age. Footlight paralysis is one of
the most terrifying of all acute diseases and there is no cure for it
but experience.

THE BEST BEGINNING

In the Moody Manners Company in England, the directors wisely understood
this situation and prepared for it. All the singers scheduled to take
leading roles (and they were for the most part very young singers, since
when the singer became experienced enough she was immediately stolen by
companies paying higher salaries) were expected to go for a certain time
in the chorus (not to sing, just to walk off and on the stage) until
familiar with the situation. Accordingly, my first appearance with the
Moody Manners Company was when I walked out with the chorus. I have
never heard of this being done deliberately by any other managers, but
think how sensible it is!

Again, it is far more advantageous for the young singer to appear in the
smaller opera house at first, so that if any errors are made the opera
goers will not be unforgiving. There is no tragedy greater than throwing
a young girl into an operatic situation far greater than her experience
and ability can meet, and then condemning her for years because she did
not rise to the occasion. This has happened many times in recent years.
Ambition is a beautiful thing; but when ambition induces one to walk
upon a tight rope over Niagara, without having first learned to walk
properly on earth, ambition should be restrained. I can recollect
several singers who were widely heralded at their first performances by
enthusiastic admirers, who are now no longer known. What has become of
them? Is it not better to learn the profession of opera singing in its
one great school, and learn it so thoroughly that one can advance in the
profession, just as one may advance in every other profession? The
singer in the small opera company who, night after night, says to
herself, "To-morrow it must be better," is the one who will be the Lilli
Lehmann, the Galli-Curci, or the Schumann-Heink of to-morrow; not the
important person who insists upon postponing her debut until she can
appear at the Metropolitan or at Covent Garden.

Colonel Henry W. Savage did America an immense service, as did the Aborn
Brothers and Fortune Gallo, in helping to create a popular taste for
opera presented in a less pretentious form. America needs such companies
and needs them badly, not merely to educate the public up to an
appreciation of the fact that the finest operatic p