s not how many lessons you take, but the gradual
development, which you attain through experience. You must feel the
heartbeats of others, must know intimately "joy," "pain" and "sorrow" in
order to fully express these emotions. There is no rule of "right" and
"wrong" in the interpretation of a song, it being simply a matter of
opinion. That is where the individuality asserts itself. I remember
taking the old warhorse, "Una Voce Poco Fa," from Il Barbiere (Rossini)
to three of the greatest living singing masters in Italy. Each one
interpreted the aria a little differently, and I am positive each
thought he was the nearest to the composer's idea. Which one was
correct?

"When you sing you are delivering a message, and you must make your
audience understand and feel it, as it is our 'feelings' above all that
are immediately affected by music."--Von Weber.

Do not be too anxious to realize financially. Consider that Wagner's
salary as choir-master in the city of Warsaw was less than $12.00 a
month. The great drawback to many of the students in America is the
desire to work on the surface only--they don't seem willing to start at
the beginning and work their way up. The matter of studying voice
culture for a year does not make it possible for the singer to step
before an audience and attain immediate success without other
preparation.

It takes more than the studio to make a "star." No artist ever began as
a master. In addition to being a singer, you must possess talent,
character and the ability to manage. If there is one of these qualities
lacking, you must remain only an "artist." It takes all three in accord
to produce a "STAR."

"CAN I BECOME A GRAND OPERA SINGER?"

The average teacher, in fact, most teachers, will say, "Yes, if you
study," but this is not true, as you have only about one chance in a
thousand. Have you any idea of the requirements necessary in order to
become a "star" of the Metropolitan Opera Company?

You must have a fine voice, a "big" voice, a voice of great power and
endurance, fine enunciation, clear and correct pronunciation, knowledge
of the modern languages, have at least twenty-five operas committed to
memory, fine dramatic ability, good physique, size, personality and
"pull." And you must also be on the other side of the ocean to accept
the engagement; and then, your acceptance by a director to "star" is
about as difficult as an audience with a king.

[Illustration: ALBERT M