"The sixth asset ought to be Patience, for she will need that in large measure. It is only with patient striving, doing the daily vocal task, and trying to do it each day a little better than the day before, that anything worth while is accomplished. It is a work that cannot be hurried. I repeat it; the student must have unlimited patience to labor and wait for results.
COLORATURA AND DRAMATIC
"I would advise every student to study coloratura first. Then, as the voice broadens, deepens and takes on a richer timbre, it will turn naturally to the more dramatic expression. The voice needs this background, or foundation in the old Italian music, in order to acquire flexibility and freedom. I was not trained to follow this plan myself, but my daughter Louise, who is just starting out in her public career, has been brought up to this idea, which seems to me the best.
MEMORIZING
"I memorize very easily, learning both words and music at the same time. In taking up a new rôle, my accompanist plays it for me and we go over it carefully noting all there is in language and notes. When I can take it to bed with me, and go over it mentally; when I can go through it as I walk along the street, then it has become a part of me; then I can feel I know it."
"Mme. Homer holds the banner at the Metropolitan, for rapid memorizing," said her husband. "On one occasion, when Das Rheingold was announced for an evening performance, the Fricka was suddenly indisposed and unable to appear. Early in the afternoon, the Director came to Mme. Homer, begging her to do the part, as otherwise he would be forced to close the house that night. A singer had tried all forenoon to learn the rôle, but had now given it up as impossible. Mme. Homer consented. She started in at three o'clock and worked till six, went on in the evening, sang the part without rehearsal, and acquitted herself with credit. This record has never been surpassed at the Metropolitan." "I knew the other Frickas of the Ring," said Madame, "but had never learned the one in the Rheingold; it is full of short phrases and difficult to remember, but I came through all right. I may add, as you ask, that perhaps Orfeo is my favorite rôle, one of the most beautiful works we have."
VOCAL MASTERY
"What do I understand by Vocal Mastery? The words explain themselves. The singer must master all difficulties of technic, of tone production, so as to be able to express the thought of the composer, and the meaning of the music."
"Don't forget that the singer must have a musical nature," added Mr. Homer, "for without this true vocal mastery is impossible."