Mother of Legato
Legato singing is the great charm of the old Italian method, which is often termed by writers “The lost art.” Like many other points of vocal culture, it is enveloped in unnecessary mystery.
For the singer who knows who to make a perfect Portamento, Legato singing (which means binding or connecting) is easily acquired, since the Portamento is the mother of Legato.
The fundamental principle of this style of singing is Portamento connected with quick mental anticipation of the tone ahead, in fact, the connecting arches are so quickly made in flexible singing that they are best termed mental arches.
In slowly taken intervals there must never be a detachment. One note should be connected with the next in such a way that the second seems born from the first and the third from the second, etc., etc.
As Portamento is the groundwork of Legato singing, it need hardly be mentioned that the impelling power of the belt muscles is indispensable.
Great care must be taken with the pronunciation. The utterance should never be “chopped,” as this is ruinous to the ever-generating process of Legato. Distinctness is easily gained when each syllable is terminated with closed teeth, so that the tone continuation can evolve the succeeding ones, when the syllable begins with a consonant.
If each note be fostered until the next one be born, the sweet flowing beauty of the “bel canto” will be refound.
—Luisa Cappiani, Practical Hints and Helps for Perfection in Singing (1908), page 45-46.
Luisa Cappiani, who has appeared frequently on these pages, was a student of Francesco Lamperti. To more fully understand her instruction, students of the voice are encouraged to inculcate her instructions on Portamento which can be found here.
Students of bel canto will also find Cappiani’s book on the download page.
