Good diction, or the art of pronouncing the words of a song or opera
properly and intelligently, is a matter sadly neglected by many singers,
and indeed is not considered important by a large proportion of the
audiences in this country, who do not understand foreign language, at
any rate. And in an opera sung in a language unknown to most of the
audience it is apparently unimportant whether the words are understood
or not as long as there is a general knowledge of the plot, and the main
consideration is, of course, the music.
Yet for those who are conversant with the language in which the opera is
written, how common an experience it is (in concert, also) to be able,
in spite of their linguistic knowledge, to understand little of what is
being sung, and what a drawback this really is! How many singers there
are who seem to turn all their attention to the production of beautiful
sounds and neglect in most cases the words that often are equally
beautiful, or should be!
One hears a great deal just now about the advisability of giving operas
in the native language, as it is done in France and Germany, and the
idea would seem to have its advantages, as has already been demonstrated
in some excellent performances of German, French and Italian operas in
English. But of what avail would such a project be if, after all, one
could not understand the words of his own language as they were sung?
The language might as well be Sanskrit or Chinese.
In France the matter of diction is probably given the greatest
attention, and singers at the Opera Comique, for instance, are noted for
their pure and distinct enunciation of every syllable. Indeed, it is as
much of a sine qua non there as good singing, if not more so, and the
numerous subtleties in the French language are difficult enough to
justify this special stress laid upon correct pronunciation.
It requires a very particular ability in a foreigner to attain the
atmosphere of perfect French to any very high degree. Italian is
generally considered an easier language to pronounce in song, as indeed
it is, all the vowel sounds being full and sonorous and lacking that
"covered" or mixed quality so often occurring in the French.
Nevertheless, Italian has its difficulties, particularly in the way of
distinctly enunciating the double consonants and proper division of the
liaisons, or combining of final vowels with initial vowels, and the
correct amount of softness to be given to the letter C.
All this, of course, is from the standpoint of those to whom these
languages are foreign.
Certainly no singer can be called a great artist unless his diction is
good, for a beautiful voice alone will not make up for other
deficiencies. A singer endowed with a small voice or even one of not
very pleasing quality can give more pleasure than a singer possessing a
big, impressive voice, but no diction.
Some people claim that a pronunciation too distinct or too much insisted
upon spoils the real voice quality, but this should not be the case if
the words are correctly and naturally brought out. Doubtless, this
impression has come from the fact that, particularly in France, many
singers possessed of small voices must exaggerate their diction to
obtain their effects. But if they did not have this perfect diction they
often would have little else to recommend them. I would aver that a fine
enunciation, far from interfering with it, aids the voice production,
makes it softer and more concentrated, but diction should act rather as
a frame for the voice and never replace it.
Each of the three languages, French, German and Italian, has its
peculiar characteristics, which are of aid to the student in the general
study of pronunciation, and it is well to have a knowledge of them all
outside of the fact that an artist nowadays needs to have this knowledge
in order not only to rank with the greatest, but to cope with the
demands of an operatic career.
The Italian language in its very essence is rich in vowels and vowel
combinations, from which comes principally the color in tones, and it
has consequently been called the "language of song." Italians thus have
naturally what it is so much trouble for singers of other nations to
acquire--the numerous variations of vowel sounds.
French has the nasal sounds as its dominating characteristic and is very
valuable in the cultivation of "nasal resonance."
As I said before, it is so easy to exaggerate and the voice is so apt to
get too much "in the nose" that one has to be extremely careful in the
use of the French "n" and "ng."
German is so full of consonants that one needs to have exceptional
control of the tongue and lips to give their proper value.
English possesses the features of all the other languages--of course, in
less marked degree--resembling most, perhaps, the German. The "th" is
the most difficult sound to make effective in singing.
I have already spoken of the various phases of nervousness which an
artist feels before the performance, but I wish to say here a word in
regard to the practical significance of such nervousness. Artists who do
not experience it are those who lack real genius. There are really two
kinds of fear--that arising from a realization of the importance of what
is to be done, the other from a lack of confidence in one's power. If a
singer has no conscience in his performance he is never nervous, but
full of assurance.
It is seldom that true artists are much troubled with nervousness after
going upon the stage. Generally, as I have before mentioned, they are
apt to be ill during the day of the performance, but before the public
they forget everything and are dominated only by the real love of their
art and sustained by the knowledge of possessing a proper "method."
It is certain with a good breath support even nervousness need not
prevent one from singing well, although one may be actually suffering
from trepidation. Yet we know that sometimes the greatest of artists are
prevented thus from doing their best work. The principle, however,
remains unshaken that singing in a correct way is the greatest possible
"bracer."
It is best to remain absolutely quiet and see no one on the day of the
performance, so as not to be enervated by the effort of talking much, to
say nothing of tiring the vocal chords. One prima donna of my
acquaintance occupies herself in trimming hats on the day when she
sings, believing that this provides a distraction and rests her nerves.
It is just as well not to "pass through" the rôle that is to be sung on
the day of the appearing, but in the morning a few technical exercises
to keep the voice in tune, as it were, are to be recommended. The great
Italian singers of other days followed this rule, and it still holds
good.
If the singer gives much of himself as well as of his voice to the
public he should still hold his breathing supply in, so to speak, as he
would guard the capital from which comes his income. Failure should thus
be impossible if there is always a reserve to draw on. So the more one
sings with good breath support the more beautiful the voice becomes. On
the other hand, those who sing haphazard sometimes begin the evening
well, but deteriorate more and more as the performance advances and at
the end are uttering mere raucous sounds. They are like a man unable to
swim who is in a deep river--their voices control them in place of they
controlling their voices. They struggle vainly against obstacles, but
are carried away by the flood and are finally engulfed in the waters.
Many too ambitious students are their own worst enemies in the culture
of their voices. Because they have a large vocal power they want to
shout all the time in spite of the repeated admonitions of their
masters, who beg them to sing piano. But they hear nothing except the
noise they make themselves. Such headstrong ones will never make a
career, even with the finest voices in the world. Their teachers should
give up trying to make them listen to reason and devote their attention
to those who merit it and want to study seriously. Singing as an art is
usually not considered with enough earnestness. One should go to a
singing master as one goes to a specialist for a consultation and follow
with the greatest care his directions. If one does not have the same
respect and confidence one places in a physician it must be because the
singing master does not really merit it, and it would be much better to
make a change at once.
In general it is better not to stick entirely to one teacher, for it is
easy to get into a rut in this way, and someone else may have a quite
different and more enlightening way of setting forth his ideas.
In taking up operatic work it is understood, of course, that the singer
must have mastered most of the technical difficulties, so as not to be
troubled with them when they are encountered in some aria.
It is a most excellent thing to secure an engagement in one of the small
theatres abroad, where one may get a large experience before trying to
effect an entrance into the bigger organizations of the great capitals.
But be sure that the voice is well placed before trying any of this sort
of work, and never attempt to sing a rôle above your powers in the
earlier stage of your career, which otherwise may be compromised
permanently.
One more bit of advice in closing. The best sort of lesson possible is
to go often to the opera and note well the methods of the great artists.
This personal example is worth more and is more illuminating than many
precepts.
This is not so much that any form of imitation may be attempted as to
teach the would-be artist how to present at his best all those telling
qualities with which he may be endowed. It is the best of schools.