No nation need have much difficulty in producing a race of Wagnerian singers.  With the single exception of Handel, no composer has written music so well calculated to make its singers vocal athletes as Wagner.  Abominably as the Germans sing, it is astonishing how they thrive physically on his leading parts.  His secret is the Handelian secret.  Instead of specializing his vocal parts after the manner of Verdi and Gounod for high sopranos, screaming tenors, and high baritones with an effective compass of about a fifth at the extreme tiptop of their ranges, and for contraltos with chest registers forced all over their compass in the manner of music hall singers, he employs the entire range of the human voice freely, demanding from everybody very nearly two effective octaves, so that the voice is well exercised all over, and one part of it relieves the other healthily and continually.  He uses extremely high notes very sparingly, and is especially considerate in the matter of instrumental accompaniment.  Even when the singer appears to have all the thunders of the full orchestra raging against him, a glance at the score will show that he is well heard, not because of any exceptionally stentorian power in his voice, but because Wagner meant him to be heard and took the greatest care not to overwhelm him.  Such brutal opacities of accompaniment as we find in Rossini’s Stabat or Verdi’s Trovatore, where the strings play a rum-tum accompaniment whilst the entire wind band blares away, fortissimo, in unison with the unfortunate singer, are never to be found in Wagner’s work.  Even in an ordinary opera house, with the orchestra ranged directly between the singers and the audience, his instrumentation is more transparent to the human voice than that of any other composer since Mozart.  At the Bayreuth Buhnenfestspielhaus, with the brass under the stage, it is perfectly so.

On every point, then, a Wagner theatre and Wagner festivals are much more generally practicable than the older and more artificial forms of dramatic music.  A presentable performance of The Ring is a big undertaking only in the sense in which the construction of a railway is a big undertaking:  that is, it requires plenty of work and plenty of professional skill; but it does not, like the old operas and oratorios, require those extraordinary vocal gifts which only a few individuals scattered here and there throughout Europe are born with.  Singers who could never execute the roulades of Semiramis, Assur, and Arsaces in Rossini’s Semiramide, could sing the parts of Brynhild, Wotan and Erda without missing a note.  Any Englishman can understand this if he considers for a moment the difference between a Cathedral service and an Italian opera at Covent Garden.  The service is a much more serious matter than the opera.  Yet provincial talent is sufficient for it, if the requisite industry and devotion are forthcoming.  Let us admit that geniuses of European celebrity are indispensable at the Opera (though I know better, having seen lusty troopers and porters, without art or manners, accepted by fashion as principal tenors at that institution during the long interval between Mario and Jean de Reszke); but let us remember that Bayreuth has recruited its Parsifals from the peasantry, and that the artisans of a village in the Bavarian Alps are capable of a famous and elaborate Passion Play, and then consider whether England is so poor in talent that its amateurs must journey to the centre of Europe to witness a Wagner Festival.

The truth is, there is nothing wrong with England except the wealth which attracts teachers of singing to her shores in sufficient numbers to extinguish the voices of all natives who have any talent as singers.  Our salvation must come from the class that is too poor to have lessons.