e produces his results
and be able to produce them time and time again with constantly
increasing success. Note in the succeeding conferences how many of the
great singers have given very careful and minute consideration to this.
The late Evan Williams spent years of thought and study upon it; and the
writer considers that his observations in this volume are among the most
important contributions to the literature of voice teaching. This was
the only form in which they appeared in print. Only one student in a
hundred thousand can dispense with a good vocal teacher, as did the
brilliant Galli-Curci or the unforgetable Campanari. A really fine
teacher of voice is practically indispensable to most students. This
does not mean that the best teacher is the one with the greatest
reputation. The reputation of a teacher only too often has depended upon
his good fortune early in life in securing pupils who have made
spectacular successes in a short time. There are hundreds of splendid
vocal teachers in America now, and it is very gratifying to see many of
their pupils make great successes in Europe without any previous
instruction "on the other side."

Surely nothing can be more helpful to the ambitious vocal student than
the direct advice, personal suggestions and hints of the greatest
singers of the time. It is with this thought that the writer takes
especial pride in being the medium of the presentation of the following
conferences. It is suggested that a careful study of the best
sound-reproducing-machine records of the great singers included will add
much to the interest of the study of this work.

The enormous incomes received from some vocal gold mines, such as
Caruso, John McCormack, Patti, Galli-Curci, and others, have made the
lure of the singer's career so great that many young vocalists are
inclined to forget that all of the great singers of the day have
attained their triumphs only after years of hard work. Galli-Curci's
overwhelmingly successful American debut followed years of real labor,
when she was glad to accept small engagements in order to advance in her
art. John McCormack's first American appearances were at a side show at
the St. Louis World's Fair. Sacrifice is often the seed kernel of large
success. Too few young singers are willing to plant that kernel. They
expect success to come at the end of a few courses of study and a few
hundred dollars spent in advertising. The public, particularly the
America