De Hildalgo had the real great training, maybe even the last real training of the "real" "bel canto". As a young girl—thirteen years old—I was immediately thrown into her arms, meaning that I learned the secrets, the ways of this "bel canto", which of course as you well know, is not just beautiful singing. It is a very hard training; it is a sort of a strait-jacket that you're supposed to put on, whether you like it or not. You have to learn to read, to write, to form your sentences, how far you can go, fall, hurt yourself, put yourself back on your feet continuously. De Hidalgo had one method, which was the real "bel canto" way, where no matter how heavy a voice, it should always be kept light, it should always be worked on in a flexible way, never to weigh it down. It is a method of keeping the voice light and flexible and pushing the instrument into a certain zone where it might not be too large in sound, but penetrating. And teaching the scales, trills, all the "bel canto" embellishments, which is a whole vast language of its own.