[Illustration:  SOPHIE BRASLAU]

“Yes, I intended to make the piano my instrument and began my studies at the age of six.  Before long it was seen that I had something of a voice, but no one gave it much thought, supposing I was to be a pianist; indeed I have the hand of one,” holding it up.  “I don’t think, in those early years, I was so very anxious to become a player.  I did not love scales—­do not now, and would quite as soon have sat at the piano with a book in my lap, while my fingers mechanically did their stunts.  But my mother looked after my practice, and often sat near me.  She required a regular amount of time given to music study each day.  I am so grateful that she was strict with me, for my knowledge of piano and its literature is the greatest joy to me now.  To my thinking all children should have piano lessons; the cost is trifling compared to the benefits they receive.  They should be made to study, whether they wish to or not.  They are not prepared to judge what is good for them, and if they are given this advantage they will be glad of it later on.

“In due time I entered the Institute of Musical Art, taking the full piano course.  Arthur Hochmann was my teacher for piano, and I found him an excellent master.  He did a great deal for me; in interpretation, in fineness of detail, in artistic finish I owe him very much.  Later I studied several years with Alexander Lambert.

“While at work with my piano, it grew more apparent that I had a voice that should be cultivated.  So I began.  Afterwards I worked three years with Signor Buzzi Peccia, who started me on an operatic career and finally brought me to the Metropolitan.

“It was a great ordeal for a young singer, almost a beginner, to start at our greatest Opera House!  It meant unremitting labor for me.  I worked very hard, but I am not afraid of work.  Toscanini held sway when I began, and he was a marvelous musician and conductor.  Such exactness, such perfection of detail; he required perfection of every one.  He did not at first realize how much of a beginner I was, though I had really learned a large number of roles.  He was so strict in every detail that I wept many bitter tears for fear I would not come up to the mark.  I knew the music, but had not gained experience through routine.  It seems to me every singer should gain this experience in some smaller places before attempting the highest.  My advice would be to go and get experience in Europe first.  I have never been in Germany, but in Italy and France there are many small opera houses where one may learn routine.

“Another thing.  There is a mistaken notion that one cannot reach any height in opera without ‘pull’ and great influence.  I am sure this is not true; for while a pull may help, one must be able to deliver the goods.  If one cannot, all the backing in the world will not make one a success.  The singer must have the ability to ‘put it over.’  Think of the artists who can do it—­Farrar,