lessons so popular in Europe, and hope some day we will be able to make them universal. Ten or twelve pupils assemble at one time and each takes his lesson in turn. In this way each gets the benefit of the other lessons. This also enables the pupils to become accustomed to singing before each other, which is invaluable in overcoming nervousness. Some pupils desire to take their lessons in private, as they do not care to sing before a class. This feeling will gradually disappear and it is much better to have it over with in the beginning, than later when you are expected to go before a critic or manager to sing.

The expense of studying abroad may be adjusted entirely according to your pocketbook. When anyone tells you it is cheaper to study on the other side, they display their ignorance of the subject. I have studied in this country, Germany, France and Italy, and I have found that, including everything, it costs about the same everywhere. You can secure board and room from five dollars a week up to any price you wish to pay. It is also possible to live cheaper than this if necessary, but for the student of singing it is of great importance to eat good, nourishing food, as it is impossible to sing well unless you are in excellent condition physically.

Several of the old Italian music masters do not hesitate to say that it is the American with the large purse who has forced them to raise their prices, when they were perfectly satisfied to charge much less.

Miss Moneybag arrives in Italy to take up voice culture. She calls on one of the old masters; he asks her seventeen lire (about $3.00) per lesson. This sounds cheap to her as she has been paying $5.00 a lesson at home, so she starts out again looking for a higher-priced teacher. She finds one who has had a little more experience with the Americans, he sizes her up and asks her thirty-five lira; this sounds more in accordance with her pocketbook, and she lists for the season. This sizing up of the American pocketbook has been going on for some time and the old "Maestro" who was perfectly satisfied with $3.00 is waking to the fact that if he wants these Americans he must raise his prices. And so we find at present, lessons costing about the same the world over. However, when Miss Small Pocketbook and real talent arrives, she can always arrange terms in accordance with her pocketbook, when she proves she is there to accomplish results. This is not merely hearsay, but facts gathered in my interviews with some of the most noted singing-masters.

If you intend to go into the grand opera it is advisable to go abroad, as it gives you the prestige which is necessary at present, in order to secure these positions of which we have a fair illustration in the case of a beautiful mezzo soprano who had been singing with the English Grand Opera Company, and though in every way qualified to sing with the Metropolitan Grand Opera Company, was unable to secure an engagement with them. She went abroad, changed her name, and returned the following season as one of the Metropolitan Grand Opera stars, and is still one of the favorites in that company.

This seems rather inconsistent, but is nevertheless true.

If you are fortunate enough to make your debut abroad you will have practically no trouble in securing a position with any manager on this side of the ocean.

CHORUS SINGING.

IT is of great value to the singer to belong to a good chorus, provided you know enough not to attempt to be the whole chorus yourself, and are willing to give the others a chance.

To be a success in the chorus you must observe the following rules:

Be punctual.

Stand erect, and on both feet. Let your chest lead.

Make yourself a part of the chorus. This is not a solo.

Don't annoy those around you by "wiggling" or "fidgeting."

Rise and sit down in unison with the others.

Do not look all over the place, but keep your eyes on the conductor.

Do not cover your face with your music.

Remember it is the conductor's duty to beat time. Keep head, arms and feet still.

Do not try to sing louder than the others. You will not be heard any better and will strain your voice.

Remember to hold the long note for its full count.

Time and rhythm are the two great factors in chorus singing.

Remember that "rests" are of as great importance as "notes" in music.

Do not start before or hang on after the others have ceased to sing.

Do not fail to slightly accentuate the first beat of each measure except where accents are especially marked on other beats.

Don't look bored because you must stand up to sing. Determine whether you are going to be too tired to do your part before becoming a member of a chorus.

Keep your eyes on the conductor.

STAGE FRIGHT.

I HAVE never met a singer, amateur or professional, who does not or has not at some time suffered from this dreadful malady. There is no positive cure but constantly appearing before an audience, and then some of the singers never overcome this form of nervousness.

The only consolation is in knowing that a person entirely void of this feeling will never make an artist, as they are lacking in temperament. Emotion is the flesh and blood of music and the condition is one in which self-consciousness, nervous energy and emotion play a large part. However, as you gain confidence in yourself and your work, and feel that you are in "rapport" with your audience, this sensation will wear off to a great extent.

Very few children before their teens are troubled with stage fright. In fact, they seem to glory in appearing before an audience. This is the best time to continue the work that will be of inestimable value the balance of their lives. Let them appear before the classes in the studio until they are prepared to appear in public.

When one begins to discuss nervousness, suggestion takes it up and it spreads like wildfire. A young singer who had appeared several times in the same solo and done excellent work was stepping on the stage to sing when one of her friends thoughtlessly remarked: "Aren't you nervous about that high 'C?'" The suggestion immediately lodged in her brain and she could think of nothing but that high "C." Her fear increased and she sang it with an almost heroic physical effort, a tone that had never given her the least trouble before.

It is the confident friend who helps you to win your audience by the encouraging remark, "I know you will be a success," while the one who asks,

"Aren't you afraid you are going to break down?" in reality will assist you in doing so. Always try and have the confident friends around you, especially in the earlier stage of your career.

There is an erroneous idea about not eating before singing. If you are nervous there is nothing so dangerous as trying to sing on an empty stomach. I know of singers who eat nothing on the day they are going to sing, the result being increased nervousness caused from weakness.

I would not advise a big meal before singing, but I would advise taking something, depending entirely on the individual. A cup of black coffee, a glass of water, a glass of claret, an orange, a raw egg, or anything that agrees with you. Give the stomach some work to do and that "giddy feeling" will entirely disappear. I always take a raw egg before singing.

One of our noted tenors, before walking out on the stage, lights a cigarette, takes three puffs and throws it away. Three puffs could be of very little value, but he imagines he sings better. Judging from his age and voice, and its endurance, it has evidently not injured him, though I would not advise singers to use tobacco.

Those suffering from phlegm in the throat will find almost instant relief in eating a dry prune. I acquired this habit in Italy, where it is very popular with the singers.