singing a role the night before.  No, for her this event does not spell exhaustion but happiness, exhilaration.  It is a pleasure to sing because it is not wearisome—­it is a part of herself.  And she enjoys the doing!  Thus it happens that the morning after a performance, she is up and abroad betimes, ready to attend personally to the many calls upon her time and attention.  She can use her speaking voice without fear, because she has never done anything to strain it; she is usually strong and well, buoyant and bright.  Those soft, dark eyes are wells of intelligent thinking; the mouth smiles engagingly as she speaks; the slight figure is full of life and energy.  Yet there is a deep sense of calm in her presence.  A brave, bright spirit; a great, wonderful artist!

These thoughts faintly glimpse my first impression of Mme. Galli-Curci, as she entered her big, sunny parlor, where I was waiting to see her.  Her delicate, oval face was aglow with the flush of healthful exercise, for she had just come in from a shopping expedition and the wintry air was keen.  “I love to go shopping,” she explained, “so I always do it myself.”

She bade me sit beside her on a comfortable divan, and at once began to speak of the things I most wished to hear.

“I am often asked,” she began, “to describe how I create this or that effect, how I produce such and such tones, how I make the voice float to the farthest corner, and so on.  I answer, that is my secret.  In reality it is no secret at all, at least not to any one who has solved the problem.  Any one possessing a voice and intelligence, can acquire these things, who knows how to go to work to get them.  But if one has no notion of the process, no amount of mere talking will make it plain.  Singing an opera role seems such an easy thing from the other side of the footlights.  People seem to think, if you only know how to sing, it is perfectly natural and easy for you to impersonate a great lyric role.  And the more mastery you have, the easier they think it is to do it.  The real truth of the matter is that it requires years and years of study—­constant study, to learn how to sing, before attempting a big part in opera.

“There are so many organs of the body that are concerned in the process of breathing and tone production; and most of these organs must be, if not always, yet much of the time, relaxed and in an easy pliable condition when you sing.  There is the diaphragm—­then the throat, larynx, the lungs, nose, lips—­all of them help to make the tone.  Perhaps I might say the larynx is the most important factor of all.  If you can manage that, you have the secret.  But no human being can tell you exactly how to do it.  Some singers before the public to-day have no notion of how to manage this portion of their anatomy.  Others may do so occasionally, but it may only be by accident.  They sometimes stumble upon the principle, but not understanding how they did so, they cannot reproduce the desired effects at will.  The singer who understands her business must know just how she produces tones and vocal effects.  She can then do them at all times, under adverse circumstances, even when nervous, or not in the mood, or indisposed.