It is simple nonsense to speak of the fixed tempo of any particular vocal phrase. Each voice has its peculiarities.
I have often heard the statement made by foreign singers, as a demonstrated fact, that the German artists are artists in feeling indeed, and serious in their devotion, but that their singing is crude.
I learned, too, how it was possible with the help of the picture and action to transform an apparently insignificant violin passage into an incident, and to lift a simple horn call into a thing of stupendous significance by means of scenic emphasis.
It always makes me sad when I think of how I saw Wagner wasting his vitality, not only by singing their parts to some of his artists, but acting out the smallest details, and of how few they were who were responsive to his wishes.
The conductor's gift does not always go hand in hand with that of composition; indeed, the union is found much more seldom than is popularly believed.