The sincerity of the art worker must permeate the song as naturally as the green leaves break through the dead branches in springtime.

The student who deceives himself into thinking that he is giving his life like an ascetic in the spirit of sacrifice for art, is the victim of a deplorable species of egotism.

Acquiring a repertoire in these days, when the vocal literature is so immense, so overwhelming, that the student with sense will devote all his energies to work and not imagine himself a martyr to art.

The real artist has no idea that he is sacrificing himself for art. He does “what he does for one reason and one reason only-he can't help doing it”

French is, in many ways, more difficult for an English-speaking person to sing. It is so full of complex and trying vowels. It requires the utmost subtlety.

When the student has her voice under complete control, it is safe to take up the lyric repertoire of Mendelssohn, Old English Songs, etc. How simple and charming they are!

In the piano, one has the instrument complete before he begins; but in the case of the voice, the instrument has to be developed by study.