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"Die Technik des Bel Canto" (1905) -- Extended Edition.As the last of the great master-teachers of the "old Italian school" of singing, Giovanni Battista Lamperti taught his students virtuosic vocal techniques handed down from the great castrati of the 17th century: exquisitely rich chiaroscuro tone, seamless flowing legato phrasing, undetectable passaggi register transitions and the delicately poised appoggio breath technique that allowed the astonishingly rapid coloratura typical of baroque music. In the only treatise he ever wrote, Lamperti the younger shares with all students, teachers and enthusiasts of singing, the techniques and skills that made his students that greatest singers of their time: the arcane secrets of bel canto.
As the last of the great master-teachers of the "old Italian school" of singing, Giovanni Battista Lamperti taught his students virtuosic vocal techniques handed down from the great castrati of the 17th century: exquisitely rich chiaroscuro tone, seamless flowing legato phrasing, undetectable passaggi register transitions and the delicately poised appoggio breath technique that allowed the astonishingly rapid coloratura typical of baroque music. In the only treatise he ever wrote, Lamperti the younger shares with all students, teachers and enthusiasts of singing, the techniques and skills that made his students that greatest singers of their time: the arcane secrets of bel canto. Original title: "Die Technik des Bel Canto" (1905)
2010 Reprint of 1931 Edition. Giovanni Battista Lamperti (1839 -1910) was an Italian singing teacher and son of the singing teacher Francesco Lamperti. He is source for Vocal Wisdom: Maxims of Giovanni Battista Lamperti (1931). His preferred teaching arrangement was having three or four students present at each lesson: each would get their turn while the others observed and learned thereby. He was said to be a strict, exacting instructor not given to flattery, but who enthusiastically praised his students upon exceptional achievement. Many of Giovanni's students became international opera stars including Irene Abendroth, Marcella Sembrich, Ernestine Schumann-Heink, Paul Bulss, Roberto Stagno, David Bispham and Franz Nachbaur. The Technics of Bel Canto is the only book (other than the maxims recalled and published posthumously by his pupil William E. Brown) that Giovanni ever wrote on his method.
Opinioni de' cantori antichi, e moderni o sieno osservazioni sopra il canto figurato (1723) -- Extended Edition. As the first full-length treatise ever to be published on singing, Tosi revealed to the world the secret method that accounted for the unworldly vocal abilities of the famous castrati. Living in a Europe alight with the virtuosic Baroque operas of Handel, Scarlatti and Porpora, Tosi revealed that it was extensive training in the old Italian school of singing that cultivated the beautiful tone and expression of their voices, as well as the infamous mezza di voce, trills and runs. What's more, Tosi revealed that the method worked equally well for any voice type, male or female, provided that its principles and techniques were adhered to with exactness and consistency. Written by one of the most famous singers and voice teachers of the early 18th century, Tosi's Opinioni has remained an indispensable text on the bel canto singing method, as well as Baroque stylistic techniques.
In this well documented and highly readable book, James Stark provides a history of vocal pedagogy from the beginning of the bel canto tradition of solo singing in the late sixteenth and early seventeenth centuries to the present. Using a nineteenth-century treatise by Manuel Garcia as his point of reference, Stark analyses the many sources that discuss singing techniques and selects a number of primary vocal 'problems' for detailed investigation. He also presents data from a series of laboratory experiments carried out to demonstrate the techniques of bel canto. The discussion deals extensively with such topics as the emergence of virtuoso singing, the castrato phenomenon, national differences in singing styles, controversies regarding the perennial decline in the art of singing, and the so-called secrets of bel canto. Stark offers a new definition of bel canto which reconciles historical and scientific descriptions of good singing. His is a refreshing and profound discussion of issues important to all singers and voice teachers.