The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1891-07-27

to solve for himself or herself" replied NJ.
de Reszke. He or she may make any.
thing from princely fortune down 70
next to nothing"
Are special means needed to preserve A
good voice IN its pristine power2'
THAT again depends upon the individ-
uai; lie bon Dieu gives one good voice,
and leaves 1T to common sense TO make the
best use of the gift. No hard and tssi
rule can be made, for what is found 10
suit one man would not suit another. n
Is very much like a good Jockey and 4
race horse; he knows its peculiarities IN.
derstands exactly what it is capable Of
how much it can endure, and so on. M
two voices are alike, and no two rsce-
horses are alike. Each wants studying
and managing accordingly. For example.
when my brother and myself are to sine
IN the evening we have dinner at o'clock
We sit over 1t till about 3. We have thus
finished i've clear hours before the over
ture begins, and we neither of "a tssts
anything till the curtain falls. We ne
then quite ready for supper. To play jasa
after eating good dinner is to hays iuur
voice stuffy and your head stupid Vs
allow plenty of time for the food to diasst
but some artistes do not ind it necessary
to allow such long time TO elapse Mma.
Melba, for instance, dimes at o'clock.n
Oi course you keep your voice in con-
slant exercise?"
Eyes, my brother and I devote thres
hours day to exercises connected with
our art-one hour to physical exercise,
such as the dumb bells or foils, and two
hours to singing. OF these two hours we
devote one simply to singing scales; the
other we spend over the piano trying vari-
Gus airs. Besides this, we. of course, open
the piano and run through song several
times in the course of day-whenever we
feel inclined-but that we do not count as
practice. My brother studied for tenA
years and has been seventeen years on thsN
stage. studied for eight years and
have been fifteen years on the
boards. There is nothing very special I'd
tell you about ourselves, except that we
both determined to excel in our profession,
and we have spared no pains to attain that
end. When our studies were completed
we went all over Europe, staying two or
three months at each capital, and
regularly attending every performance
at the opera. We carefully noted every
performer, and saw what was good and
bad, and made mental notes of what to
Initiate and avoid. In this way we vis1
tied Vienna and Berlin, and thus became
acquainted with the German school. We
then went to Milan, Rome and Naples
and IN those places studied the italian
school. After that we came to London,
anu there stuuled what / may term Ing
mixed" school, for the English procurS
all the best singers from all parts of thd
world, even the most unexpected places3
and as the London season is at a tima
when the opera season is most over id
other places, all sorts of artists are to b
met with. Having well studied this
mixed" school, We went TO Paris to sea
the French school, which is, in our opin.
ion, the BEST
''The system OF study. though very
thorough. must have put you to consider
able trouble and expense"
THAT may be true" answered NJ. de
Reszke, "but we are both devoted to our
art, and we count no pains lost in her SER
vice"
1t was time to leave. As I passed
through the hall I saw a large play-bill,
posted on pillar, giving the names of the
operas PLAYED during the week at Covent
Garden. The name of one or other
brother-sometimes of both-fgured in
almost every instances tolerably good
proof OF how popular these great artists
are with the British public. As a matter
OF detail, it is to be remarked that the
name was impartially spelled. sometimes
de Reszke, and sometimes ode Reske:"
but probably 80" more or less in a Polish
name isn't very great matter anyhow,
FREDERICK BURToS.