PORTAMENTO
THIS is effected by the voice gliding from one tone to another, and is equally available on stringed instruments, the violin or ’cello, the mandoline or zither. It is a grace of style much abused by inartistic singers. Being an ornament, good taste dictates that it be used sparingly. A frequent sliding from one tone to another is a grave fault, and most disagreeable to a cultivated ear. To sing legato is one thing; to sing strisciato is another. Hence, its use on two consecutive occasions is rarely admissible. But without a sober and discreet use of the portamento, the style of the singer appears stiff, angular—lacking, as it were, in graceful curves.
It must always be performed by carrying the tone and syllable to the next tone; never by anticipating the latter:
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But it sometimes happens that, while desiring this grace, the composer does not indicate his wish quite correctly. Here is an instance by F. Thomé:
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Were it performed as printed, it would be very bad style, as it violates the rule that the succeeding syllable shall not be anticipated. Undoubtedly, what the author wished is the following:
