The beginner, in singing, needs a model to imitate, just as much as the painter or sculptor. Everything is "imitation" until you develop in your work; your individuality will assert itself as you become proficient. Do not allow anyone to frighten you by telling you "never imitate or you will simply be a parrot." Only the very poor teacher who knows her own weakness as a model would make such an assertion. If the beginner is fortunate enough to secure a teacher who can demonstrate a =perfect tone=, do not be afraid to imitate. In order to fully interpret the emotions it is necessary to have knowledge outside of the singing lesson. It is for this reason that singers seldom reach the stage of "artist" until they are pretty well advanced in years. It is not how many lessons you take, but the gradual development, which you attain through experience. You must feel the heartbeats of others, must know intimately "joy," "pain" and "sorrow" in order to fully express these emotions. There is no rule of "right" and "wrong" in the interpretation of a song, it being simply a matter of opinion. That is where the individuality asserts itself. I remember taking the old warhorse, "Una Voce Poco Fa," from Il Barbiere (Rossini) to three of the greatest living singing masters in Italy. Each one interpreted the aria a little differently, and I am positive each thought he was the nearest to the composer's idea. Which one was correct? "When you sing you are delivering a message, and you must make your audience understand and feel it, as it is our 'feelings' above all that are immediately affected by music."--Von Weber. Do not be too anxious to realize financially. Consider that Wagner's salary as choir-master in the city of Warsaw was less than $12.00 a month. The great drawback to many of the students in America is the desire to work on the surface only--they don't seem willing to start at the beginning and work their way up. The matter of studying voice culture for a year does not make it possible for the singer to step before an audience and attain immediate success without other preparation. It takes more than the studio to make a "star." No artist ever began as a master. In addition to being a singer, you must possess talent, character and the ability to manage. If there is one of these qualities lacking, you must remain only an "artist." It takes all three in accord to produce a "STAR." "CAN I BECOME A GRAND OPERA SINGER?" The average teacher, in fact, most teachers, will say, "Yes, if you study," but this is not true, as you have only about one chance in a thousand. Have you any idea of the requirements necessary in order to become a "star" of the Metropolitan Opera Company?