In the instance I have in mind he telegraphed for a celebrated throat specialist in New York to come immediately to Pittsburg, where just previous to the concert he underwent heroic treatment. This meant the administering of a stimulant to the vocal cords which contracted them for a period of a few hours.
Thereby he was enabled to fulfil his engagement, though the after-results put him out of action for at least a week.
A singer cannot hope always to be absolutely at his best, and this fact should be realised from the first by young artists. Frequently, prior to a performance, if the artist cannot bring off certain customary effects he, or she, will be thrown immediately into a state of distraction and despair. This, however, is all wrong.
Engagements must be kept, and more often than not, as I have suggested, the artist will find when the time comes that his apprehension has been quite uncalled for. Strung up by the needs of the case, and making a special call upon all his resources, mental and emotional as well as merely vocal, he will very likely do even better than usual.
He should bear this in mind, therefore, another time, and never lose his head even though he may think that he has lost his voice!
At the same time this is not to say that really serious voice trouble should be ignored, and I myself make it a practice in every large town where I am accustomed to stay for any length of time to learn of a suitable medical man or voice specialist to whom I can repair for advice in case of need.
As to one’s régime on the day when one is actually singing this merits a few words perhaps. Having gone to bed betimes the day before, so as to secure a long night of unbroken rest, I myself do not usually rise until about ten or eleven, when I have a light breakfast of tea and toast and soft-boiled eggs. For lunch, if one may call it such, after a short walk, I have merely a cup of cocoa and a little fruit, and nothing more until after the concert. Most other artists of my acquaintance do likewise.