Arturo Melocchi’s letter to Mario del Monaco
Upon my return to Pesaro from Bologna, I received your registered letter from Marseille (1955) with the cheque for £50,000. I was amazed and astonished by such generosity, and even today, I do not know how to find suitable words to express my gratitude. I can only say, may God bless you both (wife and husband).
Please tell Mario, dear lady, that I have always been enthusiastic about his voice, especially when he performed in Fanciulla del West, Otello, Carmen, Chénier, Manon, Tosca, Norma, and particularly in his most recent broadcasts. These are all roles well-suited to his nature and vocal cords. He should avoid those roles meant for castrato tenors who sing with a narrow throat, a high larynx, and a lowered soft palate. This style of singing is now falling out of favor; it lacks proper articulation because the jaw is never engaged, and thus it fails to transmit both syllables and sound effectively, which MUST be projected from a certain distance to reach the audience. Everything changes and evolves.
Therefore, tell Mario that he should try—indeed, he MUST try—using the half voice, but with a low larynx and a high soft palate that never drops during syllabification, whether the intervals ascend or descend. He even achieved a true half voice in Otello, in the monologue where he says, "M’han rapito miraggio...". The other type of vocal production would lead him to difficulties, eventually resulting in weak emission, sore throats, and laryngitis. He should emulate professional speakers.
On December 7th, I will be 76 years old, and I have never had a more beautiful, rich, strong, clear, and extended voice than I do today. With death comes perfection, dear Madam. I was greatly impressed by Mario in the film L'uomo dal guanto grigio. He was a magnificent singer, an aristocratic and expressive actor, and a splendid speaker.
Today's singing teachers are almost all worthless, particularly those from the Conservatories. Meanwhile, we see English, Chinese, Japanese, Germans, Russians, and Americans entering the Italian market with excellent voices, many of whom initially possess poor singing habits that they correct through the study of physiology.
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