bel canto

The tradition & historical record

Bel canto (Italian for 'beautiful singing' / 'beautiful song', Italian: [ˈbɛl ˈkanto])—with several similar constructions (belcanto, bellezze del canto, bell'arte del canto, pronounced in American English as )—is a term with several meanings that relate to Italian singing, and whose definitions have often been misunderstood. Bel canto was not only seen as a vocal technique, but also as a source of national pride for Italians, specifically in how the musical qualities aligned with their identity. However, this pride was often complicated by political circumstances. The phrase was not associated with a school of singing until the middle of the 19th century, when writers in the early 1860s used it nostalgically to describe a manner of singing that had begun to wane around 1830. Nonetheless, "neither musical nor general dictionaries saw fit to attempt [a] definition [of bel canto] until after 1900". The term remains vague and ambiguous in the 21st century and is often used to evoke a lost singing tradition. ¹

As generally understood today, the term bel canto refers to the Italian-originated vocal style that prevailed throughout most of Europe during the 18th and early 19th centuries. Late 19th- and 20th-century sources "would lead us to believe that bel canto was restricted to beauty and evenness of tone, legato phrasing, and skill in executing highly florid passages, but contemporary documents [those of the late 18th and early 19th centuries] describe a multifaceted manner of performance far beyond these confines". The main features of the bel canto style were: ¹

prosodic singing (use of accent and emphasis) matching register and tonal quality of the voice to the emotional content of the words a highly articulated manner of phrasing based on the insertion of grammatical and rhetorical pauses a delivery varied by several types of legato and staccato a liberal application of more than one type of portamento messa di voce as the principal source of expression (Domenico Corri called it the "soul of music") frequent alteration of tempo through rhythmic rubato and the quickening and slowing of the overall time the introduction of a wide variety of graces and divisions into both arias and recitatives gesture as a powerful tool for enhancing the effect of the vocal delivery vibrato primarily reserved for heightening the expression of certain words and for gracing longer notes. The Harvard Dictionary of Music by Willi Apel says that bel canto denotes "the Italian vocal technique of the 18th century, with its emphasis on beauty of sound and brilliance of performance rather than dramatic expression or romantic emotion. ¹

Since the bel canto style flourished in the 18th and early 19th centuries, the music of Handel and his contemporaries, as well as that of Mozart and Rossini, benefits from an application of bel canto principles. Operas received the most dramatic use of the techniques, but the bel canto style applies equally to oratorio, though in a somewhat less flamboyant way. The da capo arias these works contained provided challenges for singers, as the repeat of the opening section prevented the story line from progressing. Nonetheless, singers needed to keep the emotional drama moving forward, and so they used the principles of bel canto to help them render the repeated material in a new emotional guise. They also incorporated embellishments of all sorts (Domenico Corri said da capo arias were invented for that purpose, but not every singer was equipped to do this, some writers, notably Domenico Corri himself, suggesting that singing without ornamentation was an acceptable practice. Singers regularly embellished both arias and recitatives, but did so by tailoring their embellishments to the prevailing sentiments of the piece. Two famous 18th-century teachers of the style were Antonio Bernacchi (1685–1756) and Nicola Porpora (1686–1768), but many others existed. A number of these teachers were castrati. Singer/author John Potter declares in his book Tenor: History of a Voice that: ¹

For much of the 18th century castrati defined the art of singing; it was the loss of their irrecoverable skills that in time created the myth of bel canto, a way of singing and conceptualizing singing that was entirely different from anything that the world had heard before or would hear again. ¹

In another application, the term bel canto is sometimes attached to Italian operas written by Vincenzo Bellini (1801–1835) and Gaetano Donizetti (1797–1848). These composers wrote bravura works for the stage during what musicologists sometimes call the "bel canto era". But the style of singing had started to change around 1830, Michael Balfe writing of the new method of teaching that was required for the music of Bellini and Donizetti (A New Universal Method of Singing, 1857, p. iii), and so the operas of Bellini and Donizetti actually were the vehicles for a new era of singing. The last important opera role for a castrato was written in 1824 by Giacomo Meyerbeer (1791–1864). The phrase "bel canto" was not commonly used until the latter part of the 19th century, when it was set in opposition to the development of a weightier, more powerful style of speech-inflected singing associated with German opera and, above all, Richard Wagner's revolutionary music dramas. Wagner (1813–1883) decried the Italian singing model, alleging that it was concerned merely with "whether that G or A will come out roundly". He advocated a new, Germanic school of singing that would draw "the spiritually energetic and profoundly passionate into the orbit of its matchless Expression." French musicians and composers never embraced the more florid extremes of the 18th-century Italian bel canto style. They disliked the castrato voice and because they placed a premium on the clear enunciation of the texts of their vocal music, they objected to the sung word being obscured by excessive fioritura. ¹

The popularity of the bel canto style as espoused by Rossini, Donizetti and Bellini faded in Italy during the mid-19th century. ¹

One reason for the eclipse of the old Italian singing model was the growing influence within the music world of bel canto's detractors, who considered it to be outmoded and condemned it as vocalization devoid of content. To others, however, bel canto became the vanished art of elegant, refined, sweet-toned musical utterance. Rossini lamented in a conversation that took place in Paris in 1858 that: "Alas for us, we have lost our bel canto". Similarly, the so-called German style was as derided as much as it was heralded. ¹

In the 1950s, the phrase "bel canto revival" was coined to refer to a renewed interest in the operas of Donizetti, Rossini and Bellini. ¹

The text above is adapted from the Wikipedia article “Bel canto”, available under the Creative Commons Attribution-ShareAlike 4.0 licence. ¹

bel canto is clear singing style, according to the structured record cited below. This entry was generated automatically from that record and has not yet been reviewed by a person familiar with the tradition. ²

The source record links this tradition to 26 external registers, which can be verified through the citation. ²