It is all very well to say that "genius" alone will sway an audience. That may be very true, but why put genius to a doubly hard test? Why handicap it by an unattractive appearance? The top ranking stars who have the strongest claim to genius spend infinite thought upon their apparel, while many beginners, who need all the assistance they can get from any source whatsoever, neglect the first principles of smart attire.

Men’s clothes, except in the case of operatic costume, do not permit very much latitude of choice. The correct clothing for each occasion is somewhat prescribed, but for that very reason the correctness for the occasion is essential. There is considerable leeway in the fit and style of a suit, and if the singer has no recourse to a competent tailor, it behooves him to reflect and investigate prevailing styles and choose one that will enhance rather than detract from his appearance. Comfort is indispensable to the singer; collar and tie must allow freedom to the throat, but a sloppy look is quite unnecessary. A neat, well-pressed, clean kit is an expression of good taste and good manners; and anyone appearing in public should keep this firmly in mind.

For women, hectic color schemes, distracting flyaway draperies, and fussy details lose all character when seen from the stage and are, from the audiences’ point of view, distracting, jejune, and in extremely bad taste. A wise move for any woman who intends to appear in public is to visit a qualified designer or adviser to learn how best to adorn herself from head to foot. The study of stage make-up is very helpful as well.

Operatic performances call for appropriate costume and make-up. The beginning artist often depends upon the opera company wardrobe for his costumes and, to his dismay, finds that the average company wardrobe does not supply outfits that could be called very attractive. It is unnecessarily expensive for the singer to purchase his own costume for a role that is seldom sung, but if a role is to remain in the singer’s repertoire for any length of time, it will be found that a personally owned costume is always more comfortable, more sanitary, and more becoming.

Familiarity with costume, props, and make-up is vital to smooth action; strange helmets, trains, capes, swords, beards, and mustaches have broken up many a singer’s otherwise excellent performance. The beginner must practice moving about in any novel or unaccustomed type of garment until it holds no horrors for him.
Correct fit of a prop or accessory is urgent. I know one audience that will not soon forget the case of a tenor in Lohengrin. Kneeling, head reverently bent, he doffed his helmet, revealing to a soon hilarious audience the ingenious stuffing of newspaper and toweling he had contrived to make the borrowed helmet fit!
Before renting costumes, when this procedure is expedient, the operatic beginner would do well to study the costuming of the people of the period he is to portray.

Vocal Release Review