ncrease in the
interest in opera in recent years is doubtless due to the fact that
thousands and thousands of those instruments are in use in as many homes
and music studios. It is far past the "toy" stage, and is a genuine
factor in the art development and musical education of America. At first
the sound reproducing machine met with tremendous opposition owing to
the fact that bad instruments and poorer records had prejudiced the
public, but now they have reached a condition whereby the voice is
reflected with astonishing veracity. The improvements I have observed
during the past years have seemed altogether wonderful to me. The
thought that half a century hence the voices of our great singers of
to-day may be heard in the homes of all countries of the globe gives a
sense of satisfaction to the singer, since it gives a permanence to his
art which was inconceivable twenty-five years ago.

[Illustration: HENRI SCOTT.]

HENRI SCOTT

BIOGRAPHICAL

Henri Scott was born at Coatesville, Pa., April 8, 1876. He was intended
for a business career but became interested in music, at first in an
amateur way, in Philadelphia. Encouraged by local successes he went to
study voice with Oscar Saenger, remaining with him for upward of eleven
years. He was fortunate in making appearances with the "Philadelphia
Operatic Society," a remarkable amateur organization giving performances
of grand opera on a large scale. With this organization he made his
first stage appearances as Ramphis in _Aida_, in 1897. He had his
passage booked for Europe, where he was assured many fine appearances,
when he accidentally met Oscar Hammerstein, who engaged him for five
years. Under this manager he made his professional debut as Ramphis at
the Manhattan Opera House in New York, in 1909. Hammerstein, a year
thereafter, terminated his New York performances by selling out to the
Metropolitan Opera Company. Mr. Scott then went to Rome, where he made
his first appearance in _Faust_, with great success. He was immediately
engaged for the Chicago Opera Company where, during three years, he sang
some thirty-five different roles. In 1911 he was engaged as a leading
basso by the Metropolitan, where he remained for many seasons. He has
sung on tour with the Thomas Orchestra, with Caruso and at many famous
festivals. He has appeared with success in over one hundred cities in
the United States and Canada. In response to many offers he went into
vaudeville, w