page_title: Bel canto
section_title: The bel canto teaching legacy
hierarchical_section_title: Bel canto / The bel canto teaching legacy
context_page_description: Bel canto —with several similar constructions —is a term with several meanings that relate to Italian singing.
  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.
context_section_description: 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 Potter who 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:
  The general tendency ... was for singers not to have been taught by castrati (there were few of them left) and for serious study to start later, often at one of the new conservatories rather than with a private teacher. The traditional techniques and pedagogy were still acknowledged, but the teaching was generally in the hands of tenors and baritones who were by then at least once removed from the tradition itself.
  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 France
caption: Mathilde Marchesi (1821–1913), a leading Paris-based teacher of bel canto sopranos
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