.

It is to be deplored that the studies of many vocal aspirants are not
conducted on the same plan that is followed by those who desire to
attain perfection on a musical instrument. These acquire a technique,
and learn or study many works which may broaden or perfect their
style, before commencing to prepare a repertoire. The opposite course
is followed by many students of singing, who study roles, instead of
learning first how to sing. The full meaning of the highest examples
of the modern lyric drama can be made apparent only by those who have
fully mastered the vocal, as well as the mimetic, side of lyric art.
Too much importance is, in my opinion, attached to the latter branch,
at the cost of the former. I repeat, an opera-singer should be a
singer who acts, not an actor who sings.

* * * * *

On the occasion of the bestowal of awards at the Paris Conservatoire
in August, 1905, M. Dujardin-Beaumetz, Under-Secretary for the Fine
Arts, in his address to the students made pointed allusion to the
difference of results between the instrumental classes and those for
singing. Said the orator: "It is claimed that singing is in a state of
decadence, and that the cause is largely due to the style of modern
music. It is rather owing to the fact that this art is not studied at
present with the same methodic diligence that formerly obtained. I
would remind the students of singing that they gain nothing by
neglecting the earlier studies, and that their professional future
would be better assured if it rested on a solid basis of vocal
technique. It is, therefore, in their interest that, with a view to
assure this important point, certain reforms will be instituted."[6]

[Footnote 6: One of these reforms was that the first year's study is
to be devoted entirely to tone-formation; no attention being paid to
the employment of the tones in melody. Nor are the professors of
singing at the Conservatoire now selected--as was formerly the
case--exclusively from among ex-opera-singers.]

The professors of the classes for singing were also advised to draw
more on the great classic writers for the voice, instead of confining
themselves principally to the operatic repertoire.

Every art reaches its apex of perfection, and then seems to decline;
it may even temporarily disappear. But, being immortal, it is never
lost. It finds other modes of manifestation, and reappears in other
forms. The principles on w