ican girl, trained in the studio, has little idea of what it
means to sing in a large hall or opera house. In the small room her
voice sounds very pretty, and she can make a number of nice effects; she
may also have a delicate pianissimo. These things are mostly lost when
she tries them in a large space. It is like beginning all over again.
She has never been taught any other way but the studio way. If young
singers could only have a chance to try their wings frequently in large
halls, it would be of the greatest benefit. If they could sing to a
public who only paid a nominal sum and did not expect great things; a
public who would come for the sake of the music they were to hear,
because they wanted the enjoyment and refreshment of it, not for the
sake of some singers with big names, they would judge the young aspirant
impersonally, which would be one of the best things for her.

VALUE OF HONEST CRITICISM

"Frequently the trouble with the young singer is that her friends too
often tell her how wonderful she is. This is a hindrance instead of a
help. She should always have some one who will criticize her honestly.
The singer cannot really hear herself, that is, not until she is well
advanced in her work. Therefore she should always have the guidance of a
teacher. I never think of giving a program without going through it for
criticism. The office of critic is a very difficult one, especially if
you are to criticize some one you are fond of. Mr. Maclennan and I try
to do it for each other. I assure you it is no easy task to sing a
program knowing some one is listening who will not spare you, and will
tell you all your faults. I know this is all very salutary, but it is
human nature to wish to hear one's good points rather than the poor
ones. I sometimes say: 'Do tell me the good things I did.' But he says
he does not need to speak of those; I only need to know my faults in
order that they may be corrected.

"It is so easy to overdo a little, one way or the other. For instance,
you make a certain effect,--it goes well. You think you will make it a
little more pronounced next time. And so it goes on, until before you
know it you have acquired a definite habit, which the critics will call
a mannerism and advise you to get rid of. So the artist has to be
constantly on the watch, to guard against these incipient faults."

BREATHING EXERCISES

Asked what kind of breathing exercises she used, Mme. Easton continued:
"No