Particular Aspects of the Coloratura Vocal Technique Simona d. Negru

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PARTICULAR ASPECTS OF THE COLORATURA VOCAL TECHNIQUE

International Journal of Human Voice 97

Abstract

Coloratura in the voice line, of an imposed orimprovising character, is a dening element of the style of

works composed between the XVIth and XIXth centuries.Its realization requires, on the one hand, special features(according to some authors, innate) doubled by anexceptional technical level. This ability to play virtuosic

passages embraces over the centuries different forms ofexpression closely related to the text words meaning, aswell as to the nature of music and movement (in the senseof tempo), all of these being conditioned by the emotionsand feelings transmitted. Analyzing from a diachronic-historical point of view the developments of agility

passages concepts, one nds several elements that cross,red thread-like, all ages: pharyngeal articulation, vocaltract exibility and mobility, the joint diaphragm. That

which brings novelty to the present study is the set of personal conclusions we have reached from our researchregarding the customizing way of the technical executionfor each mentioned stylistic periods, leading to distinctvocality stances.

Keywords: voice agility, Baroque, Bellini, Rossini.

1. TERMINOLOGICAL

MEANING

The term “voice coloratura” in reference tothe vocal performance is a relatively recentacquisition of specialized vocabulary. Initially,the term given to the ornamental, decorativestyle of singing was: vocal agility, while vocalcoloratura referred to marking in the score the

passages requiring vocal agility of execution.Vocal agility refers to certain technical

capabilities of the performer or to their markingin the score, in relation to a complex series ofvarious notes from a rhythmic point of view,executed in a rapid tempo with maximum

precision on a vowel (vocals, gorgheggio,coloring) or on different syllable groups.1

It is interesting that contemporary literaturedistinguishes between the agility term andcoloratura. Coloratura is a virtuozistic passagein a vocal melody, written by composers or

improvised by singers.2 Thus, if agility refers tothe decorative style of vocal art of the seventeenth

PARTICULAR ASPECTS OF

THE COLORATURA VOCAL TECHNIQUE

Simona D. NEGRU1

1. Teaching Assistant, PhD, Western University – Timisoara, Faculty of Music, Timisoara, Romania

Simona Daniela NEGRU, soprano, graduated from the Academy of Music “Gh. Dima” from Cluj-Napoca, is aholding teacher at the Western University of Timisoara, Faculty of Music, Musical Performance – Canto section,since 2009. Research into professional singing is one of the constant concerns of Univ. Teaching Asistant, Phd.Simona Negru. In 2011, she completed her doctoral thesis with the theme The Art of Theatrical Singing , under theguidance of prof. Dr. Constantin Ripa, at the Music Academy in Cluj, receiving Summa cum Laude. Continuing herresearch work through various studies and scientic papers, she wanted to establish a suitable framework for this

activity. Thus, in February 2012, she founded within the Faculty of Music of Timisoara, the InterdisciplinaryResearch Centre for Training Young Researchers (CCIFTC), whose coordinator she is.

e-mail: [email protected]

The Human Voice in Music [in the Lyric Show, in Concert, in Composing, in Folklore (Folk Art)]



Simona D. NEGRU

98 volume 1 • issue 1 January / June 2012 • pp. 97-107

century and eighteenth century, coloratura isa stilema of the Italian bel canto of the nineteenthcentury.

2. HISTORICAL EVOLUTIONOF VOCAL AGILITY

The stylistic periods dened by vocal agility/

coloratura are considered to be: Baroque – EarlyRomanticism (Bellini, Rossini) – Romanticism(Verdi), with the customizing stylistic aspectsthat we are going to discuss below.

Vocal agility, derived from the seventeenthcentury’s art of “decreases” and “passages”constitutes, along with coloratura, one of thespecic aspects of canto orito (also called canto

gurato or canto di agilità)3, according to Tosi’sand Mancini’s canto treatise n.n. In theseventeenth century and especially during the

peak and, subsequently, decline period of thecanto di aglilità style of the eighteenth century

– the so-called golden age of the castrato – vocalvirtuosity was a means of highlighting someexceptional technical aquisitions of performance,yet purely decorative and devoided of expressive

content. In the early Romantic period, known inthe opera history as the bel canto period (Bellini,Donizetti, Rossini), there was a reconguration

of the concept of vocal agility, in the sense of putting vocal virtuosity in the service ofexpressiveness, this time being justied from the

point of view of musical drama. During the same period, there was a limitation of improvisatory possibilities of performers, composers noting inthe score the desired coloratura passages. Thereemerges as a predominant vocal type thecoloratura soprano and mezzo soprano, whoreplace the castrato in the economy of opera

performance, but who borrow some of theseones’ habits (the desire to additionally adorn thevoice line written by the composer in order tohighlight the technical virtuosity acquired). Themost signicant gures of singers in this period

are: Giuditta Pasta (Bellini’s works protagonist,the composer’s favorite), the sisters Garcia –Maria Malibran and Pauline Viardot, Isabella

Colbran (favorite protagonists of Rossini’sworks, the latter becoming the wife of Rossini )and Henriette Meric-Lalande.

In the second half of the nineteenth centuryvocal passages tend to disappear, being onlyoccasionally brought back to public attention bytwentieth century composers. Verdi uses lesscoloratura voice, unlike his predecessors, as on

the opera history scene it had already appeareda new vocal type: the singer “di forza”, fact thatactually marks the transition from the style of

play in head voice to that in full voice for allvoice registers, but especially for the acute one.At the same time, within the Verdian creationemerges a hybrid vocal type: the dramaticcoloratura. This vocal typology combines, as theterm itself suggests, the characteristics of adramatic soprano (volume, vocal amplitude,

timbre richness, ease in the low register) withthose of a coloratura soprano (ductility, exibility,

agility, ease in the acute and supraacut register).Around this vocal category there rose a erce

controversy that didn’t reach a definiteconclusion. The stake of this dispute is theclassication of voices in “dramatic soprano of

coloratura” (dramatic soprano with virtuozisticendowments) or in “dramatic coloratura soprano”(coloratura soprano with endowments for

dramatic emphasis).It should be noted that Verism’s specic vocal

technique does not allow the execution of thevocal virtuosities as accepted by the previousages.

3. SPECIALIZED TRATATISTICA

Giulio Caccini (1551-1618)

Canto di agilita stems, as already stated, fromthe “diminuzione” and “variazione” polyphonictechniques of the sixteenth century. As the termssuggest, the two techniques were two ways tovary the melodic line by rhytmically decreasingvalues of score notes.

In the preface to Le nuove musiche album,Caccini expresses his aesthetic conception onvocal interpretation. The prevailing idea is thatvocal effects (the decorative techniquesmentioned above) should be subordinated to the

feelings arising from the poetic text. In otherwords, the “new musics” aim to give the voice





line an expressive content closely related to theuttered text. Caccini indicates in the mentioned

preface [...] where should the voice intensitybe increased or reduced (dove si deve cresceree scemare la voce) in order to performexclamations, trills, “gruppi” – in a word, allthe treasures of this art [...], all the right places

where these need to be performed according tothe feelings expressed in words.4 Caccinidistinguishes between canto di sprezzatura andcanto di grazia. He recommends using naturalvoice, supported by good breathing. The term bymeans of which Caccini points to the right wayof producing the voice is squisitezza – delicacy,nesse, sensitivity.

Caccini advocates for accompanied monodiaand elimination of useless virtuoso passages.

I pasaggi (virtuoso passages) should be avoidedif possible because their abundance makes themeaning of the text become unintelligible.However, the singer has to show good taste inselecting the needed locations for the virtuoso

passages to be introduced in the musical discourseeconomy. Thus, Caccini recommends the use ofthose “lunghi giri di voice” in the less sentimental

passages, on the long notes’ values and nal

cadences.An interesting aspect is the fact that trill,

contemporarily acknowledged as an alternationof a sound with the one at higher second intervaland conclusion, was called, at that time,“ gruppo”, while “trillo” was produced by hitrepetition at the throat level, i.e. with pharyngealarticulation (ribattere con la gola) of the samenote on the „a” vowel. (Example 1)

Thus, Le nuove musiche preface forms acodex of rules for the performance of differenttypes of passages (vocal effects/ decorativetechniques), shaping a style of performing theso-called pre-classical or ancient opera pieces.

Giovanni Camillo Maffei (1562-1573?), inhis letter about canto5, reproduced by MauroUberti, states that only those having a soft,exible throat are able to perform virtuoso

passages. Showing that the passages are formedin the same place where the voice itself forms(in larynx), he designates the specic manner of

singing “cantar di Gorga” and expresses verules for the performing of agility passages:1. Passages are only to be introduced in

cadences;2. In madrigals not more than four or ve

passages are to be performed, otherwise theywould bore the ear;

3. The virtuoso passage will be performed onthe penultimate syllable of the word so that oncethe word ends, the passage would also close;

4. It is recommended to perform the passageson vowel “o” of the word, all other vowels producing disgraceful sound effects;

5. When there are more voices, interpretersmust perform the passages by taking turns,otherwise one would not understand harmony;

Cantare di gorga requires a clear, serenevoice, for the producing of which the singer musthave a rm posture of the head and of the whole

body, as well as a relaxed position of the tongue.(Example 2)

Lodovico Zacconi (1555-1627), quoted byAntonella Nigro, says: Tremolo in music is notnecessary, but performing it, apart from the factthat it demonstrates honesty and courage, itadorns the singing pieces [...] tremolo, i.e. trembling voice is the right way to approach the

passages and control one’s throat. The tremoloshould be short and graceful; as if it wereexcessive, it would be boring and tiring.

Naturally, using the tremolo, it will becomenecessary to use it all the time [sic]; it becomes

Example 1



Simona D. NEGRU


a custom, as this voice uctuation adds to the

throat mobility and favors admirably the tacklingof passages.6

Zacconi means by tremolo what we call todayvibrato. However one must distinguish betweenthe natural vibrato of the voice and the articial

vibrato obtained by different methods by somesingers, fact also pointed by Antonela Nigro(op. cit., p. 16).

Thus, in the light of the above mentionedfacts, the term “ passaggiare” (var. “ passeggiare”)stands for the performing of the agility passages( passeggio/passaggio = transition from onesound to another, in this case). These passagesrepresented rhythmic decreases of the voice linewritten by the composer, had in the beginning acharacter of improvisation and constituted oneof the main elements in the study of vocaltechnique between the sixteenth and nineteenthcenturies. One must not mistake the term passagewith the above explained sense for the termvocal passage, meaning the junction betweenvoice registers.

Pier Francesco Tosi (cca. 1653-1732)

identies two types of “ passaggi”: “ passaggio

battuto” and “passaggio scivolato”. Passaggio battutto is that casual voice movement in whichthe notes that compose the passage are equallyarticulated and moderately detached, so that the

passage should be neither too bound nor “hit”,articulated excessively. Passaggio scivolato isthat movement of voice in which the rst note

of the passage leads all the others, joined to suchan extent and with such equality of movementthat mimics a gliding called “ scivolo” (It. slide,

waterfall).7 According to Tosi, the beauty of passages is that of being perfectly sung,

articulated, equal, detached and quick. Heincludes among passages of virtuosity:appoggiatura, trillo, portamento di voice, scivolo,strascino.

Regarding il trillo, he describes eight differentways of performing this vocal ornament: trillomaggiore, trillo minore, mezzo-trillo, trillocresciuto, trillo calato, trillo lento, trilloraddoppiato, trillo mordente. All these types oftrill have at their basis the alternation of twodifferent sounds, so they resemble “il gruppo”described by Caccini, with more than a century

before.

Giambattista Mancini (1714-1800) thoughtthat vocal agility was an innate gift and thatit could not be acquired by training. Thetraining for vocal agility should be taken up,in Mancini’s opinion, only by those who manifestthis ability and after the voice registers have

been perfectly equalised. Mancini recommandsin Practical Reections on the Firgurative Art

of Singing that the training should start withvolatina semplice (when the vocalization doesnot exceed the range of an octave) in ascendingand descending sense and with volatina

raddoppiata when the vocalization extends overthe range of an octave.8

Example (op. cit., p. 151, g. 22, g. 23,

p. 152, g. 24):

Ascending Volatina Semplice

Example 2





Descending Volatina Semplice

Ascending Volatina Raddoppiata

The volatina-s must be performed withmaximum rapididty, on one breath. They can be

prepared by performing a messa di voce on the

rst sound of the volatina (the crown note). Thenagain, one may performan ornament, a trill heldon the note closing the octave. (op. cit., p. 152,g. 25):

Particular attention should be given to thegrading way (proportional distribution) of sound

performance, especially in the case of volatinaraddoppiata, so that this diminution of the vocalline be proportional to the movement of themelodic line of the accompaniament. In ouropinion, Mancini does not refer here to the aircolumn dosage nedeed for achieving messa divoce or the sounds of different intensities, but toa later called process tempo rubato, in its rst

meaning, in the sense of creating the impressionof change, respectively of speeding up the tempo,

through the rhythmic diminution of notes valuesin the vocal line, while the musical line ofaccompaniament constantly keeps the basictempo. An example of bad taste in performance,noted even by Mozart in his letters, is that ofhurrying or slowing out of accompaniament, the

basic tempo of movement by means of diminutionof notes values (see, op. cit., p. 153): We havealso the Single and Redoubled Run that is usedand mingled with other passages in straight

movement . However in this one must pay strictattention that it is always performed distinctly,clearly and well graduated ). There are also

fragments where Mancini uses the term of progressive gradation according to the holding,refering to an appropriate air dosage, in the

phrase: “the art of graduating the breath”.Mancini shows that all types of agility must

be accompanied by well-dosed breathing anda exible lower part of the throat, so that the

performance should be in rapid tempo and eachnote be heard distinctly.

Further on, there are presented several stylesin which the agility passages may be performed:martellato style (hit, percussion) is the mostdifcult to perform, because the tones must be

marked softly and strengthened only where thesong requires, otherwise it will give the

impression of cackling (op. cit., p. 155, g. 27):

The Arpeggiato Style requires a great exi-

bility of the lower part of the throat (pharyngealarticulation) (op. cit., p. 156, g. 28):

“Canto di sbalzo” ( hasty singing) – thelower note must be vibrated and held well, whilethe upper note must be tackled softly and mildly,

keeping the perfect ballance between the sounds.This style combines brilliantly with portamento

din voce. For the performing of canto di sbalzo,the upper note is tackled by a non-vibratedappoggiatua. That “haste” resulting in thesinging is given by the anticipation of the acutenote through appoggiatua, while the performancetempo must be kept constant. What we mustfollow is the correct positioning of the mouth,with a relaxed position of the tongue during the

performance of passages, with ease in the pharyngeal articulation.



Simona D. NEGRU


Example:

Highly fashionable during the time of Zacconi, but already considered obsolete during Tosi’stime, the canto orito style described by Mancini

no longer enjoyed the same prestige in Italy atthe end of the eighteenth century. One of thecauses of this decadence was the enthronementof the castrated singers’ technical virtuosity onthe expense of the other parts of the musicaldiscourse – melody, harmony and poetic text,thus leading to ridiculous opera. Mancini’s workmarks the transition from Baroque agility to aromantic type agility, with all the transformationsinvolved.

Manuel Garcia (1805-1906) in Chapter VIIof the Complete Treaty on the Art of Singing ,

associated agility with the term of vocalization,which he denes as the vowel singing.

Vocalization is the ability to link freely soundsone to another. Garcia presents ve different

ways in which sounds can succeed one another,adding that the functioning of the various partsof the vocal apparatus (blower, vibrator andreector) give different characters to vocalizing:9

Port de voix/Portamento di voce, conductingthe voice from one sound to another, passingthrough all the intermediary sounds. [Example 3(op. cit., p. 20, ex. 28, 29, 30)]

Vocalisation portée/Agilità di portamento

represents a succension of sounds tied together by the portamento.

Vocalisation liée/Agilità legata e granita represents the passing from one sound to anotherwithout interrupting the voice or without passingthrough intermediary sounds.

It requires a awless intonation, perfect

euqality of values, of the intensity and timbre ofsounds.

Example:Correct execution

Incorrect execution

Vocalisation marquée/Agilità martellata

requires the marking of sounds, rendering themto be heard one by one by articulating each ofthem, without separating them. In order toachieve this type of performance, each soundwill be accompanied by a small impulse of theair and by an expansion of the pharynx.

Example 3





Example:

Correct execution

Incorrect execution

Vocalisation piquée/Agilità pichettata,

staccata – sounds are tackled individually by akick of the glottis which detaches them one fromthe other. The movement at the level of phonatoryglottis ressembes the movement done by the lipsfor the pronounciation of the “p” consonant.(Example 4)

Vocalisation aspirée – the sounds are performed in an interrupted manner, jerky, thevowel being attacked with the „h” consonant(consonant which produces the glottis kick).

Examples of vocalisation aspirée are given asincorrect executions of the tied agility and of theMartel agility.

Garcia’s is also highly useful for explainingthe different types of known performance: Thereare three main types: canto spianato (charac-terized by shape simplicity and slowness ofmovement, appropriate for all types of tailing,

portamenti, tempo rubato and less for theornamentation of the melodic line), canto orito

(characterized by an abundance of ornamentsand colors, highlighting the exibility of voice)

and canto declamato (dramatic style, the actingside must dominate the singer)10.

Canto spianato does not subdivide.Canto orito comprises several sub-styles

according to the character of the ornamentation:Canto di agilità;

Canto di maniera comprising: canto di

grazia and canto di portamento;Canto di bravura, comprising: canto di

sforza, canto di slancio and canto di sbalzo.Canto declamato is divided into serious and

buf (comic).Canto di agilità as seen in the previous

paragraphs is a dazzling vocal style, especially because of the rapid movement with whichsound succeed one another.

Canto di maniera is a style that addresses tosingers whose voice does not excel by force, norhas extreme agility. This style is suitable forrendering graceful feelings (from where the

Example 4



Simona D. NEGRU


name canto di grazia) and it requires a lot ofdelicacy. Since it dominates as an element ofvirtuosity, the portamenti, it is also called cantodi portamento.

Canto di bravura can be tackled by singers

who have a brilliant and full voice, a robust agilityas it is suited for a passionate, brilliant music.Garcia, like Verdi, is a contemporary romance,

which allowed him to achieve a meaningful andthorough description of the styles and ornamentsused in this stylistic period.

An interesting aspect that is worth discussingis what Mancini calls „to support (the tones n.n)with the strength of the chest” (Mancini, op. cit.,

p. 153) or „all kinds of agility must be supported by a robust chest” (Mancini, op. cit., p. 154), and

Garcia by the expression „coup de poitrine”(Garcìa, op. cit., p. 13, kick of the chest). WhileMancini recommends supporting the sounds onthe chest (probably referring to the fact that therts note of the passage must be seen as a real

note, with full voice, the next being performedas melodic notes), Garcia seems to consider acompletely different aspect: the notes that makeup passages of virtuosity are sometimes accom-

panied by slight movements of the rib cage in

the anterior-posterior plane, felt like slight kicksat sternum level. Garcia sees the presence ofthese slight kicks as a performance aw which

must be removed. However, these movements ofthe rib cage must not be confused with theimpulses felt at the level of the diaphragm whichoccur at the same time and which are needed fora correct performance (the articulation of soundsat the diaphragm level).

4. TECHNICALPARTICULARITIES/

STYLISTIC PARTICULARITIES

From the previously mentioned works we canextract several common traits at the level of the

performance of agility passages: the extreme e-

xibility of the vocal tract, pharyngeal articulation,mobility in verical plane and antero-posterior ofthe larynx, a judicious dosage of the air column

in breathing. Thus, technically speaking, vocalcoloring requires the use of head voice register

(technical terms) to allow the free verticalmovement of the larynx. We are referring to theconguration vocal tool on small dimensions,

which allows the so-called line singers or cantilenato acquire the ability to perform vocal agilities.

In terms of spaces support resonating andsupporting the voice, we nd the following

particularities according to stylistic periods:

1. BAROQUE:

Particularities:• light, clear, serene color;• restrained vibrato;• instrumental character of performance;• the vocal style „canto di agilita” prevails as

it was dened in the works of Caccini, Tosi.

For achieving the stylistic target, the voicewill be placed at the back of the mouth, withsupport on the upper and inferior incisors, givingthe sensation of a double support on both maxi-laries (see g.1). Placed in the above mentioned

space we can abtain the maximum of clarity andlight colouring in relation to the timbre of avoice and of the voice’s restrained vibrato,

because the sonorized air column is conductedtowards the anterior space of the oral cavity, thus

suppresing the “girare la voce” mechanism,which means that higher armonics are notcapitalized. The other requirements in the abovementioned paragraph, as being common to alltypes of agility, remain valid i.e.: pharingeanarticulation, laryngeal mobility, articulation atdiaphragm level.

Fig. 1. Resonance space for baroque-

type agility





2. BELLINI/DONIZETTI:

Characteristics:• delicate ethereal, soft, warm colour;• the legato predominated;• chantable character of the performance,

ute-like aspect;• the vocal style “canto di maniera” prevails

(“canto di grazia”/“canto di portamento”).

The ute like aspect of the voice (obtained

voice consonantization in the frontal sinus, asshown in Fig. 2) softens the slightly harshcharacter of canto di agilita execution from theBaroque period or from the rossinian creation,given by the excessive pharingean articulation

(canto di gorga/ gorgheggiare) felt like a percution at throat level. This is the type of vocalagility which has the highest head consonantization(the other types of agility, being head consonan-tization in the maxilary sinuses and in the nasalcavity), which reduces the speed of execution of

passages, their character being softer, lessincissive even in the cabalette.

The lever of the voice is felt in the forehead, between the two eyebrows, slightly above them.

It also preserves the pharyngean articulation,laryngeal mobility, the articulation at diaphragmlevel.

Fig. 2. Resonance space for bellinian

type agility

3. ROSSINI

Particularities:• chiaroscuro color, metallic luster, with

shades of oropharyngeal cavity;• “sparkling” aspect, martellato or picketed

character of the execution, especially intempo Veloce passages;• the prevailing style is “canto di agile”

reinterpreted as opposed to the one specic

for the Baroque period, in the sense of themovement of the resonance space at the

back of the oral cavity (see Fig. 3).

Fig. 3. Resonance space for the rossinian

type agility

Thus, the voice will be placed in theoropharyngean area which produces a darkercolor of the voice, but bright, giving a bigger

possibility to give the sounds a martellatocharacter duet o the bigger freedom of contractionat pharynx level (expansion / collapse of the

pharyngeal tube) movement called pharyngeanarticulation. We can feel the senzation ofsustenance in a point at the basis of the throat,under the larynx. All the other valid requirementsare kept as for the other types of agility.

We should note in this context, a termcommonly used in speciality literature to dene

the way of execution for the rossinian passages:gorgheggiare (to perform a gorgheggi). The term“gorgheggi” has a common root with the word“gorga” used by authors of ancient treatises to

describe the location where agility passages areformed, related to the word “Golla” (It. neck).



Simona D. NEGRU


Gorgheggio is a vocal virtuosity elementconsisting in the modullation of the same syllablewith throat mobility (agility) and with rapid

passages on different notes11. In order to have aclearer representation of the execution of these

“gorgheggi”, we must mention the ressemblencewith the knots in Maramures songs from ourcountry and with the “singhiozzi” from the

Napolitan canzonetta. Moreover, a fact which isless known, but which should not be overlookedist hat Rossini himself composed such gorgheggifor trening the voice while performing them(G. Rossini, Gorgheggi e solfeggi).

4. REPERTOIRE FOR DRAMATIC

COLORATURA SOPRANO VOICES

Particularities:• metallic, bright color;• power, incisiveness, high amplitude

reported to Orchestra density;• the main vocal style is “canto di bravura”

with its substyles “canto di sforza”, “cantodi slancio”, “canto di sbalzo” and “cantodeclamato serio”.

Fig. 4. Resonance space for

dramatic agility

The voice will be placed in the rhino- pharyngean and nasal cavity and the vocal tractdimensions must be noticeably reduced fromthose used by a dramatic soprano (voice typologyusually using the cavity technique). We couldsay that for dramatic coloratura roles we use

technique semi-cavity technique (the existenceof the cavity even if it is reduced in size is

required in order to give the necessary dark colorand amplitude) with obligatory consonantizationfor the nasal cavity (the mask) to ensure themetal and the reclaimed penetration. Thereduction of the cavity is needed to mobilize

voice, otherwise, the voice will be unable to passages agility passages.

The masking feeling voice (head conso-nantization) must be present for all types ofvoice agility, regardless of the place where thevoice is resonated. Also, the diaphragmarticulation must be simultaneous and parallel tothe vertical movement of the larynx with smallimpulses at the beginning of each group ofsounds to give clarity to intonation.

The different localization produces specialcolorature effects which allow the stylistic particularization of the performed pieces i.e. therendering of the vocality specic to each stylistic

epoch. The differentiated approach of agilitysinging enables optimal performances from avocal and interpretative point of view and,contrary to Mancini’s opinion, we consider thatit offers a possibility for all voice to acquire this“virtue” even though they do not show from thestart an inborn ability in this sense.

Research sources:

1. Tratate de canto.2. Music sheets (Rossini: gorgheggi e solfeggi).3. Epistolary, biographies of great composers and singers.4. Other speciality studies.

References

1. Giulio Caccini, Le nuove musiche. Ai lettori (Florenţa:

Appresso i Marescotti, 1602).

2. Franco Fussi, Silvia Magnani, Le parole della scena.Glossario della voce del canzante e dell’attore (Torino:Omega Edizioni, 2010)

3. Manuel Garcìa, École de Garcìa. Traité complet del’art du chant en deux parties, IXème édition (Paris:Heugel et Cie, Éditeurs des solfèges et méthodes duConservatoire, 1893).

4. Giovanni Camillo Maffei da Solofra, La Lettera sulcanto, il volume: Delle lettere del S. Gio. Camillo Maffei da Solofra libri due... (Napoli, 1562), trascrittoda Mauro Uberti (http://www.maurouberti.it/vocalita/maffei/lettera.html).

5. Giambattista Mancini, Practical reections on the gurative art of singing , translated by Pietro Buzzi (Boston: Richard G. Badger, The Gorham Press, 1912).





6. Pier Francesco Tosi, Opinioni de’cantori antichi emoderni o sieno Osservazioni sul canto gurato

(eBooks, Project Gutenberg, (http://www.gutenberg.org/ebooks/26477).

7. Ludovico Zacconi, Prattica di Musica (Venice,Bartolomeo Carampello, 1596); anastatic reprint,

Bologna, Forni, 1983 in Antonella Nigro, “Observationson the technique of italian singing from the 16th centuryto the present day”, translated by David Mitchell.(http://www.dolmetsch.com/Observations.pdf)

Endnotes

1. Franco Fussi, Silvia Magnani, Le parole della scena.Glossario della voce del canzante e dell’attore (the city: Omega Edizioni, 2010), 17.

2. Fussi and Magnani, Le parole, 54.3. Fussi and Magnani, Le parole, 17.4. Giulio Caccini, Le nuove musiche. Ai lettori (Florenţa:

Appresso i Marescotti, 1602), 6-12.5. Giovanni Camillo Maffei da Solofra, La Lettera sul

canto, il volume: Delle lettere del S. Gio. Camillo Maffei da Solofra libri due... (Napoli, 1562), trascritto

da Mauro Uberti (http://www.maurouberti.it/vocalita/maffei/lettera.html), 9-15.

6. Ludovico Zacconi, Prattica di Musica (Venice,Bartolomeo Carampello, 1596); anastatic reprint,Bologna, Forni, 1983 in Antonella Nigro,“Observations on the technique of italian singing from

the 16th

century to the present day”, translated byDavid Mitchell, 15, 16. (http://www.dolmetsch.com/Observations.pdf).

7. Pier Francesco Tosi, Opinioni de’cantori antichi emoderni o sieno Osservazioni sul canto gurato

(eBooks, Project Gutenberg, http://www.gutenberg.org/ebooks/26477).

8. Giambattista Mancini, Practical reections on the

gurative art of singing , translated by Pietro Buzzi (Boston: Richard G. Badger, The Gorham Press,1912), 147, 48, 151-56.

9. Manuel Garcìa, École de Garcìa. Traité complet del’art du chant en deux parties, IXème édition (Paris:Heugel et Cie, Éditeurs des solfèges et méthodes duConservatoire, 1893), 12-14.

10. Garcìa, Traité complet , 90-93.11. Fussi and Magnani, Le parole, 112.

Particular Aspects of the Coloratura Vocal Technique Simona d. Negru

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