CARUSO ON THE ART OF SINGING.

Sun (Christchurch), Volume I, Issue 18, 26 February 1914, Page 5

CARUSO ON THE ART OF SINGING.

EFFECT OF SMOKING AMD DRINKING. "I am inclined to condemn the use of spirits, whisky in particular, which is so prevalent in Anglo-Saxon countries, for it is sure to influence the delicate little ribbons of tissue ■which produce the singing tone. ... Though I indulge occasionally in a cigarette, •I advise all singers, particularly young singers, against this practice, which can certainly not fail to haye a bad effect on the delicate lining of the throat, the vocal cords and lungs." Here we have a plain, direct answer to a question that is always being put by young, men who want to become singers. There may be exceptions to this, as to every rule, but the advice is not to be trifled with. It comes from Enrico Caruso, and he ought to know. It is contained in his interesting brochure, "How to Sing." The knowledge, the experiences of such an artist are worth pondef-ing. They are bound to be helplul. At the same time he wisely warns his readers not to expect him to set forth in detail a, "method" that will suit everybody. "There are," he says, "as many meth- " ods as there are singers, and my particular method, even if accurately set forth, might be useless to the person who tried it." Nevertheless there is in this book a vast deal of information that can help the student to form his own method correctly. Caruso's observations on the '' attack'' of the tone are such as all may learn and follow with profit, especially if they put the right construction on his words and understand exactly what he means by the attack b<vng made "far back enough in the throat." No mistake can be made as to what he says about '' breath control" and the use of the diaphragm; while as to the taking of high notes there could be no finer advice, than this: "A balance must be maintained all the way up, so that the highest note receives the benefit and support of the original position of the throat, and there is no danger consequently of the throat closing and pinching the quality of , the top notes.'' English tenors would do well if they always bore this in mind. Then, again, the chapter on "Faults to be Corrected" may be of the utmost service. It contains many valuable warnings, notably as to the wrong use of the "mezza voce," faulty tonecolours, throatiness, the "bleat," the tight jaw, and so forth. Caruso is an advocate of practice with the closed mouth, though not for singers who are troubled with the fault of closing the throat too much. He demands strict regard for time, and points 'out that "those who roar most loudly rarely ( sing in time. They give every tlioiight to the volume of tone .they are producing, and do not bother themselves about anything else." How true tori's js! We are quite in accord with the distinguished tenor's remarks upon diction and the effect of language upon singing'. He speaks well, too, upon the subject of teachers, and thinks it better not to "stick entirely to one when additional ideas may be acquired by making a change. Singers who would take up operatic work must first master technique thoroughly before? trying to effect an entrance into the big opera houses. But he adds, '' Be sure that the voice is well placed before trying any of this sort of work, and never attempt to sing a role above your powers in the earlier stage of your career, which otherwise may be compromised permanently.'' Signor Caruso's chapters' are preceded by a "foreword" in which the story of his artistic life is ably and succin'.-jr related./