What is wrong with modern operatic singing?
I've been contemplating writing a post contrasting traditional operatic singing with the modern approach taught by many private instructors and conservatories for quite some time. However, I hesitated because I didn't want to criticize colleagues who dedicate themselves to their craft, albeit lacking a comprehensive understanding of the vocal techniques employed by the great singers of the 20th century. To truly grasp the level of operatic singing on the world's best stages, one only needs to attend a production in A-grade opera theatre. One might argue that expertise isn't necessary to discern the shortcomings of contemporary operatic singing.
One striking observation is that over 80% of the singers struggle to project their voices over the orchestra. When the orchestra exceeds a piano dynamic, audience members strain to hear the singers. This begs the question: why should opera-goers pay money to attend performances in which they cannot hear the singers well enough?
There are two primary reasons for this problem. Firstly, miscasting is prevalent. It's not uncommon for tenors suited for roles like Alfredo or Edgardo to undertake heavier roles such as Luigi from Il Tabarro or Otello, often driven by financial incentives as dramatic roles tend to command higher pay. Even if technically proficient, such singers stand little chance of being heard over dense orchestration.
Secondly, inadequate vocal technique exacerbates the issue. Without fully developed laryngeal muscles and an open throat, a singer's voice loses approximately 50% of its potential volume and resonance, particularly evident among male singers. I've encountered instances where teachers claim that singing high notes with a significantly lowered larynx is impossible. This misconception contributes to many singers' struggles to project over the orchestra. Among female voices, a prevalent issue is a weak central register stemming from underdeveloped chest voices, a technique still disregarded by many modern vocal instructors.
This raises another pertinent question: why do many contemporary singers are not researching the traditional old school techniques? The answer lies in the misconception that manipulating the vocal apparatus leads to damage and vocal fatigue. However, the careers of singers like Mario del Monaco, Franco Corelli, Gianfranco Cecchelli, Nicola Martinucci, and others from the Melocchi school prove otherwise. These singers enjoyed lengthy careers performing the most demanding operatic roles. Videos featuring Cecchelli and Martinucci effortlessly delivering phrases in their seventies further debunk the myth. Conversely, young singers often prematurely damage their voices after a mere 7-8 years in the industry due to misguided notions that singing lightly and brightly preserves vocal health.
Operatic singing is inherently demanding, requiring meticulous development of the vocal instrument to withstand the rigors of performing alongside a 100-piece orchestra. Failure to nurture the voice risks rendering the singer inaudible against the orchestra or, worse, curtails their career prematurely.
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