"Ferdinand Sieber, in answer to questions 286 and 287, Art of Singing,
says: 'Question 286. How should the longer sung notes be taught? Here
the rule should be enforced that every radical note should be
accompanied with a swelling of the tone where it is intended to sing
the following ones in crescendo, and on the other hand, the strength
of tone diminishes when these notes are to be sung decrescendo. If
there is a pause, a messa di voce should be executed.'
"'Question 287. Is not then this constant vibration of the voice a
gross fault? It causes great confusion in regard to the expression
among singers of different degrees of ability. We read daily that it
is reprehensible in this or that singer to indulge in this vibration,
while in reality it is the tremolando which is blamed. The vibration
of the voice is its inmost life-throb--its pulse--its spring. Without
it there is only monotony. But if the vibration is changed to
tremolando the singer falls into an intolerable fault which is
warranted only in very rare cases when it serves as a means to express
the very highest degree of excitement.'
"W.J. Henderson in the Art of the Singer, says of messa di voce, 'It
is by the emission of tones swelling and diminishing that we impart to
song that wave-like undulation which gives it vitality and tonal
vivacity.' But when speaking of the rendition of Handelian arias, he
evidently uses the term vibrato in the same sense as Sieber does
tremolando. He declares it probably hopeless to plead for the
abolition of the cheap and vulgar vibrato in the delivery of these old
arias, remarking further that there is no account of its use in the
writings of the contemporaries of Caffarelli and Farinelli and that
master singers of their day were praised for the steadiness of their
tones and the perfect smoothness of their style. He asserts also that
vibrato is a trick invented after that day and out of place in the
music of that period.
"Referring to Rubini, the originator of the fault, he leaves the
impression that this singer used the vibrato only occasionally (which
may at first have been the fact) and that as a means of heightening
the dramatic effect. Grove, however, puts the matter somewhat
differently. 'Rubini,' he says, 'was the earliest to use the thrill of
the voice known as vibrato (the subsequent abuse of which we are all
familiar) at first as a means of emotional effect, afterward it was to
conceal the deterioration of the organ.'
"Imitators brought great discredit upon Rubini and his name is
associated with an impure, corrupt vocalization. This with other
influences, brought about a sentiment in composers as well as singers
favoring vocal declamation, rather than singing in the sense in which
that word was understood by the great tenor. In 1852 there was a cloud
of imitators and it became so prevalent almost all singers of the day
indulged in it.
"Ferri, a baritone who sang at La Scala in 1853, made such effective
use of it upon any note as to secure a place in the records of that
day as one whose whole song was a bad 'wobble.'
"Even the great Mario, whose voice is described as 'rich Devonshire
cream,' was afflicted, but usually free from the vice. Clara Novello
was greatly admired because she indulged in it with such
discrimination, and Campanini, entirely free from the fault, was
greeted with enthusiastic pleasure whenever he appeared. (The present
writer heard Campanini in 1858, and he was one of the grandest man
singers I ever heard. Stigelli was also one of the same style of
singers at that time and I heard them both in grand opera and there
was never a tremolo in either of their voices but perfect art in messa
di voce, Bel Canto singing.) Another reference to Mr. Henderson will
show that the weed still flourishes. Almost every singer of today
tries from the beginning to acquire an habitual vibrato, (the present
writer infers that Mr. Henderson does not use 'vibrato' with the
Italian meaning messa di voce) to be used at all times without regard
to fitness. Some of our singers have cultivated the trick, they have
developed it into a perpetual tremolo. He thinks it would be
interesting to know what Porpora, or Fedi, would have thought of a
twentieth century tremolo, especially when introduced in an aria by
Carissimi.
"It seems that the tremolo came into general use as an imitation of
the so-called 'musical sob' of Rubini, which he used to express
certain phases of emotion and excitement, and then it was cultivated
by those whose tastes were lowered or having a desire to acquire more
power than their organ was capable of safely obtaining or to conceal
under the claim of artistic and real expression, the decay of their
singing voice.
"Emma Seiler (voice in singing) has this to say: 'Unhappily our whole
music is vitiated by this sickly sentimentalism, the perfect horror of
every person of cultivated taste. This sickly sentimental style has
also naturalized in singing a gross trick unfortunately very
prevalent, the tremolo of the notes.' In a letter to Dr. S.B. Matthews
(Music 1900), L.G. Gottschalk so succinctly gives his opinion as to
leave no doubt as to his position on the subject: 'Tremolo of the
voice is the result of either of the three following causes--diseased
vocal organs, old age, or defective breathing, and as such has no
excuse for its existence.' This is in agreement with Madam Marchesi in
answer to a question in regard to the tremolo. 'The continued vibrato
is the worst defect in singing and is a certain sign that a voice has
been forced and spoiled. It is the result of the relaxation of the
exterior muscles of the larynx which can no longer remain motionless
in the position during the emission of the sound. This distressing
permanent vibrato proceeds from ignorance or neglect of the register
limits.' W.H. Blare gives the warning, 'Do not allow the voice to
wobble, or become tremulous. A tremor is dangerous under any
circumstances and an ineffectual substitute for sustained, pathetic
tone color.' Sir Morrell Mackenzie, M.D., asserts that tremolo is
injurious, as tending to beget a depraved habit of singing. It is the
worst fault of a singer.
"In Kofler (art of breathing) he speaks of the tremolo: 'As to the
tremolo in the voice, I will only say that frequently the air is
expelled forcibly in order to picture with the voice a violent
outburst of passion and emotion, a light tremolo will produce a good
effect to give expression to a feeling of fear, anxiety, or anguish;
outside of this, the tremolo must never be used in singing. This is
often done to hide a worn-out voice, but more often because the singer
is under a foolish delusion that this tremolo is very expressive and
dramatic. I know of no style of singing so unnatural as a perpetual
tremolando brought on by injudicious training and the ignorance of the
art of breathing correctly.'"
I consider that I would be derelict in my duty as a teacher of voice
did I not insert this most important chapter in my book. I am glad to
have the best authorities on my side of the subject. I think it is the
true reason why we have such a dearth of fine singers in this
generation. It certainly is not because we have not the voices.
California can produce as fine voices as are found in Italy, but as
fast as they are found some unscrupulous fake comes along and finds
the unfortunate victim who begins training and in a few months the
papers are full of this wonderful find and future songstress. Then a
recital is planned and the beautiful young woman (if appearance has
any value) certainly fills all that has been noised about her. Endowed
by nature with a voice of unusual power and expressiveness she is a
most promising amateur and will perhaps be heard from in the future.
At least she will be if native gifts count. At last the opportunity
has arrived to hear this young singer of a few short months' training
in a group of songs. Our expectations are at the highest pitch as she
appears in all her youthful charms. But alas, how quickly is the spell
broken. This wonderful singer has fallen into the hands of an
incompetent teacher and the beautiful voice has been damaged until the
tremolo is unbearable and we listen with pity at the havoc made in a
few months of force upon the beautiful voice by such teaching. There
never was an age when so many singing pupils are being taught, and yet
we have no singers. Pupils do not apply themselves seriously to the
real study of the voice as they do to other studies. To sing a song is
all they aspire to do. They consider it all useless nonsense to
practice technic. They want the glory without the conscientious work
which is a daily requirement. Very few singers of today are provided
with real vocal technic. They learn to scream one note at a time. A
short life and a merry one, great glory and great salaries,
sacrificing their voices at the demand for big tone. Perhaps they
rejoice in a brief season. Afterwards their names are forgotten. Good
singing, as all other performances, consists in the due adjustment of
every factor connected with it.
[Illustration:
Frederick Zech
Henry Wetherbee
Adolph Klose
S. Arrillaga
William P. Melvin
John W. Metcalf
Wm. M'F. Greer