Legato Then and Now, Vibrato Edition: A close-up of what happens between the pitches in the classical bel canto tradition

Listening to early 20th century recordings in the context of modern recordings or live performances reveals two commonly shared experiences:
1. Historically, singers sang with more portamento between pitches, enough for the naked ear to hear – especially in slow music.
2. Historically, vibrato on average was faster in rate and smaller in extent, it is well-nigh impossible to find a recording of what we would call a “wobble” in recordings before 1940. Today wide and slow vibratos are a mainstay on our international operatic stages.

Is there a correlation between legato and vibrato? And, if there is, how can the professional singer and teacher utilize one to aid or improve the other?

We set our historical baseline exploring the legato of the singing giants of the past – it is futile to attempt our exercises without solid auditory goals. In addition to setting targets with our ears, spectrography allows us to put image to sound. Inputting historical recordings into spectrographic software, we can visualize both legato and vibrato and analyze them acoustically. Using VoceVista Video Pro, Bodo Maas and team’s new phase difference tool in conjunction with Theodora Nestorova’s time-varying parametric models, legato and vibrato can be evaluated both in recordings, and in real-time. Especially in coloratura, spectrography proves an extremely useful tool exploring what can be hard to hear with the untrained naked ear: what does legato coloratura sound and look like? Is it similar to legato in slow cantabile?

Historical treatises typically follow onset and sustained pitch exercises with exercises designed to develop legato – typically titled “Portamento”. We invite participants to explore as a group specific legato exercises curated from historical treatises. An extensive compilation of additional historical exercises, vocalises, and resources will be supplied.

Using the same process we used to establish “historically ideal bel canto legato”, we invite individuals to investigate their own voices. How does our legato compare to that of singers from the early 20th century? What role does vibrato play in the construction of a “classic legato interval”? Is the presence of an audible portamento a question of taste or technique?