XIX

=SOPHIE BRASLAU=

MAKING A CAREER IN AMERICA

A fact, often overlooked when considering the career of some of our
great singers of to-day, is the fact that they started out to become an
instrumentalist rather than a singer. In other words they become
proficient on some instrument before taking up serious study of the
voice. In this connection one thinks of Mme. Sembrich, who was both
pianist and violinist before becoming known as a singer. It would be
interesting to follow up this idea and enumerate the vocalists who have
broadened their musicianship through the study of other instruments than
their own voices. But this delightful task must be reserved for future
leisure. For the present it can be set down here that Miss Sophie
Braslau, probably the youngest star in the constellation of the
Metropolitan artists, is an accomplished pianist, and intended to make
her career with the aid of that instrument instead of with her voice.

But we will let the young artist speak for herself. On the occasion in
question, she had just returned from a walk, her arms full of rosebuds.
"I never can resist flowers," she remarked, as she had them placed in a
big silver vase. Then she carried the visitor off to her own special
rooms, whose windows overlooked an inner garden, where one forgot one
was in the heart of New York. "Indeed it is not like New York at all,
rather like Paris," said Miss Braslau, answering my thought.

On a _chaise longue_ in this ivory and rose sanctum, reposed a big,
beautiful doll, preserved from childish days. The singer took it up; "I
don't play with it now," she said with a smile, "but I used to." She
placed it carefully in a chair, then settled herself to talk.

[Illustration: SOPHIE BRASLAU]

"Yes, I intended to make the piano my instrument and began my studies at
the age of six. Before long it was seen that I had something of a voice,
but no one gave it much thought, supposing I was to be a pianist; indeed
I have the hand of one," holding it up. "I don't think, in those early
years, I was so very anxious to become a player. I did not love
scales--do not now, and would quite as soon have sat at the piano with a
book in my lap, while my fingers mechanically did their stunts. But my
mother looked after my practice, and often sat near me. She required a
regular amount of time given to music study each day. I am so grateful
that she was strict with me, for my knowledge of piano and its
lit