Freedom about the neck, absence of visible effort, a gently induced attack, were insisted upon from start to finish with a vehement persistency.

Proper production of tone, free from contraction of external muscles and free from forced attack, are demanded, even though the result be at first a weak and unmusical sound. As regards the registers of the voice, the old masters never admitted the existence of more than one in a properly trained voice.

Making a great singer is an art as great as being a great singer.

—Lena Dora Devine, Musical Courier, September 30, 1896: 18.