Once determined that she stood a fair chance of success in the operatic
field I should take the greatest possible care of her health, both
physically and intellectually. Note that I lay particular stress upon
her physical training. It is most important, as no one but the
experienced singer can form any idea of what demands are made upon the
endurance and strength of the opera singer.
Her general education should be conducted upon the most approved lines.
Anything which will develop and expand the mind will be useful to her in
later life. The later operatic roles make far greater demands upon the
mentality of the singer than those of other days. The singer is no
longer a parrot with little or nothing to do but come before the
footlights and sing a few beautiful tones to a few gesticulations. She
is expected to act and to understand what she is acting. I would lay
great stress upon history--the history of all nations--she should study
the manners, the dress, the customs, the traditions, and the thought of
different epochs. In order to be at home in _Pelleas and Melisande_, or
_Tristan und Isolde_, or _La Boheme_ she must have acquainted her mind
with the historical conditions of the time indicated by the composer and
librettist.