But, as Mme. Lucca remarks, "neither Wagner nor any other
composer spoils the voice of any one who knows how to sing." She thinks
that at least six years of faithful study are necessary to develop the
voice in accordance with artistic principles. Herr Hey is somewhat more
lenient, three years of thorough training sufficing, in his opinion, as
a preparation for the stage. Much, of course, depends on individuals,
and the number of hours given to study every day. In the old Italian
vocal schools, two centuries ago, the pupils were kept busy six or
eight hours a day, devoting one hour to difficult passages, another to
trills and to accuracy of intonation, others to expression, to
counterpoint, composition and accompaniment, etc. They often practised
before a mirror in order to study the position of the soft parts in the
mouth, and to avoid grimaces; and sometimes they sang at places where
there was a good echo, so as to hear their own faults, as if some one
else were singing. Yet, as we have seen, the main stress was laid on
agility of technical execution, whereas the modern German method,
without in the least neglecting technique, calls upon pupils to devote
more attention to the principles of soulful expression and dramatic
accentuation.
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