ble for singers of other nations to
acquire--the numerous variations of vowel sounds.

French has the nasal sounds as its dominating characteristic and is very
valuable in the cultivation of "nasal resonance."

As I said before, it is so easy to exaggerate and the voice is so apt to
get too much "in the nose" that one has to be extremely careful in the
use of the French "n" and "ng."

German is so full of consonants that one needs to have exceptional
control of the tongue and lips to give their proper value.

English possesses the features of all the other languages--of course, in
less marked degree--resembling most, perhaps, the German. The "th" is
the most difficult sound to make effective in singing.

I have already spoken of the various phases of nervousness which an
artist feels before the performance, but I wish to say here a word in
regard to the practical significance of such nervousness. Artists who do
not experience it are those who lack real genius. There are really two
kinds of fear--that arising from a realization of the importance of what
is to be done, the other from a lack of confidence in one's power. If a
singer has no conscience in his performance he is never nervous, but
full of assurance.

It is seldom that true artists are much troubled with nervousness after
going upon the stage. Generally, as I have before mentioned, they are
apt to be ill during the day of the performance, but before the public
they forget everything and are dominated only by the real love of their
art and sustained by the knowledge of possessing a proper "method."

It is certain with a good breath support even nervousness need not
prevent one from singing well, although one may be actually suffering
from trepidation. Yet we know that sometimes the greatest of artists are
prevented thus from doing their best work. The principle, however,
remains unshaken that singing in a correct way is the greatest possible
"bracer."

It is best to remain absolutely quiet and see no one on the day of the
performance, so as not to be enervated by the effort of talking much, to
say nothing of tiring the vocal chords. One prima donna of my
acquaintance occupies herself in trimming hats on the day when she
sings, believing that this provides a distraction and rests her nerves.
It is just as well not to "pass through" the role that is to be sung on
the day of the appearing, but in the morning a few technical exercises
to keep the voice in t