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Updated: May 17, 2025
Sophie was in despair, for this was, indeed, annihilation to her hopes, and there seemed nothing in fate for her but to settle down to the average life of the German housewife, "to suckle fools and chronicle small beer," when, on the eve of departure for Bielefeld, Signor Lamperti, the famous teacher, announced himself.
At the last moment Lamperti inserted a note in his book to signify his acceptance of this theory. Vocal mechanics was at first studied by teachers of singing as a matter of purely academic interest. No insufficiency of imitative teaching had ever been felt.
Do sit down here and tell me where you studied." Cynthia fancied that she heard the same voice telling her what a wicked girl she was, and that she deserved to be whipped for running away from the workhouse. She repressed a little shudder, and answered smilingly "You are very kind. Yes, I have studied in Italy." "Under Lamperti, I hear. Do you think of coming out in opera next season?
Lamperti devoted himself assiduously to preparing the young German singer for her début, and at the end of 1847 she was enabled to appear at La Fenice, under the Italianized name of Cruvelli, in the part of Dona Sol in "Ernani." This was followed by a performance of Norma, and in both she made a strong impression of great powers, which only needed experience to shine with brilliant luster.
The last exponent of the old traditions was Francesco Lamperti, who retired from active teaching in 1876. Yet even Lamperti finally yielded, in theory at least, to the mechanical idea. When this work was about ready for the press, Lamperti read Dr. Mandl's Gesundheitslehre der Stimme, containing the first definite statement of the opposed-muscular-action theory of breath-control.
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