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Project Gutenberg's Confessions of an Opera Singer, by Kathleen Howard This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Confessions of an Opera Singer Author: Kathleen Howard Release Date: June 26, 2010 [EBook #32980] Language: English Character set encoding: ASCII *** START OF THIS PROJECT GUTENBERG EBOOK CONFESSIONS OF AN OPERA SINGER *** Produced by Chuck Greif and the Online Distributed Proofreading Team at http://www.pgdp.net (This book was produced from scanned images of public domain material at The Internet Archive.) [Illustration: Photo of Kathleen Howard, Autographed] CONFESSIONS OF AN OPERA SINGER BY KATHLEEN HOWARD NEW YORK MCMXVIII ALFRED A. KNOPF COPYRIGHT, 1918, BY KATHLEEN HOWARD BAIRD _Published September 1918_ PRINTED IN THE UNITED STATES OF AMERICA _To Marjorie_ FOREWORD So many fantastic tales have come to us of students' life abroad, of their temptations, trials, finances, successes and failures, that I have attempted to give here the true story of the preparation for an operatic career, and its fruition. My road leads from New York to Paris, to Germany and thence to London, and back to the Metropolitan Opera House. My operatic experiences in Germany are inalienably associated with the lives of the people, particularly with the German officer class, viewed publicly and privately; in fact in the town where I was first engaged, Metz, I found they were as vital a part of the Opera house life as the singers themselves. Their arrogance tainted the town life as well, and here I first became acquainted with the pitiful attempt at swagger and brilliancy which often covered a state of grinding poverty, or the thwarted natural domestic instincts which were ruthlessly sacrificed to the "uniform"--the all-desirable entree to society, for which no price was too high to pay. I hope this book will be of interest not only to those whose goal is the operatic or concert stage, but to those to whom "human documents" appeal. It is a story of real people, real obstacles overcome, and contains much intimate talk of back-stage life in opera houses. CONTENTS CHAPTER
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