the brilliant fireworks of former times. The head
voice, too, must not be regarded as a definite register of its own,
which is generally produced in the middle range through too long a
persistence in the use of the palatal and nasal resonance. If it is
suddenly heard alone, after forcing tones that have preceded it, which
is not possible under other circumstances, it is of course noticeably
thin, and stands out to its disadvantage--like every other sharply
defined register--from the middle tones. In the formation of the voice
no "register" should exist or be created; the voice must be made even
throughout its entire range. I do not mean by this that I should sing
neither with chest tones nor with head tones. On the contrary, the
practised artist should have at his command all manner of different
means of expression, that he may be able to use his single tones,
according to the expression required, with widely diverse qualities of
resonance. This, too, must be cared for in his studies. But these
studies, because they must fit each individual case, according to the
genius or talent of the individual, can be imparted and directed only
by a good teacher.

The head voice, when its value is properly appreciated, is the most
valuable possession of all singers, male and female. It should not be
treated as a Cinderella, or as a last resort,--as is often done too
late, and so without results, because too much time is needed to
regain it, when once lost,--but should be cherished and cultivated as
a guardian angel and guide, like no other. Without its aid all voices
lack brilliancy and carrying power; they are like a head without a
brain. Only by constantly summoning it to the aid of all other
registers is the singer able to keep his voice fresh and youthful.
Only by a careful application of it do we gain that power of endurance
which enables us to meet the most fatiguing demands. By it alone can
we effect a complete equalization of the whole compass of all voices,
and extend that compass.

This is the great secret of those singers who keep their voices young
till they reach an advanced age. Without it all voices of which great
exertions are demanded infallibly meet disaster. Therefore, the motto
must be always, practice, and again, practice, to keep one's powers
uninjured; practice brings freshness to the voice, strengthens the
muscles, and is, for the singer, far more interesting than any musical
composition.

If in my explan