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De Luca uses full power during practice, while Raisa sings softly, or with medium, tone, during study hours, except occasionally when she wishes to try out certain effects. Martinelli states he always practices with full voice, as with half voice he would not derive the needed benefit. Mme.
"There are so many sides to the singer's equipment, besides singing itself"; and Mme. Raisa lifted dark eyes and spread out her graceful hands as though to indicate the bigness of the subject. "Yes, there is the piano, for instance; the singer is much handicapped without a knowledge of that instrument, for it not only provides accompaniment but cultivates the musical sense.
Mme. Raisa stood in the doorway of her New York apartment, ready to greet us as we were shown the way to her. Her figure, clad in close-fitting black velvet, looked especially slender; her manner was kind and gracious, and we were soon seated in her large, comfortable salon, deep in conference. Before we had really begun, the singer's pet dog came bounding to greet us from another room.
Raisa: "If I have developed perfect control throughout the two and a half octaves of my voice, can make each tone with pure quality and perfect evenness in the different degrees of loud and soft, and if I have perfect breath control as well, I then have an equipment that may serve all purposes of interpretation.
Indeed, many were pianists in the beginning, before they began to develop the voice. Among those who had this training are: Galli-Curci, Lehmann, Raisa, D'Alvarez, Barrientos, Braslau, Case. Miss Braslau says: "I am so grateful for my knowledge of the piano and its literature; it is the greatest help to me now.
To my thinking all children should have piano lessons; the cost is trifling compared with the benefits they receive. They should be made to study, whether they wish it or not, for they do not know what is best for them." Mme. Raisa says: "There are so many sides to the singer's equipment besides singing itself.
The tiny creature, a Mexican terrier, was most affectionate, yet very gentle withal, and content to quietly cuddle down and listen to the conversation. "I will speak somewhat softly," began Mme. Raisa, "since speaking seems to tire me much more than singing, for what reason I do not know. We singers must think a little of our physical well being, you see.
"So we are doing our part, both to aid the young singer who sorely needs experience and to educate the masses and general public to love what is best in modern Italian opera!" To the present day opera goers the name of Rosa Raisa stands for a compelling force. In whatever rôle she appears, she is always a commanding figure, both physically, dramatically and musically.
Rosa Raisa speaks eight languages, according to her personal statement. Russian, of course, as she is Russian, then French, Italian, German, Spanish, Polish, Roumanian and English. "The duty is laid upon Americans to study other languages, if they expect to sing," says Florence Easton. "I know how often this study is neglected by the student.
Begin single tones piano, make a long crescendo and return to piano. Another exercise employs two connecting half tones, using one or two vowels. During practice stand before a mirror. Raisa assures us she works at technic every day.
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