The Birmingham age-herald., 1911-11-05

artist followed in the role of the great sInger after his death, the stage manager insisted upon his following the tradi-
 ton. Being a man of brains, however, he determined to find out Rubini's reason for following this procedure, so he asked an old chorister why the Tenor kept everything thus at a standstill.
 "Ah, Signor" the chorus singer replied "Rubini vera greata artist. He walk to da backa da stage; he coma down to da front; he sing. He greata artist!'
 "Yes. yes; but why did he go back there?"
 "oh, why, signor? An, Rubini he go backa to spita."
 In conilection with Mir Elephants oper- atic career it is interesting to note that an amateur performance was largely the means of attracting the attention of pro-
 fessional managers to his exceptional talent It was after he had completed his studies and made his concert debut
 in London just 20 years ago, that he took part in two operettas given under royal patronage. MT. Elephants singing and acting so outshone his associates that D'Oyley Carte, the light opera im-
 presario, who, with Sir Arthur Sullivan
 the. composer, had witnessed the per-
 formance, promptly came forward with an offer of part in "Ivanhoe." which
 had been running for some time. The
 offer was not accepted. but at the con-
 clusion of the engagement MT. Bispham was given the excellent high comedy role of "The Duke" in Messager's beau- tiful opera, "The Basoche.'
 "Tell me something of your earlier ex- periences," was asked presently. q earned my early experience in the only way possible" said Mir Bispham; 1; '.the way open to ambitious singers and actors of today as surely as it ever was and always will be. I worked like slave, studying, studying, never satis- fied and my progress was uphill slowly. with ambitions. hopes and confidence and freouent successes to spur me on. Eter- nal diligence is the road to success"
 What is your advice to would-be singers?' a M l. "Unless one has a voice." said MT. Bispham, 'it will make no difference whether one goes abroad or stays at home-in any event he should turn to some ocupation other than professional singing But one must also have some thing more. Dear old Lamperti used to
 make many a pretty girl with sweet voice weep by saying, How do you ex- pect to sing? You have no brains! But if the aspirant has voice and brains. and fair presence, and a dozen other
 essentials, he must think it all over a long time and decide for himself whether to go abroad. He can certainly find as
 good masters at home in America as anywhere, but he will seldom be in as musical an atmosphere at home with his accustomed surroundings to distract attention"
 And the study of foreign languages in connection with singing"
 Tt is a factor of the foremost im- portance," was Mr. Elephants answer.
 WHY? Because as hard as 1t may be to say 1t. our composers are not yet quite the equals of the great masters of song and opera on the other side.
 The fault is not with the language;
 English is as fine as any. But the best Is neglected in our tongue. go that the finest compositions are those by foreigners. The foreign singer must
 know how to sing in English as well as in foreign languages if he wants to make his diamond more valuable. but