MUSICAL COURIER
52
February 2, 1922
“DO NOT JUST STICK ON THE JOB,” SAYS IDA GEER WELLER,
“BUT KEEP ON WORKING IN SPITE OF DIFFICULTIES”
Real Success Comes to Those Who Keep on “Plugging,” Always with an Eye Open for the Right Opportunity, She Insists, and Not to Those Who Sit Around and Whine About Conditions—“An Artist Should Never Be Self-Satisfied”—Individuality a Great Factor in One’s Success—Cheap Songs Unnecessary, She Believes
the right teacher is to judge him by the results he achieves in one’s own voice.”
Miss Weller, in speaking of concert programs, deplored the number of singers who resorted to cheap songs as a means of putting themselves “over.”
“If an artist cannot make an appeal on his audience with a good classic, instead of some meaningless cheap song, well then it is the artist who is at fault—not the song! Cheap songs are only a waste of time, and I really can not see why some publishers include them in their catalogues. In connection with failing to put a good song over, let me add that, nine times out of ten, it happens because the artist has not done it as she felt in her real self she could. Perhaps she has allowed herself to be pushed out of the way and instead endeavored to imitate some other artist, who was, no doubt, wise enough to succeed in putting it over in a convincing way by doing it his -very own way. Example of this: When I sang in Boston I sang a certain song the way my coach suggested, although I did not think it should be interpreted so. Result:	the critics
criticized me on that particular song! So when I sang in Philadelphia, I decided to do it my own way, and it went over so much better. All of which proves that one should always be guided by his own individuality.
“I say—do not be an imitator! There are so many already and being one only lessens your power to convince anyone of your ability or art. Don’t try to be a square peg in a round hole, but find your own niche and fill it to the best of your own natural ability! Art is not its best until it becomes unconscious. An audience enjoys a singer who in turn enjoys herself when she sings!”
Summing up Miss Weller’s beliefs and theories, one is more convinced of her absolutely direct way of meeting and knowing, on one hand, the obstacles, and, on the other, the assets that confront one in search of success, and then exerting every effort to achieve the best in herself and in her work.	J• V.
Namara Figures in Chaplin Narrative
Tout New York—or at least all New York that reads the Evening World—has been greatly amused by “Charlie Chaplin’s Own Story of His Trip Abroad” that has been appearing in daily installments in that paper. In the sixth chapter of the humorous narrative, under the title of “Charlie Meets ‘Mysterious Beauty,’ ” the famous motion picture comedian tells how he was photographed on shipboard with Marguerite Namara, soprano of the Chicago Opera Association, without having formally met the singer, due to the zest of the news photographers who were anxious to snap two such notables together. “Does being photographed together constitute an introduction?” queried anxious Charlie in his story. “I had not seen the beautiful opera singer since the picture taking,” continued the actor, “until a day or so later, when suddenly I spotted her wrapped in furs in a deck chair. Mr. Knoblauch, the playwight, was with me, and at my urging he introduced me to the diva. And the first thing I discovered was that she had a husband!” Thus Mr. Chaplin concluded his tale of how he met the “mysterious beauty” on shipboard.
Fourth Baltimore Appearance for D’Alvarez
When Marguerite D’Alvarez sang in Baltimore in December with the New York Symphony Orchestra, it is said the critics went so far as to say that she was the greatest vocal artist heard in the Maryland city this season. As an after-math of her success on that occasion comes the announcement that she ■has been engaged to sing Dalila in an operatic performance of “Samson et Dalila” to be given by the National Opera Association at the Lyric Theater on February 20. Edward Albion, of Washington, will conduct the performance. The leading roles will be sung by stars of the Metropolitan and Chicago opera companies, but the chorus, orchestra and ballet will be recruited in Baltimore. This makes the fourth appearance scheduled for Mme. D’Alvarez there this season. On January 27 she gave a recital at the Peabody Conservatory, and on April 5 will be soloist at the Lyric with the Philadelphia Orchestra, Leopold Stokowski, conductor.
Mme. Calvé to Sing at Rubinstein Recital
At the fourth afternoon musical of the Rubinstein Club, Mrs. William Rogers Chapman, president, the artist will be Emma Calve in a song recital. The event will be given in the Grand Ballroom of the Waldorf Astoria, February 18, at two o’clock. This is to be President’s Day, and ISO presidents of the prominent women’s clubs of New York City and Brooklyn will be among the guests of honor. Following the close of the recital there will be dancing in the ball room. The next evening concert of the club will be held on Tuesday evening, February 28, at the Waldorf Astoria.
Marguerita Sylva to Give Musical Matinees
Marguerita Sylva, soprano, has a unique idea for intimate recitals at one of the smaller New York theaters, to be announced shortly. During February she will give a series of matinee song recitals, singing every afternoon—-except when the regular theater matinee is on—for two weeks or longer. The details of her plan will be announced later.
Three Witherspoon Artists in Verdi Requiem
At the last performance of the Verdi Requiem given by Ossip Gabrilowitsch and the Detroit Orchestra, three of the soloists were Herbert Witherspoon artist pupils—Florence Hinkle, soprano; Merle Alcock, contralto, and Lambert Murphy, tenor, and they all won much praise with their splendid singing.
Ida Geer Weller ־is verily what one might call “a safe and sane” woman 1 Her saneness about life and its various conditions makes her safe—normal 1 And because she is a normal woman she is happily an artist with good common sense. She naturally takes her art very seriously, weighing the “whys” and “why nots” carefully and wisely.
Miss Weller almost from the first admitted to the writer, who, by the way, was favorably impressed from the easy cordial greeting received from her, that there is never a time that she doesn’t take her criticisms after a concert and study them, figuring out the comments both for and against her work. She is mercilessly frank with herself and does not try to deceive herself nor anyone else into believing that the adverse criticisms are unjust, without giving them some consideration.
“An artist should never become self-satisfied because it means the end of future success is in sight,” Miss Weller explained to the writer. “Stagnation sets in 1 It is the eagerness to keep on learning and keeping aloof from self-centeredness that carries one ahead. Criticism, sensibly taken, only aids an artist. It makes no difference how small or great one’s position may be, to enlarge the scope and influence—one has to enlarge himself. Training and knowledge bring power, and the artist who really knows what he is doing commands respect. No matter how mag-
IDA GEER WELLER
netic or forceful one’s personality may be, if he is largely a bluff, he is soon discovered and discarded for an artist of more knowledge.”
“But don’t you think opportunity has a good deal to do with some people’s success?” asked the writer.
“In some cases, no doubt,” answered the singer thoughtfully, “but I feel the good things in life go to the person who is doing and proving his ability, not to those who await the right chance. The person who sticks on the job and keeps right on working and planning in the face of all kinds of difficulties, goes far ahead of the one who sits around whining about conditions—talking of how they used to be different—and trying to calculate why the plodder succeeds when he does not.
“Another thing that is important to real success—individuality. You can’t get away from the fact that it plays a big part in a singer’s make-up. Individuality and success go hand in hand.
“Much of the non-success of the world today is the result of repressed individuality—the lack of individual growth. Teaching and study must be individual, and enough of foundational work—technic—must be absorbed to become part of the individual. One’s art will then be free and spontaneous, not hampered or; a studied, mechanical performance. A singer must live the art which is his own message, style or type, and take an individual place in the field. He must not imitate his teacher or coach but live up to and put forth his own ideals.
“In this country,” continued Miss Weller, “an attempt should be made to get away from the domination of teachers. Technic is a foundation and absolutely necessary, but an audience wants a finished product, looks for the message in the songs sung, and not for an hour of technical tone practice.
“When artists come from Europe,” the singer hesitated a second, then added, “do they carry a teacher on their coat-tails? Certainly not. Here in New York when an American singer makes her début, at Carnegie, Aeolian, or the Town Hall, it seems that the most important question on the audience’s mind or lips is : ‘Who does she or he study with ?’ ”
Miss Weller went to explain to the writer, who was inclined to agree with her on this point, that “no one person knows everything and a teacher is or should be a guide. If one finds he is being guided the wrong way, then the more he allows himself to follow that track, the further away from his goal he must be carried. There is so much talk about good and bad teachers that at times one seems to be in a quandary, but the way really to know
JESSIE MASTERS
THE ALL AMERICAN CONTRALTO
HARRT H. HALL, 101 Park At»■«, N«w York
Teacher of Singing
STUDIO: «
333 West End Ave. (76th St.) Phone 5217 Colombns New York
ZERFFI
OPERATIC and CONCERT TENOR Graduate, Royal Conservatory of Music MILANO, ITALY 125 East 37th Street New York
GIUSEPPE BOGHETTI
Vocal Studios: 1710 Chestnut Street Philadelphia, Pa.
MAESTRO ANGELO QUERZE
LEADING EXPONENT OF BEL CANTO IN AMERICA Teacher of Leading Singers. Endorsed by Foremost Artists Voice Studio: 301 West 72 Street,	New York
MAX GEGNA ’Cellist
Management:	S. HUROK, Aeolian Hall, N. Y.
Studio 149 Manhattan Ave. (Phone: Academy 1527) New York
Vocal Teacher and Coach
Teacher of
OLGA CARRARA
ASTOLFO
2231 Broadway (Corner 80th St.)	Studio 12, New York
Apply by mail only.
JOSEF HOLBROOKE
New Orchestral Works
“Bronwen” (overture), Wild-fowl (Fantasie). Scotch Dances —“Les Hommages״ (Symphony), “Apollo״ (Symphony), “Gwyn״ (Piano Concerto). Violin Concerto—
Performed London Sym. Orch. Goossens concerts, U. S. A., Rio de Janeiro, Munich, Vienna, etc.
Agent for all works Goodwin and Tabb, Percy St., London.
«MATTHEWS’"״
CONCERT ::	ORATORIO ::	OPERA
Available for Courses of Educational Institutions
Address Secretary, Matthews, 404 Knabe Building, New York, N. Y.
THEODORE
SCHROEDER
The Art of Singing
Pierce Bldg־., Copley Square, Boston, Mass.
The
School of Experience
An institution where young men and women acquiring operatic repertoire can individually interpret their roles on the stage of the Miniature Theatre under the personal direction of Mr. Milton Aborn.
For further particulars and catalog address
SECRETARY 137 West 38th Street Fitz Roy 2121