heard above a great orchestra, without
suffering for it.

When I, for instance, was learning the part of _Isolde_, I could
without weariness sing the first act alone six times in succession,
with expression, action, and a full voice. That was my practice with
all my roles. After I had rehearsed a role a thousand times in my own
room, I would go into the empty theatre and rehearse single scenes, as
well as the whole opera, for hours at a time. That gave me the
certainty of being mistress of my resonances down to the last note;
and very often I felt able to begin it all over again. So must it be,
if one wishes to accomplish anything worth while.

Another end also is attained by the same exercise,--the connection,
not only of the vowels, but of all letters, syllables, words, and
phrases. By this exercise the form for the breath, tone, and word, in
which all the organs are adjusted to each other with perfect
elasticity, is gradually established. Slowly but surely it assures
greatest endurance in all the organs concerned in speaking and
singing, the inseparable connection of the palatal resonance with the
resonance of the head cavities. In this way is gained perfection in
the art of singing, which is based, not on chance, but on knowledge;
and this slow but sure way is the only way to gain it.

By the above-described method all other alphabetical sounds can be
connected, and exercises can be invented to use with it, which are
best adapted to correct the mistakes of pupils, at first on one, then
step by step on two and three connected tones, etc.

At the same time it is necessary to learn to move the tongue freely,
and with the utmost quickness, by jerking it back, after pronouncing
consonants, as quick as a flash, into the position in which it
conducts the breath to the resonating chambers for the vowels. With
all these movements is connected the power of elastically contracting
and relaxing the muscles.

SECTION XXVI

THE LIPS

Of special importance for the tone and the word are the movements of
the lips, which are so widely different in the bright and in the dark
vowels. These movements cannot be too much exaggerated in practising.
The same strength and elasticity to which we have to train the muscles
of the throat and tongue must be imparted to the lips, which must be
as of iron. Upon their cooeperation much of the life of the tone
depends, and it can be used in many shadings, as soon as one is able
to