The Prescott daily news., 1907-05-18

 question the correctness of views ad- vanced by those of experience, but that you should find out how they reach such conclusions and their reasons for doing so. To think for ourselves in every direction and in every detail of our daily lives helps naturally, and as well in the advancement of our art-for after all our art is the result of everything that we have learned. Genius is willing to lay the founda- ton of her structure unobserved."
 The being i'll a foreign country, such as Italy, so picturesque and full of color, awakens the imagination strongly. Music is there an old sweet story learned unconsciously through hundreds of years, until it is in stinctve rather than acquired How quickly the audiences in those little opera houses will tell you whether you have anything in you or not! They are not infallible, put if they do not receive a young singer with some de- gree of recognition 1t is time for that singer to undergo a rigorous selt-queS- tioning as to what the matter was, and then set about rectifying it to tEe best of her ability.
 In early life, when we would have every season June, the months that come before the wished-for time seem long ones, but without their passage June would never be.
 Every young prima donna longs some day to sing Brunnhilde, but be- fore she can do that she must have sung her Violetta, her Leonore and the lighter of the old Italian roles. When that is done the Aida, the Elsa and the rest come ill their order. Gradu- physique routine and experience, she reaches height where Brunnhilde and Isolde stand among the immortals. Here again it is the same maxim: Make haste slowly do each thing that we undertake so well that it be- comes a part of us before we go on to the next.
 Nowadays, when an opera singer is called upon to sing in three or four languages, the study of those lan- guages becomes of great importance and cannot be begun too early. It proves a source of surprise to those whose opinion is asked by young sing CTS, that so many of them, even in the delivery of a familiar, time-worn aria, do not know what It is about. With out a full knowledge of the meaning of each word and of the situation in which an aria is placed the singer destroys it's prime element. It is impossible to make others feel that which you do not feel yourself. How can we feel that which is sealed to us in meaning? It is out of the ques- tion.
 This leads again to an important matter and a critical one-eXcess of feeling. The moment that one loses command of ones self, in that mo- ment is lost also the command of ones audience. Between genuine feeling and the loss of Self-control there is as distinct a difference as between sen- timent and sentimentality. painter in depicting a scene on canvas must work with enthusiasm, imagination fervor and ample technique. The mo- ment, however, that he loses the qual- ity of self-command, he loses as well the control of his subject and a blur and tumble is the result With the singer conditions are identical
 By a paradox, which is as we'll an unalterable law, the singer must be pe- cularly responsive on the emotional side. which means a highly developed nervous organization, and yet she must have her nerves under absolute control.
 It is scarcely necessary to repeat here anything so well recognized as the fact that singer must lead the most abstemious of lives, enjoying pleasures always in moderation, but never in excess. Another truism, and yet one that is not always recognized by the layman, is the fact that no singer can, safely give way to a dis play of temper, for nothing is more injurious to the voice. Much has been said and written of the giving way by singers to fits of ill temper. A long series of nagging worries and nervous strain to whics the singer is so frequently subjected may result in an occasional outburst but the singer who gives way to such outbreaks hab- .s.