Several hours a day should be spent on repertoire study. Part of this time should include a silent period to allow for memorizing words; some of the time should be spent at the piano going over the music; and the rest of the period should be spent with an accompanist or coach if possible, singing easily, so as not to tire the voice.

Every student wishes to know just how much or how little actual vocalizing he should do per day. While, as I have said before, each pupil is a separate problem, I have found it a good general rule to advise practice as follows: For the beginner, about one hour per day, this to be divided into fifteen or twenty minute periods. For the advanced pupil, two hours per day is not too much, for concert and operatic appearances require performances of approximately that length, and if one is unused to singing for so long a period, a public performance will prove physically exhausting. The wise student will prepare carefully for professional work by gradually increasing his practice periods until a two-hour schedule, interspersed with ten- or fifteen-minute rest periods similar to the intermissions between acts at the theater, can be sung without fatigue.

The operatic aspirant should learn and memorize as many roles as possible. He should not limit his study to the leading roles, but should learn all the smaller ones as well. No role in an opera is too small for the novice, and much valuable experience can be obtained by singing small parts in professional or semi-professional performances. Not only will such experience be invaluable in combating stage fright, but it will enable him to become familiar with the stage and accustom him to singing with orchestral accompaniment, all of which will help immeasurably when the time for his debut in an important role arrives.

The manager of a famous opera house once said to me, "Madame X doesn’t sing anything very well, but she can sing anything!", and Madame X was naturally an important personage in that company’s roster. One of several sopranos, Madame X was the most versatile. If Y or Z or Q were ill, Madame X could be called at any time; she knew the role, she had the costumes, and she never had the jitters.

She needed little time to get into a make-up and costume, and her performance was always trustworthy. She was indeed an asset to the opera company.
Many a young woman has begun her career in just such a manner, and in many cases an impromptu debut as an understudy is much more favorable than one that is over-anticipated, fussed about, and which often turns out a disappointment to both audience and singer.
Therefore, my sincere advice to all students is to know as many roles, as many songs, as many oratorios as is possible. You can never tell when your chance will come. Opportunity may knock several times, but it is well to have an ear cocked to hear her the first time!

Learn To Sing with Vocal Release