Handsome, tall and possessing a magnificent basso profundo, Edward Lankow (1883-1940) was one of the first American basses to appear at the Metropolitan during a time when European singers were held in higher esteem. 

He made his debut as Sarastro with the Metropolitan Opera in 1912 after singing in Europe for a number of years.  Unfortunately, nervousness and memory slips meant that he was not offered another contract.  Lankow seems to have recovered, however, resuming his career in Europe where he was heard by Claude Debussy who said, "This is the first time I hear the quality of voice I thought of when I composed the music of Arkel in 'Pelleas and Mellisande'. 

Mary Garden, who excelled as Mellisande, subsequently brought Lankow to the Chicago Lyric Opera for a series of performances. 

Born Edward Rosenberg, Lankow took the name of his mentor and voice teacher,  Anna Lankow (1846-1908), a founder of The New York Singing Teachers Association.  Her own teacher had been Adolf Brömme, who taught at the Dresden Conservatory and was himself a student of Manuel Garcia.

Lankow put his vocal training to use during the First World War, teaching officers to project their voices without strain.  He did this by teaching them how to breath.  This resulted in a book titled How to Breath Right (1918).

Lankow addresses Officers, Soldiers, Clergyman and Singers, recommending that the latter practice the following exercise (b) which he credited to Farinelli, the greatest castrato singer to have ever lived.   Whether this or true or not, it resembles one given by

Manuel Garcia (1805-1906) in A complete treatises on the art of singing (1847), the difference being Garcia does not include a fricative sound.

EXERCISE NUMBER SIX (a)

The Slow Inhalation

In Condensed Form

(a) Exhale "s."

(b) Inhale slowly, drawing a thin air stream through lips and teeth. "Hiss." Place hands on diaphragm.

(c) Hold breath two to four seconds.

(d) Exhale suddenly "Ha."

(e) Several cleansing breaths. Pause.

In the beginning not to be done oftener than three of four times per day.

EXERCISE NUMBER SIX (b)

The Climax Breath

Explanation in detail

This exercise is the most difficult of all breathing gymnastics, and should not be attempted by children or the sick. It requires great endurance. Even an athlete should not attempt it, until the others are well in hand.

The first part is exactly like Exercise Number Six (a). But in the second part, instead of expelling the air suddenly, you proceed to exhale very slowly (after holding the breath a few seconds). Care should be taken to see that the upper chest is held high as long as possible while exhaling. With the last atom of breath leaving the lungs, drop (relax) the shoulders and whole frame. Take quickly two or three more cleansing breaths to quiet the heart and lungs.

When one is ready for this most strenuous exercise, it becomes a great force for building strength and depth to the chest, and new inner vitality.

During the first weeks one performance of this exercise is enough for the day. After the second month two exercises per day, fifth month, three exercises per day, etc., very gradually increasing the number.

Looking back, one cannot help but wonder if Lankow's book -aside from its instructional content - also served as astute public relations.  He was, after all, a fine example of 'physical culture,' to use a term from his own time.  We are much less veiled about the physical beauty of male opera singers nowadays, considering that singers such as

Nathan Gunn have appeared in the Wall Street Journal with training tips and websites like Barihunks. Audiences and managements now put a premium on opera singers who look the part.  It's part of the 'package.'  In that regard, Edward Lankow might be considered ahead of his time. 

Edward Lankow in How to Breath Right.