s I memorize with great rapidity. It is no effort for me; I
seem to be able to visualize the whole part. Music has always been very
easy to remember and with sufficient concentration I can soon make the
words my own. I always concentrate deeply on what I am doing. Lately I
was asked to prepare a leading role in one of the season's new operas,
to replace a singer at short notice, should this be necessary. I did so
and accomplished the task in four days. Mr. Caruso laughingly remarked I
must have a camera in my head. I know my own parts, both voice and
accompaniment. In learning a song, I commit both voice and words at the
same time.

FEELING DEEPLY DURING PERFORMANCE

"I feel the meaning of the music, the tragedy or comedy, the sadness or
gayety of it each time I perform it, but not, as a rule, to the extent
of being entirely worn out with emotion. It depends, however, on the
occasion. If you are singing in a foreign language, which the audience
does not understand, you make every effort to 'put it over,' to make
them see what you are trying to tell them. You strive to make the song
intelligible in some way. You may add facial expression and gesture,
more than you would otherwise do. All this is more wearing because of
the effort involved.

LANGUAGE

"This brings us to another point, the study of languages. The Italian
sings nearly all his roles in his own tongue, with a few learned in
French. With the Frenchman, it is the same: he sings in his own tongue
and learns some parts in Italian. But we poor Americans are forced to
learn our parts in all three languages. This, of itself, greatly adds to
our difficulties. We complain that the American sings his own language
so carelessly. An Italian, singing his own language for his own people,
may not be any more careful than we are, but he will make English, if he
attempts it, more intelligible than we do, because he takes extra care
to do so. The duty is laid upon Americans to study other languages, if
they expect to sing. I know how often this study is neglected by the
student. It is another phase of that haste to make one's way which is
characteristic of the young student and singer.

"Take, for example, the girl in the small town, who is trying to do
something with her voice. She believes if she can get to New York, or
some other music center, and have six months' lessons with some well
known teacher, she will emerge a singer. She comes and finds living
expenses s