perience and routine. In Europe it is
all so much easier. Every little city and town has its own opera house,
where regular performances are given and where young singers can try
their wings and gain experience. The conductor will often help and coach
the singer and never expect a fee for it.

THE YOUNG SINGER BEFORE AN AUDIENCE

"The singer who wishes to make a career in concert, should constantly
study to do things easily and gracefully. She is gracious in manner,
and sings to the people as though it gave her personal pleasure to stand
before them. She has a happy expression of countenance; she is simple,
unaffected and sincere. More than all this her singing must be filled
with sentiment and soul; it must be deeply felt or it will not touch
others. Of what use will be the most elaborate technic in the world if
there is no soul back of it. So the young singer cultivates this power
of expression, which grows with constant effort. The artist has learned
to share her gift of song with her audience, and sings straight across
into the hearts of her listeners. The less experienced singer profits by
her example.

"Shall the singer carry her music in a song recital, is a much discussed
question. Many come on with nothing in hand. What then happens? The
hands are clasped in supplication, as though praying for help. This
attitude becomes somewhat harrowing when held for a whole program. Other
singers toy with chain or fan, movements which may be very inappropriate
to the sentiment of the song they are singing. For myself I prefer to
hold in hand a small book containing the words of my songs, for it seems
to be more graceful and Jess obtrusive than the other ways I have
mentioned. I never refer to this little book, as I know the words of my
songs backward; I could rise in the middle of the night and go through
the program without a glance at words or music, so thoroughly do I know
what I am singing. Therefore I do not need the book of words, but I
shall always carry it, no matter what the critics may say. And why
should not the executive artist reassure himself by having his music
with him? It seems to me a pianist would feel so much more certain of
himself if he had the notes before him; he of course need not look at
them, but their presence would take away the fear that is often an
obsession. With the notes at hand he could let himself go, give free
reign to fancy, without the terrible anxiety he must often feel.

OPER