e
fact that there was plenty of hard work, and probably many
disappointments before him, but he did not shrink from either.

"Fortunately, I have a fund of humor," he said, and there was a twinkle
in his eye as he spoke. "It is a saving grace, as you say; without it I
believe I should have many times given up in sheer despair."

Mr. Johnson went to Italy in 1909, beginning at once his studies with
Lombardi, in Florence. In the ten years of his absence from his home
land he has built up a reputation and made a career in the great
operatic centers of Italy, Spain and South America. After his debut in
Padua, he became leading tenor at La Scala, Milan, for five consecutive
seasons. In Rome he spent four seasons at the Costanzi Theater, in the
meantime making two visits to the Colon Theater, Buenos Aires, and
filling engagements in Madrid, Bologna, Florence and Genoa.

"How could I stay away from America for such a length of time? you ask.
For various reasons. I was getting what I had come to Italy for,
experience and reputation. I was comfortable and happy in my work. I
loved the beautiful country, and the life suited me. The people were
kind. I had my own home in Florence, which is still there and to which I
can return when my season is over here. Best of all I had the
opportunity of creating all the new tenor roles in the recent operas of
Puccini, Montemezzi, Pizzetti and Gratico. I also created the role of
_Parsifal_ in Italian, and the first season at La Scala, it was
performed twenty-seven times."

"With your permission let us go a little into detail in regard to the
needs of the young singer and his method of study, so that he may
acquire vocal mastery. What do you consider the most important and
necessary subject for the young singer, or any one who wishes to enter
the profession, to consider?"

"A musical education," was the prompt, unhesitating reply. "So many
think if they have a good natural voice and take singing lessons, that
is quite sufficient; they will soon become singers. But a singer should
also be a musician. He should learn the piano by all means and have some
knowledge of theory and harmony. These subjects will be of the greatest
benefit in developing his musicianship; indeed he cannot well get on
without them. A beautiful voice with little musical education, is not of
as much value to its possessor as one not so beautiful, which has been
well trained and is coupled with solid musical attainments.