by THE MUSICAL OBSERVER COMPANY

1920,
by FREDERICK A. STOKES COMPANY




FOREWORD


It has long been a cherished desire to prepare a series of Talks with
famous Singers, which should have an equal aim with Talks with Master
Pianists, namely, to obtain from the artists their personal ideas
concerning their art and its mastery, and, when possible, some inkling
as to the methods by which they themselves have arrived at the goal.

There have been unexpected and untold difficulties in the way of such an
undertaking. The greater the artist the more numerous the body-guard
which surrounds him--or her; the more stringent the watch over the
artist's time and movements. If one is able to penetrate this barrier
and is permitted to see the artist, one finds usually an affable
gentleman, a charming woman, with simple manners and kindly intentions.

However, when one is fortunate enough to come in touch with great
singers, one finds it difficult to draw from them a definite idea of the
process by which they have achieved victory. A pianist can describe his
manner of tone production, methods of touch, fingering, pedaling; the
violinist can discourse on the bow arm, use of left hand, on staccato
and pizzicati; but the singer is loath to describe his own instrument.