erformances in the
world are now being given at the Metropolitan Opera House, but to help
provide us with well-schooled singers for the future.

NECESSITY OF ROUTINE

Nothing can take the place of routine in learning operas. Many, many
opera singers I have known seem to be woefully lacking in it. In
learning a new opera, I learn all the parts that have anything to do
with the part I am expected to sing. In other words, I find it very
inadvisable to depend upon cues. There are so many disturbing things
constantly occurring on the stage to throw one off one's track. For
instance, when I made my first appearance in Mascagni's _Lodoletta_ I
was obliged to go on with only twenty-four hours' notice, without
rehearsal, in an opera I had seen produced only once. I had studied the
role only two weeks. While on the stage I was so entranced with the
wonderful singing of Mr. Caruso that I forgot to come in at the right
time. He said to me quickly _sotto voce_--

"_Canta! Canta! Canta!_"

And my routine drill of the part enabled me to come in without letting
the audience know of my error.

The mere matter of getting the voice to go with the orchestra, as well
as that of identifying cues heard in the unusual quality of the
orchestral instruments (so different from the tone quality of the
piano), is most confusing, and only routine can accustom one to being
ready to meet all of these strange conditions.

One is supposed to keep an eye on the conductor practically all of the
time while singing. The best singers are those who never forget this,
but do it so artfully that the audience never suspects. Many singers
follow the conductor's baton so conspicuously that they give the
appearance of monkeys on a string. This, of course, is highly ludicrous.
I don't know of any way of overcoming it but experience. Yes, there is
another great help, and that is musicianship. The conductor who knows
that an artist is a musician in fact, is immensely relieved and always
very appreciative. Singers should learn as much about the technical side
of music as possible. Learning to play the violin or the piano, and
learning to play it well is invaluable.

WATCHING FOR OPPORTUNITIES

The singer must be ever on the alert for opportunities to advance. This
is largely a matter of preparation. If one is capable, the opportunities
usually come. I wonder if I may relate a little incident which occurred
to me in Germany long before the war. I had b