The portamento being an embellishment that pertains to the cantabile, it is very little used in declamatory singing.
But frequently in the Recitatives of classic works occur phrases of declamatory recitative, interspersed with passages that are purely lyric in structure. To each of these divisions must be given its appropriate style. For instance, after the opening phrases of Obadiah’s exhortation, “Ye people, rend your hearts,” in Elijah, up to the end of the phrase “Return to God,” all is purely lyric declamation. But at the words, “For He is slow to anger, and merciful,” this should cease, and the succeeding phrases be given with all the graces that are permissible in cantabile singing; not in the hard, dry manner affected by some of the modern tenors in oratorio.
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VARIATIONS OF TEMPO
THESE are of value in bringing out the musical and poetic significance of certain compositions; notably the operas of Bellini, Donizetti, and the earlier works of Verdi. But I would caution singers to exercise discretion in this much-abused effect. Variations of Tempo, the ritardando, accelerando, and tempo rubato, are all legitimate aids demanded by Expression. But unless their use is determined by sound judgment and correct musicianly taste, the effect speedily becomes vulgar and monotonous. Knowledge, and a taste formed in good schools, must be the guide of the vocalist in the use of variations of tempo.
I have said that the operas of Bellini, Donizetti and Verdi abound in instances requiring the hastening or slackening of the tempo. But the device is also highly esteemed by the ultra-modern Italian school, as may be seen in studying the scores of Puccini, Mascagni and Leoncavallo.
Here is an illustration of its effective use in the air “Connais-tu le pays?” from Mignon (Act II), by Ambroise Thomas. Madame Christine Nilsson (Countess Casa Miranda), who “passed” the rôle with the composer, always sang the phrase thus, although these indications do not appear in the published version: