ker, rising young doctor, lawyer or actor stopping their work because
of a warm day? There may be =some= who do, but they are not the ones who
are successful. When you hear a great singer, think of the obstacles she
must have overcome in reaching her position of excellence. Never doubt
yourself or your ability, but say "that what determination and
application have done for others can be done for me."

You must have confidence in yourself if you want others to have
confidence in you.

Never lose your temper. Adeline Patti was asked how she preserved her
charm long after the springtime of youth deserts the average woman. She
replied, "I keep my temper." Don't expect to grasp, assimilate and put
into practice in one lesson what it has taken years for your teacher to
accomplish.

I remember one pupil who said her purse would not allow anything better
than a hall room in New York for a whole winter's study, and that she
really had no "chance" to practice, as her room was too small. This was
a very poor excuse, as that was merely one obstacle to be overcome.

The artists who have reached the top are those who have had =innumerable=
obstacles to overcome.

In Switzerland, over a little barber shop, in a room so small that there
was not room for two chairs in addition to the piano, Madame Nordica,
with Madame Cosima Wagner, and a coacher, practiced daily. The following
winter she won one of the successes of her career, as "Isolde."

To reach the top in the profession, you must have more than voice and
application, for a singer may have the greatest of technique, yet lack
"soul" and "intelligence." The latter two you must possess, as these the
teacher is unable to give you.

The beginner, in singing, needs a model to imitate, just as much as the
painter or sculptor. Everything is "imitation" until you develop in your
work; your individuality will assert itself as you become proficient. Do
not allow anyone to frighten you by telling you "never imitate or you
will simply be a parrot." Only the very poor teacher who knows her own
weakness as a model would make such an assertion. If the beginner is
fortunate enough to secure a teacher who can demonstrate a =perfect tone=,
do not be afraid to imitate.

In order to fully interpret the emotions it is necessary to have
knowledge outside of the singing lesson. It is for this reason that
singers seldom reach the stage of "artist" until they are pretty well
advanced in years. It i