ttom of everything. All children should have this opportunity,
whether they desire it or not. The child who early begins to study
piano, will often unconsciously follow the melody with her voice. Thus
the love of song is awakened in her, and a little later it is discovered
she has a voice worth cultivating."

On the subject of languages, artists are equally specific. Languages are
an absolute necessity, beginning with one's mother tongue. The student
should not imagine that because he is born to the English language, it
does not require careful study. Galli-Curci remarks: "The singer can
always be considered fortunate who has been brought up to more than one
language. I learned Spanish and Italian at home. In school I learned
French, German and English, not only a little smattering of each, but
how to write and speak them."

Rosa Raisa speaks eight languages, according to her personal statement.
Russian, of course, as she is Russian, then French, Italian, German,
Spanish, Polish, Roumanian and English.

"The duty is laid upon Americans to study other languages, if they
expect to sing," says Florence Easton. "I know how often this study is
neglected by the student. It is only another phase of that haste which
is characteristic of the young student and singer."

BREATH CONTROL

Following the subject of requirements for a vocal career, let us get
right down to the technical side, and review the ideas of artists on
Breath Control, How to Practice, What are the Necessary Exercises, What
Vowels Should be Used, and so on.

All admit that the subject of Breath Control is perhaps the most
important of all. Lehmann says: "I practice many breathing exercises
without using tone. Breath becomes voice through effort of will and by
use of vocal organs. When singing, emit the smallest quantity of breath.
Vocal chords are breath regulators; relieve them of all overwork."

Mme. Galli-Curci remarks: "Perhaps, in vocal mastery, the greatest
factor of all is the breathing. To control the breath is what each
student is striving to learn, what every singer endeavors to perfect,
what every artist should master. It is an almost endless study and an
individual one, because each organism and mentality is different."

Marguerite d'Alvarez: "In handling and training the voice, breathing is
perhaps the most vital thing to be considered. To some breath control
seems second nature; others must toil for it. With me it is intuition.
Breathing