The mask and the myth of vocal placement
The term "The mask" is commonly used in modern vocal pedagogy and is often attributed to the great tenor Jan De Reszke. This term has led to a widespread misunderstanding that the voice should be directed to the nasal and sinus cavities. However, it was originally a sensation that the tenor experienced when the voice resonated well. It's important to note that Arturo Melocchi was firmly against placing the voice in the mask.
Placing the voice in the mask, as advocated by some modern techniques, can lead to many issues. When a singer tries to feel resonance in the mask, there's a tendency to lower the soft palate, causing air to enter the nasal cavity. While this might create a sensation of resonance in the mask, this will also make the sound constricted and nasal. Additionally, attempting to place the voice in the mask may engage the muscles that elevate the larynx, thereby closing off the pharyngeal resonating space.
Comparing modern and old-school singers, a significant difference lies in the utilization of resonating cavities. Many modern singers aim to place the voice in the mask, potentially constricting the throat and losing pharyngeal resonance, resulting in a nasal and constricted sound. While some successful tenors, like Alfredo Kraus and Nicola Gedda, used the mask technique while unconsciously maintaining an open throat, it's essential to recognize that this approach suited their vocal nature rather than being a universal technique.
I would like to note that Franco Corelli emphasized that the voice doesn't go to the mask by force. Attempting to push the voice forcefully to the mask can lead to throat constriction. Instead, Corelli suggested that the voice should go to the mask using only the breath. He metaphorically described the voice as a ball, stating that the more force applied to push it down, the more it rebounds up. In other words, if a singer tries to force the voice into the mask, problems will most surely arise.
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