that when an artist is embarked upon his
professional work study ceases. It is a great mistake. No one works
harder than I do to broaden my culture and interpretative skill. I am
constantly studying and trust that I may never cease. The greater the
artist the more incessant the study. It is one of the secrets of large
success.

SPECIAL STUDY REQUIRED FOR CONCERT SINGING

People imagine that the opera requires a higher kind of vocal
preparation than the concert or oratorio stage. This is also a great
misconception. The operatic singers who have been successful as concert
singers at once admit that concert singing is much more difficult.
Comparatively few opera singers succeed as concert singers. Why? Because
in opera the voice needs to be concentrated and more or less uniform. An
opera house is really two buildings, the auditorium and the stage. The
stage with its tall scene-loft is frequently as large from the
standpoint of cubic feet as the auditorium. Sometimes it is larger. To
fill these two immense buildings the voice must be strong and
continually concentrated, _dans le Masque_. The delicate little effects
that the concert singer is obliged to produce would not be heard over
the footlights. In order to retain interest without the assistance of
scenery and action the concert singer's interpretative work must be
marked by an attention to details that the opera singer rarely
considers. The voice, therefore, requires a different treatment. It must
be so finely trained that it becomes susceptible to the most delicate
change of thought in the singer's mind. This demands a really enormous
amount of work.

The successful concert singer must also have an endurance that enables
her to undergo strains that the opera singer rarely knows. The grand
opera singer in the great opera houses of the world rarely sings more
than two or three times a week. The concert singer is often obliged to
sing every night for weeks. They must learn how to relax and save the
voice at all times, otherwise they will lose elasticity and sweetness.

A young woman vocal student, with talent, a good natural voice,
intelligence, industry, sufficient practice time, a high school
education, and a knowledge of the rudiments of music, might complete a
course of study leading to a successful concert debut in three years.
More frequently four or five years may be required. With a bungling
teacher she may spend six or seven. The cost of her instruction,