The worst thing Sbriglia had to contend with was the obtuseness of people. They did not know when they were doing well or ill, and would not believe him when he told them. I remember being there one day while a young Canadian girl was making tones for the master. She had a good voice and could have made a really fine effect if she could only have heard herself with her brain. After he had been working with her for a time, she sang a delightful note properly placed.

"Good!" exclaimed Sbriglia.

"That was lovely," I put in.

"_That?_ I wouldn't sing like that for anything! It sounded like an old woman's voice!" cried the girl, quite amazed.

Sbriglia threw up his hands in a frenzy and ordered her out of the house. So that was an end of her as far as he was concerned.

Sbriglia really loved to teach. It was a genuine joy to him to put the finishing touches on a voice; to do those things for it that, apparently, the Creator had not had time to do. I know one singer who, when complimented upon his vast improvement, replied without the slightest intention of impiety:

"Yes, I am singing well now, thanks to Sbriglia,--and, of course, _le bon Dieu_!" he added as an after-thought.

Everyone knows what Sbriglia did for Jean de Reszke, turning him from an unsuccessful baritone into the foremost tenor of the world. Sbriglia first met the Polish singer at some Paris party, where de Reszke told him that he was discouraged, that his career as a baritone had not been a fortunate one, and that he had about made up his mind to give it all up and leave the stage. He was a rich man and did not sing for a living like most professionals. Sbriglia had heard him sing. Said he:

"M. de Reszke, you are not a baritone."

"I am coming to that conclusion myself," said Monsieur ruefully.

"No, you are not a baritone," repeated Sbriglia. "You are a tenor."

Jean de Reszke laughed. A tenor? He? But it was absurd!

Nevertheless Sbriglia was calmly a.s.sured; and he was the greatest master of singing in France, if not in the world. After a little conversation, he convinced M. de Reszke sufficiently, at least, to give the new theory a chance.

"You need not pay me anything," said the great teacher to the young man.

"Not one franc will I take from you until I have satisfied you that my judgment is correct. Study with me for six months only and then I will leave it to you--and the world!"

That was the beginning of the course of study which launched Jean de Reszke upon his extraordinarily prosperous and brilliant career.

Speaking of Sbriglia leads my thoughts from the study of singing in general to the struggle of young singers, first, for education, and, second, for recognition. I would like to impress upon those who think of trying to make a career or who would like to make one the benefit to be derived from reading the twenty-third and twenty-fourth chapters of George Eliot's _Daniel Deronda_, in which she makes clear how much early environment counts. There must have been some musical atmosphere, even if not of an advanced or educated kind. Music must be absorbed with the air one breathes and the food one eats, so as to form part of the blood and tissue.

It is sad to see the number of girls with the idea that they are possessed of great gifts just ready to be developed by a short period of study, after which they will blossom out into successful singers.

Injudicious friends--absolutely without judgment or musical discrimination--are responsible for the cruel disillusions that so frequently follow. I would like to cry out to them to reject the thought; or only to entertain it when encouraged by those capable by experience or training of truly judging their gifts. Many and many a girl comes out of a household where the highest musical knowledge has been the hand-organ in the street, and believes that she is going to take the world by storm. She is prepared to save and scrimp and struggle to go upon the stage when she really should be stopping at home, ironing the clothes and washing the dishes allotted her by a discriminating and judicious Providence. Said Klesner to Gwendolen who wants to go on the stage in _Daniel Deronda_:

You have exercised your talents--you recite--you sing--from the drawing-room _Standpunkt_. My dear _Fraulein_, you must unlearn all that. You have not yet conceived what excellence is. You must unlearn your mistaken admirations. You must know what you have to strive for, and then you must subdue your mind and body to unbroken discipline. Your _mind_, I say. For you must not be thinking of celebrity. Put that candle out of your eyes and look only at excellence. You would, of course, earn nothing. You could get no engagement for a long while. You would need money for yourself and your family....

A mountebank's child who helps her father to earn shillings when she is six years old--a child that inherits a singing throat from a long line of choristers and learns to sing as it learns to talk--has a likelier beginning. Any great achievement in acting or in music grows with the growth. Whenever an artist has been able to say, "I came, I saw, I conquered," it has been at the end of patient practice. Genius at first is little more than a great capacity for receiving discipline. Singing and acting, like the fine dexterity of the juggler with his cups and b.a.l.l.s, require a shaping of the organs toward a finer and finer certainty of effect. Your muscles--your whole frame--must go like a watch, true, true, true, to a hair. That is the work of springtime, before habits have been determined.

This demonstrates what I cannot emphasise too heartily--the impossibility of taking people out of their normal environment and making anything worth while of them. There is a place in the world for everybody and, if everybody would stay in that place, there would be less confusion and fewer melancholy misfits. Singing is not merely vocal. It is spiritual. One must be _in_ music in some way; must hear it often, or, even, hear it talked about. Merely hearing it talked about gives one a chance to absorb some musical ideas while one's mental att.i.tude is being moulded. Studying in cla.s.ses supplies the musical atmosphere to a certain extent; and so does hearing other people sing, or reading biographies of musicians. All these are better than nothing--much better--and yet they can never take the place of really musical surroundings in childhood. Being brought up in a household where famous composers are known, loved, and discussed, where the best music is played on the piano and where certain critical standards are a part of the intellectual life of the inmates is a large musical education in itself. The young student will absorb thus more real musical feeling, and judgment, and knowledge, than in spending years at a conservatory.

I have often and often received letters asking for advice and begging me to hear the voices of girls who have been told they have talent. It is a heart-breaking business. About one in sixty has had something resembling a voice and then, ten chances to one, she has not been in a position to cultivate herself. It is difficult to tell a girl that a woman must have many things besides a voice to make a success on the stage. It seems so--well!--so _conceited_--to say to her:

"My poor child, you must have presence and personality; good teeth and a knowledge of how to dress; grace of manner, dramatic feeling, high intelligence, and an apt.i.tude for foreign languages besides a great many other essentials that are too numerous to mention but that you will discover fast enough if you try to go ahead without them!"

An impulsive and warm-hearted friend was visiting me once when I received a letter from a young woman whom I will call "E. H.," asking permission to come and sing for me. I read the note in despair and threw it over to my friend.

"What are you going to do about it?" she asked, after she had glanced through it.

"Nothing. The girl has no talent."

"How do you know that?" protested my friend.

"By her letter. It is a cra.s.sly ignorant letter. I feel perfectly sure that she can't sing."

"You are very unkind!" my friend reproached me. "You ought at least to hear her. You may be discouraging a genuine genius----"

"Now see here," I interrupted, "'E. H.' is evidently ignorant and uneducated. She further admits that she is poor. These facts taken together make a terrible handicap. She'd have to be a miracle to make good in spite of them."

"I will pay her expenses to come here and see you," declared my dear friend, obstinate in well-doing, like many another mistaken philanthropist.

I told her that she might take that responsibility if she liked, but that I would have nothing to do with raising a girl's false hopes in any such way. "It's a little hard on her," I said, "to have to borrow money to take a journey simply to be told that she can't sing. However, have it your own way and bring her."

She came. I saw her approaching up the driveway and simply pointed her out to my misguided friend. Anyone would have known the minute he saw "E. H." that she could not sing. She slouched and dragged her feet and was hopelessly ordinary, every inch of her. It was not merely a matter of plainness, but something far worse. She was quite hopeless. It turned out, poor soul, that she was a chambermaid in a hotel. People had heard her singing at her work and had told her that she ought to have her voice cultivated. It was, as usual, a case of injudicious friends, and, by the way, the very fact of being carried away by such praise is in itself a mark of a certain lack of intelligence. This girl had no temperament, no ear, no equipment, no taste, no advantages in the way of having heard music. I had to say to her:

"You have a pretty voice but nothing else, and not a sign of a career.

Dismiss it all, for you must have something more than a few sweet notes."

She cried, and I did, too. I hate to be obliged to tell girls such disagreeable truths.

Another girl came to me with her mother. She was full of herself and her mother equally wrapped up in her. She had taken part in small village affairs in the little Connecticut town where she lived. Her voice was not bad, but she produced her notes in a wrong manner. Her teacher had encouraged her and promised her success. But teachers do that, many of them! I do not know that they can altogether be blamed.

"You don't breathe right," I said to this Connecticut girl. "You don't produce your tone right. You've no experience and, of course, you believe your teacher. But you forget one thing. Your teacher has to live and you pay him for stimulating you, even if he does so without justification."

What I did not go on to say to her, although I longed to, was that she was not the _build_ of which _prime donne_ are made. A _prima donna_ has to be compactly, st.u.r.dily made, with a strong backbone to support her hard work and a _lifted_ chest to let the tones out freely. A niece of Bret Harte's, who appeared for a time in grand opera, drooped her chest as she exhausted her breath and, when I saw her do it, I said:

"She sings well; but she won't sing long!"

She didn't.

My Connecticut girl was big and sloppy, a long-drawn-out person, such as is never, never gifted with a big voice.

There is something else which is very necessary for every girl to consider in going on the operatic stage. Has she the means for experimenting, or does she have to earn her living in some way meanwhile? If the former is the case, it will do no harm for her to play about with her voice, burn her fingers if need be, and come home to her mother and father not much the worse for the experience. I sympathise somewhat with the teachers in not speaking altogether freely in cases like these. There is no reason why anyone should take from a girl even one remote chance if _she_ can afford to take it. But poor girls should be told the truth. So I said to my young Connecticut friend:

"My dear, you are trying to support yourself and your mother, aren't you? Very well. Now, suppose you go on and find that you can't--what will you do then? What are you fitted for? What can you turn your hand to? What have you acquired? Look how few singers ever arrive and, if you are not one of the few, will you not merely have entirely unfitted yourself for the life struggle along other lines?"

Herewith I say the same to four-fifths of all the girl singers who, in villages, in shops, in schools, everywhere, are all yearning to be great. They came to me in shoals in Paris and Milan, begging for just enough money to get home with. I have shipped many a failure back to America, and my soul has been sick for their disappointment and disillusionment. But they will _not_ be guided by advice or warning.

They have got to learn actually and bitterly. Neither are they ever grateful for discouragement nor yet for encouragement. If you give them the former, they think you are a selfish pessimist; and if you give them the latter, they accept it as no more than their due. As I have previously mentioned, I have known only one grateful girl and she was of ordinary ability. Emma Abbott, for whom I certainly did a great deal, was only grateful because she knew it was expected of her by the world at large. I believe she really thought that all I did was to hasten her success a little and that she really had not needed my a.s.sistance.

Possibly, she had not. But this other girl, to whom I gave a little, unimportant advice, wrote me afterwards a most appreciative letter, saying that my advice had been invaluable to her. It was the only word of genuine grat.i.tude I ever received from a young singer; and I kept her letter as a curiosity.

I believe there are, or were, more would-be _prime donne_ in Chicago than anywhere else on earth. I shall never forget appointing a Thursday afternoon in the Windy City to hear twelve aspirants to operatic fame--pretty, fresh, self-conscious, young girls for the most part.

There was one of the number who was particularly pretty and particularly aggressive. She criticised the others lavishly, but hung back from singing herself. She talked a great deal about her voice, saying that she had sung for Theodore Thomas and that he had told her there was no hall big enough for it! Such colossal conceit prejudiced me in advance and I must confess I felt a little curiosity to hear this "phenomenal organ." It proved to be perfectly useless. She had neither power nor quality nor comprehension. She could, however, make a big noise, as I told her. On Sunday my friends began coming in to see me, full of an article that had appeared in one of the papers that morning. Everyone began with:

"Good morning, Louise. My dear! Have you seen,"--etc.

The article, that had quite openly been given the paper by the young lady whose voice had been so much admired by Theodore Thomas, described my unkindness to young singers, my jealous objection to praising aspirants, my discouragement of good voices!

As a matter of fact, I have always been the friend of young girls, especially of young singers. So far from wishing to hurt or discourage them, I have often gone out of my way to help them along. And I believe that every time I have been obliged to tell a young and eager girl that there was no professional triumph ahead of her, it has cut me almost, if not quite, as deeply as it has cut her. For I always feel that I am maiming, even killing some beautiful thing in discouraging her,--even when I know it to be necessary and beneficial.