with a
good teacher in a great metropolis, will be more per year than if she
went to almost any one of the leading universities admitting women. She
will have to work harder than if she took a regular college course.
Progress depends upon the individual. One girl will accomplish more in
two years than another will accomplish in five years. Again, the rate of
progress depends upon personal development. Sometimes a course of study
with a good teacher will awaken a latent energy and mental condition
that will enable the student to make great strides.

My most important work has been done by self-study with the assistance
and advice of many singers and teachers who have been my friends. No
pupil who depends entirely upon a teacher will succeed. She must work
out her own salvation. It is the private thought, incessant effort and
individual attitude that lead to success.

STUDY IN YOUR HOME COUNTRY

I honestly believe that the young vocal student can do far better by
studying in America than by studying abroad. European residence and
travel are very desirable, but the study may be done to better advantage
right here in our own country. Americans want the best and they get it.
In Europe they have no conception whatever of the extent of musical
culture in America. It is a continual source of amazement to me. In the
West and Northwest I find audiences just as intelligent and as
appreciative as in Boston. There is the greatest imaginable catholicity
of taste. Just at present the tendency is away from the old German
classics and is leading to the modern works of French, German and
American composers. Still I find that I can sing a song like Schumann's
"Widmung" in Western cities that only a few years ago were mere
collections of frontier huts and shacks, and discover that the genius of
Schumann is just as potent there as in New York City. I have recently
been all over Europe, and I have seen no such condition anywhere as that
I have just described. It is especially gratifying to note in America a
tremendous demand for the best vocal works of the American composers.

The young concert singer must have a very comprehensive repertoire.
Every new work properly mastered is an asset. In oratorio she should
first of all learn those works that are most in demand, like the
_Messiah_, the _Elijah_, the _Creation_ and the _Redemption_. Then
attention may be given to the modern works and works more rarely
performed, like those of Elgar,