termed) he follows of necessity to the end
of his professional career.

I know there are some few instances of artists who, later, have
successfully adopted roles demanding another range than the one needed
for their earlier efforts. But it is an open question whether the
performer's instrument really changed. It must either have been
wrongly classified at one of the two periods, or the vocal
keyboard--so to speak--transposed a little higher or lower. The
character of the instrument remains the same; a viola strung as a
violin would still retain its viola quality of tone.

The case is different where a soprano who may have begun by singing
the florid roles of opera, has so gained in volume of voice and
breadth of style as to warrant her devoting these acquisitions to
characters requiring more dramatic force than was needed, or could be
utilized, in coloratura roles. Mlle. Emma Calve, Mesdames Lilli
Lehmann and Nordica, are notable examples of this. Each of these
distinguished artists began her career by singing what are known as
"Princess" roles, before successfully portraying Carmen or the
Bruennhildes. As a rule, it is by singing many different roles that the
lyric artist gains the skill and sureness that may ultimately render
him famous in a few. Mlle. Grandjean, now principal first dramatic
soprano at the Paris Opera, began her career there--after a few
appearances at the Opera-Comique--by singing the very small part of
the nurse Magdalene in Wagner's _Die Meistersinger_. Perseverance, if
allied to ability, can accomplish much.

When the type of voice and the natural temperament of the singer do
not accord--as sometimes happens--he would be unwise not to adhere to
the work for which his vocal means, not his preference, are best
adapted. To follow the contrary path, and essay roles requiring for
their fitting expression more dramatic fire and intensity than his
vocal instrument can supply, would be to shorten his career, owing to
the certain deterioration and possible extinction of the voice. There
are sufficient voiceless examples to prove, were proof needed, the
truth of this assertion; and their atonic condition is due to the
cause mentioned.

The first requisite for the aspirant who wishes to follow the operatic
career is undoubtedly a voice possessed of the three essential factors
of Quality, Power and Compass; what is termed in Italy a "_voce di
teatro_," or voice for the theatre.

But an opera-singer i