The Montgomery advertiser., 1905-07-09

she must not mince her steps nor stride like man. If she accompanies her self on the plano. she must, as she stts down. let the loose folds of her Eown fall on the side near the audi ence: and then she sits leaning for ward a little. The vertical position and the swaying. motion that some vir- tuosi affect are alike condemned by the leaders of the new school.
 Speaking of only one phase of my work, lyric action" says MT. Gilbert. T need hardly make the comment that many of the singers whom you hear in opera have hardly anything under con- trol but their voices. The De Reszkes are admirable opponents of rational &C., tion in opera. They always know when and how to do the right thing. and so. to mention a few others, do Scotti. the Italian baritone, and Plan women Madam Calve Is a conspicuous example of the artists who have culti- vated physical technique. Now and then you, hear a singer who seems new CT to have been taught the fundament- al truth that fine voice does not make an artist. -.'-.
 And if you come down a step, there is Lillian Russell. Why, when she was here last she had nothing with her but her technique; owing to illness, she was not in good voice. but she carried herself so well. she expressed herself so artistically by every movement of her body that you would hardly notice any vocal defect. It is the same on the dramatic stage. Bernhardt Is well along in years, and even today her technique hides her inflrmities. Other actresses of the same age cannot act at all nowadays. and simply because they relied not on technique but on emotions.
 My work at the Conservatory does not interfere in the least with the work of the other teachers. though their pu- pills are also mine. tell the students how to stand, how to walk. how to use their bodies, how to improve their natural powers. leave the musical technique to the others"
 MT. Gilbert's ideas are fully approv- ed by the director of the Conservatory. MT. George W. Chadwick. who himself. when directing performances of his works, mas noticed the general absence of action among singers; and. as a con- sequence, all the pupils at the Conser- vatory who are bent on becoming opera singers or concert singers or teachers are required to take the new course. So far the reform has extended only to the lighter operas like Martha" Pima fore' and The Chimes of Normandy" Next year 1t will reach the more se- rious works.
 The pupils at the New England Con- | servatory of Music are fortunate in having a large auditorium at their dis posal. Jordan Hall, as 1t Is called. mas a completely equipped stage. and be- hind the stage are dressing rooms. In this conservatory theatre the training of candidates for the concert stage or the operatic stage Is conducted. Small | audiences are made up and the per formers soon grow accustomed to pub lie appearances.
 MT. Gilbert Is no mere theorist. for he has had practical experience in stage-craft under such well-known managers as J. R. Pittman and William Seymour and also in the companies oi Mrs. Seymour Hicks and Felix Morris He not long ago declined an offer to be
 stage manager for David Belasco be.
 cause he thought his work in Boston
 afforded a larger opportunity.