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.

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.

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.

We are rich in the quantity of songs rather than in the quality. The singer has to go through hundreds of compositions before he finds one that really says something.

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!