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26
Come On, Let's Sing!
Bessie Love, seated on piano, Gwen Lee, Carmel Myers pupils of Lillian Sloane from whom they take
Miss Swanson is seen quite often at the opera. There has always been, in my opinion, something about her that suggested a prima donna. She is not like Mary Garden. And yet she is not unlike her, in respect to pictorial effulgence, and magnetism, and something vaguely suggesting manner. Of course, nobody could be quite like Garden. There isn't enough vitality in two exceptional women to match one fourth of what the dazzling Mary has. On the other hand, there is nobody quite like Swanson. And it wouldn't surprise me in the least if some time in the future she embarked on an operatic career. She would fit well into French opera. It's a long, tedious road to get there, but Swanson has the advantage of a big reputation ; she has native talent for singing, a great love for music ; she is young, and she has, above all, learned to discipline her mind, which is nine tenths of the battle.
Gloria has been studying with a teacher by the name of Mark Markoff . She brought him West from New York solely for that purpose.
A story appeared in the newspapers recently, saying that Miss Swanson was planning to give a recital in Los Angeles in the fall, probably to prove that she is not having a double appear for her in pictures. It is reasonable to presume that the report is highly exaggerated, consid
ering the length of Miss Swanson's study, and so forth.
Bebe Daniels is an amazing example of what a well-disciplined person can accomplish in almost any field. Bebe received the biggest acting-singing plum of the year when she was cast for "Rio Rita." She determined to learn how to sing so that she would have no double. The result is that in less than six months of serious, intelligent study, she equipped herself sufficiently for the role. It is half dialogue and half singing. It is a rather tough role for any but a professional songbird, but Bebe will make it because of her natural gifts of voice, her tremendous earnestness and, of course, her ability as an actress.
I heard her take a lesson one day, and also listened to the rushes of her voice tests. She is studying with Otto Morando, a teacher of broad experience and highest standing. She takes a lesson daily, as do all of the players in Hollywood. There are periods, however, which are interrupted, due to studio demands. Now the average music student would fiercely object to any one's listening to his or her lesson. But not Bebe. She said, "Sure, come along. Tickled to death. If you can stand it, I can." And to the credit of Signor Morando, it must be said that he encourages all his pupils— -and there are very many — to sing before each other and any "visiting delegates."
It was very thrilling to watch Bebe. She literally took her entire vocal apparatus between her teeth and shook tones out. No halfway measures with her. She either sings, or she doesn't. And if she is wrong in her tone production, she demands to know why, and ) Continued on page 108
Clifford Lott can point to "Smiling Irish Eyes" as proof of his success in developing Colleen Moore's charming voice.
, and Leatrice Joy are daily lessons.