The most perfect singer that I remember in my Berlin experience was Theodor Wachtel in this respect, that with his voice of rare splendor, he united all that vocal art which, as it seems, is destined quite to disappear from among us. How beautiful were his coloratura, his trills,—simply flawless! Phrasing, force, fulness of tone, and beauty were perfect, musically without a blemish. If he did not go outside the range of Arnold, G. Brown, Stradella, Vasco, the Postillion and Lionel, it was probably because he felt that he was not equal to interpreting the Wagnerian spirit. In this he was very wise. As one of the first of vocal artists, whose voice was superbly trained and was preserved to the end of his life, I have had to pay to Wachtel the tribute of the most complete admiration and recognition, in contrast to many others who thought themselves greater than he, and yet were not worthy to unloose the latchet of his shoes.

Recently the little Italian tenor Bonci has won my hearty admiration for his splendidly equalized voice, his perfect art, and his knowledge of his resources; and notwithstanding the almost ludicrous figure that he cut in serious parts, he elicited hearty applause. Cannot German tenors, too, learn to sing well, even if they do interpret Wagner? Will they not learn, for the sake of this very master, that it is their duty not to use their voices recklessly?

Is it not disrespectful toward our greatest masters that they always have to play hide and seek with the bel canto, the trill, and coloratura? Not till one has fully realized the difficulties of the art of song, does it really become of value and significance. Not till then are one's eyes opened to the duty owed not only to one's self but to the public.

The appreciation of a difficulty makes study doubly attractive; the laborious ascent of a summit which no one can contest, is the attainment of a goal.

Voices in which the palatal resonance—and so, power—is the predominating factor, are the hardest to manage and to preserve. They are generally called chest voices. Uncommon power and fulness of tone in the middle ranges are extremely seductive. Only rarely are people found with sense enough to renounce such an excess of fulness in favor of the head tones,—that is, the least risky range to exploit and preserve,—even if this has to be done only temporarily.

Copious vocal resources may with impunity be brought before the public and thereby submitted to strain, only after long and regular study.

The pure head tone, without admixture of palatal resonance, is feeble close at hand, but penetrating and of a carrying power equalled by no other. Palatal resonance without admixture of the resonance of the head cavities (head tones) makes the tone very powerful when heard near by, but without vibrancy for a large auditorium. This is the proof of how greatly every tone needs the proper admixture.