英语小说网

So many young people think because they have a good voice and they have cultivated it, they are singers. All this cultivation and irritation and irrigation and gargling of the throat are merely symptoms of a singer—merely neckties. Singers look better with neckties.

They think the song comes from the diaphragm. But it comes from the heart, chaperoned by the diaphragm. You cannot sing a song you have not lived.

Jessie was singing the other day at a chautauqua. She has a beautiful voice, and she has been away to "Ber-leen" to have it attended to. She sang that afternoon in the tent, "The Last Rose of Summer." She sang it with every note so well placed, with the sweetest little trills and tendrils, with the smile exactly like her teacher had taught her. Jessie exhibited all the machinery and trimmings for the song, but she had no steam, no song. She sang the notes. She might as well have sung, "Pop, Goes the Weasel."

The audience politely endured Jessie. That night a woman sang in the same tent "The Last Rose of Summer." She had never been to Berlin, but she had lived that song. She didn't dress the notes half so beautifully as Jessie did, but she sang it with the tremendous feeling it demands. The audience went wild. It was a case of Gussie and Bill Whackem.

All this was gall and wormwood to Jessie. "Child," I said to her, "this is the best singing lesson you have ever had. Your study is all right and you have a better voice than that woman, but you cannot sing "The Last Rose of Summer" yet, for you do not know very much about the first rose of summer. And really, I hope you'll never know the ache and disappointment you must know before you can sing that song, for it is the sob of a broken-hearted woman. Learn to sing the songs you have lived."

Why do singers try to execute songs beyond the horizon of their lives? That is why they "execute" them.