The sun. [volume] (New York [N.Y.]) 1833-1916, 1892-05-22

process By, which these unfortunate result
x ny MsS has s.s hewp liz an
preston as to what Lamperti really wanted
| with the fact that he was to breathe deepl,
mat well remember what eomieai figure n
on III sS soss SoW Re
occasions that he was breathing Al wrong
when he came to Lam peril with the idea Of no.
frse, anp %bs VICE
patience and a thorough method to start with,
can be evolved out q an originally silent ply.
could have stood the, wks and tear q SINGING
GsS Il Smooth tS y brad pise rs
exercises.
stood Lampcrti. There we're too many in the
hear. indeed. even IN Milan. that Lamperti had
ana d ssi that sHt sns
my: mummy indeed! 1t would be difficult
f. ind more sractins impsrious and post,
would have been remarkable In 9 man thirty
wos ds pRe .ES wyou rest spi S
a huge bundle OF Italia m usic papers without
tss d Of A. R sps ne was
si ssses 10 lin TIE only conceivable lam
manded at speak W between TIVE The s es
er's part to the fact that many Of his pupils
their. way about. The label Of iSnsuag ees
Eeard in hi, studio for sixty years only served
as az he
bio dialect in which he INDUCED. but In sing
Ing he vas simply maddeninS IN NH his deteEml.
ysns ha ' dossn sG words a a'' s0' re 81
saon during an nTs Il ,ess IN
hoy he ana his
bnn and other fayorlte pupils meekly listen
to severe lectures for singing in the Wagner
Ths n s
are schlum schlumng It again." he would say
so Se9d tn tall nSos Sn ,Ss
squcaky voices like mnrionettes."
If was most amusing in his explanatiops
English language. with It's Jack Of strong VOW.
els and its consonants; He delighted IN call
Ing It the firth ret Of the He used to
American pupil. have often BEEN amused at
hem 10 a learned dissertation on II" the merits
and dement's Of the English language: when |
he good Lord was s u. mizing the Ingredients for
hs tsr N @ssn
have to ns% std sess
81 $'?5f 81 ;; r.
ID Mssters descriptions 9, ii. Impressions Of
vhoe naon wsss 70 KIM as asad ana
aid they N were perfectly capable Of saying
PRESTON as q dead fish.
In regard to the Maest,o's cynical inditror..
'asse away had been teaching from eight to
ieht. for aixty years. Can It be Wondered ut
nd with the influx Of the wealthy amateurs
T mediocre singers and teachers which have
hey Of
5nSnF he shfS nt st psEs d
ortan t. deuSt. and tie od.tm viacr and fear
Those Of us that knew the Maestro never
rented his complimentary moods. but courted
ather the vigorous raps Of the bamboo stick.
eallzed that there was something in ns.
Professional students and consequently. as a
lle; gifted with fine voices and talent, "min9a
laL' Miianese Tor not so bad" was the Ugh
[any an operate artist has told me that the
ublic was much easier to get along with than
and ms'F hs
art was so high that he took the amount Of
access and power already attained for grant
liking about it, only sharp stimulation to
,tthef Effort no. was psrzbonal 50 tssei,
ind ~ the eyoruready wit and enbtIety lis
nalyss. by his wonderful knowledge OF tho
umnn voice: not to speak q human nature.
ream. could scarcely be persuaded to take
eeessary bodily exercise. and only absented
tort slesta to practise with ono OF Lam pertI's
What a panorama Of humanity was to be
lages could DO heardl Triumphant prima
'q fa w SrsIa q saii III al
tost successes. how tho horses had been I
nharnessed l., from from their esrriaees. and
ana sad them
roaming Of the, day, when they. too,
tm nave But ce once inside ea' tho stsG
Dor how meek their attitude. and how quietly
ey would listen ten When When perhaps in loss than
lat the musical world was ut their feet. they 9
ould 10 informed BY the old autocrat that. ii ]
ent. no respectabis opera house Would toIe. !
q them on its stage I
me most WOnuerlul part OF lampertfs {
ACHING seemed always to me tho way in
hich he would literally transform worn oper- ,
ic voices into mellow. soft. youthful tones. I !
membcr as a, striking instance the beautiful I
agliana. who had been singing IN small ltal-
me tho leading light soprano at the Vienna v
pera House. m opportunity in q lifetime,
It. with SO eSactinR a public rs the Viennese I
10 not to be tr.ned with. 1t was fascinating '
watch that voice grow younger and fresher
I'd softer from day to day. until. three months s
ter she had arrived In I.amperti's studio G
Gro was no longera single reminder OF the {
rmer hard tone. She made a brilliant and {
ost successfui career.
Again. Glila Eoeder n very beautiful Ger ]
nm, who bud been singing In tho Offenbach
EZRA DouNe Tor ten years or more and whose
ice had acqu red that peculiar stridpnt,
Isal quality characteristic Of tho French z
ERA boutfe singers Her voice was literally !
ade ovor new. Under the name OF Mia Eo. 8
nj she subsequently made handsome for
ne on he Italian opera stage .
Whho was accompanying Lampertfs les v
ns. nine q MarchesiS pupils came to Milan o
study with him. Most Of them had already q
ne Il, opera. Their voices. men and women, q
ere al characterized byu peculiar worn lone
used ny the throaty stroke attack "COup de u
Mas" II tone quickly distinguished by those g
cnstomed to tho Ieauty and ,eoualnoss Of !
RECT VOICE production The change in the 81
atty Of their voices was something marvel d