CONTENTS
| [FOREWORD BY THE AUTHOR] | iii | |
| [I. ENRICO CARUSO] | The Value of Work | 1 |
| [II. GERALDINE FARRAR] | The Will to Succeed a Compelling Force | 10 |
| [III. VICTOR MAUREL] | Mind Is Everything | 24 |
| [IV . A VISIT TO MME. LILLI LEHMANN] | 36 | |
| [V. AMELITA GALLI-CURCI] | Self-teaching the Great Essential | 48 |
| [VI. GIUSEPPE DE LUCA] | Ceaseless Effort Necessary for Artistic Perfection | 60 |
| [VII. LUISA TETRAZZINI] | The Coloratura Voice | 70 |
| [VIII. ANTONIO SCOTTI] | Training American Singers for Opera | 80 |
| [IX. ROSA RAISA] | Patience and Perseverance Win Results | 88 |
| [X . LOUISE HOMER] | The Requirements of a Musical Career | 98 |
| [XI. GIOVANNI MARTINELLI] | "Let Us Have Plenty of Opera in America" | 110 |
| [XII. ANNA CASE] | Inspired Interpretation | 118 |
| [XIII. FLORENCE EASTON] | Problems Confronting the Young Singer | 127 |
| [XIV. MARGUERITE D'ALVAREZ] | The Message of the Singer | 139 |
| [XV . MARIA BARRIENTOS] | Be Your Own Critic | 147 |
| [XVI. CLAUDIA MUZIO] | A Child of the Opera | 156 |
| [XVII . EDWARD JOHNSON (EDOUARDO DI GIOVANNI)] | The Evolution of an Opera Star | 165 |
| [XVIII. REINALD WERRENRATH] | Achieving Success on the Concert Stage | 175 |
| [XIX. SOPHIE BRASLAU] | Making a Career in America | 185 |
| [XX. MORGAN KINGSTON] | The Spiritual Side of the Singer's Art | 193 |
| [XXI. FRIEDA HEMPEL] | A Lesson with a Prima Donna | 202 |
WITH THE MASTER TEACHERS | ||
| [XXII . DAVID BISPHAM] | The Making of Artist Singers | 213 |
| [XXIII. OSCAR SAENGER] | Use of Records in Vocal Study | 225 |
| [XXIV. HERBERT WITHERSPOON] | Memory, Imagination, Analysis | 238 |
| [XXV. YEATMAN GRIFFITH] | Causation | 249 |
| [XXVI. J.H. DUVAL] | Some Secrets of Beautiful Singing | 258 |
| [XXVII. THE CODA] | A Resumé | 266 |
ILLUSTRATIONS
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. And even if singers could analyze, the description might not fit any case but their own. For the art of singing is an individual art, the perfecting an instrument hidden from sight. Each artist must achieve mastery by overcoming difficulties which beset his own personal path.
Despite these obstacles, every effort has been put forth to induce artists to speak from an educational standpoint. It is hoped the various hints and precepts they have given, may prove of benefit to singers and teachers. Limitations of space prevent the inclusion of many other artists and teachers.
HARRIETTE BROWER.
150 West 80 Street, New York City.