yety. The coloratura manner of singing is all delicacy and lightness,
and one cannot express deep emotion in this way.

"We subsequently went to Milano, where I studied with Madame Viviani, a
soprano who had enjoyed great success on the operatic stage.

"After several years of serious study I was ready to begin my career. So
I sang in Milan and other Italian cities, then at Covent Garden, and now
I am in the Metropolitan. In Italy I created the role of Fiora in _Amore
del tre Re_, and sang with Ferrari-Fontana. I also created Francesca in
_Francesca da Rimini_, under its composer, Zandonai. I have a repertoire
of about thirty operas, and am of course adding to it constantly, as one
must know many more than thirty roles. Since coming to New York, I have
learned _Aida_, which I did not know before, and have already appeared
in it. It was learned thoroughly in eight days. Now I am at work on
_Madame Butterfly_.

TECHNICAL PRACTICE

"I work regularly every morning on vocal technic. Not necessarily a
whole hour at a stretch, as some do; but as much time as I feel I need.
I give practically my whole day to study, so that I can make frequent
short pauses in technical practice. If technic is studied with complete
concentration and vigor, as it always should be, it is much more
fatiguing than singing an opera role.

"You ask about the special forms of exercises I use. I sing all the
scales, one octave each--once slow and once fast--all in one breath.
Then I sing triplets on each tone, as many as I can in one breath. I can
sing about fifteen now, but I shall doubtless increase the number. For
all these I use full power of tone. Another form of exercise is to take
one tone softly, then go to the octave above, which tone is also sung
softly, but there is a large crescendo made between the two soft tones.
My compass is three octaves--from C below middle C, to two octaves above
that point. I also have C sharp, but I do not practice it, for I know I
can reach it if I need it, and I save my voice. Neither do I work on the
final tones of the lowest octave, for the same reason--to preserve the
voice.

BREATH CONTROL

"Every singer knows how important is the management of the breath. I
always hold the chest up, taking as long breaths as I can conveniently
do. The power to hold the breath, and sing more and more tones with one
breath, grows with careful, intelligent practice. There are no rules
about the number of phrases you c