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 will definitely emerge and the new art of the singer be born. What marvellous effects might be achieved by skipping from octave to octave in the human voice! When will the obfusc pundits stop shouting for what Avery Hopwood calls "ascending and descending tetrarchs?"

But, some one will argue, with the passing of bel canto what will become of the operas of Mozart, Bellini, Rossini, and Donizetti? Who will sing them? Fear not, lover of the golden age of song, bel canto is not passing as swiftly as that. Singers will continue to be born into this world who are able to cope with the floridity of this music, for they are born, not made. Amelita Galli-Curci will have her successors, just as Adelina Patti had hers. Singers of this variety begin to sing naturally in their infancy, and they continue to sing, just sing. One touch of drama or emotion and their voices crack. Remember Nellie Melba's sad experience with Siegfried. The great Mario had scarcely studied singing (one authority says that he had taken a few lessons of Meyerbeer) when he made his début in Robert, le Diable, and there is no evidence that he studied very much afterwards. Melba, herself,