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 spent less than a year with Mme. Marchesi in preparation for her opera career. Mme. Galli-Curci asserts that she has had very little to do with professors, and I do not think that Mme. Tetrazzini spent her youth in mastering vocalizzi. As a matter of fact, she studied singing only six months. Adelina Patti told Dr. Hanslick that at the age of seven she had sung Una voce poco fà with the same embellishments which she employed later when she appeared in the opera in which the air occurs. No, these singers are as much freaks of nature as tortoise-shell cats and, like those rare felines, they are usually females of late, although such singers as Battistini and Bonci remind us that men once sang with as much agility as women. But naturally, when this type of singer finally becomes extinct, the operas which depend upon it will disappear likewise; for a cognate reason the works of Monteverde and Handel have dropped out of the repertory and the Greek tragedies and the Elizabethan interludes are no longer current on our stage. None of our actors understands the style of Chinese acting; consequently, it would be impossible to present a Chinese drama in our theatre. As Deirdre wails in Synge's great play: "It's a heartbreak to the wise that it's for a short space we have the same things only." We cannot, indeed, have everything. No one doubts that the