Natásha, that winter, had for the first time begun to sing seriously, mainly because Denísov so delighted in her singing. She no longer sang as a child, there was no longer in her singing that comical, childish, painstaking effect that had been in it before; but she did not yet sing well, as all the connoisseurs who heard her said: “It is not trained, but it is a beautiful voice that must be trained.” Only they generally said this some time after she had finished singing. While that untrained voice, with its incorrect breathing and labored transitions, was sounding, even the connoisseurs said nothing, but only delighted in it and wished to hear it again. In her voice there was a virginal freshness, an unconsciousness of her own powers, and an as yet untrained velvety softness, which so mingled with her lack of art in singing that it seemed as if nothing in that voice could be altered without spoiling it.