Part 4 (1/2)

PORTAMENTO

This is effected by the voice gliding from one tone to another, and is equally available on stringed instruments, the violin or 'cello, the mandoline or zither. It is a grace of style much abused by inartistic singers. Being an ornament, good taste dictates that it be used sparingly. A frequent sliding from one tone to another is a grave fault, and most disagreeable to a cultivated ear. To sing _legato_ is one thing; to sing _strisciato_ is another. Hence, its use on two consecutive occasions is rarely admissible. But without a sober and discreet use of the _portamento_, the style of the singer appears stiff, angular--lacking, as it were, in graceful curves.

It must always be performed by carrying the tone and syllable to the next tone; never by antic.i.p.ating the latter:

[Music: Mozart (Nozze di Figaro)

Do Fa Deh vieni, non tardar,]

But it sometimes happens that, while desiring this grace, the composer does not indicate his wish quite correctly. Here is an instance by F.

Thome:

[Music: Et nous dansions un bolero.]

Were it performed as printed, it would be very bad style, as it violates the rule that the succeeding syllable shall not be antic.i.p.ated. Undoubtedly, what the author wished is the following:

[Music: Et nous dansions]

Sometimes the composer himself indicates clearly his intention that this effect should be used, as in the following examples:

[Music: Reyer (La Statue)

Pour s'evanouir, au reveil.]

[Music: Celeste Aida

(Aida: Act I)

Verdi

Del mio pensiero tu sei regina, tu di mia vita sei lo splendor.]

[Music: Song ”Heure du Soir” for Tenor

Leo Delibes

Partout s'eleve un chant bien doux, un chant bien doux, Sous la brise toute embaumee.]

[Music: From ”La Boheme,” Act I

Puccini

Mi chiamano Mimi, ma il mio nome e Lucia.]

(Notice the phrases marked _a_ and _b_.)

The words and indications for the use of the _portamento_ in each of these last four examples are by the respective composers, and as printed in the published editions.