man who has at least a hundred and twenty operas at his tongue's end,
who has been singing in the greatest opera houses of the world for more
than twenty years, will surely have much to tell which can help those
who are farther down the line. If he is willing to do so, can speak the
vernacular, and can spare a brief hour from the rush of constant study
and engagement, a conference will be possible. It was possible, for time
was made for it.

THE MUSICAL GIFT

Mr. De Luca, who speaks the English language remarkably well, greeted
the writer with easy courtesy. His genial manner makes one feel at home
immediately. Although he had just come from the Opera House, where he
had sung an important role, he seemed as fresh and rested as though
nothing had happened.

"I think the ability to act, and also, in a measure, to sing, is a
gift," began the artist. "I remember, even as a little child, I was
always acting out in pantomime or mimicry what I had seen and felt. If I
was taken to the theater, I would come home, place a chair for audience,
and act out the whole story I had just seen before it. From my youngest
years I always wanted to sing and act.

A REMARKABLE TEACHER

"As early as I could, at about the age of fifteen, I began to study
singing, with a most excellent teacher; who was none other than Signor
Wenceslao Persischini, who is now no longer living. He trained no fewer
than seventy-four artists, of which I was the last. Battestini, that
wonderful singer, whose voice to-day, at the age of sixty-five, is as
remarkable as ever, is one of his pupils. We know that if a vocal
teacher sings himself, and has faults, his pupils are bound to copy
those faults instinctively and unconsciously. With Persischini this
could not be the case; for, owing to some throat trouble, he was not
able to sing at all. He could only whisper the tones he wanted,
accompanying them with signs and facial grimaces." And Mr. De Luca
illustrated these points in most amusing fashion. Then he continued:

"But he had unerring judgment, together with the finest ear. He knew
perfectly how the tone should be sung and the student was obliged to do
it exactly right and must keep at it till it was right. He would let
nothing faulty pass without correction. I also had lessons in acting
from Madame Marini, a very good teacher of the art.

THE ARTIST LIFE

"After five years of hard study I made my debut at Piacenza, as
Valentine, in _Faust_, Novembe