t is
all very well to try to throw such a condition off as if it were a state
of mind. My advice is, DON'T. I have known singers to try to sing off a
sore throat and secure as a result a loss of voice for several days.

Our American climate is very bad for singers. The dust of our
manufacturing cities gets in the throat and irritates it badly. The
noise is very nerve racking, and I have a theory that the electricity in
the air is injurious.

As I have said, the chances in the concert and operatic field are
unlimited for those who deserve to be there. Don't be misled. Thousands
of people are trying to become concert and oratorio singers who have not
talent, temperament, magnetism, the right kind of intelligence nor the
true musical feeling. It is pitiful to watch them. They are often
deluded by teachers who are biased by pecuniary necessity. It is safe to
say that at the end of a year's good instruction the teacher may safely
tell what the pupil's chances are. Some teachers are brutally frank.
Their opinions are worth those of a thousand teachers who consider their
own interests first. Secure the opinions of as many artists as possible
before you determine upon a professional career. The artist is not
biased. He does not want you for a pupil and has nothing to gain in
praising you. If he gives you an unfavorable report, thank him, because
he is probably thinking of your best interests.

As I have said, progress depends upon the individual. One man can go
into a steel foundry and learn more in two years than another can in
five. If you do not become conscious of audible results at the end of
one or two years' study do some serious thinking. You are either on the
wrong track or you have not the natural qualifications which lead to
success on the concert and oratorio stage.

[Illustration: MME. FRIEDA HEMPEL.

(C) Mitzi]

FRIEDA HEMPEL

BIOGRAPHICAL

Frieda Hempel was born at Leipzig, June 26, 1885. She studied piano for
a considerable time at the Leipzig Conservatory and the Stern
Conservatory. Later she studied singing with Mme. Nicklass Kempner, to
whom she is indebted for her entire vocal education up to the time of
her debut in opera. Her first appearance was in the _Merry Wives of
Windsor_, at the Royal Opera in Berlin. After many very successful
appearances in leading European Opera Houses she was engaged for the
Metropolitan Opera House in New York where she immediately became very
popular in stel