Caruso and Tetrazzini on the Art of Singing

by Luisa Tetrazzini; Enrico Caruso

I have previously mentioned mezza voce and will now say a word on this subject, for the artistic use of the "half voice" is a very valuable adjunct in all singing. It may be defined simply as the natural voice produced softly, but with an extra strength of breath. It is this breathy quality, however—which one must be careful never to exaggerate or the tone will not carry—that gives that velvety effect to the tone that is so delightful.

Mezza voce is just a concentration of the full voice, and it requires, after all, as much breath support. A soft note which is taken with the "head voice" without being supported by a breath taken from the diaphragm is a helpless sort of thing. It does not carry and is inaudible at any distance, whereas the soft note which does possess the deep breath support is penetrating, concentrated and most expressive.

Another important point is that, with a "piano" note properly taken in the register which is proper to it, there is no danger of having to change the position of the throat and consequently the real character of the note when making a crescendo and again diminishing it. It will be the same note continuing to sound.

On the other hand, with a soft note taken in a register foreign to it, as soon as its strength is augmented the register must suddenly be changed and the result is like a Tyrolean yodel.

So remember in a mezza voce to see that the register is right and to use a double breath strength. I speak of the matter of register here for the benefit of those who must keep this constantly in mind. I myself have been blessed with what is called a naturally placed voice, and never had trouble with the mezza voce. The majority of Italian singers come to it easily.

There are a number of wrong sorts of voices which should be mentioned to be shunned—the "white" voice, the "throaty" voice, the "nasal" voice, and the "bleat." The nasal quality is the most difficult to correct. Many teachers, especially the French, make a point of placing the voice in the nasal cavity on the pretext of strengthening it, and this nasal quality, partly on account of the sound of many of the French words, is only too prevalent. The voice, however, can only be strengthened by legitimate means; otherwise it can easily be ruined. One can breathe through the nose, but never attack or sing through it.

The "white voice" (voce bianca) is a head voice without deep support and consequently without color; hence its appellation. One can learn to avoid it by practicing with the mouth closed and by taking care to breathe through the nose, which forces the respiration to descend to the abdomen.

The "throaty" voice comes from singing with the throat insufficiently opened, so that the breath does not pass easily through the nose and head cavities and, again, from not attacking the tone deeply enough.

To cure oneself of this throaty quality attack your notes from the abdomen, the mouth well open, standing in front of a mirror. The force of the respiration will keep the tongue depressed and the throat will remain free.

As for the fault of nasality, it is, as I have said, the most difficult to get rid of. Sometimes one never does lose it. The only remedy is what I have previously indicated—to attack from the abdomen, with the throat open, and carry the voice over the soft palate, for if the voice is placed in the nose it indicates that one is singing too far forward, which is against the rules of song. If the student has a tendency to sing in this way it is well to practice in vowel sounds only (ah-eh-ee-la-lay-lee, etc.) in order to be cured of this serious fault.