It would do no harm to any singer to study the multitude of vocal effects this artist achieves. I can think of nobody who could not learn something from her. How, for example, she gives her voice the hue and colour of a _jeune fille_ in _Pelleas et Melisande_, for although Melisande had been the bride of Barbe-Bleue before Golaud discovered her in the forest she had never learned to be anything else than innocent and distraught, unhappy and mysterious. Her treatment of certain important phrases in this work is so electrifying in its effect that the heart of every auditor is pierced. Remember, for example, her question to Pelleas at the end of the first act, "_Pourquoi partez-vous?_" to which she imparts a kind of dreamy intuitive longing; recall the amazement shining through her grief at Golaud's command that she ask Pelleas to accompany her on her search for the lost ring: "_Pelleas!--Avec Pelleas!--Mais Pelleas ne voudra pas_..."; and do not forget the terrified cry which signals the discovery of the hidden Golaud in the park, "_Il y a quelqu'un derriere nous!_" In _Monna Vanna_ her most magnificent vocal gesture rested on the single word _Si_ in reply to Guido's "_Tu ne reviendras pas?_" Her performance of this work, however, offers many examples of just such instinctive intonations. One more, I must mention, her answer to Guido's insistent, "_Cet homme t'a-t-il prise_?"... "_J'ai dit la verite.... Il ne m'a pas touchee_," sung with dignity, with force, with womanliness, and yet with growing impatience and a touch of sadness. Let me quote Pitts Sanborn: "It is easy to be flippant about Miss Garden's singing. Her faults of voice and technique are patent to a child, though he might not name them. One who has become a man can ponder the greatness of her singing. I do not mean exclusively in Debussy, though we all know that as a singer of Debussy ... she has scarce a rival. Take her _mezza voce_ and her phrasing in the second act of _Monna Vanna_, take them and bow down before them. Ponder a moment her singing in _Thais_. The converted Thais, about to betake herself desertward with the insistent monk, has a solo to sing. The solo is Massenet, simon-pure Massenet, the idol of the Paris _midinette_. Miss Garden, with a defective voice, a defective technique, exalts and magnifies that passage till it might be the noblest air of Handel or of Mozart. By a sheer and unashamed reliance on her command of style, Miss Garden works that miracle, transfigures Massenet into something superearthly, overpowering. Will you rise up to deny that is singing?"