[[Listen]]
In the next extract (from Act IV in Un Ballo in Maschera, by Verdi), it will be noticed how oblivious the composer was of the claims of verbal phrasing. The whole scena is admirably written for the voice, and contains many graceful passages of great melodic charm. But although the music may claim to represent the character of the situation as a whole, it is disfigured by the complete disregard of the sense of certain groups of words:
[[Listen]]
The words “come se fosse l’ultima ora del nostro amor,” constitute one phrase. It would be extremely difficult, impossible even, for many, to sing the passage in one breath. But the first musical phrase ends after the word “ultima;” to separate it from the next word, “ora” (second and third bars), thus: “last—hour,” is impracticable. It would be out of the question to destroy the musical phrase by breathing after the word “ora,” in the third bar. If the text is phrased when spoken as it is when sung, the incongruity is at once apparent. The published score gives a pause
after the word “ora:” “ultima ora
del nostro amor.” This phrasing is good and effective, especially if the artist changes at once to the sombre quality after the pause, and finishes the phrase piano and rallentando. One very often hears it, however, given with a pause for breathing after the high a; the unfortunate singer having prolonged the tone until, in order to continue, he is compelled to take in more air. The result is the absurd phrasing given below:
