Tim BraithwaiteL’Abbé de Condillac on the Melody of Declamation and Recitative (1788)‘Although our declamation cannot be notated, it seems to me that one might be able to preserve it in some way. It would be sufficient if...
Tim BraithwaiteGeorg Sulzer on the Performance of Recitative‘There is a type of passionate delivery of speech that stands midway between actual song and common declamation. It occurs, like song, in...
Tim BraithwaiteVincenzo Manfredini on the use of Ornaments in Recitative (1797)‘A great defect into which some of the best modern singers have fallen is that of having introduced florid ornaments into recitative,...
Tim BraithwaiteFabio Orsini’s Manner of Recitation that was ‘not Completely that of one who is Reading’ (1488)‘He then recited a heroic poem that he himself had previously written in honour of our Piero dei Medici. This [poem] was indeed his, and...
Tim BraithwaiteManuel Garcia on the use of Sobbing and an Annotated Recitative from Rossini’s Otello:'The fragment of recitative [below] has two effects. By the words, “Io credeva che alcuno,” Desdemona expresses the depression that...
Tim BraithwaiteManuel Garcia on Changing or Replacing Words when Singing:In altering or re-arranging words, or syllables, care should be taken to retain and mark the measure or accent of a melody, and only...
Tim BraithwaiteLamperti on the Decadence of Singing Immediately Before the Advent of Commercial Recordings‘It is a sad, but nevertheless undeniable truth, that the art of singing is in a terrible state of decadence; and this fact is all the...
Tim BraithwaiteGilbert Austin on the Acting of Opera Singers (1806):‘...The union of all those talents, which we have mentioned, and their bearing thus upon a single point condensed into a focus, is a...