She was gowned in a stylish robe of rich material, and on her head a white lace hat with soft white plumes which lent a charm and softened her otherwise angular features. If I had received a shock at her first appearance, I certainly was the most surprised woman in the audience when she began her group of songs. Her first notes convinced me that she had changed her methods completely since singing in opera. She had found that singing in concert and singing the heavy work of Wagner were two distinct methods, and to succeed she had chosen the Bel Canto and forsaken Wagner. I never heard a more beautiful lullaby than she sang, with all tenderness and mother love running throughout her lines. Her German songs were also charming and well phrased and the interpretation perfect. Knowing the German language myself, I was able to appreciate and understand her rendering of them. It was only once she gave one or two of those former bellowing notes, and as quickly as she had uttered them she changed to the touchful notes that were more pleasing. I fully enjoyed the concert as much as I had disliked the opera which I heard in 1884 and which had left such an ugly impression. It is with the greatest pleasure that I also add my best appreciation of Schumann-Heink's singing, for she now sings just as an artist should who understands the art of singing, correctly, naturally, easily and comfortably. To gain the height of vocal art is to have no apparent method, but to sing with perfect facility from one end of the voice to the other, emitting all the notes clearly and yet with power; to have each note of the scale sound the same in quality and tonal beauty as the ones before and after. This is the highest art and a lifetime of work and study are necessary to acquire an easy emission of tone. One must have a complete understanding of anatomical structure of the throat, mouth and face, with their resonant cavities which are most necessary for the proper production of voice. The whole breathing apparatus must be understood because the whole foundation of singing is breathing and control of all the functions which compose the musical instrument. A singer's reliance depends upon the breath, as on the stability to economize the air during its emission from the lungs. Steadiness, strength, flexibility and sustaining power of the voice depend upon this knowledge and intelligent use of it. I hold the art of singing in such reverence that I feel I am walking upon sacred ground when I am employed in the teaching of the human voice. It is notoriously difficult to give rules for singing to every one alike. I have found out in my long experience of development of different voices under my guidance that no two persons can be taught alike. As faces and people differ, so do also the voices. There are general rules to be observed that all can understand, but outside of that, teaching of the voice becomes an individual study of every conscientious and capable teacher.