erature is the greatest joy to me now. To my thinking all children
should have piano lessons; the cost is trifling compared to the benefits
they receive. They should be made to study, whether they wish to or not.
They are not prepared to judge what is good for them, and if they are
given this advantage they will be glad of it later on.

"In due time I entered the Institute of Musical Art, taking the full
piano course. Arthur Hochmann was my teacher for piano, and I found him
an excellent master. He did a great deal for me; in interpretation, in
fineness of detail, in artistic finish I owe him very much. Later I
studied several years with Alexander Lambert.

"While at work with my piano, it grew more apparent that I had a voice
that should be cultivated. So I began. Afterwards I worked three years
with Signor Buzzi Peccia, who started me on an operatic career and
finally brought me to the Metropolitan.

"It was a great ordeal for a young singer, almost a beginner, to start
at our greatest Opera House! It meant unremitting labor for me. I worked
very hard, but I am not afraid of work. Toscanini held sway when I
began, and he was a marvelous musician and conductor. Such exactness,
such perfection of detail; he required perfection of every one. He did
not at first realize how much of a beginner I was, though I had really
learned a large number of roles. He was so strict in every detail that I
wept many bitter tears for fear I would not come up to the mark. I knew
the music, but had not gained experience through routine. It seems to me
every singer should gain this experience in some smaller places before
attempting the highest. My advice would be to go and get experience in
Europe first. I have never been in Germany, but in Italy and France
there are many small opera houses where one may learn routine.

"Another thing. There is a mistaken notion that one cannot reach any
height in opera without 'pull' and great influence. I am sure this is
not true; for while a pull may help, one must be able to deliver the
goods. If one cannot, all the backing in the world will not make one a
success. The singer must have the ability to 'put it over.' Think of
the artists who can do it--Farrar, Gluck, Schumann-Heink. There is never
any doubt about them; they always win their audiences. What I have done
has been accomplished by hard work, without backing of any kind. Really
of what use is backing anyway? The public can judge--or at least