this way in practice. In trying to do this I had to find out
everything for myself. And that is why I know them! I know exactly what
I am about when I sing, I know what muscles are being used, and in what
condition they ought to be; what parts of the anatomy are called into
action and why. Nature has given me two great gifts, a voice and good
health; for both these gifts I am deeply grateful. The first I have
developed through arduous toil; the second I endeavor to preserve
through careful living, regular hours and plenty of exercise in the
fresh air. I have developed the voice and trained it in the way that
seemed to me best for it. There are as many kinds of voices as there are
persons; it seems to me each voice should be treated in the way best
suited to its possessor. How can any other person tell you how that
should be done?" And the singer gave me a bright look, and made a pretty
deprecating gesture. "You yourself must have the intelligence to
understand your own case and learn how to treat it.

NEVER STRAIN THE VOICE

"A singer who would keep her voice in the best condition, should
constantly and reasonably exercise it. I always do a half hour or so of
exercises, vocalizes and scales every morning; these are never
neglected. But I never do anything to strain the voice in any way. We
are told many fallacies by vocal teachers. One is that the diaphragm
must be held firmly in order to give support to the tone. It seems to me
this is a serious mistake. I keep the diaphragm relaxed. Thus tone
production, in my case, is made at all times with ease; there is never
any strain. You ask if it is not very fatiguing to sing against a large
orchestra, as we have to, and with a temperamental conductor, like
Marinuzzi, for instance, I do not find it so; there is a pure, clear
tone, which by its quality, placement and ease of production, will carry
farther than mere power ever can. It can be heard above a great
orchestra, and it _gets over_.

USE OF THE VOWELS

"Young singers ask me what vowels to use in vocal practice. In my own
study I use them all. Of course some are more valuable than others. The
O is good, the E needs great care; the Ah is the most difficult of all.
I am aware this is contrary to the general idea. But I maintain that the
Ah is most difficult; for if you overdo it and the lips are too wide
apart, the result is a white tone. And on the other hand, if the lips
are nearer--or too near together, or are n