Evening star. [volume] (Washington, D.C.) 1854-1972, 1891-08-22
THE ARr OF SINGING.
Some Interesting Views TO Methods and
Tones by Prof. LzmpcrtL

Some Interesting View. a. to Methods and
Tones by Prof. LSmpcrtL
Dr.. Ludwig Hartmann, the well-known musi-
cal critic Of Dresden. has recently published in
the Dresdner Zeifun9 some communications
from various teachers regarding the art Of sing
ing. Among them are the views of the famous
Dresden master, Prof. G. b Lamperti- which
are here reproduced. believing that they will be
found interesting 10 the large number OF sing
ers in this city.
Dr. Hartmann writes: The captious world
maintains that Dresden possesses more singing
teachers than scholars. Certainly there are
many more Of both here than in other cities Of
equal population. And this fact proves how
interesting II must be here in Dresden 20 listen
70 controversy that has just taken place in
warsaw over the painful topic of the .'best
method. Each disputant maintained that his
or her system was the best. All the Warsaw
papers teemed with the interesting dispute. a.
one here in Dresden can well imagine. which
mad reference to the principles of the develop
ment OF the voice as well as to the stumbling
blocks In the way to success. The contestants
we're tne most prominent private teachers and
one teacher from the Royal Conservatory. As
tine debate 10 significant and of importance TO
students who are striving to become opera
singers, the Warsaw Echo has considered il in
dispensable for the general welfare of art not
TO confine Its columns to a mere expression Of
warsaw opinion, but to apply to certain other
eminent authorities in the world of song Tor
information. One reply has for Us in Dresden
peculiar charm. We herewith publish the COM
munication from the distinguished master.
Prof. q. b. LAMBERT, in Dresden. The ques-
tions are:
l. What il the point Of support OF the voice?
Is 1t the chest, the head Of the windpipe or the
throat?
g. What do the terms "open" and ''closed
voice mean, and can one sing with the open
voice through the whole of its range or only
70 certain height: beyond which the CLOSED
voice must be used?
3. Do the length and similarity Of breathing
periods depend upon open or closed tones or
upon good system Of breathing and upon a
finished vocal education?
4: Is the aim of agood singing method To
lead the student to a complete Independence of
every system. and will it permit him to sing
according to his individual inclination, with
closed or open tones.
Prof. q. B. Lamperti's views are. viz: The
supports (production) of the voice depend upon
the muscles OF the chest and upon the amount
OF concentrated air in the lungs One must in
bale the breath slowly in order TO fill the lungs
without shock
Regarding the timbre Of the voice, one mus,
study and practice open tones. The emission
OF the tone should be practiced with the vowel
wnlcn must be produced in the back of Il G
throat as though one would pronounce the word
lanima. The student must be careful not 10
ehange this "a into 90 for this change would
lead the singer to the production of a false
timore or OF throaty tone. whereby he would
lose the natural variation Of his voice All
registers must be sung with the open throat
IL Is impossible to submit one and the
same rule for the practice and exercise OF all
the registers. and this is my experience after
years OF study and teaching. The talent of the
singer is highly individual In the voices O,
men and women one finds three registers
chest, middle voice and head tones. As proof
that one cannot establish a fixed rule for the
registers of voices. l cite three instances OF
weil-known scholars of mine in Warsaw, all
three soprano voices, but with different regis.
tiers. T. Nlsiac sings only the three first tones
OF the scale of c natural beginning with low
" with chest voice. Her middle register has
six notes TO sharp and head voice. A. Fosss
has three chest notes, but only to u sharp
from to { middle register. and then head
tones Marcella Sembrich has only two regis
tiers, to middle register, and then head
tones. Marcella Sembrich has thus no chess
voice at all One can see. therefore, that there
are singers who possess only two registers.
The length of diaphragmatic breath should
be at least eighteen seconds. Through intelli
gent schooling the lungs and muscles can bt
greatly strengthened. A singer who has studied
under competent guidance should be able &c
pAHS opSAi VI SiOstu lcEts as the exercise de-
lnands. The singer must have control of hi,
breath and know how to be sparing in its ennis.
sion, SO that a supply Of air always remains in
the lungs In order to complete every phrase OF
cadenza with surplus OF breath. The art OF
singing is only tine schooling of the breathing.
In truth, one must remember the words OF
Rossini. For singing one needs three things
voice, voice and again voice What is known
as tremolo can only occur when one attempts to
sing notes which are either above or below the
range OF the voice, or when one does no,
understand the equipoise between the breath
and the voice; l. e.. when one attempts to bring
out greater tone than the supply of breath al.
lows, SO that the vocal chords become strained
The third cause of tremolo is that the young
singer generally attempts tooearly in his career
to accumulate a dramatic repertoir. One
should therefore wait until several years have
been spent In the theater and abundant routine
has been acquired and learn to save strength
and voice. The vocal chords lose their stability
through being forced and tremolo follow very
naturally"