he great florid arias, but each with
her own peculiar timbre of voice, her individual nuance and manner of
expression. And it is well this should be so. We would not have all
coloratura singing of the same pattern of sameness or quality, for we
find uniformity is monotonous. There is one peculiar mode of mastery for
Galli-Curci, another for Tetrazzini, still another for Barrientos; each
in her particular _genre_ is unique, apart.

Perhaps this is especially the case with the Spanish prima donna,
Barrientos, who has for several years past come to the Metropolitan for
part of the season. She lives very quietly--almost in seclusion--in the
great city, keeping very much to herself, with her mother and the
members of her household, and does not care to have the simple routine
she plans for herself interrupted by any outside demands on her crowded
days.

Thus it happens that very few come face to face with the Spanish artist
except her personal friends. But once in a while she breaks the strict
rule, and will consent to speak with a serious questioner about her
manner of study, how she happened to take up a musical career, also some
of the characteristics of her country, its people and its musical art.

As her own art of song is most delicate and pure, as her instrument is
the most fragile and ethereal of any of the voices of her class, so the
singer herself is of slight and delicate physique. Her oval face, with
its large luminous eyes, has a charm more pronounced than when seen on
the other side of the footlights. Her manner is simple and sincere, in
common with that of all great artists.

"Although I always loved singing, I never expected to become a singer,"
began Mme. Barrientos, as we were seated on a comfortable divan in her
artistic music room. "As a very young girl, hardly more than a child, my
health became delicate. I had been working very hard at the Royal
Conservatory of Music, in Barcelona, my native city, studying piano,
violin and theory, also composition. I was always a delicate child, and
the close application required for these studies was too much for me.
Singing was prescribed in order to develop my chest and physique; I took
it up as a means of health and personal pleasure, without the slightest
idea to what it might lead.

"You speak of the responsibility of choosing a good and reliable vocal
instructor. This is indeed a difficult task, because each teacher is
fully persuaded that his method is the