eath; and while it is
not desirable to hold one tone to attenuation, that the gallery may gasp
with astonishment, as some singers do, yet it is well to learn to do all
one conveniently can with one inhalation, provided the phrase permits
it.

TECHNICAL MATERIAL

"I give many vocalizes and exercises, which I invent to fit the needs of
each pupil. I do not require them to be written down, simply remembered.
At the next lesson quite a different set of exercises may be
recommended. I also make exercises out of familiar tunes or themes from
operatic airs. It will be found that technical material in the various
manuals is often chosen from such sources, so why not use them in their
original form. Thus while the student is studying technic he is also
acquiring much beautiful material, which will be of great value to him
later on.

THE STUDY OF REPERTOIRE

"Repertoire is a wide subject and offers a fascinating study to the
vocal student. He must have both imagination and sentiment, also the
ability to portray, through movement and facial expression, the various
moods and states of feeling indicated by words and music.

"In taking up a new role, I read the story to get at the kernel or plot,
and see what it means. The composer first saw the words of poem or
libretto, and these suggested to him suitable music. So the singer
begins his work by carefully reading the words.

"I then have the music of the whole work played for me on the piano, so
as to discover its trend and meaning--its content. If the composer is
available I ask him to do this. I next begin to study my own part in
detail, not only the important sections but the little bits, which seem
so small, but are often so difficult to remember."

CHARACTERIZATION

Under this head the singer spoke at length of the difficulty some
singers encounter when they endeavor to portray character, or
differentiate emotions. There is endless scope in this line, to exercise
intelligence and imagination.

"Some singers," continued the artist, "seem incapable of characterizing
a role or song. They can do what I call 'flat work,' but cannot
individualize a role. A singer may have a beautiful voice yet not be
temperamental; he may have no gift for acting, nor be able to do
character work.

"At the present moment I am preparing several new roles, three of them
are of old men. It rests with me to externalize these three in such a
way that they shall all be different, yet con