The case is different where a soprano who may have begun by singing the florid rôles of opera, has so gained in volume of voice and breadth of style as to warrant her devoting these acquisitions to characters requiring more dramatic force than was needed, or could be utilized, in coloratura rôles. Mlle. Emma Calvé, Mesdames Lilli Lehmann and Nordica, are notable examples of this. Each of these distinguished artists began her career by singing what are known as "Princess" rôles, before successfully portraying Carmen or the Brünnhildes. As a rule, it is by singing many different rôles that the lyric artist gains the skill and sureness that may ultimately render him famous in a few. Mlle. Grandjean, now principal first dramatic soprano at the Paris Opéra, began her career there--after a few appearances at the Opéra-Comique--by singing the very small part of the nurse Magdalene in Wagner's _Die Meistersinger_. Perseverance, if allied to ability, can accomplish much.
When the type of voice and the natural temperament of the singer do not accord--as sometimes happens--he would be unwise not to adhere to the work for which his vocal means, not his preference, are best adapted. To follow the contrary path, and essay rôles requiring for their fitting expression more dramatic fire and intensity than his vocal instrument can supply, would be to shorten his career, owing to the certain deterioration and possible extinction of the voice. There are sufficient voiceless examples to prove, were proof needed, the truth of this assertion; and their atonic condition is due to the cause mentioned.
The first requisite for the aspirant who wishes to follow the operatic career is undoubtedly a voice possessed of the three essential factors of Quality, Power and Compass; what is termed in Italy a "_voce di teatro_," or voice for the theatre.
But an opera-singer is actor as well as singer, and in this direction more--much more--is now demanded of him than formerly. But to those possessed of what is known as the Instinct of the Theatre, or Scenic Instinct, the gestures and attitudes of the operatic stage, being largely conventional, are soon acquired. Scenic accomplishments are undoubtedly necessary to the stage-singer, but his mimetic studies should not preclude him from making himself a thorough master of the vocal side of his art. There is a difference between an actor who sings, and a singer who acts.