Example 2: Pastorello d’un povero armento, from the opera Rodelinda (HWV 19)
2.1: Tuning: A = 415Hz. Instrument: Harpsichord. Vocal technique: Modern
4.2- Results
The bel canto recordings (1.2, 1.4, 2.2, 2.4) reveal a light and soft voice, with smaller option of developing the forte region. The fact of no modifying the position of the larynx and the colour of the vowel once the passaggio region is achieved, restricts the implementation of the chest voice function in that region. This forces the singer to use the falsetto function in the higher tessitura, producing a “weak” sound, less round than the obtained through the use of modern singing technique. As a consequence of this, the vowels stay open and clear through the whole vocal spectrum. It is observable that in the 415Hz recordings, the change into falsetto occurs later than in the modern tuning, since technically F4 is a written F#4. The 415Hz tuning offers the option of keeping the chest voice during a bigger part of the musical lines. As a consequence of that, the change of register occurs only in some little moments, and the sonority created with the bel canto technique in 415Hz does not differ clearly to the one produced with the modern technique.This reveals an interesting aspect about how the modern tuning influences the vocal lines and the places where the already explained “covering of the voice” (in our case, the change into falsetto) should be done. However, this is not within the scope of the current research.
Furthermore, the use of a higher breathing technique in the bel canto recordings does not allow to sing long musical phrases without taking air in the middle of the line. The less supported sound due to a weaker air column creates a less resonated voice that rarely could fight against the size of modern orchestras.
In contrast, the interpretation of the selected arias by using the modern singing technique (1.1, 1.3, 2.1, 2.3) shows a bigger range of dynamics. The voice, more supported due to the lower breathing, resonates in a more powerful way, especially in the higher register. The covering of the sound once the passaggio region is achieved, allows the implementation of the chest voice function in and after this area, creating a darker but more resonated sound than with the bel canto technique. As a consequence of this, the vowels sound darker in the high region of voice, and the obtained volume would have no problems if the accompaniment were a medium sized orchestra with modern instruments.
THE IMPLEMENTATION OF THE BEL CANTO TECHNIQUE IN THE MUSIC OF
GEORG FRIEDRICH HÄNDEL
4.1- Experiment
The second chapter of this research suggested that there are two fundamental ideas to be taken into consideration to perform music following the ideas of the bel canto technique. First, the breathing process should be understood in a higher part of the body than the region used in the abdominal-costal-diaphragmatic one, commonly practiced today. Second, the falsetto register is more present than in the modern technique. With this idea in mind, deduced from the analysis of the treatises written by Agricola and García, I recorded two arias from the operatic repertoire composed by G.F. Händel: “Dell’Iberia al soglio invitto” from Rodrigo (HWV 5), and “Pastorello d’un povero Armento”, from Rodelinda (HWV 19).
Both arias were performed four times: two times following the current standard baroque diapason: A4= 415Hz, and once in the modern tuning: A4 = 440Hz. In order to observe the differences in sound and in vocal quality, the same excerpt of music was performed under different criteria: for each tuning, both arias were sung while applying the principles of the bel canto singing school, and while under the fundaments of the modern technique. This is a total of four versions. The reason for recording in two different tunings is that it is not possible to recreate exactly the same conditions experienced by Händel. Since the diapason was not standardized in the 18th century, it is unclear under which circumstances Händel wrote his operas Rodrigo and Rodelinda, titles of the pieces selected for this experiment. There are diapasons from 1720 conserved in London and tuned in 380Hz, and there are proofs of a diapason that belong to Händel around 1740 and tuned in 422,5Hz.
As mentioned earlier, each aria (only A and B sections, without DaCapo) was performed two times trying to follow the bel canto technique and two times under the standard modern technique taught to me during my past six years of conservatory studies. Two of the examples were recorded with the accompaniment of a harpsichord for the 415Hz version (played by Eliot Dios Martínez), and with a piano for the 440Hz version (played by David Bonilla Chimeno). This has been done in order to recreate different sonority situations, and to observe the dynamic range that each technique allows in my voice.
In the bel canto recordings I tried to follow the words written by García in his treatise about the breathing process and the different voice registers, exposed already in the second chapter. It is important to highlight the already explained ideas followed by the bel canto school, namely: light breathing, clear sound, and strong resonated falsetto after F4.
Example 1: Dell’Iberia al soglio invitto, from the opera Rodrigo (HWV5)
1.1: Tuning: A = 415Hz. Instrument: Harpsichord. Vocal technique: Modern