING FORCE
THE QUESTION OF HEALTH
TECHNICAL STUDY
WITH LEHMANN
MEMORIZING
CONTRASTING COLORATURA AND DRAMATIC SINGING
TO THE YOUNG SINGER
MODERN MUSIC
VOICE LIMITATIONS
VOCAL MASTERY
III
VICTOR MAUREL
MIND IS EVERYTHING
IV
A VISIT TO MME. LILLI LEHMANN
EXAMINING A PUPIL
THE MOZART FESTIVAL
LEHMANN THE TEACHER
BREATHING
REGISTERS
PHYSIOLOGY
THE NASAL QUALITY
USE OF THE LIPS
POWER AND VELOCITY
V
AMELITA GALLI-CURCI
SELF-TEACHING THE GREAT ESSENTIAL
SELF-STUDY
NEVER STRAIN THE VOICE
USE OF THE VOWELS
MEMORIZING
THE NECESSITY FOR LANGUAGES
COLORATURA AND DRAMATIC
BREATH CONTROL
THE MATTER IN A NUTSHELL
VI
GIUSEPPE DE LUCA
CEASELESS EFFORT NECESSARY FOR ARTISTIC PERFECTION
THE MUSICAL GIFT
A REMARKABLE TEACHER
THE ARTIST LIFE
CONSTANTLY ON THE WATCH
LEARNING A NEW RÔLE
ALWAYS BEING SURE OF THE WORDS
NATURAL ANXIETY
GROWTH OF MUSICAL APPRECIATION IN AMERICA
VII
LUISA TETRAZZINI
THE COLORATURA VOICE
FOR THE DÉBUTANTE
THE COLORATURA VOICE
VIII
ANTONIO SCOTTI
TRAINING AMERICAN SINGERS FOR OPERA
CHARACTERIZATION
OPPORTUNITY FOR THE AMERICAN SINGER
ITALIAN OPERA IN AMERICA
AMERICAN COMPOSERS
OPERATIC TRAINING
IX
ROSA RAISA
PATIENCE AND PERSEVERANCE WIN RESULTS
A PRIMA DONNA AT HOME
THE SINGER'S LIFE
VOCAL TRAINING
"ONE VOICE"
COLORATURA AND DRAMATIC
DO NOT YIELD TO DISCOURAGEMENT
MUSICIANSHIP
HAVE PATIENCE
VOCAL MASTERY
X
LOUISE HOMER
THE REQUIREMENTS OF A MUSICAL CAREER
FOR THE GIRL WHO WANTS TO MAKE A CAREER
HOW AN ARTIST WORKS
THE START IN OPERA
WHAT ARE THE ASSETS FOR A CAREER?
COLORATURA AND DRAMATIC
MEMORIZING
VOCAL MASTERY
XI
GIOVANNI MARTINELLI
"LET US HAVE PLENTY OF OPERA IN AMERICA"
DAILY STUDY
TREATMENT OF THE VOICE
A NEW RÔLE
OPERA IN EVERY CITY
XII
ANNA CASE
INSPIRED INTERPRETATION
TONE PLACEMENT
WHEN TO PRACTICE
USING FULL, VOICE
THE SUBJECT OF INTERPRETATION
THE WORDS OF A SONG PARAMOUNT
GROWTH OF APPRECIATION
XIII
FLORENCE EASTON
PROBLEMS CONFRONTING THE YOUNG SINGER
THE YOUNG SINGER
THE STUDIO VERSUS THE CONCERT ROOM
VALUE OF HONEST CRITICISM
BREATHING EXERCISES
"STUDY THE PIANO!"
FULL OR HALF VOICE
IN REGARD TO MEMORIZING
FEELING DEEPLY DURING PERFORMANCE
LANGUAGE
THE IDEAL WAY
AMOUNT OF DAILY PRACTICE
OPPORTUNITIES FOR THE YOUNG SINGER IN AMERICA
XIV
MARGUERITE D'ALVAREZ
THE MESSAGE OF THE SINGER
SENTIMENT VERSUS TEMPERAMENT
MASSAGE THE VOICE
XV
MARIA BARRIENTOS
BE YOUR OWN CRITIC
BEGINNING VOCAL STUDY WITH OPERA
MEMORIZING
SPANISH OPERA
XVI
CLAUDIA MUZIO
A CHILD OF THE OPERA
TECHNICAL PRACTICE
BREATH CONTROL
MEMORIZING
KEEPING UP REPERTOIRE
XVII
EDWARD JOHNSON
(EDOUARDO DI GIOVANNI)
THE EVOLUTON OF AN OPERA
A MUSICAL CAREER
NOT MANY RULES
THE EAR
BEL CANTO
LEARNING A RÔLE
INTERPRETATION
LEARNING BY DOING
XVIII
REINALD WERRENRATH
ACHIEVING SUCCESS ON THE CONCERT STAGE
VOCAL CONTROL
EARLY EXPERIENCES
DAILY PRACTICE
WITH MAUREL
THE SINGER BEFORE AN AUDIENCE
THE SINGER IN HIS STUDIO
VOCAL MASTERY
XIX
SOPHIE BRASLAU
MAKING A CAREER IN AMERICA
XX
MORGAN KINGSTON
THE SPIRITUAL SIDE OF THE SINGER'S ART
RULES OF TECHNIC
EARLY STRUGGLES
WHAT THE TEACHER SHOULD DO FOR THE STUDENT
THE TECHNICAL SIDE
THE MORAL SIDE
XXI
FRIEDA HEMPEL
A LESSON WITH A PRIMA DONNA
BREATHING
VOCAL TECHNIC
VOCAL PRACTICE
WHAT IT MEANS TO BE A SINGER
AMERICAN VOICES
THE YOUNG SINGER BEFORE AN AUDIENCE
OPERA OR CONCERT
COLORATURA OR DRAMATIC
WITH THE MASTER TEACHERS
XXII
DAVID BISPHAM
THE MAKING OF ARTIST SINGERS
THE PROBLEM OF BREATH CONTROL
TECHNICAL MATERIAL
THE STUDY OF REPERTOIRE
CHARACTERIZATION
KNOWLEDGE OF ANATOMY
IN THE STUDIO
VOCALIZES
XXIII
OSCAR SAENGER
USE OF RECORDS IN VOCAL STUDY
TEACHER, ARTIST AND ACCOMPANIST IN ONE
SIMPLICITY
IMITATION A FUNDAMENTAL PRINCIPLE
FOR BEGINNERS
THE ACCOMPANIST
THE SPEAKING VOICE
BREATHING EXERCISES
PHRASING
TONE PRODUCTION
SUSTAINED TONES
UNITING SEVERAL TONES
ARPEGGIOS
THE TRILL
VOCALIZES
XXIV
HERBERT WITHERSPOON
MEMORY, IMAGINATION, ANALYSIS
BEL CANTO
MEMORY
IMAGINATION
ANALYSIS
CONSCIOUS OR, UNCONSCIOUS CONTROL
DOES THE SINGER HEAR HIMSELF?
XXV
YEATMAN GRIFFITH
CAUSATION
TONE PLACEMENT
IN THE BEGINNING
BREATH CONTROL
CAUSATION
REGISTERS
VOCAL MASTERY
XXVI
J. H. DUVAL
SOME SECRETS OF BEAUTIFUL SINGING
WORDS IN THE VOICE
VOCAL MASTERY
XXVII
THE CODA
A RESUMÉ
AMERICAN VOICES
AMERICAN VOICE TEACHERS
ARE AMERICAN VOCAL STUDENTS SUPERFICIAL?
THE VOCAL STUDENT MUST NOT BE AFRAID TO WORK
THE REQUIREMENTS FOR A VOCAL CAREER
WHAT BRANCHES OF STUDY MUST BE TAKEN UP?
BREATH CONTROL
SPECIFIC EXERCISES
LENGTH OF TIME FOR DAILY PRACTICE
WHAT VOWELS TO USE
HALF OR FULL VOICE?
HEARING YOURSELF
VOCAL MASTERY, FROM THE ARTISTS' VIEWPOINT
THE END
