counts for the long careers of Marcella Sembrich and Lilli Lehmann,[1] or of Yvette Guilbert and Maggie Cline, for that matter. It is a knowledge of style that makes De Wolf Hopper a fine artist in his interpretation of the music of Sullivan and the words of Gilbert. Some artists, indeed, with barely a shred of voice, have managed to maintain their eminent positions on the stage for many years through a knowledge of style. I might mention in this connection Victor Maurel,[2] Max Heinrich,[3] Antonio Scotti,[4] and Maurice Renaud.
A singer may be born with the ability to produce pure tone (I doubt if Mme. Melba learned much about tone production from her teachers), she may even phrase naturally, although this is more doubtful, but the acquirement of style is an arduous and tedious process and one which generally requires specialization. Style is elusive. A sensitive auditor, a good critic, will recognize it at once, but very few can define it with any exactitude. Nevertheless, it must be fairly obvious to the careful listener that Olive Frem-
