e are
singers in opera now who have barely passed the, what might be called,
rudimentary stage.

With the decline of the older operas, singers evidently came to the
conclusion that it was not necessary to study for the perfection of
tone-quality, evenness of execution and vocal agility. The modern
writers did not write such fioratura passages, then why should it be
necessary for the student to bother himself with years of study upon
exercises and vocalises designed to prepare him for the operas of
Bellini, Rossini, Spontini, Donizetti, Scarlatti, Carissimi or other
masters of the florid school? What a fatuous reasoning. Are we to
obliterate the lessons of history which indicate that voices trained in
such a school as that of Patti, Jenny Lind, Sembrich, Lehmann, Malibran,
Rubini and others, have phenomenal endurance, and are able to retain
their freshness long after other voices have faded? No, if we would have
the wonderful vitality and longevity of the voices of the past we must
employ the methods of the past.

THE DELICATE NATURE OF THE HUMAN VOICE

Of all instruments the human voice is by far the most delicate and the
most fragile. The wonder is that it will stand as much "punishment" as
is constantly given to it. Some novices seem to treat it with as little
respect as though it were made out of brass like a tuba or a trombone.
The voice is subject to physical and psychical influences. Every singer
knows how acutely all human emotions are reflected in the voice; at the
same time all physical ailments are immediately active upon the voice of
the singer.

There is a certain freshness or "edge" which may be worn off the voice
by ordinary conversation on the day of the concert or the opera. Some
singers find it necessary to preserve the voice by refraining from all
unnecessary talking prior to singing. Long-continued practice is also
very bad. An hour is quite sufficient on the day of the concert. During
the first years of study, half an hour a day is often enough practice.
More practice should only be done under special conditions and with the
direction of a thoroughly competent teacher.

Singing in the open air, when particles of dust are blowing about, is
particularly bad. The throat seems to become irritated at once. In my
mind tobacco smoke is also extremely injurious to the voice,
notwithstanding the fact that some singers apparently resist its effects
for years. I once suffered severely from the effects o