"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.