f Concone, Panofka, Bordogni, etc.,
because they seemed to me a waste of time in my case. I did not require
musical knowledge, but needed special drill. I knew where my weak spots
were. What was the use of vocal studies which required me to do a lot
of work and only occasionally touched those portions of my voice which
needed special attention? Learning a repertoire was a great task in
itself, and there was no time to waste upon anything I did not actually
need. Because of the natural fluency I have mentioned, I devoted most of
my time to slower exercises at first. What could be simpler than this?

[Illustration: musical notation: Ex. 1]

These, of course, were sung in the most convenient range in my voice.
The more rapid exercises I took from C to F above the treble staff.

[Illustration: musical notation: Ex. 2]

Even to this day I sing up to high F every day, in order that I may be
sure that I have the tones to E below in public work. Another exercise
which I used very frequently was this, in the form of a trill. Great
care was taken to have the intonation (pitch) absolutely accurate in the
rapid passages, as well as in the slow passages.

[Illustration: musical notation: Ex. 3]

When I had reached a certain point, I determined that it might be
possible for me to get an engagement. I was then twenty, and my dear
mother was horrified at the idea of my going on the stage so young. She
was afraid of evil influences. In my own mind I realized that evil was
everywhere, in business, society, everywhere, and that if one was to
keep out of dirt and come out dean, one must make one's art the object
first of all. Art is so great, so all-consuming, that any one with a
deep reverence for its beauties, its grandeur, can have but little time
for the lower things of life. All that an artist calls for in his soul
is to be permitted to work at his best in his art. Then, and then only,
is he happiest. Because of my mother's opposition, and because I felt I
was strong enough to resist the temptations which she knew I might
encounter, I virtually eloped with a copy of _Rigoletto_ under my arm
and made my way for the Teatro Constanzi, the leading Opera House of
Rome.

I might readily have secured letters from influential musical friends,
such as Mascagni and others, but I determined that it would be best to
secure an engagement upon my own merits, if I could, and then I would
know whether or not I was really prepared to make my de