full voice, as with half voice I would not derive the
benefit I need. At rehearsals I use half voice, but not when I study. In
the afternoon I work another hour, this time with my accompanist; for I
do not play the piano myself, only just enough to assist the voice with
a few chords. This regime gives me three hours' regular study, which
seems to me quite sufficient. The voice is not like the fingers of a
pianist, for they can be used without limit. If we would keep the voice
at its best, we must take care not to overwork it.

TREATMENT OF THE VOICE

"In regard to the treatment of the voice, each singer must work out his
own salvation. A great teacher--one who understands his own voice and
can sing as well as teach--may tell how he does things, may explain how
he treats the voice, may demonstrate to the student his manner of
executing a certain phrase or passage, or of interpreting a song. But
when this is done he can do little more for the student, for each person
has a different mentality and a different quality of voice--indeed
there are as many qualities of voice as there are people. After general
principles are thoroughly understood, a singer must work them out
according to his own ability. This does not mean that he cannot be
guided and helped by the greater experience of a master higher up, who
can always criticize the _result_ of what the student is trying to do.
The voice is a hidden instrument, and eventually its fate must rest with
its possessor.

A NEW ROLE

"When I take up a new part I read the book very carefully to get a
thorough idea of the story, the plot and the characters. Then comes the
study of my own part, of which I memorize the words first of all. As
soon as the words are committed I begin on the music. When these are
both well in hand, work with the accompanist follows.

"I have many tenor roles in my repertoire and am working on others. If
you ask for my favorite opera, or operas, I would answer, as most
Italians would do, that I enjoy singing the music of Verdi more than
that of any composer. I love his _Aida_ perhaps best of all. _Ernani_ is
a beautiful opera, but maybe would be thought too old-fashioned for New
York. I sing various roles in French as well as Italian--_Faust, Sans
Gene_, and many more. In Italy we know Wagner very well--_Lohengrin,
Tannhauser, Tristan_ and _Meistersinger_,--but of course they are always
sung in Italian.

OPERA IN EVERY CITY

"The Metropolitan