People who don’t listen to “classical” music like to say that “classical” musicians are just following instructions, while in popular music the performer is adding his own layer of creation when he plays or sings what they call a “cover” of a preexisting song. When I hear this, I often try to explain that a score does not say everything and there are a lot of blanks to be filled by musicians. But they are rarely convinced. That is the moment I speak of baroque music and ornamentation. To be honest, I don’t find that singers of baroque music are more creative than those specialized in Verdi or Wagner. In my opinion, the experience of leaving singers devise their own ornaments works better on paper. What usually happens is that every singer tends to be fond of what they do best. Those with outstanding trills will trill at every five seconds; those who have beautiful mezza voce will rewrite everything to add floated pianissimi even in arie di bravura etc. That is why prudent conductors would write their own ornaments for the whole cast and make sure that everybody is in the same page in terms of style and expression. Some singers are so fond of ornamentation that one cannot help recalling the famous anecdote with Rossini listening to a soprano sing a highly decorated Una voce poco fa and commenting, “beautiful aria, who’s the composer?”.
The name of Rossini was not mentioned by accident. Bel canto is probably the style in which the audience more eagerly expects singers to be adventurous with what they bring to the score. I have to confess that – nonsensical as it sounds – I just want everybody to sing Donizetti’s Com’è bello from Lucrezia Borgia exactly like Montserrat Caballé. I know some of these notes are hers and not Donizetti’s, but they just feel right. Let’s not forget the cadenza with flute probably written by Mathilde Marchesi in the mad scene from Lucia di Lammermoor for her student Nelly Melba. Anyone who hears the opera for the first time will mention the cadenza in their recollection of the performance. The remarkable feat of the cadenza is that it more than fits the scene; it makes it an experience as extraordinary as the events onstage. At this point, Lucia is lost in her own world. And the flute (originally the glass harmonica) materializes for the audience the “dolce suono” of Edgardo’s voice. When she engages in wordless conversation with the flute, it seems we no longer understand her. She and the imaginary Edgardo are alone there. And the fact that her voice gradually sounds more and more like an instrument than a human voice makes the point extremely clear to the audience. This is a compelling musical description of mental delusion. It is also an example of the thesis that the creation of a work of art has little to do with what it is in itself. Conceived as a technical exhibition, these pages are musically and dramatically more effective than, for instance, Lucia’s beautiful entrance aria, in which the sighting of a ghost is depicted by a sequence of trills and clichéd harmony. So, yes, I feel cheated when the cadenza is not performed.
Romantic composers open a new chapter in this discussion. The amount of freedom for singers is restricted in comparison, but Verdi operas require some consideration. There is an interview with Eva Marton in which she says she might shock some people, but the truth is that Verdi did not really understand voices. Marton is hardly a model of Verdian singing, but I do get what she meant. I wouldn’t say he did not understand voices, but his writing can be extremely awkward at moments. For instance, the cadenza in Arrigo, ah, parli a un core from I Vespri Siciliani. It is so absurd, not to say downright weird that he even wrote an ossia. Sometimes, when one plays the vocal part in the piano and then listen to a singer perform the same passage in, say, La Traviata, one would have the impression that the singer – even the best ones – are rather approximate about the notes on the score. Verdi once said that he wrote a pppp marking for the tenor to make him sing at least a piano. That makes me think that some of the extreme passages were meant rather as a hint than as a blueprint. So, yes, if you had a computer program transcribing the notes sung by the soprano in the role of Violetta Valery, it would be something not quite like the Ricordi edition. But that’s ok – I guess that’s exactly what Verdi expected, as much as Chopin when he wrote 17 or more notes for one beat – you just have to make it happen. Somehow.
But that takes us to interpolated notes. Riccardo Muti was often abused in message boards and online chats (and even by reviewers) because he would “straitjacket” his singers and prevent them from singing those exciting big high notes not written on the score. For instance, the high c in the end of Di quella Pira. As much as anyone else, I find it exciting when Franco Corelli or Franco Bonisolli would blast a megapowerful and neverending high c there. I am sure Verdi would agree with me. But the fact is – they were able to do that. What one usually hears live in the theater, however, is quite different: the aria is transposed down one whole tone (making the sound picture less bright to start with) in order to help the tenor sing one note that – again – was never written by the composer. More than that: the tenor usually doesn’t sing the bars before that to save steam for the gran finale, and the audience is left alone with a very dull chorus. One very exciting Verdian trick is having a big voice soar above the chorus in moments like that. You know, there is the full orchestra, the whole chorus but you still get the soprano or the tenor above all that. But instead, what you get is is this emptiness. Everybody waiting for the tenor to hold to dear life in a high b flat that, for some reason, never really is the best high b flat in the world.
It is curious how some unwritten notes become part of the work. For instance, the glissando in Brünnhilde’s ho-jo-to-ho’s in Wagner’s Die Walküre. As written, there is only a slur above the lower and the upper notes in the interval. That means that Wagner intended that you heard the second note as an echo of the first one: ho-jo-to-HOo. Easier said than done: those are octave leaps to high b and high c. I would bet that the first soprano who did the glissando was just looking for a way to sing the higher note without hitting it to hard (because of the echo effect) and a discrete portamento (as a Verdi soprano would do in a moment like that) is a good method. The portamento soon became a glissando (it offers the extra advantage of shortening the time you actually stay on the high note). A friend would say that only Birgit Nilsson does it right. Well, she blasts ear-splitting high b’s and high c’s there. So, exciting as it is, not exactly what the slur seems to suggest. Many little unwritten notes or altered phrasing are actually like cards in sleeve passed down from generation to generation. A young singer is racking his brain (and vocal cords) while trying to get around an impossible passage – when his voice teacher or coach gives him or her that look before the explanation that “nobody sings that as written”. One example: the final page of Ferrando’s Ah, lo vegg’io from Mozart’s Così fan tutte. The composer expected tenors to have an unending supply of breath to deal with those serpentine phrases with all those high b’s in the end. As written, there is no Luftpause in “la crudel mi condanna a morir“, because you have one note for the last “a” in “condanna” and for the preposition “a”. So it is written a bit longer to accommodate both vowels ( -nnaA). You’ll never hear it like that. Every tenor sings: “la crudel mi condanna: morir!”, because that way you can find AIR to sing the high note. Phenomena like that explain lots of missing words like “e” or the inclusions of “ah” or “sì”. When asked on tweeter why she made an unwritten pause in a phrase of Turandot, Anna Netrebko answered “I just need to f**** breathe there”.
(it might be continued next week)