| "The true method of singing is in harmony with | | | | exacting instructor not given to flattery, but who |
| nature and the laws of health." | | | | enthusiastically praised his students upon |
| Giovanni Battista Lamperti, The Technics of Bel | | | | exceptional achievement. Many of |
| Canto, p. 1 | | | | GiovanniâEURYs students became |
| Giovanni Lamperti and his father Francesco carried | | | | international opera stars including Irene Abendroth, |
| on the illustrious banner of the "old Italian School" | | | | Marcella Sembrich, Ernestine Schumann-Heink, Paul |
| of voice training through the 19th century. While | | | | Bulss, Roberto Stagno, David Bispham and Franz |
| the method was perhaps uncomfortably short on | | | | Nachbaur. |
| scientific analysis for a modern, industrial world | | | | Several students of father and son became voice |
| (unlike the rising, competing method of the | | | | teachers themselves and published singing |
| Garcias), it was long on histories of success | | | | methods they claimed were the Lampertis'. One |
| spanning from the great castrati of the 17th | | | | of the father's students explained the differences |
| century to the many successful students and | | | | students' methods thus: |
| teachers that emerged from the Lamperti studios. | | | | "I have found but a very few of former students |
| The teachings of the two Lampertis have | | | | of the great master who truly knew how to |
| accordingly taken on a "holy writ" status among | | | | impart their masters' golden rules without |
| many vocalists today: either cherished or ignored | | | | disfiguring them to the widest extend and mixing |
| for their ancient origins. | | | | them with what they called "their own artistic |
| The Lamperti method could perhaps be best | | | | experience," which of course did not and could not |
| described as the accumulated wisdom and art of | | | | amount to very much." (Interview with Martin |
| an accomplished but diverse and evolved | | | | Roeder, The Musical Courier, Oct. 4, 1893.) |
| métier, distilled and adapted for modern | | | | The Technics of Bel Canto is the only book (other |
| use. While both father and son did express their | | | | than the maxims recalled and published |
| share of reactionary disgust at modern disregard | | | | post-humulously by student W. E. Brown) that |
| for the techniques and taste of the operatic | | | | Giovanni ever wrote on his method. |
| legacy, they were clearly realistic in preparing their | | | | As a final note, there was famously bad blood |
| pupils for the conditions present. Unlike his father, | | | | between the elder and younger Lamperti, |
| Giovanni even went so far as to say that there | | | | eventually resulting in a bitter schism between the |
| was nothing damaging to a singer's voice in singing | | | | studios and followers of Francesco and Giovanni. |
| the strenuous demands of Wagnerian and Verdian | | | | A pupil of both Lampertis described the hostile |
| opera. Rather, the deficiency of preparation and | | | | situation thus: |
| training was responsible for the host of damaged | | | | "Strange as it may seem, father and son never |
| voices that fell casualty to the craze for bigger, | | | | understood each other and were never on good |
| higher, louder, longer opera. | | | | terms. They were both high strung, highly |
| Giovanni Battista Lamperti was born in 1839 in | | | | temperamental, and perhaps got on each other's |
| Milan. There, he was a chorister at the great | | | | nerves. At any rate, there was a jealousy |
| cathedral and studied voice and piano at the | | | | between them that was never overcome. The |
| conservatory. A student and later accompanist | | | | father said that his son was no musician, and the |
| for his father at the conservatory, Giovanni knew | | | | son answered by saying: 'At my father's death he |
| better than anyone else the method his father | | | | had great fame and no money; at my death I will |
| taught (which he claimed descended from the | | | | have a reasonable about of fame and a large |
| great castrato-teacher Bernacchi). Appropriating it | | | | income.' When the misunderstanding between the |
| for teaching his own students, Giovanni also began | | | | two became unbearable the younger man went |
| teaching voice at the Milan conservatory and then | | | | into the music profession for himself." (Interview |
| for 20 years in Dresden, followed by Berlin. His | | | | with Lena Doria Devine, New York Post. Qtd. |
| preferred teaching arrangement was having three | | | | from The Musical Courier, Oct. 25, 1893.) |
| or four students present at each lesson: each | | | | G.B. Lamperti's Technics of Bel Canto is available |
| would get their turn while the others observed | | | | to order here: Book: $16.96 or Download: $5. |
| and learned thereby. He was said to be a strict, | | | | |