If you intend to go into the grand opera it is advisable to go abroad, as it gives you the prestige which is necessary at present, in order to secure these positions of which we have a fair illustration in the case of a beautiful mezzo soprano who had been singing with the English Grand Opera Company, and though in every way qualified to sing with the Metropolitan Grand Opera Company, was unable to secure an engagement with them. She went abroad, changed her name, and returned the following season as one of the Metropolitan Grand Opera stars, and is still one of the favorites in that company. This seems rather inconsistent, but is nevertheless true. If you are fortunate enough to make your debut abroad you will have practically no trouble in securing a position with any manager on this side of the ocean. CHORUS SINGING. It is of great value to the singer to belong to a good chorus, provided you know enough not to attempt to be the whole chorus yourself, and are willing to give the others a chance. To be a success in the chorus you must observe the following rules: Be punctual. Stand erect, and on both feet. Let your chest lead. Make yourself a part of the chorus. This is not a solo. Don't annoy those around you by "wiggling" or "fidgeting." Rise and sit down in unison with the others. Do not look all over the place, but keep your eyes on the conductor. Do not cover your face with your music. Remember it is the conductor's duty to beat time. Keep head, arms and feet still. Do not try to sing louder than the others. You will not be heard any better and will strain your voice. Remember to hold the long note for its full count. Time and rhythm are the two great factors in chorus singing. Remember that "rests" are of as great importance as "notes" in music. Do not start before or hang on after the others have ceased to sing. Do not fail to slightly accentuate the first beat of each measure except where accents are especially marked on other beats. Don't look bored because you must stand up to sing. Determine whether you are going to be =too tired= to do your part before becoming a member of a chorus. Keep your eyes on the conductor. STAGE FRIGHT. I have never met a singer, amateur or professional, who does not or has not at some time suffered from this dreadful malady. There is no positive cure but constantly appearing before an audience, and then some of the singers never overcome this form of nervousness. The only consolation is in knowing that a person entirely void of this feeling will never make an artist, as they are lacking in temperament. Emotion is the flesh and blood of music and the condition is one in which self-consciousness, nervous energy and emotion play a large part. However, as you gain confidence in yourself and your work, and feel that you are in "rapport" with your audience, this sensation will wear off to a great extent.