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

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!

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.

If the student could give up her work on my advice, she had better give it up without it. One does not study for a goal. The goal is a mere accident.

Inspired by the purse rather than the soul, the mercenary side fairly screams in many of the works put out by every day American publishers.

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.

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.