Students of voice production will prove to you by ingenious experiments that the disposition of the vocal organs, breathing, and so forth, required for the utterance of the German language, are in themselves incompatible with the emission of a beautiful quality of vocal tone; and however this may be, it is hardly to be disputed that regarded from the standpoint of euphony, pure and simple, the German language is certainly not to be called melodious.
It seems quite a plausible theory, therefore, that harshness of language and harshness of voice are not disconnected, especially when the suggestion is fortified by the converse association of the most beautiful voices with the most mellifluous language, in the case of the Italians.
And if so much be admitted, it is obvious that it may indeed be a question of importance, as Signor Bonci has suggested, what language is employed by the student in that critical initial stage when his voice is being “placed.”
For the rest it may be noticed that another great modern tenor, namely Caruso, insisted especially, when discussing this question of placing, upon the supreme necessity of freedom and ease and the absence of all unnecessary contractions of the muscles.
Signor Fucito tells us that on this point he expressed himself as follows: “It is necessary through the aid of self-study and the help of a good singing teacher to become aware of every physical defect—such as contractions of the muscles of the throat, of the face, or of the jaw—which can hinder the tone from being emitted in all its fullness and purity. These rigid muscular contractions bring about a throaty tone, which lacks support and is incapable of purity and amplitude.... The singer should apply himself to his study with great naturalness and relaxation; this is the sine qua non of beautiful cantilena singing.”
With every word of these remarks I heartily agree. Indeed, I imagine that they would gain the universal assent of all qualified to write on the subject.
The pronunciation of foreign languages is a point to which the student can hardly give too much attention. It also affords another argument in favour of study abroad, since it is certain that a foreign language cannot possibly be acquired so effectually anywhere as in the land where it is spoken. And foreign languages are indispensable to a singer nowadays who aspires to be equal to all the requirements of the modern répertoire.
True it may not be necessary to possess the linguistic powers of a Mingotti, who spoke German, French, Italian, English, and Spanish. But at least it may be laid down as an inexorable rule that no one should ever attempt to sing in a foreign tongue until he has acquired absolute command over every detail of its pronunciation by means of study, if not in the land itself, at any rate with a native.
Otherwise the result can only be a travesty of the composer’s—or at all events of the poet’s—intentions and a source of mirth to all hearers. Little do some artists realise, indeed, the impressions which they produce at times when, with misplaced assurance, they venture on songs in tongues with which they are imperfectly acquainted.
Even in the case of the best equipped it is a proceeding attended with risk to sing in a foreign language; but without complete knowledge there is no more certain way of exposing one’s self to ridicule.