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But, some one will argue, with the passing of bel canto what will become of the operas of Mozart, Bellini, Rossini, and Donizetti? Who will sing them? Fear not, lover of the golden age of song, bel canto is not passing as swiftly as that. Singers will continue to be born into this world who are able to cope with the floridity of this music, for they are born, not made. Amelita Galli-Curci will have her successors, just as Adelina Patti had hers. Singers of this kind begin to sing naturally in their infancy and they continue to sing, just sing.... One touch of drama or emotion and their voices disappear. Remember Nellie Melba's sad experience with Siegfried. The great Mario had scarcely studied singing (one authority says that he had taken a few lessons of Meyerbeer!) when he made his début in Robert, le Diable and there is no evidence that he studied very much afterwards. Melba, herself, spent less than a year with Mme. Marchesi in preparation for her opera career. Mme. Galli-Curci asserts that she has had very little to do with professors and I do not think Mme. Tetrazzini passed her youth in mastering vocalizzi. As a matter of fact she studied singing only six months. Adelina Patti told Dr. Hanslick that she had sung Una voce poco f
It is to be noted that Nellie Melba and Amelita Galli-Curci are absolutely unfitted to sing in music dramas even so early as those of Richard Wagner; Dukas, Strauss, and Stravinsky are utterly beyond them. Even Adelina Patti and Marcella Sembrich appeared in few, if any, new works of importance. They had no bearing on the march of musical history.
Perhaps there is no singer who more thoroughly believes in the gospel of work, and surely not one who more consistently practices what she preaches, than Amelita Galli-Curci. She knows the value of work, and she loves it for its own sake. There is no long cessation for her, during summer months, "to rest her voice."
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