denoted in Italian by the orchestral conductors;
and if the singer does not understand she must suffer accordingly.

After the study of Italian I would recommend, in order, French and
German. If my daughter were studying for opera, I should certainly leave
nothing undone until she had mastered Italian, French, German and
English. Although she would not have many opportunities to sing in
English, under present operatic conditions, the English-speaking people
in America, Great Britain, Canada, South Africa, and Australia are great
patrons of musical art; and the artist must of course travel in some of
these countries.

THE STUDY OF THE VOICE ITSELF

Her actual voice study should not commence before she is seventeen or
eighteen years of age. In the hands of a very skilled and experienced
teacher it might commence a little earlier; but it is better to wait
until her health becomes more settled and her mature strength develops.
At first the greatest care must be taken. The teacher has at best a
delicate flower which a little neglect or a little over training may
deform or even kill. I can not discuss methods, as that is not pertinent
to this conference. There is no one absolutely right way; and many
famous singers have traveled what seem quite different roads to reach
the same end. However, it is a historic fact that few great singers have
ever acquired voices which have had beautiful quality, perfect
flexibility and reliability, who have not sung for some years in the old
Italian style. Mind you, I am not referring to an old Italian school of
singing here, but more to that class of music adopted by the old Italian
composers--a style which permitted few vocal blemishes to go by
unnoticed. Most of the great Wagnerian singers have been proficient in
coloratura roles before they undertook the more complicated parts of the
great master at Beyreuth.

It is better to leave the study of repertoire until later years; that
is, until the study of voice has been pursued for a sufficient time to
insure regular progress in the study of repertoire. Personally, I am
opposed to those methods which take the student directly to the study of
repertoire without any previous vocal drill. The voice, to be valuable
to the singer, must be able to stand the wear and tear of many seasons.
It is often some years before the young singer is able to achieve real
success and the profits come with the later years. A voice that is not
carefully drill