I heard recently, however, a performance of this opera, in which the tenor sang the whole of the music as written, without either transposition or pointage. So it was sung, I should imagine, by the famous Adolphe Nourrit, who created the rôle; but the pitch at that time (1836) was lower than it is at present.
Thus composers have recognized the necessity at times of pointage in certain rôles written for exceptionally gifted singers, in order to render possible to the many that which was originally written for the few.
Changes from the published version have also been made—and proving effective have passed into tradition—by singers who, exercising the liberty then accorded them by composers, have slightly modified certain passages for several reasons: for instance, to augment the effect by making the phrase more characteristic of the vocal instrument, or to express more forcibly the composer’s idea.
The following illustrations will render my meaning clearer. The changes originated in the causes I have mentioned, and are attributed to Madame Dorus-Gras:
[[Listen]]
The phrase “Grâce, grâce,” in which Isabelle implores Robert of Normandy’s forgiveness, occurs three times. When it recurs for the last time, a change from the printed text is not only justifiable; it is demanded, in order to give additional intensity and power to the phrase, and to avoid the monotony caused by mere repetition. This modification is all the more defensible, as the composer has substituted the orchestra, with the strings tremolo, for the rhythmical harp-figure with which he accompanies the phrase on its first and second presentations. Here is the accepted traditional change:
