I fear that Ms. Liebling's influence was noxious in many respects. Her way of ornamenting the music of Rossini, for example, turned the role of Rosina into a coloratura's dream part, when Rossini wrote quite a different piece. No singer until near the end of the nineteenth century would have dreamed of the kind of acrobatics she printed for that role in her famous book, still used in today's Conservatories. But we are by no means required to follow her teachings, despite the model of Beverly Sills.
I fear that Ms. Liebling's influence was noxious in many respects. Her way of ornamenting the music of Rossini, for example, turned the role of Rosina into a coloratura's dream part, when Rossini wrote quite a different piece. No singer until near the end of the nineteenth century would have dreamed of the kind of acrobatics she printed for that role in her famous book, still used in today's Conservatories. But we are by no means required to follow her teachings, despite the model of Beverly Sills.