Her Very Early Training
Once determined that she stood a fair chance of success in the operatic field I should take the greatest possible care of her health, both physically and intellectually. Note that I lay particular stress upon her physical training. It is most important, as no one but the experienced singer can form any idea of what demands are made upon the endurance and strength of the opera singer.
Her general education should be conducted upon the most approved lines. Anything which will develop and expand the mind will be useful to her in later life. The later operatic rôles make far greater demands upon the mentality of the singer than those of other days. The singer is no longer a parrot with little or nothing to do but come before the footlights and sing a few beautiful tones to a few gesticulations. She is expected to act and to understand what she is acting. I would lay great stress upon history—the history of all nations—she should study the manners, the dress, the customs, the traditions, and the thought of different epochs. In order to be at home in Pelleas and Melisande, or Tristan und Isolde, or La Bohême she must have acquainted her mind with the historical conditions of the time indicated by the composer and librettist.