“I have observed how little attention is paid nowadays to individualizing. No two persons are exactly alike, much less any two pupils, In vocal teaching, especially, it does great mischief to try to make one shoe fit every foot.” (Lamperti, G.B.)

“Appoggio…is the steady air-pressure on the vocal cords during tone production.” (Lamperti, G.B., 9)

“In passing from low tones to higher ones the breathing must proceed in a contrary sense: The higher the tones, the deeper the breathing!” (Lamperti, G.B., 12)

“It is an important matter to train the voice in flexibility. Even voices which are naturally rebellious and heavy are sure to gain by it in mellowness and beauty.” (Lamperti, G.B., 15)

“Not until the voice has gained decided agility and facility should the pupil begin to practise [sic] sustained tones, together with the messa di voce (the long, even crescendo and decrescendo.) The diaphragm must work easily and elastically, like India rubber, letting the air stream out gently.” (Lamperti, G.B., 20-21)

“Remark for the Teacher. Less depends on the exercises themselves than on the manner in which they are practised [sic] and applied. Useless fatigue and discouragement can certainly not lead to success in study.” (Lamperti, G.B., 22)

“What, then, is the singing-teacher’s chief problem? Let us take the Italian terms, for once: posare (appoggiare), sviluppare (develop), eguagliare la voce (to place, develop, and equalize the voice). These are now and always the fundamental ideas of the technics of the bel canto.” (Lamperti, G.B. 28)

“A beautiful voice without emotional power is like a lovely woman without wit.” (Lamperti, G.B., 34)

“The singer who is once in possession of a perfectly trained voice, will preserve this inestimable treasure till an advance age. How rich a reward for a few years of sensible and diligent study, reinforced by an orderly mode of life! So away with all artificialities and reckless theorizing; let us return to the simple, natural, method!” (Lamperti, G.B., 35)