The times. [volume] (Richmond, Va.) 1890-1903, 1894-03-04

the expression truthful and refined. The
suggestion of "rolicll,' being "up for
fun." is simply dainty and bewitching.
She is simply first of all q pretty. nat
ural, delightful woman to get along with
any day. ana next to that world-won-
der i'm the shape OF an artist.
What she says for herself bubbles
forth as unrestralned as her song. Il
always sang" she says. "When child
at school the girls used TO ask me 70
make that funny noise In my throat,
that didn't pertain TO music or art. Wei
] was Eoodfor-nothing. But l could
paint and they taught me. and J could
play and ! loved 10 do 1t, and | had the
best teaching. but when st came 60 sing
ing-well | simply had so sing. | couldn't
help il. and they wouldn't let me study.
My sisters were allowed TO attend operas
and concerts, but, except very rarely,
when any quantity Of begging and pray
ers were put in for ne. ! had 80 stay
at home. Then / would play over the
music on my piano or violin and imagine
how twas ali going on at the theatre
When l did go. | drank in every note
then j was wild TO get home and sing
it all myself. ] used to say TO my sisters
vain little thing / was) i know ] could
do it better than that, I'm positive
could When 1 got home and tried IL
my sisters used TO listen ana applaud
me, but my parents, if they heard. would
stop me peremptorily and say that was
the effect of allowing me TO 80 10 the
aires. and / shouldn't again.
when / came 10 Marchesi, ] could sing
my three octaves from = below the staff
up. as iiuently as / sing them to-day. She
corrected my one mistake and posed my
voice accurately. had been carrying my
chest-notes TOO high. and il had gone on
] should have lost my voice
About registers, / believe so firmly IN
the immense care necessary that l want
10 say TO every young singer, BE three
times careful. Have your voice properly
posed IL there be n weak spot in any OF
the register-changes, think il absolutely
destructive TO force it. Many "a line voice
has been ruined this way under Il teach
er's direction. the singer being told 10
sing and sing and repeat TO enlarge the
tone until. through forcing. her voice is
ruined. Better have "A slight weakness II
must be, than voice destroyed. / be-
iieve however. that by varied and correct
practice the voice may eventually become
equal.
Il sing from L below 10 L first on the
stan from the chest. From y sharp TO T.
natural sing medium register and from
T. sharp TO i in all my head tones Oh
yes: know singing masters will throw up
their hands nj my carrying my middle
register so high. Never mind. do It.
II never practice that's positive. All my
singing is done in public. Ten minutes on
the morning of the day I sing l try my
voice. Just 10 make sure that is in order.
Ten minutes before I go on the stage /
run a few scales and trill q httlc just
enough 70 warm my voice. That's all.
When have "a now role practice it here
tapping her forehead). Yes. for months
but j don't begin 10 wear my voice over
IL until my memory has mastered the
score. When l 90 begin 10 sing il / sing
planissimo If you practice panissimo the
forte win come all right when Il should.
but If YOU practice forte It ruins the
pianissimo after Always practice softly.
Il make many sacrifices for my art. On
the night before sing nothing would in-
duce me 20 80 out anywhere. on the day
] sing dine lightly at . .hcn keep per
fcctly quie; until 20 TO the theatre. This
YOU know is a huge sacrifice FOR me- for
] would always be flying about and chat
tcring IL could.
Exercise, l take plenty Of It. have a
horror OF stoutncss. and am always glad
20 dai &c because aside from my love of
II. / know what an enemy II is to avOir-
dupois. Stout ! VIII not become When a
singer becomes huge, YOU micht forgive
the public for half forgetting lovely
voice I'm the presence Of an unlovely per-
sonality. And stoutness is certainly I'M
lovely and stands between many a fine
artist and the gracious presentment of u
score OF parts"
Melba's figure IS well-rounded at pres
ent. but slim-waisted and plant II is
Just such that little more flesh would
mar SIS outline.
with breathing / had no trouble. You
see even without vocal teaching / knew
what unbroken phraeing meant with other
instruments and I had cultivated the
sostenuto instinctvely. As played a
passage tried 10 sing II. IL all comes TO
this" said the greatest soprano OF the age,
''sood singers are made from first the
nAknsd voice and then = good ear, a