t such a drill and
such a series of exercises as it has never had before. You will have to
listen to the vowel sounds as you have never listened. This is
necessary because in order to understand the grammar of the language you
must hear the final vowel in each word and you must hear the consonants
distinctly.

There is another peculiar thing about Italian. If the student who has
always studied and sung in English, German or French or Russian,
attempts to sing in Italian, he is really turning a brilliant
searchlight upon his own vocal ability. If he has any faults which have
been concealed in his singing in his own language, they will be
discovered at once the moment he commences to study in Italian. I do not
know whether this is because the Italian of culture has a higher
standard of diction in the enunciation of the vowel sounds, or whether
the sounds themselves are so pure and smooth that they expose the
deficiencies, but it is nevertheless the case. The American girl who
studies Italian for six months and then hopes to sing in that language
in a manner not likely to disturb the sense of the ridiculous is
deceiving herself. It takes years to acquire fluency in a language.

AUDIENCES THE SAME THE WORLD AROUND

Audiences are as sensitive as individuals. Italy is known as "the home
of the opera"; but I find that, as far as manifesting enthusiasm goes,
the world is getting pretty much the same. If the public is pleased, it
applauds no matter whether it be in Vienna, Paris, Rome, Buenos Aires,
New York, or Oshkosh. An artist feels his bond with his audience very
quickly. He knows whether his auditors are delighted, whether they are
merely interested or whether they are indifferent a few seconds after he
has been upon the stage. I can judge my own work at once by the attitude
of the audience. No artist sings exactly alike on two successive nights.
That would be impossible. Although every sincere artist tries to do his
best at all times, there are, nevertheless, occasions when one sings
better than at others. If I sing particularly well the audience is
particularly enthusiastic; if I am not feeling well and my singing
indicates it, the audience will let me know at once by not being quite
so enthusiastic. It is a barometer which is almost unfailing. This is
also an important thing for the young singer to consider. Audiences
judge by real worth and not by reputation.

Reputation may attract money to the box office, but o