Since my childhood, I was fortunate to have been personally exposed in listening and meet a good number of opera singers of different levels and from different cultures. That opportunity has had a great influence on me to appreciate and love the Art of Singing. It has also contributed to provide a genuine motivation and better understanding of my future vocal studies. The experience has in many ways, helped in my formation as a professional singer and to this day as voice teacher.

The Art of Singing should be considered as one of the greatest accomplishments of the human nature. As such it requires patiente and consistent studies in order to develop and control the individual natural beauty of the voice. When talking about singing and vocal technique, we frequently hear about the existence of different schools, such as the German, the Italian, the French, etc. I believe that such ideas should never be a matter of mayor discussion. Each culture has greatly contributed in creating a universal school in vocal emission that today is practiced in most of the countries following a certain evolution from the XVI Century to the present passing through Camillo Maffei (XVI Century) Claudio Monteverdi (XVII) up to Manuel Garcia I (XIX) and other to our days. Garcia resumed the vocal studies and marked a way to the modern vocal technique.

Naturally, there are certain traditions based on the culture and history of the different regions that may affect the style, the temperament and the musicality when producing a song, however there is a common denominator, that is: to sing vocal and musically well, namely to sing with the good technique, musicality, to create the colors, to develop theatrical voice projection and to maintain a healthy vocal instrument for many years.

Personally I have been formed by the Old Italian tradition in classical singing and very particularly in opera. However I must admit that, regardless the years of studies and learning, there is a basic ingredient that makes the difference between singing and singing convincing an audience. The later that is wanted by all singer, should include that inner force and personal characteristic to express and communicate with the intention, the color, and the passion that requires a particular musical work. The Italian say “fare arte cantando con il cuore” which can be translated in: making art by singing with the heart.

The Art of Singing carefully considers and evolves the style, the époque, the composer idea, the tradition and the musical work to be interpreted; therefore the singer or interpreter should develop vocal musicality to deliver the emotions and sounds that the composer intended on his artwork conception. Consequently, sensibility, intelligence, musicality, temperament and general culture, are qualities needed to complement the individual human instrument and the natural or learned vocal technique.

As many other aspects in human life, the voice is a gift of God given free to us. The vocal organ is a precious and delicate part of our being, capable of expressing emotions, communicates feelings and makes music by natural instinct or properly educated. On the other hand, the singer is an exceptional gifted person who must take good care of his or hers vocal instrument. The voice is a treasure that has to be cultivated and ultimately share its quality, beauty, sound and creator of emotions, to others. Any other musical instrument can be repaired or replaced when damaged, one’s the voice can not be replaced.

A singer, interpreting classical works or approaching an Aria from an Opera, requires years of education, training and dedication. No matter how small or powerful is the voice, one must sing with good technique and musicality in accordance with the musical work to be performed. Young or new singers should be conscious that the art of singing requires lengthy and consistent preparation as well as constant training. They should dominate the “canto legato, canto spianato, le fioriture, gli abbellimenti, i colori, il fiato, l’articolazione” and in addition to all of that, the voice has to be theatrical an fill the hall or theater. “Il cantante che sa articolare e respirare, sa cantare” 

Singing is an art by itself, but it is also a work. All artistic expressions are based on talent and technique but also on constant training and education. In today’s technological age, intense electronic media and all kinds of visual and musical mean have evolved us like never before. The temptation of quick success is common among young artists. The conspicuous consumption lifestyle is part of our society; nevertheless, I consider that it is our obligation to encourage young singers to prepare themselves with patience and consistency in vocal studies, to obtain the best vocal quality on their singing that will help them for many years to come. Both the instructor and the singer should work together, with the aim of perfecting each individual sound and color, in acquiring flexibility and musicality among other qualities. It is sad to see how many beautiful voices are channeled through competitions events and in short time appearing in mayor Opera Houses without the necessary maturity to face the challenges of a long lasting vocal career. Excessive economic interests from the organizers and Opera Houses management together with marketing and technology, singers are created “al vapore” but unfortunately only for few years.

Back to the Art of Singing, those who want to sing for many years, a special attention must be given to the breathing technique. Unfortunately we find among vocal instructors, certain discrepancies on the breathing concept that eventually confuses students and professional singers alike. Neither the lower breathing (abdominal) nor the high thorax breathing should be used in independent way. The respiration in singing has to be complete in accordance with the phrase length and intensity, using the costal- diaphragmatic concept while the entire thorax area has to be in action maintaining a proper posture of the singer. The use of the diaphragm needs to be adequately addressed, reminding the student that the breathing box is above the diaphragmatic area and not below where we only find the digestive organs. “Cantare sul fiato” in other words singing with the support of the breath (Appoggio) controlled by the diaphragm is most beneficial for the adequate emission and the “canto legato”.  Antonio Jubarra contemporary voice teacher and investigator, has recently presented a detailed work analysis on “Respirazione e Appoggio (Breathing and Support). I recommend to students and professional singers as well, considering such a work for a better understanding of the breathing function in the Art of Singing.  Breathing is the basis of a good emission.

Another important aspect to be considered in vocal study is the passing of registers, very particularly the "Passaggio" between the middle and high notes. That applies for all voices but very especially in the case of tenors, mezzo-sopranos and contraltos. The pass of the voice should be carefully and patiently treated to learn and mastering the passing from medium to high notes with a purity of sound through the small ring with an open pharyngeal position. At the beginning may be a slow process that requires patience from the student and teacher as well. In general it should be avoided to confuse students with words erroneously used such as “chest voice” “falsetto” or “head voice.

Nothing will substitute the high position of the voice. That requires years of practice and experienced guidance.

The Italian language is ideal in the learning of singing and voice development. It provides roundness and sonority to the voice due to the amount of vowels used in its words. The rounded A, O and E are ideal vowels to vocalize in vocal study. By declaiming, speak or singing in Italian, the student gains in clear sounds and improves articulation. Articulation in singing is an art in itself and needs good guidance in order to maintain musical continuity of the sound or “linea di canto”.

It is common for singers of all ages trying to imitate well-known singers reproduced in records or electronic Medias. I would not support that idea for those who want to develop their own vocal instrument. The voice must be developed based on inherent physiology, anatomy, character and personality of each individual. There is one Di Stefano, one Caruso, one Pertile, etc. Each one is different from the other and is born with different voice, different physical constitution, and different physiology to name some. Much can be learned from a mature artist, particularly if one sees and listens to them in person, without devices that alter their natural sounds, but never imitate their voice. Many young artists try to imitate other singer past or actual, while they forget to learn more on their own vocal instrument and as a consequence, they may create irreversibly damage to their own voice. We have many examples of potentially good singers in those circumstances that lost their voice while trying to badly imitate great singer. The voice is one’s own, and only with practice, intelligence and experienced vocal guidance can wisely develop one’s capabilities to sing for many years to come.

The true classical singing, should be differentiate by the singing in an Opera House or Concert Hall and the one recorded in CD's or any other electronic mean. Today the recording technology and engineering manipulation have reached a level where mediocre singers are heard as the most perfect ones. Naturally we do appreciate the singing in records, CD’s, etc., but that should not define the vocal quality of the artist unless there are true background references.

The Old Italian vocal teachers used to say, “cantare con la voce alta, dolce e chiara, “cantare aperto ma coperto,” “cantare sul fiato” or “cantare con la voce e con il cuore,” I would add “cantare creando musica.” All these sayings and other, confirm the tradition of good singing schools that one should adopt in the Art of Singing. For that, singers must work, work, and work their vocal instrument, the musical education, the diction, the language, the interpretation, the repertoire, etc.

Repertoire studies are to be selected and performed, in accordance with the type of voice and level of preparation. Before and during the study of a piece it is important to carefully analyze the text, the dramatic intention and the music of such artwork. The wording, the “recitativo” the phrase, the articulation, the “legato” should be worked with care and guidance by each individual singer according with his or hers vocal level. 

Occasionally we hear in commercial records, a lyric tenor singing dramatic parts, and naturally many young singers try to do the same when selecting repertoire. That can only be detrimental for their voice. (Here is where the moral authority of the vocal teacher should play an important role). Don’t tackle a high C if you are not ready for that. Don’t sing Radames if you voice color and intensity is for Nemorino, only to mention some.

As a young singer I used to visit on the weekends the “Casa di riposo Verdi” in Milano where retired and old singers and musician live, to take advise from great artists of their times. I well remember the saying of the tenor Tedeschi, who was known to be a specialist of Bellini's interpreter in first part of the 20th Century. He said to me “caro Cardone ricordati di cantare sempre alto, chiaro, leggero, appoggiato e mai cadere nel falsetto, solo cosí ottieni la fermezza e flessibbilitá nella voce per molti anni.” He proved that to me by singing a segment of “A te o cara” from I Puritani at the age of 92.

There is much more to be said on the Art of Singing, I have focused my comments not in an orderly manner, on certain concepts and basic principles on the Art of Singing and the voice itself. For those who love to sing classical, I recommend to select an experienced and well reputed voice teacher and be prepared to work with patience and consistency, to work in coordination with your teacher program’s as well as to continuously work on selected singing methods such as Vaccaj, Bordogni, Panofka, Concone and similar studies, in order to acquire musicality, colors, vocal strength and flexibility needed in the Art of Singing.

 
Good Luck.

 
Raffaele Cardone