Bel Canto. A theoretical and practical vocal method

Mathilde Marchesi (1821-1913) was probably the most renowned singing teacher of the late 19th century. Herself the pupil of the great Manuel Garcia the Second, and the associate of the unsurpassable divas of the middle 19th century, she also linked the traditional bel canto teaching method to the beginning of the 20th century. Early in her career her work. was praised enthusiastically by Rossini, who was for a time officially in charge of voice training in France; and toward the end of her career she prepared such superstars as Melba, Calvé, Eames, Alda and others.
This volume embodies Madame Marchesi's "vocal alphabet," or basic instructions and exercises that formed the voices of her great pupils. An introductory text discusses breathing, attack, registers and similar matters, while the remainder of the book contains many exercises and vocalises that teach voice management and projection.
Marchesi's book is today even more important than when it first appeared, for it offers the basis for a construction of the bel canto training system. At the time the book appeared, the bel canto system had gone out of fashion in favor of more modern schools that seemed to offer more rapid maturation, voice volume, and dramatics. Today, a more realistic reevaluation has revealed that the bel canto system gave the singer much longer performing life, a more pleasing voice, and far greater musical ability. As Philip Miller states in his introduction, "a solidity, a sure technical mastery, an even scale with no register break ... strong, even and secure trills, their coloratura masterly." In addition, the resurgence of interest in early 19th-century opera renders a work like Marchesi's indispensable to the modern singer.

CONTENIDO:

Introduction by Philip L. Miller

- First part. Elementary and progressive exercises for the development of the voice.
Emission of the Voice
Chromatic Slur
Diatonic Slur
Portamento
Scales
Exercises for blending the Registers
Exercises on two notes
Exercises on three notes
Exercises on four notes
Exercises on six notes
Exercises on eight notes
Chromatic Scale
Minor Scales
Exercises for Flexibility
Varied Scales
Repeated Notes
Triplets
Arpeggi
Messa di Voce (Swelled Sounds)
Appoggiatura-Acciaccatura (Crushed Note)-Mordente
The Turn
The Shake (Trill)
Shakes by Thirds

- Second part. Development of the exercises in the form of vocallses.
Attack
Portamento
Sostenuto
Diatonic Scale
Dotted Diatonic Scale
Minor Scale
Major and Minor Scales alternating
Chromatic Scale
Repeated Notes
Triplets
Arpeggi
Appoggiatura and Acciaccatura (Grace Notes)
Mordente and Turns
Syncopatron
Long Intelvals
Staccato, Mezzo Staccato, and Accented Notes
Shakes