Emma Calvé on the ‘Fourth Voice’ Taught to her by Domenico Mustafa (1922)
‘During my sojourn in the Holy City, I often went to hear the choir of the Sistine Chapel, which was at that time under the direction of...
Reimagining Historical Voices
‘During my sojourn in the Holy City, I often went to hear the choir of the Sistine Chapel, which was at that time under the direction of...
On the occasion of this remarkable operatic event, the most accomplished tenore robusto of his times, Dozelli, was the Otello to...
‘Firstly, a singer must have a voice by nature, in which three requirements and three flaws are to be noted. The requirements are these:...
‘Thus I say, that these voices are born from the matter of the tube [throat]; and by tube [throat] I mean all the parts mentioned above,...
‘Sometimes there sung sixeteene or twenty men together, having their master or moderator to keepe them in order ; and when they sung...
‘The old masters of the French school, who never employed the head voice, wrote a part in their operas which they called haute-contre...
‘I have said that the tenor of the Italians was the haute-contre of the French; at least the tenors hardly differ if...
‘What the German manner of singing was like in times past may still be perceived today from the singers in choirs...
‘A certain soprano who was very skilled and excellent at singing in falsetto (but was not a castrato) once sang arias rising to an e’’’ ...