Style in Singing Part 9

I have said that the license formerly accorded by composers to singers--particularly operatic singers--manifested itself in a twofold form. The second of these phases was the introduction in the body of a theme or melody, and also at its close, of embellishments. Sometimes the composer briefly sketched these ornaments; at other times their places only were indicated. The ornaments in the body of an air are known as _abbellimenti_ or _fioriture_; those at its close, as _cadenze_.

Here is an example of the former, taken from the duet in _Elisa e Claudio_ by Mercadante:

[Music: Se un istante all'offerta d'un soglio vacilla.s.se il mio genio primiero.]

The following is the same pa.s.sage ornamented:

[Music: Se un istante all'offerta d'un soglio vacilla.s.se il mio genio primiero]

(As sung by Mme. Malibran. Quoted from "_Mecanisme des Traits_," by de La Madelaine, 1868.)

The role of Rosina in Rossini's _Il Barbiere_ has long been a favourite peg with prime donne on which to hang interpolated ornaments for the display of their vocal agility. Some of these are not always in good taste, being trivial or ba.n.a.l in character, thus concealing the natural charm of the original melody under a species of Henri Herz variations. Others, however, such as those used by the Patti and the Sembrich, for instance, are of great originality and excellent effect.

Here are some of the traditional ornaments and cadenzas sung by certain famous singers of the past in Rosina's entrance cavatina: "_Una voce poco fa_." This air was originally written by Rossini in _E_ major, the part of Rosina being intended for a mezzo-soprano, and was thus sung by the late Paulina Viardot-Garcia. This exceptionally gifted artist, possessing a voice of very great compa.s.s, was enabled to sing not only the roles a.s.signed to mezzo-soprano contraltos, such as Orphee, or Fides (_Le Prophete_), which she created, but also the parts given to dramatic sopranos. Mme. Viardot was thus able, with some slight modifications, to sing Norma, Desdemona (_Otello_: Rossini), Rachel (_La Juive_), etc.

The role of Rosina has now definitely pa.s.sed into the possession of florid or _coloratura_ sopranos; much, therefore, of the music is of necessity transposed, the air in question being now sung one half-tone higher, in the key of _F_.

Here is a change used by Mme. Cinti-Damoreau, who sang the music in the original key. The composer wrote:

[Music: Si Lindoro mio sara.]

Mme. Cinti-Damoreau sang thus:

[Music: Si Lindoro mio sara.]

In the same bar Mlle. Henrietta Sontag, who sang the air a semitone higher, introduced the following:

[Music: Si Lindoro mio sara.]

Rossini wrote no cadenza to the air:

[Music: lo vincer!]

Cadenza of Mlle. Sontag:

[Music: Ah! ah! ah! lo vincer!]

I have already spoken of the bad taste exhibited by some mediocre singers in covering a coloratura air with so many roulades, etc., as to render it barely recognizable. It was after hearing one of his own arias overloaded and disfigured in this manner that Rossini, who was noted for his biting wit and stinging sarcasms, is said to have remarked: "What charming music! Whom is it by?"

Bellini, Donizetti, and composers of their school, sometimes did little more than hand over to the singer engaged to create their works a rough sketch, as it were, which the artists were supposed to fill in and perfect. Singers were expected to add such _fioriture_, or "flowers," as would best display their salient points of style and individual characteristics. The Cavatina, or slow movement of the aria, was the medium which called for the qualities of expressive singing, while the Cabaletta was a vehicle for the display of virtuosity and technical mastery. In this latter movement, the equivalent of the Rondo in instrumental music, the performer was left perfectly free to use such embellishments as set forth his own gifts to the greatest advantage. Some singers excelled in bold and rapid flights of scales, chromatic and diatonic; others, in the neat and clean-cut execution of involved _traits_ or figures. It must be remembered, that the great singers of the past were perfectly competent to add these ornaments themselves, as they possessed a complete and sound musical education.

More: sometimes these singers even collaborated with the composers.

Crescentini, the last famous male sopranist, is reputed by history or legend--the two are not infrequently synonymous--to have been himself the composer of the well-known aria "_Ombra adorata_," introduced by him in Zingarelli's opera _Romeo e Giulietta_, as also of the prayer sung by Romeo in the same work. His singing of it is said to have moved his audience to tears, and gained for him the decoration of the Iron Crown, conferred upon him by Napoleon I. The Emperor also induced him, by the offer of a large salary, to settle in Paris as professor of singing.

When these great artists--their career as public singers being ended--began in turn to form pupils, they were admirably fitted for the task of imparting instruction, being excellent musicians, and, as I have said, composers of no insignificant merit. They had a sound theoretical knowledge, compared with which that of many of our modern singers seems but a pale and feeble reflection.

The collaboration of composer and interpreter is not altogether unknown in the domain of instrumental music. Is it not historical that Mendelssohn profited largely from the wise counsels of the celebrated violinist Ferdinand David in the composition of his concerto for violin and orchestra? This does not mean that David contributed any musical phrases or ideas to the work; but that his practical knowledge of the special characteristics and capabilities of the solo instrument enabled him to suggest how the composer's thoughts might be most fittingly presented.

Returning to the question of the introduction of ornaments, etc., into a composer's work, the following extract may be of interest to the musical student. It is from a volume of criticism, now out of print, a copy of which is possessed by the present writer. The article appeared in _La Patrie_ more than forty years ago, and was called forth by the ornaments written by the then well-known singer and teacher of great ability, Stephan de La Madelaine. These changes were for the great air of Agathe in the second act of _Der Freischutz_, and were the cause of much discussion among the music-critics of the time.

"Following the example of celebrated vocal virtuosi whom he had formerly known, and availing himself of the license then permitted, the master (de La Madelaine) has introduced several alterations (_changements_). These, however, in no sense clash with the original character of the air itself.

"That the introduction of such ornaments has caused an outcry, is not surprising. We should remember, however, that the _Freischutz_ was written at a period when, in certain places, the composer left the field entirely open to the singer, permitted him to make such changes as he might deem necessary. It must not be thought that in so doing the interpreter corrects the composer: he simply seeks to express, to the utmost of his abilities, the intention of the author.

"The operas of Bellini, of Rossini, and, in general, of all the Italian masters, are full of these intentional gaps (_lacunes_) which were filled in by the singers. Nay, in the earliest days of the Neapolitan school, still greater liberty was allowed; the recitatives were all improvised by the executants, and were not even noted down.

Each singer made his own, which the _maestro al cembalo_ accompanied with a few simple chords.

"In the cavatina in _Norma_, each _cantatrice_ introduces her own changes on the recurrence of the princ.i.p.al theme, and the public applauds. Why then this outcry against the same procedure in _Der Freischutz_?

"_That this custom or practice might lead to great abuse and that it is necessary to uproot it gradually, is our opinion._ But this radical reform can be realized only in forthcoming works; those of the ancient school ought to be interpreted by following the conventions which the composer himself has respected.

"That the _changements_ written by M. de La Madelaine for the air of the _Freischutz_ are permissible, is proved by the fact that Weber himself has sanctioned and approved them, as, if need be, a great number of contemporaries can attest." (FRANCK-MARIE.)

Whoever has had the good fortune to hear Mme. Marcella Sembrich in the role of Amina, in Bellini's _La Sonnambula_, will have heard an excellent example of remarkable technical skill or virtuosity, with irreproachable taste regulating its display. The ornaments and changes used by her in the _rondo finale_, "_Ah, non giunge_," are models of their genre. What else could be expected of an artist so gifted as to be able to perform the lesson-scene in Rossini's _Il Barbiere_ (introducing therein the air with variations by Proch) in Italian; and in the course of the same scene sing, in German, "_Ich liebe dich_,"

by Grieg, and play the Andante and Rondo Russe, for violin, by de Beriot, and a valse by Chopin on the piano?

The opera, _La Sonnambula_, requires much rearrangement both of the music and of the verbal text, to which it is badly fitted. The greater part of the music written for Elvino has to be transposed, mostly a third lower, in order to make it practicable under existing conditions.

No effect whatever could be made were a cantatrice to follow implicitly the written notes of this opera, such being merely a rough sketch, as it were, of the composer's ideas, which the singer is supposed to complete. Several instances from the andante "_Ah! non credea mirarti_," will suffice to prove this. The following is the printed version.

[Music:

Ah non credea mirarti, S presto estinto, o fiore.]

This is but a suggestion of the composer's idea. The artist will therefore not follow too closely the printed version; but following the evident indications for a pathetic and expressive _cantabile_ will perform it thus:

[Music:

Ah! non credea mirarti, S presto estinto, o fiore.]

Again a brief outline, as printed:

[Music: Pa.s.sasti al par d'amore, che un giorno, che un giorno sol dur.]

which, if sung as follows, fills in the details:

[Music: Pa.s.sasti al par d'amore, che un giorno, che un giorno sol dur.]

Also the pa.s.sage in the same aria, where Amina sobs as she slowly lets fall to the ground the blossoms given her in the first act by Elvino, requires an entire rearrangement of the syllables to bring out the composer's meaning.

[Music:

Che un giorno sol dur, Pa.s.sasti al par d'amor, d'amor.]

Let any one go over this pa.s.sage carefully, and he will be convinced that it is, as I have said, merely a sketch of the composer's idea. As it stands in the published version it is impossible of execution, and if it were possible, would be devoid of all effect: the syllables being wrongly placed, no opportunity for breathing is given the singer, and the final cadenza is marred by being allotted to the word "amore." Here is a revision of the latter, the cadenza being one I wrote for a pupil, Mme. Easton-Maclennan, of the Royal Opera, Berlin: