Bel canto (Italian for "beautiful singing" or "beautiful song", pronounced [ˌbɛl ˈkanto] )—with several similar constructions (bellezze del canto, bell'arte del canto)—is a term with several meanings that relate to Italian singing.
Italian is a Romance language of the Indo-European language family. Italian, together with Sardinian, is by most measures the closest language to Vulgar Latin of the Romance languages. Italian is an official language in Italy, Switzerland, San Marino and Vatican City. It has an official minority status in western Istria. It formerly had official status in Albania, Malta, Monaco, Montenegro (Kotor) and Greece, and is generally understood in Corsica and Savoie. It also used to be an official language in the former Italian East Africa and Italian North Africa, where it plays a significant role in various sectors. Italian is also spoken by large expatriate communities in the Americas and Australia. In spite of not existing any Italian community in their respective national territories and of not being spoken at any level, Italian is included de jure, but not de facto, between the recognized minority languages of Bosnia-Herzegovina and Romania. Many speakers of Italian are native bilinguals of both standardized Italian and other regional languages.
The phrase was not associated with a "school" of singing until the middle of the 19th century, when writers in the early 1860s used it nostalgically to describe a manner of singing that had begun to wane around 1830.Nonetheless, "neither musical nor general dictionaries saw fit to attempt [a] definition [of bel canto] until after 1900". The term remains vague and ambiguous in the 21st century and is often used to evoke a lost singing tradition.
As generally understood today, the term bel canto refers to the Italian-originated vocal style that prevailed throughout most of Europe during the 18th century and early 19th centuries. Late 19th- and 20th-century sources "would lead us to believe that bel canto was restricted to beauty and evenness of tone, legato phrasing, and skill in executing highly florid passages, but contemporary documents [those of the late 18th and early 19th centuries] describe a multifaceted manner of performance far beyond these confines."The main features of the bel canto style were:
In music performance and notation, legato indicates that musical notes are played or sung smoothly and connected. That is, the player makes a transition from note to note with no intervening silence. Legato technique is required for slurred performance, but unlike slurring, legato does not forbid rearticulation.
In music, prosody is the way the composer sets the text of a vocal composition in the assignment of syllables to notes in the melody to which the text is sung, or to set the music with regard to the ambiance of the lyrics. For example, a songwriter might align downbeats or accents with stressed syllables or important words, or create musical accompaniment to the meter of the lyrics. Also, prosody can mean how the music supports the connotation, or emotive nature, of a song.
A vocal register is a range of tones in the human voice produced by a particular vibratory pattern of the vocal folds. These registers include modal voice, vocal fry, falsetto, and the whistle register. Registers originate in laryngeal function. They occur because the vocal folds are capable of producing several different vibratory patterns. Each of these vibratory patterns appears within a particular range of pitches and produces certain characteristic sounds.
Staccato is a form of musical articulation. In modern notation, it signifies a note of shortened duration, separated from the note that may follow by silence. It has been described by theorists and has appeared in music since at least 1676.
The Harvard Dictionary of Music by Willi Apel says that bel canto denotes "the Italian vocal technique of the 18th century, with its emphasis on beauty of sound and brilliancy of performance rather than dramatic expression or romantic emotion. In spite of the repeated reactions against bel canto (or its abuses, such as display for its own sake; Gluck, Wagner) and the frequent exaggeration of its virtuoso element (coloratura), it must be considered as a highly artistic technique and the only proper one for Italian opera and for Mozart. Its early development is closely bound up with that of the Italian opera seria (A. Scarlatti, N.A. Porpora, N. Jommelli, J.A. Hasse, N. Piccinni)."
The Harvard Dictionary of Music is a standard music reference book published by the Belknap Press of Harvard University Press.
Willi Apel was a German-American musicologist and noted author of a number of books devoted to music.
The word coloratura is originally from Italian, literally meaning "coloring", and derives from the Latin word colorare. When used in English, the term specifically refers to elaborate melody, particularly in vocal music and especially in operatic singing of the 18th and 19th centuries, with runs, trills, wide leaps, or similar virtuoso-like material. Its instrumental equivalent is ornamentation. It is also now widely used to refer to passages of such music, operatic roles in which such music plays a prominent part, and singers of these roles.
Since the bel canto style flourished in the 18th and early 19th centuries, the music of Handel and his contemporaries, as well as that of Mozart and Rossini, benefits from an application of bel canto principles. Operas received the most dramatic use of the techniques, but the bel canto style applies equally to oratorio, though in a somewhat less flamboyant way. The da capo arias these works contained provided challenges for singers, as the repeat of the opening section prevented the story line from progressing. Nonetheless, singers needed to keep the emotional drama moving forward, and so they used the principles of bel canto to help them render the repeated material in a new emotional guise. They also incorporated embellishments of all sorts (Domenico Corri said da capo arias were invented for that purpose [The Singer's Preceptor, vol. 1, p. 3]), but not every singer was equipped to do this, some writers, notably Domenico Corri himself, suggesting that singing without ornamentation was an acceptable practice (see The Singer's Preceptor, vol. 1, p. 3). Singers regularly embellished both arias and recitatives, but did so by tailoring their embellishments to the prevailing sentiments of the piece.
Da capo is an Italian musical term that means "from the beginning". It is often abbreviated as D.C. The term is a directive to repeat the previous part of music, often used to save space, and thus is an easier way of saying to repeat the music from the beginning.
In music, an aria is a self-contained piece for one voice, with or without instrumental or orchestral accompaniment, normally part of a larger work.
Domenico Corri was an Italian composer, impresario, music publisher, and voice teacher.
Two famous 18th-century teachers of the style were Antonio Bernacchi (1685–1756) and Nicola Porpora (1686–1768), but many others existed. A number of these teachers were castrati. Singer/author John Potter declares in his book Tenor: History of a Voice that:
In another application, the term bel canto is sometimes attached to Italian operas written by Vincenzo Bellini (1801–1835) and Gaetano Donizetti (1797–1848). These composers wrote bravura works for the stage during what musicologists sometimes call the "bel canto era". But the style of singing had started to change around 1830, Michael Balfe writing of the new method of teaching that was required for the music of Bellini and Donizetti (A New Universal Method of Singing, 1857, p. iii),and so the operas of Bellini and Donizetti actually were the vehicles for a new era of singing. The last important opera role for a castrato was written in 1824 by Giacomo Meyerbeer (1791–1864).
The phrase "bel canto" was not commonly used until the latter part of the 19th century, when it was set in opposition to the development of a weightier, more powerful style of speech-inflected singing associated with German opera and, above all, Richard Wagner's revolutionary music dramas. Wagner (1813–1883) decried the Italian singing model, alleging that it was concerned merely with "whether that G or A will come out roundly". He advocated a new, Germanic school of singing that would draw "the spiritually energetic and profoundly passionate into the orbit of its matchless Expression."
French musicians and composers never embraced the more florid extremes of the 18th-century Italian bel canto style. They disliked the castrato voice and because they placed a premium on the clear enunciation of the texts of their vocal music, they objected to the sung word being obscured by excessive fioritura.
The popularity of the bel canto style as espoused by Rossini, Donizetti and Bellini faded in Italy during the mid-19th century. It was overtaken by a heavier, more ardent, less embroidered approach to singing that was necessary to perform the innovative works of Giuseppe Verdi (1813–1901) with maximum dramatic impact. Tenors, for instance, began to inflate their tone and deliver the high C (and even the high D) directly from the chest rather than resorting to a suave head voice/falsetto as they had done previously – sacrificing vocal agility in the process. Sopranos and baritones reacted in a similar fashion to their tenor colleagues when confronted with Verdi's drama-filled compositions. They subjected the mechanics of their voice production to greater pressures and cultivated the exciting upper part of their respective ranges at the expense of their mellow but less penetrant lower notes. Initially at least, the singing techniques of 19th-century contraltos and basses were less affected by the musical innovations of Verdi, which were built upon by his successors Amilcare Ponchielli (1834–1886) and Arrigo Boito (1842–1918).
One reason for the eclipse of the old Italian singing model was the growing influence within the music world of bel canto's detractors, who considered it to be outmoded and condemned it as vocalization devoid of content. To others, however, bel canto became the vanished art of elegant, refined, sweet-toned musical utterance. Rossini lamented in a conversation that took place in Paris in 1858 that: "Alas for us, we have lost our bel canto".Similarly, the so-called German style was as derided as much as it was heralded. In the introduction to a collection of songs by Italian masters published in 1887 in Berlin under the title Il bel canto, Franz Sieber wrote: "In our time, when the most offensive shrieking under the extenuating device of 'dramatic singing' has spread everywhere, when the ignorant masses appear much more interested in how loud rather than how beautiful the singing is, a collection of songs will perhaps be welcome which – as the title purports – may assist in restoring bel canto to its rightful place."
In the late-19th century and early-20th century, the term "bel canto" was resurrected by singing teachers in Italy, among whom the retired Verdi baritone Antonio Cotogni (1831–1918) was a pre-eminent figure. Cotogni and his followers invoked it against an unprecedentedly vehement and vibrato-laden style of vocalism that singers increasingly used after around 1890 to meet the impassioned demands of verismo writing by composers such as Giacomo Puccini (1858–1924), Ruggero Leoncavallo (1857–1919), Pietro Mascagni (1863–1945) and Umberto Giordano (1867–1948), as well as the auditory challenges posed by the non-Italianate stage works of Richard Strauss (1864–1949) and other late-romantic/early-modern era composers, with their strenuous and angular vocal lines and frequently dense orchestral textures.
During the 1890s, the directors of the Bayreuth Festival initiated a particularly forceful style of Wagnerian singing that was totally at odds with the Italian ideals of bel canto. Called "Sprechgesang" by its proponents (and dubbed the "Bayreuth bark" by some opponents), the new Wagnerian style prioritized articulation of the individual words of the composer's libretti over legato delivery. This text-based, anti-legato approach to vocalism spread across the German-speaking parts of Europe prior to World War I.
As a result of these many factors, the concept of bel canto became shrouded in mystique and confused by a plethora of individual notions and interpretations. To complicate matters further, German musicology in the early 20th century invented its own historical application for "bel canto", using the term to denote the simple lyricism that came to the fore in Venetian opera and the Roman cantata during the 1630s and '40s (the era of composers Antonio Cesti, Giacomo Carissimi and Luigi Rossi) as a reaction against the earlier, text-dominated stile rappresentativo.Unfortunately, this anachronistic use of the term bel canto was given wide circulation in Robert Haas's Die Musik des Barocks and, later, in Manfred Bukofzer's Music in the Baroque Era. Since the singing style of later 17th-century Italy did not differ in any marked way from that of the 18th century and early 19th century, a connection can be drawn; but, according to Jander, most musicologists agree that the term is best limited to its mid-19th-century use, designating a style of singing that emphasized beauty of tone and technical expertise in the delivery of music that was either highly florid or featured long, flowing and difficult-to-sustain passages of cantilena .
In the 1950s, the phrase "bel canto revival" was coined to refer to a renewed interest in the operas of Donizetti, Rossini and Bellini. These composers had begun to go out of fashion during the latter years of the 19th century and their works, while never completely disappearing from the performance repertoire, were staged infrequently during the first half of the 20th century, when the operas of Wagner, Verdi and Puccini held sway. That situation changed significantly after World War II with the advent of a group of enterprising orchestral conductors and the emergence of a fresh generation of singers such as Montserrat Caballé, Maria Callas, Joan Sutherland, Beverly Sills and Marilyn Horne, who had acquired bel canto techniques. These artists breathed new life into Donizetti, Rossini and Bellini's stage compositions, treating them seriously as music and re-popularizing them throughout Europe and America.Today, some of the world's most frequently performed operas, such as Rossini's The Barber of Seville and Donizetti's Lucia di Lammermoor , are from the bel canto era.
Many 18th-century operas that require adroit bel canto skills have also experienced post-war revivals, ranging from lesser-known Mozart and Haydn to extensive Baroque works by Handel, Vivaldi and others.
Musicologists occasionally apply the label "bel canto technique" to the arsenal of virtuosic vocal accomplishments and concepts imparted by singing teachers to their students during the late 18th century and the early 19th century. Many of these teachers were castrati.
"All [their] pedagogical works follow the same structure, beginning with exercises on single notes and eventually progressing to scales and improvised embellishments" writes Potterwho continues, "The really creative ornamentation required for cadenzas, involving models and formulae that could generate newly improvised material, came towards the end of the process."
Today's pervasive idea that singers should refrain from improvising and always adhere strictly to the letter of a composer's published score is a comparatively recent phenomenon, promulgated during the first decades of the 20th century by dictatorial conductors such as Arturo Toscanini (1867–1957), who championed the dramatic operas of Verdi and Wagner and believed in keeping performers on a tight interpretive leash. This is noted by both Potter (page 77) and Michael Scott.
Potter notes, however, that as the 19th century unfurled:
Early 19th-century teachers described the voice as being made up of three registers. The chest register was the lowest of the three and the head register the highest, with the passaggio in between. These registers needed to be smoothly blended and fully equalized before a trainee singer could acquire total command of his or her natural instrument, and the surest way to achieve this outcome was for the trainee to practise vocal exercises assiduously. Bel canto-era teachers were great believers in the benefits of vocalise and solfeggio. They strove to strengthen the respiratory muscles of their pupils and equip them with such time-honoured vocal attributes as "purity of tone, perfection of legato, phrasing informed by eloquent portamento, and exquisitely turned ornaments", as noted in the introduction to Volume 2 of Scott's The Record of Singing .
Major refinements occurred to the existing system of voice classification during the 19th century as the international operatic repertoire diversified, split into distinctive nationalist schools and expanded in size. Whole new categories of singers such as mezzo-soprano and Wagnerian bass-baritone arose towards the end of the 19th century, as did such new sub-categories as lyric coloratura soprano, dramatic soprano and spinto soprano, and various grades of tenor, stretching from lyric through spinto to heroic. These classificatory changes have had a lasting effect how singing teachers designate voices and opera house managements cast productions.
There was, however, no across-the-board uniformity among 19th-century bel canto adherents in passing on their knowledge and instructing students. Each had their own training regimes and pet notions. Fundamentally, though, they all subscribed to the same set of bel canto precepts, and the exercises that they devised to enhance breath support, dexterity, range, and technical control remain valuable and, indeed, some teachers still use them.
Manuel García (1805–1906), author of the influential treatise L'Art du Chant, was the most prominent of the group of pedagogues that perpetuated bel-canto principles in teachings and writings during the second half of the 19th century. His like-minded younger sister, Pauline Viardot (1821–1910), was also an important teacher of voice, as were Viardot's contemporaries Mathilde Marchesi, Camille Everardi, Julius Stockhausen, Carlo Pedrotti, Venceslao Persichini, Giovanni Sbriglia, Melchiorre Vidal and Francesco Lamperti (together with Francesco's son Giovanni Battista Lamperti). The voices of a number of their former students can be heard on acoustic recordings made in the first two decades of the 20th century and re-issued since on LP and CD. Some examples on disc of historically and artistically significant 19th-century singers whose vocal styles and techniques exemplify bel canto ideals include the following:
Sir Charles Santley (born 1834), Gustav Walter (born 1834), Adelina Patti (born 1843), Marianne Brandt (born 1842), Lilli Lehmann (born 1848), Jean Lassalle (born 1847), Victor Maurel (born 1848), Marcella Sembrich (born 1858), Lillian Nordica (born 1857), Emma Calvé (born 1858), Nellie Melba (born 1861), Francesco Tamagno (born 1850), Francesco Marconi (born 1853), Léon Escalais (born 1859), Mattia Battistini (born 1856), Mario Ancona (born 1860), Pol Plançon (born 1851), and Antonio Magini-Coletti and Francesco Navarini (both born 1855).
A contralto is a type of classical female singing voice whose vocal range is the lowest female voice type.
A mezzo-soprano or mezzo (, ; Italian: [ˈmɛddzo soˈpraːno] meaning "half soprano") is a type of classical female singing voice whose vocal range lies between the soprano and the contralto voice types. The mezzo-soprano's vocal range usually extends from the A below middle C to the A two octaves above (i.e. A3–A5 in scientific pitch notation, where middle C = C4; 220–880 Hz). In the lower and upper extremes, some mezzo-sopranos may extend down to the F below middle C (F3, 175 Hz) and as high as "high C" (C6, 1047 Hz). The mezzo-soprano voice type is generally divided into the coloratura, lyric, and dramatic mezzo-soprano.
Cavatina is a musical term, originally meaning a short song of simple character, without a second strain or any repetition of the air. It is now frequently applied to any simple, melodious air, as distinguished from brilliant arias or recitatives, many of which are part of a larger movement or scena in oratorio or opera.
Otello is an opera in three acts by Gioachino Rossini to an Italian libretto by Francesco Maria Berio di Salsa. The work is based on a French adaptation of the story, not Shakespeare's play Othello as neither Rossini nor his librettist knew the English drama.
A coloratura soprano is a type of operatic soprano voice that specializes in music that is distinguished by agile runs, leaps and trills.
The tenore contraltino is a specialized form of the tenor voice found in Italian opera around the beginning of the 19th century, mainly in the Rossini repertoire, which rapidly evolved into the modern 'Romantic' tenor. It is sometimes referred to as tenor altino in English books.
Juan Diego Flórez is a Peruvian operatic tenor, particularly known for his roles in bel canto operas. On June 4, 2007, he received his country's highest decoration, the Knight Grand Cross in the Order of the Sun of Peru.
Giovanni Battista Rubini was an Italian tenor, as famous in his time as Enrico Caruso in a later day. His ringing and expressive coloratura dexterity in the highest register of his voice, the tenorino, inspired the writing of operatic roles which today are almost impossible to cast. As a singer Rubini was the major early exponent of the Romantic style of the bel canto era of Vincenzo Bellini and Gaetano Donizetti.
Edward Zambara was a Canadian-American bass-baritone singer and leading music educator.
Tenore di grazia, also called leggero tenor, is a lightweight, flexible tenor voice type. The tenor roles written in the early 19th-century Italian operas are invariably leggero tenor roles, especially those by Rossini such as Lindoro in L'italiana in Algeri, Don Ramiro in La Cenerentola, and Almaviva in Il barbiere di Siviglia; and those by Bellini such as Gualtiero in Il pirata, Elvino in La sonnambula and Arturo in I puritani. Many Donizetti roles, such as Nemorino in L'elisir d'amore and Ernesto in Don Pasquale, Tonio in La fille du régiment, are also tenore di grazia roles. One of the most famous leggero tenors of that period was Giovanni Battista Rubini, for whom Bellini wrote nearly all his operas.
Ramón Vargas is a Mexican operatic tenor. Since his debut in the early '90s, he has developed to become one of the most acclaimed tenors of the 21st century. Known for his most expressive and agile lyric tenor voice, he is especially successful in the bel canto repertoire.
Gilbert-Louis Duprez was a French tenor, singing teacher and minor composer who famously pioneered the delivery of the operatic high C from the chest. He also created the role of Edgardo in the popular bel canto-era opera Lucia di Lammermoor in 1835.
Soprano sfogato is a contralto or mezzo-soprano who is capable—by sheer industry or natural talent—of extending her upper range and being able to encompass the coloratura soprano tessitura. An upwardly extended "natural" soprano is sometimes called soprano assoluto.
Salvatore Fisichella is an Italian operatic tenor known for his roles in bel canto operas, especially those of Rossini, Donizetti and Bellini. He has been recognized for the ease and vocal brilliance of his singing, and for having sung more of the leading roles in Bellini's operas than any other 20th century tenor.
Falsettone is a term used in modern Italian musicology to describe a vocal technique used by male opera singers in the past, in which the fluty sounds typical of falsetto singing are amplified by using the same singing technique used in the modal voice register. The result is a bright, powerful tone, often very high-pitched, although the sound is still different from and more feminine than what is produced by the modal voice. The term falsettone is also used for the mixed vocal register that can be achieved using this technique.
Raffaele Mirate was a celebrated Italian operatic tenor who had an active career from the 1830s through the 1860s. Known for his intelligent phrasing and bright and powerful vocal timbre, he was regarded as an outstanding interpreter of the tenor roles in the early and middle period operas of Giuseppe Verdi. He notably created the role of the Duke of Mantua in the world premiere of Verdi's Rigoletto in 1851. He was also a highly regarded interpreter of bel canto roles, excelling in the operas of Vincenzo Bellini, Gaetano Donizetti, and Gioachino Rossini.
Francesco Marconi was an operatic tenor from Rome who enjoyed an important international career. In 1924, a reputable biographical dictionary of musicians called him 'one of the most renowned and esteemed singers of the last 50 years'. Along with his great contemporary Francesco Tamagno (1850–1905), he is the earliest Italian tenor to have left a representative legacy of acoustic recordings.
A critical edition of an opera has been defined by American musicologist Philip Gossett as "an edition that bases itself wherever possible on the very finest and most accurate sources for an opera. That means that it must study the entire performance history of a work."
Robert Toft is a Canadian music researcher and vocal coach best known for his books on the history of singing and for his work with singers interested in historically informed approaches to performing vocal music written between 1500 and 1830.
John Longmuir is a Scottish-born Australian tenor. Currently a principal singer for Opera Australia he is known primarily for operatic roles but is also in demand on the concert platform and in other non operatic genres. Noted for his "generous voice, bright ringing vocal quality and legato phrasing" His operatic studies took place at the Australian Opera Studio.