Vocal Mastery

ALUE

h its penetrating, vibrant, ringing quality, the impassioned delivery, which stamps every note he sings with the hall mark of genius, the tremendous, unforgettable climaxes. Not to have heard Caruso sing is to have missed something out of life; not to have seen him act in

ment lagged far behind. The singer seemed unable to make us visualize the characters he endeavored to portray. It was always Caruso who sang a certain part; we could never forget that. But constant study and experience have eliminated even this defect, so that to

ARLY

ineer and the boy was taught the trade in his father's shop, and was expected to follow in

ny said to me: 'You will spoil your voice if you keep on singing like that'-for I suppose I was fond of shouting in those days. 'You should learn how to sing,' he said to me; 'you must study.' He introduced me to a young man who at once took an interest in me and brought me to a singing master named Vergin

ed Vergine to hear me again. Things went a little better

DISC

ressed; I was never allowed to let out my voice. At last came a chance to try my wings in opera, at ten lire a night ($2.00). In spite of the régime of repression to which I had been subjected for the past three years, there were

ST REAL

one to sing the part. Lombardi, conductor of the orchestra, told the directors there was a young singer in Naples, about eighteen miles away, who he knew could help them out and sing the part. When t

t not stand cold and stiff in the middle of the stage, while I sang nice, sweet tones. No, I must let out my voice,

VELA

e experience. Something awoke in me at that moment. From that night I was never called a 'Broken Tenor' again. I made a regular engagement at two thousand lire a month. Out of this I paid regularly to Vergine the twenty-five per cent whi

OF THE R

ly convinced of this, I was transformed from an amateur into a professional in a single day. I now began to take care of myself, learn good habits, and endeavored to cult

OF WORK TO

any special corner of the earth; there is no one spot that will do more for you than other places. It doesn't matter so much where you are, if you have intelligence a

LESS

day, whenever possible. He does not neglect daily vocal technic, scales and exercises. There are always many r?les to keep in rehearsal with the accompanist. He has a repertoire of seven

nerous supply. Naturally some of these find their way into the waste basket; some are preserve

ears of activity on the operatic stage. Here were gathered telegrams and cablegrams from all over the world. Many letters and cards of greeting and congratulation are preserved in this portly volume. Among them one noticed messages from Mme. Schumann-Heink, the Flonzale

AST

Ah, those rehearsals," exclaimed the secretary, stopping his typewriter for an instant; "no one who has never been through it has any idea of what a rehearsal means." And he

ed, and on the left hand gleamed a wonderful ring, a broad band of dull gold, set with diamonds, rubies and

g singers who are struggling and longing

y, to work always,

n them, as he doubtless recalled his own ea

his messag

rk-and-sa