Excerpts from École de García Traité Complet de
“L’Art du Chant“
Seconde Partie, Premiére Édition
As part of our Archival Research Work, the Bel Canto Team hosted two rounds of practical workshops – one in October 2024 and the other in June 2025 – exploring the sonification of various emotional states described in the second part of Manuel Garcìa’s treatise L’Art du Chant. Selected professional singers were guided by the team in interpreting the vocal directions and accompanying score annotations given by Garcìa, and encouraged to experiment with vocal colouring and timbre, laryngeal positioning, and vocal onset. The 93 excerpt examples used by Garcìa were divided across the group of singers and compiled into “packs” that contextualised the excerpt examples (including their original annotations) within their respective operas. Each excerpt from the primary source was matched with its modern score equivalent and then recorded with Garcia’s vocal instructions sung over the accompaniment from the modern score.
It was important for us to collaborate with a range of singers to give a sense of the variety of sounds that can elicit in different voices. Out of these workshop modules, the team has created a catalogue of research-based exemplar recordings that can be referenced as an educational tool for expressive singing.
Emotional States Taxonomy
Temps Dérobé
“On appelle temps dérobé la prolongation momentanée de valeur que l’on accorde à un ou à plusieurs sons au détriment des autres.
Cette distribution des valeurs en longues et en brèves, en même temps qu’elle sert à rompre la monotonie des mouvements égaux, favorise les élans de la passion.”
Translation: “One calls “Temps dérobé” (‘Tempo Rubato,’ or literally, stolen time) the momentary prolongation of value that one accords to one or to several sounds to the detriment of the others.
This distribution of the values into longs and shorts, at the same time as it serves to break the monotony of equal movements, favours the surges of passion.”
“Ti rammenta il mio cordoglio…” Act I Scene 3 from Anna Bolena by Donizetti p.24
Anna Fraser, Soprano
Brianna Morrison, Soprano
“Mi prestas seuna speranza…”* Act III Scene 8 “Dove Sono” Le nozze di Figaro by Mozart p.24
*Modern scores use the Italian spelling “mi portasse una speranza di cangiar l’ingrato cor!”
Anna Fraser, Soprano
Claire Burrell-McDonald, Soprano
“Ah gia dimentico…*” Act I Scene 2 La Gazza Ladra by Rossini p.24
*correct Italian spelling: Ah già dimentico i miei tormenti quanti contenti
Anna Fraser, Soprano
Eliza O’Connor, Soprano
“Nel fortunato eliso” “Tranquillo io son” from Giulietta e Romeo by Zingarelli p.24
Anna Fraser, Soprano
Christina Wilson, Mezzo-Soprano
“Pour rendre sensible l’effet du tempo rubato dans le chant, il faut soutenir avec précision la mesure de l’accompagnement. Le chanteur, libre, à cette condition, d’augmenter et de diminuer alternativement les valeurs partielles, pourra donner à certaines phrases un relief tout nouveau. Les accellerando et les rallentando exigent que l’accompagnement et le chant marchent de concert et ralentissent ou accélèrent ensemble le mouvement. Le tempo rubato, au contraire, n’accorde cette liberté qu’au chant seul. On commet donc une faute grave lorsque, pour rendre avec chaleur les cadences si animées du duo du Barbier, on emploie tout à coup le ritardando sur l’avant-dernière mesure au lieu d’employer le tempo rubbato; comme par ex.:”
Translation: “To make the effect of tempo rubato in singing perceptible, one must maintain the measure of the accompaniment with precision. The singer, free, under this condition, to alternately increase and diminish the partial values, will be able to give certain phrases an entirely new relief. Accelerandos and rallentandos require that the accompaniment and the singing move together and slow down or speed up the tempo together. Tempo rubato, on the contrary, grants this freedom only to the singing alone. One therefore commits a serious error when, in order to render with warmth the so animated cadences of the duet from the Barber [of Seville], one suddenly employs the ritardando on the second-to-last measure instead of employing tempo rubato; for example:”
“Che invenzione bravo in verità…” Act I Duet from Il Barbiere di Siviglia by Rossini, p.24
Duet: Andrew Goodwin (Tenor) and Gabriel Desiderio (Baritone)
Duet: Aaron Erdstein (Baritone) and Gabriel Desiderio (Baritone)
“Par le premier moyen, en recherchant l’enthousiasme, on tombe dans la gaucherie et la pesanteur.
(1) Le temps d’arrét, 1’* partie, page 23, est le premier élément du tempo rubato
On accorde cette prolongation1 aux appoggiatures, aux notes qui portent la syllabe longue, aux notes naturellement saillantes dans l’harmonie, ou à celles que l’on veut faire ressortir. Dans tous ces cas, on regagne le temps perdu en accélérant les autres notes. C’est un des meilleurs procédés pour donner de la couleur aux mélodies.”
Translation: “Through the first means, in seeking enthusiasm, one falls into awkwardness and heaviness.
This lengthening is granted1 to appoggiaturas, to notes that carry the long syllable, to notes naturally prominent in the harmony, or to those one wishes to bring out. In all these cases, one regains the lost time by speeding up the other notes. This is one of the best methods for giving colour to melodies.”
(1) The stopping time (temps d’arrêt), 1st part, page 23, is the first element of tempo rubato
“Perchè non ho…”* Aria from Rosmonda d’Inghilterra by Donizetti, p.24
*This piece has been used as an alternate aria for Lucia’s opening cabaletta in Lucia di Lammermoor.
Anna Fraser, Soprano
“Ah se mai di reggio…” Act I Aria from Anna Bolena by Donizetti, p.25
Anna Fraser, Soprano
Claire Burrell-McDonald, Soprano
“Deux artistes d’un genre très-différent, Garcia (mon père) et Paganini, excellaient dans l’emploi du tempo rubato appliqué par phrase. Tandis que l’orchestre soutenait régulièrement la mesure, eux, de leur côté, s’abandonnaient à leur inspiration pour ne se rencontrer avec la basse qu’à l’instant où l’accord changeait, ou bien à la fin même de la phrase. Mais ce moyen exige avant tout un sentiment exquis du rhythme et un aplomb imperturbable. On ne peut guère employer un pareil procédé que dans les passages où l’harmonie est stable ou légèrement variée. Hors ces exceptions, il paraitrait singulièrement dur à l’oreille et présenterait de grandes difficultés à l’exécutant. Voici toutefois une application heureuse de ce moyen difficile.”
Translation: “Two artists of a very different kind, Garcia (my father) and Paganini, excelled in the use of tempo rubato applied by phrase. While the orchestra maintained the measure regularly, they, for their part, gave themselves over to their inspiration, only meeting with the bass at the instant when the chord changed, or indeed at the very end of the phrase. But this means requires above all an exquisite feeling for rhythm and an unshakeable self-assurance. One can hardly employ such a method except in passages where the harmony is stable or only slightly varied. Outside these exceptions, it would sound singularly harsh to the ear and would present great difficulties for the performer. Here, however, is a successful application of this difficult means.”
“Del volcan della mia…” Act I Duet from Il Barbiere di Siviglia by Rossini, p.25
Andrew Goodwin, Tenor
“Le tempo rubato est encore utile sous un autre rapport; il facilite la préparation du trille en permettant de prendre cette préparation sur les valeurs qui précèdent. Ex.”
Translation: “The tempo rubato is also useful in another respect; it facilitates the preparation of the trill by allowing this preparation to be taken from the values that precede it. Ex.”
“Languir peruna bella…” Act I Aria from L’Italiana in Algeri by Rossini, p.25
Andrew Goodwin, Tenor
“Ecco ridente il cielo…” Act I Cavatina from Il Barbiere di Siviglia by Rossini p.25
Andrew Goodwin, Tenor
“Employé sans discernement et avec affectation, le tempo rubato aurait pour effet de détruire l’équilibre et de tourmenter la mélodie.”
Translation: “Employed without discernment and with affectation, tempo rubato would have the effect of destroying the balance and tormenting the melody.”
Port de Voix
“Le port de voix est un moyen, tour à tour énergique ou gracieux, de colorer la mélodie. Appliqué à l’expression des sentiments vigoureux, il doit être fort, plein et rapide.”
Translation: The portamento (port de voix) is a means, alternately energetic or graceful, of colouring the melody. Applied to the expression of vigorous feelings, it must be strong, full, and rapid.
“Deh parlate…” Aria “Chi per pietà mi dice” from Sacrificio d’Abramo by Cimarosa p.27
Anna Fraser, Soprano (as written by Cimarosa)
Anna Fraser, Soprano (as suggested by Garcìa)
Claire Burrell-McDonald, Soprano (as written by Cimarosa)
Claire Burrell-McDonald, Soprano (as suggested by Garcìa)
“Al vivo lampo…” Act II Duet from Tancredi by Rossini p.27
Anna Fraser, Soprano
Christina Wilson, Mezzo-Soprano
Jenny Duck-Chong, Mezzo-Soprano
“Deh non troncar…” Scene and Aria Finale from Norma by Bellini p.27
Anna Fraser, Soprano
Claire Burrell-McDonald, Soprano
“Se il padre m’abbandonna” Act II Scene and Aria from Othello by Rossini p.27
Claire Burrell-McDonald, Soprano
Brianna Morrison, Soprano
“Employé dans les mouvements tendres et gracieux, il sera plus lent et plus doux.”
Translation: “Employed in tender and graceful movements, it will be slower and softer.”
“Senza gloria…” Convitto di Allessandro Handel p.27
Gabriel Desiderio, Baritone
Simon Lobeson, Baritone
Andrew O’Connor, Baritone
David Greco, Baritone
“Se piacea voi verrò…” Act III no.17 duet from Le Nozze di Figaro by Mozart p.27
Claire Burrell-McDonald, Soprano
Eliza O’Connor, Soprano
“Donne vedete…” Act II “voi che sapete” from Le Nozze di Figaro by Mozart p.27
Anna Fraser, Soprano
Christina Wilson, Mezzo-Soprano
“Là ci darem la mano…” Act I No.7 Duettino from Don Giovanni, Mozart, p.27
Andrew O’Connor, Baritone
Simon Lobelson, Baritone
Gabriel Desiderio, Baritone
David Greco, Baritone
“E vita nel tuo seno…” from Norma by Bellini p.27
Anna Fraser, Soprano
“ti parla il caro amente…” from Don Giovanni by Mozart, p.27
Jack Jordan, Tenor (Part 1)
Jack Jordan, Tenor (Part 2)
Andrew Goodwin, Tenor (Part 1)
Andrew Goodwin, Tenor (Part 2)
“Spunta la bella aurora” Act I Cavatina from Il Barbiere di Siviglia by Rossini, p.28
Andrew Goodwin, Tenor (as written by Rossini)
Andrew Goodwin, Tenor (as suggested by Garcìa)
Jack Jordan, Tenor (as suggested by Garcìa)
“Una grazia uncerto incanto” Act I Duetto from La Cenerentola by Rossini, p.28
Andrew Goodwin, Tenor
Jack Jordan, Tenor
“Gia langue oppresso in” Act II Scene 4 from Semiramide Rossini, p.28
Anna Fraser, Soprano
Christina Wilson, Mezzo-Soprano
“Bacciar saprò baciar” Aria “Batti batti…” from Don Giovanni by Mozart, p.28
Claire Burrell-McDonald, Soprano
Eliza O’Connor, Soprano
“So che spira…” Il Sacrificio D’Abramo by Cimarosa, p.28
Claire Burrell-McDonald, Soprano
“Le port de voix s’exécute en conduisant la voix avec la syllabe que l’on va abandonner, et non pas, comme on le fait trop souvent en France, avec la syllabe suivante prise par anticipation. On doit même faire entendre un instant d’avance la note qu’ répond à la deuxième syllabe; mais o n n’articule cette syllabe qu’au moment où commence la valeur indiquée de la note. Ex.:”
Translation: “The portamento is executed by carrying the voice with the syllable that one is about to leave, and not, as is too often done in France, with the following syllable taken in anticipation. One should even let the note corresponding to the second syllable be heard an instant ahead of time; but one only articulates this syllable at the moment when the indicated value of the note begins. Ex.:”
“Deh parlate”Aria “Chi per pietà mi dice” from Sacrificio d’Abramo by Cimarosa, p.28
Claire Burrell-McDonald, Soprano (‘right’ way)
Claire Burrell-McDonald, Soprano (‘wrong’ way)
“Les circonstances où il convient d’employer le port de voix sont difficiles à préciser et ne sauraient guère être déterminées d’une manière précise au moyen de règles générales. On peut dire cependant que le port de voix sera bien placé toutes les fois que, dans le langage passionné, la voix se traînerait sous l’impression d’un sentiment énergique ou tendre. Supprimez le port de voix dans la phrase de Mozart: « E sposo in me, » et l’expression tendre disparaitra. Mais ce moyen, en raison même de son efficacité, ne doit étre employé qu’avec réserve; on risquerait en le prodiguant de rendre l’exécution faible et languissante.
Quelques chanteurs, soit par négligence, soit par défaut de goût, ne se contentent pas de multiplier les ports de voix; ils commettent la faute de les adapter à toutes les notes sous forme de traînée inférieure, en plaçant, comme nous venons de le dire, sur cette traînée, la deuxième syllabe prise par anticipation. Cette méthode a pour résultat de détruire le frappement de la deuxième note et le rhythme lui-même; le chant ainsi affaibli devient d’une langueur nauséabonde.
Dans l’exemple suivant, nous voyons ce procédé gâter une heureuse inspiration.”
Translation: “The circumstances in which it is fitting to employ the portamento are difficult to specify and could scarcely be determined in a precise manner by means of general rules. One may say, however, that the portamento will be well placed whenever, in passionate speech, the voice would linger under the impression of an energetic or tender feeling. Remove the portamento from Mozart’s phrase, “E sposo in me,” and the tender expression will disappear. But this means, precisely because of its effectiveness, must be employed only with restraint; one would risk, by lavishing it, rendering the execution weak and languishing.
Some singers, whether through negligence or lack of taste, are not content with multiplying portamentos; they commit the error of adapting them to every note in the form of a lower slide, placing, as we have just said, on this slide, the second syllable taken in anticipation. This method has the result of destroying the striking of the second note and the rhythm itself; the singing thus weakened becomes of a nauseating languor.
In the following example, we see this procedure spoil a happy inspiration.”
“Gràce gràce pour toi…” Act IV Aria “Robert! toi que j’aime…” from Robert le Diable by Meyerbeer, p.28
Anna Fraser, Soprano
Eliza O’Connor, Soprano
“La facilité de cette manière tente malheureusement les élèves. Comme il leur en coûte de syllaber sur les notes élevées, pour échapper à la difficulté, ils placent la syllabe sur la note plus grave et s’élèvent à la note aiguë à l’aide d’un port de voix. Il existe un autre procédé qui présente les mêmes avantages sans exposer aux mêmes inconvénients. Il suffit de convertir la traînée inférieure en un port de voix régulier, ou bien d’employer les petites notes inférieures.”
Translation: “The ease of this manner unfortunately tempts students. Since it costs them effort to place syllables on high notes, to escape the difficulty, they place the syllable on the lower note and rise to the high note by means of a portamento. There exists another method which presents the same advantages without exposing one to the same drawbacks. It suffices to convert the lower slide into a regular portamento, or else to employ small grace notes below.”
“Spargi d’amaro pianto” Act II Scene 5 from Lucia di Lammermoor by Donizetti, p.28
Anna Fraser, Soprano
Sighs and Sobs
“Les soupirs, dans toutes leurs variétés, sont produits par le frottement plus ou moins fort, plus ou moins prolongé, de l’air contre les parois du gosier, soit que l’on introduise l’air dans la poitrine, soit qu’on l’en chasse. Lorsqu’on use du premier moyen, on peut modifier le frottement de manière à obtenir le sanglot, le râle même, si les cordes vocales sont mises en jeu. Les sanglots s’obtiennent par une aspiration courte et saccadée.”
Translation: “Sighs, in all their varieties, are produced by the more or less strong, more or less prolonged friction of the air against the walls of the throat, whether one draws air into the chest or driven out of it. When the first means is used, one can modify the friction so as to obtain the sob, or even the death-rattle, if the vocal cords are brought into play. Sobs are obtained by a short and jerky inhalation.”
“Voi Vedete il pianto mio,” Act I Scene II (no.7), from Turco in Italia, Rossini, p.51
Scene: Geronio has just scolded his wife, Fiorilla, for flirting with the Turkish nobleman. Fiorillia is denying her husband’s claims, declaring he has offended her.
Translation: “you see my crying”
Eliza O’Connor, Soprano
Anna Fraser, Soprano
“La sciero ca varmi gliocchi…,” Act I Aria “Batti Batti”, from Don Giovanni, Mozart, p.51
Scene: After almost falling for Don Giovanni’s flirtations, the young peasant girl, Zerlina, comforts her fiancé, Masetto, reassuring him of her love and commitment.
Translation: “I would let my eyes be gouged out, and then I will know how to kiss your dear little hands gladly.”
Eliza O’Connor, Soprano
Anna Fraser, Soprano
“Le râle est un accent qui ne se transforme jamais en son musical. Lorsqu’on a recours au deuxieme moyen, c’est-à-dire à l’expulsion de l’air, on produit le soupir proprement dit et le gémissement. Le soupir précède une note ou la suit. Quand le soupir précède la note, si elle est placée sur une voyelle, il la convertit en une expiration chantée; si elle est placée sur une consonne, il forme, devant cete consonne, le son ‘heu!’ aspiré.”
Translation: “The rattle [otherwise called the death-rattle*] is an accent that never transforms into musical sound. When one has recourse to the second means, that is to say the expulsion of air, one produces the sigh properly speaking and the moan. The sigh precedes a note or follows it. When the sigh precedes the note, if it is placed on a vowel, it converts it into a sung exhalation; if it is placed on a consonant, it forms, before this consonant, the aspirated sound “heu!”
*In English, the death-rattle is the term used for the rasping, gasping sound made in the throat, especially the one associated with labored breathing (as in the “death rattle” heard in someone’s final breaths).
“L’error l’error…,” Act II Scene XI, from Otello, Rossini, p.51
Scene: Otello has accused Desdemona of being unfaithful to him. In this scene she is begging her father to pardon her sins.
Translation: “The mistake, the mistake of a wretched (unhappy) man, ah father.”
Anna Fraser, Soprano
Brianna Morrison, Soprano
“Padre Mio…,” Act I Scene II Recitative and Duet, from Don Giovanni, Mozart, p.51
Scene: Donna Anna has just returned home with her husband Don Ottavio to find her father, the Commendatore, murdered.
Translation: “my father, dear father, beloved father.”
“Quand le soupir achève la note, c’est par une forte expulsion de l’air qu’il se produit. Ex.:”
Translation: “When the sigh completes the note, it is produced by a strong expulsion of air. Ex:”
“Ou bien on laisse d’abord tomber la voix pour chasser ensuite l’air, ce qui produit la plainte.”
Translation: “Or else one first lets the voice drop, then expels the air afterward, which produces the moan/lament (la plainte).”
Anna Fraser, Soprano
Brianna Morrison, Soprano
“Le soupir s’obtient encore au moyen d’unport de voix ascendant que l’on assourdit par le bruit de l’air. Ce port de voix, à sa naissance, ne doit être que le frottement de l’air.”
Translation: “The sigh can also be obtained by means of an ascending portamento (port de voix) that one muffles/deadens with the sound of the air. This portamento, at its onset, must be nothing but the friction of the air.”
“Ajoutons enfin que l’expiration produit encore une espèce de frottement ou de déchirement de la voix; mais, bien que l’effet en soit dramatique, l’étude en est trop pénible pour que nous osions la conseiller.
Tous ces procédés formés par l’inspiration et l’expiration se combinent de différentes manières, comme on le voit dans les exemples suivants:”
Translation: “Let us add finally that expiration [exhalation] also produces a kind of friction or tearing of the voice; but, although the effect is dramatic, the study of it is too painful for us to dare recommend it.
All these procedures formed by inspiration and expiration [inhalation and exhalation] combine in different ways, as can be seen in the following examples:”
“Ma Stan…,” Act III Scene II Scena e Romanza, from Otello, Rossini, p.52
Translation: “But finally tired of shedding mournful sighs and tears, the afflicted maiden died—ah!—beside that willow! But finally tired of crying, the afflicted maiden died, died… What grief! The ungrateful one… the ungrateful one… Alas! Tears will not let me go on.”
Brianna Morrison, Soprano
Anna Fraser, Soprano
“Le Triste…” Act III Scene 15 from Lucia di Lammermoor (French edition), Donizetti, p.52
Translation: “the sad mausoleum… ah, my soul to heaven will fly away, plaintive and desolate.”
Jack Jordan, Tenor
“Sul Mio…,” Scena Aria e Duetto “Oh se tu dormi, svegliati,”from Romeo e Giulietta, Vaccai, p.52
Translation: “on my rock to weep.”
Jenny Duck-Chong, Mezzo-Soprano
Christina Wilson, Mezzo-Soprano
“Ah ch’ei m’arresta…,” Act II, Scene 8 from Semiramide, Rossini, p.52
Translation: “ah! that he stops me—leave me.”
Andrew O’Connor, Baritone
Gabriel Desiderio, Baritone
Simon Lobelson, Baritone
David Grecco, Baritone
Agitation
“Il est une espèce d’agitation intérieure qui nous vient de la plénitude d’un sentiment éprouvé, et qui se trahit au dehors par l’altération ou le nerf de la voix et du débit. Cet état de l’âme, qui s’appelle l’émotion, est la disposition nécessaire où doit se placer quiconque veut agir puissamment sur les autres. Si cette agitation a pour cause l’indignation, la joie excessive, la terreur, l’exaltation, etc., la voix sort par une espèce de secousse.”
Translation: “There is a kind of inner agitation that comes to us from the fullness of a feeling experienced, and which betrays itself outwardly through the alteration, or sinew/vigor, of the voice and of the delivery. This state of the soul, which is called emotion, is the necessary disposition in which whoever wants to act powerfully upon others must place themselves. If this agitation has as its cause indignation, excessive joy, terror, exaltation, etc., the voice comes out in a kind of jolt/shock.”
Agitation Caused by Fear
“Infelice il veleno bevesti…” Act I, Scene 13 from Lucrezia Borgia, Donizetti, p.52
Scene: Gennaro has been poisoned by Lucrezia’s husband, Don Alfonzo. The sorceress, Lucrezia rushes to Gennaro to give him the antidote.
Translation: “Unhappy one! You drank the poison, do not utter a word, you would fall pierced.”
Anna Fraser, Soprano
Claire Burrell-McDonald, Soprano
Brianna Morrison, Soprano
Agitation Caused by Joy
“Salvo Salvo dol suo periglio…” Act II, Scene 10 from Otello, Rossini, p.53
Translation: “Safe, safe from his peril? The heart desires nothing else”
Claire Burrell-McDonald, Soprano
Anna Fraser, Soprano
Brianna Morrison, Soprano
Agitation Caused by Indignation
“Quegli è il carnefice…” Act I Scene 21 from Don Giovanni, Mozart. p.53
Translation: “That man is the executioner of my father. (…) Doubt no longer: the last words that the wicked one uttered.”
Claire Burrell-McDonald, Soprano
Brianna Morrison, Soprano
Agitation Caused by Indignation and Anger
“Vituperio disonore…” Act I, Scene 9 from La Gazza Ladra, Rossini, p.53
Translation: “Insult! Dishonour! I have tolerated enough. A mature man and a magistrate, you ought to be ashamed.”
Simon Lobelson, Baritone
Andrew O’Connor, Baritone
Gabriel Desiderio, Baritone
Aaron Erdstein, Baritone
Agitation Caused by Fear and Remorse
“Un temple ô jour…” Act II, No. 11 from Œdipe à Colone, Sacchini, p.53
Translation: “A temple, O day of dread, O torment, O anguish.”
Simon Lobelson, Baritone
Andrew O’Connor, Baritone
Gabriel Desiderio, Baritone
Aaron Erdstein, Baritone
Agitation Caused by Indignation, Contempt and Despair
“Ah dio fidarti,” Act III, Scene 3 Finale from Otello, Rossini p.53
Translation: Oh God! Could you trust yourself to him? To a vile traitor?
Claire Burrell-McDonald, Soprano
Brianna Morrison, Soprano
Grief
“Lorsque la mème agitation est produite par une douleur si vive qu’elle nous domine complétement, l’organe éprouve une sorte de vacillation qui se communique à la vois. Cette vacillation s’appelle tremolo. Le tremolo, motivé par la situation et conduit avee art, est d’un effet pathétique, assuré.”
Translation: “When this same agitation is produced by a pain so intense that it completely overwhelms us, the organ [the vocal instrument] experiences a kind of wavering that communicates itself to the voice. This wavering is called tremolo. The tremolo, motivated by the situation and executed with art, has a guaranteed, pathetic [deeply moving] effect.”
“Pensa che son tuo sangue…” Act II Finale “Qual cor tradisti qual cor perdesti” from Norma, Bellini, p.53
Translation: “Think that they are your blood (family)… have pity on them, ah! Father, have for them, for them pity.”
Claire Burrell-McDonald, Soprano
Anna Fraser, Soprano
“Ses jours…” Act II Trio No. 11 from Guillaume Tell, Rossini, p.53
Translation: “Those days that they dared to proscribe, I did not defend them. My father, you have damned me, cursed me. With remorse, my heart is tearing apart. Oh! Heaven, oh! Heaven! I will see you no more.”
Andrew Goodwin, Tenor
“Ei non respira più…” Act I, Scene 3 “Ma qual mai s’offre, oh Dei
Fuggi, crudele, fuggi!” from Don Giovanni, Mozart, p.53
Translation: “Here one breathes no more; cold are the limbs. My father, dear father, ah, beloved father.”
Claire Burrell-McDonald, Soprano
Brianna Morrison, Soprano
“Io credeva che alcuno…” Act III Scene 1 from Otello, Rossini, p.53
Translation: “I believed that someone, oh how the heaven joins-itself to my laments, believed that to someone, ah how the heaven joins to my the laments.”
Claire Burrell-McDonald, Soprano
Anna Fraser, Soprano
Brianna Morrison, Soprano
“Ah! Ma raison s’égare…” Act IV Duet No. 24 from Les Huguenots, Meyerbeer, p.53
Translation: “Ah! My reason wanders, ah execrable crime! Raoul, they will kill you. Ah, pity! I am dying, ah!”
Claire Burrell-McDonald, Soprano
Anna Fraser, Soprano
“Ne chantez pas, mais déclamez avec une voix déchirante et dans le plus grand désordre, les mots: Raul! ils te tueront puis la respiration op pressée et défaillante, achevez les mots ah! pitié! je meurs! ah!”
Translation: “Do not sing, but declaim with a heart-rending voice and in the greatest disorder, the words: Raul! they will kill you– then, the breath oppressed and failing, finish the words: ah! pity! I am dying! ah!”
“Le trémolo ne doit être employé que pour peindre les sentiments qui, dans la vie réelle, nous émeuvent profondément: l’angoisse de voir quelqu’un qui nous est cher dans un danger imminent, les larmes que nous arrachent certains mouvements de colère ou de vengeance, etc. Dans ces circonstances mêmes, exagère l’expression ou la durée, il devient fatigant et disgracieux. Hors les cas spéciaux que nous venons d’indiquer, il faut se garder d’altérer en rien l’assurance du son, car l’usage réitéré du tremblement rend la voix chevrotante. L’arliste qui a contracté cet intolérable défaut devient incapable de phraser aucune espèce de chant soutenu. C’est ainsi que de belles voix ont été perdues pour l’art.
Le chevrotement de la voix n’est, dans tous les cas possibles, qu’une affectation de sentiment que certaines personnes prennent pour un sentiment véritable. Quelques chanteurs croient, à tort, rendre par ce moyen leur voix plus vibrante, et, de même que plusieurs violonistes, cherchent à augmenter la force de leur instrument par l’ondulation du son. La voix ne peut vibrer que grâce à l’éclat du timbre et à la puissance de l’émission de l’air, et non par l’effet du tremblement.”
Translation: “The tremolo must be employed only to paint feelings that, in real life, move us profoundly: the anguish of seeing someone dear to us in imminent danger, the tears wrung from us by certain impulses of anger or vengeance, etc. In these very circumstances, if the expression or duration is exaggerated, it becomes tiresome and unattractive. Outside the special cases we have just indicated, one must guard against altering in any way the steadiness of the sound, for the repeated use of trembling makes the voice quaver/bleat. The artist who has contracted this intolerable fault becomes incapable of phrasing any kind of sustained singing. It is in this way that beautiful voices have been lost to art.
The quavering [bleating] of the voice is, in every possible case, only an affectation of feeling that certain people mistake for genuine feeling. Some singers wrongly believe that by this means they render their voice more vibrant, and, like several violinists, seek to increase the power of their instrument through the undulation of the sound. The voice can only vibrate through the brilliance of the timbre and the power of the emission of the air, and not through the effect of trembling.”
Profound Grief
“La menace contenue, la douleur profonde et le désespoir concentré prennent un timbre caverneux.”
Translation: “La menace contenue, la douleur profonde et le désespoir concentré prennent un timbre eaverneux.”
“Oh colpo impensato” Act II Finale (alternative aria) from La Gazza Ladra, Rossini, p.56
Translation: “Oh, unexpected blow.”
Simon Lobelson, Baritone
Andrew O’Connor, Baritone
“Mi manca la voce…” Act III Finale “La tua promessa a reclamar io vengo” from Mosè, Rossini, p.56
Translation: “My voice fails me; I feel myself dying.”
Anna Fraser, Soprano
Brianna Morrison, Soprano
“Che farò senza Euridice” Act III Scene 1 from Orfeo ed Euridice, Gluck, p.56
Translation: “What shall I do without Eurydice?”
Christina Wilson, Mezzo-Soprano
Jenny Duck-Chong, Mezzo-Soprano
Anna Fraser, Soprano
“Ici les accents de douleur sont nuancés, tantôt par une teinte de mélancolie, tantôt par des éclats de douleur, tantôt par un sombre désespoir.”
Translation: “Here the accents of grief are nuanced, now by a shade of melancholy, now by outbursts of pain, now by a somber despair.”
Heart-rending grief
“So che spira…” Act I No. 9 Recitativo e Aria Sara from Sacrifizio d’Abraham, Cimarosa, p.57
Translation: “I know that that dear victim breathes her last; I see the blood that stains that altar; I feel the blade that wounded her breast. Ah, speak! for perhaps by keeping silent you are to me more pitiless, more barbarous.”
Anna Fraser, Soprano
“Hai tradito il cielo…” Seguito e Stretta del Finale II from Lucia di Lammermoor, Donizetti, p.57
Translation: “You have betrayed heaven and love. Cursed—cursed be the instant.”
Andrew Goodwin, Tenor
“Les notes de poitrine au-dessus du fa, sont insupportables lorsqu’on les emploie en timbre clair dans les chants modérés; mais ici, en raison même de leur effet criard, elles s’approprient aux accents du désespoir et de la rage. On pourrait en dire autant du passage:”
Translation: “Chest notes above F [fa] are unbearable when used in a clear timbre in moderate/restrained songs; but here, precisely because of their shrill effect, they suit the accents of despair and rage. One could say the same of the passage:”
“Io voglio sussurare…” Act I No. 10 Finale from Il Matrimonio Segreto, Cimarosa, p.58
Translation: “I want to whisper, whisper, whisper; I want to whisper to the house and the city.”
Eliza O’Connor, Soprano
Prayer
“Le chois du timbre ne dépendra jamais du sens littéral des mots, mais des mouvements de l’âme qui les dicte. Les sentiments doux et langoureux à la fois, ou bien encore les sentiments énergiques, mais concentrés, ne dépassent point la série des timbres couverts. Par exemple: dans la prière, la timidité, l’attendrissement, la voix doit être touchante et légèrement couverte. Parfois il s’y mêle le bruit de l’haleine dans la tendresse.”
Translation: “The choice of timbre will never depend on the literal meaning of the words, but on the movements of the soul that dictate them. Feelings that are gentle and languorous at once, or else energetic feelings, but contained, never go beyond the range of covered timbres. For example: in prayer, timidity, tenderness, the voice must be touching and slightly covered. Sometimes the sound of the breath mingles with it in tenderness.”
“Deh calma o ciel nel sonno” Act III Sena e Romanza from Otello, Rossini, p.55
Translation: “Ah, calm, O heaven, in the sleep.”
Claire Burrell-McDonald, Soprano
Brianna Morrison, Soprano
“Du pauvre seul ami fidèle…” La Muette de Portici, Auber, p.55
Translation: “Of the poor man’s only faithful friend, descend to my voice that calls you.”
Jack Jordan, Tenor
“Sous le voile…” Act I No.8 Scene and Aria from Der Freischütz, Weber, p.55
Translation: “Under the veil of mystery.”
Claire Burrell-McDonald, Soprano (Sung in French)
Claire Burrell-McDonald, Soprano (Sung in German)
Eliza O’Connor, Soprano (Sung in French)
Eliza O’Connor, Soprano (Sung in German)
Anger
“L’indignation, l’imprécation, la menace, le le commandement sévère, arrondissent la voix en la rendant brusque, hautaine. Ex.:”
Translation: “Indignation, imprecation, threat, and stern command round out the voice, making it abrupt and haughty. Ex.:”
Indignation
“Sire je vous dois tout…” Act III Scena e finale from La Favorite, Donizetti, p.55
Translation: “Sire, I owe you everything — my fortune, my life.”
Jack Jordan, Tenor
Threat
“Or or vedrai” Act II Scene 13 from Otello, Rossini, p. 55
Translation: “Now, now you will see.”
Jack Jordan, Tenor
Cursing
“Coppia iniqual’es…” Act II Finale from Anna Bolena, Donizetti, p. 55
Translation: “Wicked couple, the ultimate… revenge.”*
*Correct Italian is spelled “coppia iniqua l’estrema vendetta.”
Claire Burrell-McDonald, Soprano
Anna Fraser, Soprano
“La menace contenue, la douleur profonde et le désespoir concentré prennent un timbre caverneux.”
Translation: “Contained threat, deep pain, and concentrated despair take on a cavernous timbre.”
Threat Stirred up by Profound Hate
“Guai se ti sfugge un detto…” Act I Scene 12 from Lucrezia Borgia, Donizetti, p.56
Translation: “Beware! If a gesture slips from you, if a word betrays you!”*
*In modern scores detto and moto are switched.
Simon Lobelson, Baritone
Gabriel Desiderio, Baritone
Aaron Erdstein, Baritone
Andrew O’Connor, Baritone
“La menace, la douleur, le désespoir qui éclatent, adoptent le timbre ouvert et déchirant. On en voit des exemples remarquables dans les passages qui suivent.”
Translation: “Threat, pain, and despair that burst forth adopt the open and heartrending timbre. Remarkable examples of this can be seen in the passages that follow.”
Threat and Bursting Anger
“Ah non tremenda e fiera…” Act II Scene 6 from Otello, Rossini, p. 57
Translation: “But not dreadful and proud as I desire it, as love demands it…”
Andrew Goodwin, Tenor
Exaltation
“L’exaltation martiale, ou religieuse, arrondit la voix en la rendant claire et éclatante.”
Translation: “Martial or religious exaltation rounds out the voice, making it clear and radiant.”
Martial Exaltation
“Amis, amis, secondez ma vengeance”Act IV No. 21 from Guillaume Tell, Rossini, p.55
Translation: “Friends, friends, support my vengeance.”
Andrew Goodwin, Tenor
“Ah si pervoigia sento”Act I Scene 1 from Otello, Rossini, p.55
Translation: “Ah! Yes, through you I already feel it.”
Andrew Goodwin, Tenor
Religious Exaltation
“Eterno immenso…” Act II Scene 2 from Mosè, Rossini, p.55
Translation: “Eternal, immense, incomprehensible God.”
Gabriel Desiderio, Baritone
Andrew O’Connor, Baritone
Simon Lobelson, Baritone (Sung in French)
Aaron Erdstein, Baritone
Terror
“La terreur et le mystère assourdissent les sons, et les rendent sombres et rauques.”
Translation: “Terror and mystery muffle the sounds, and render them dark/somber and hoarse.”
“Qual mesto gemito…” Act I Scene 13 (Finale) from Semiramide, Rossini, p.56
Translation: “What a mournful moan from that tomb.”
Claire Burrell-McDonald, Soprano
Anna Fraser, Soprano
“Deh ti ferma… ti placa… perdona…”* Act II Scene 9 from Semiramide, Rossini, p.56
Translation: “Ah, stop yourself… calm yourself… forgive.”
*The Italian spelling of Ah ti ferma and Deh ti ferma are interchangeable.
Simon Lobelson, Baritone
Andrew O’Connor, Baritone
Gabriel Desiderio, Baritone
“Il faut qu’il…” Act III No. 14 Duet from Robert le Diable, Meyerbeer, p.56
Translation: “He must be delighted by you!” “By me? But that’s sacrilege!“
Duet: Gabriel Desiderio (Baritone) and Andrew Goodwin (Tenor)
Trouble, Shame, Terror
“Le trouble, la honte, la terreur, etc., nuisent à la fermeté des mouvements des organes: la voix devient balbutiante. Les sanglots, la suffocation et l’angoisse achèvent de la rendre irrégulière.”
Translation: “Confusion, shame, terror, etc., harm the firmness of the movements of the organs: the voice becomes stammering/faltering. Sobs, suffocation, and anguish complete the process of rendering it irregular.”
“He via…”* Act I Scene 9 Trio from La Gazza Ladra, Rossini, p.59
Translation: “Come on now.” “Fer… Fer… Fernando.”
*Incorrect spelling in the Garcia, modern scores read sul via instead of he via.
Duet: Simon Lobelson (Baritone) and Anna Fraser (Soprano)
Duet: Andrew O’Connor (Baritone) and Anna Fraser (Soprano)
“Da chi sperar…” Act II Scena ed Aria from Otello, Rossini, p.59
Translation: “From whom to hope for p..p…pity, if the f…father abandons me.”
Anna Fraser, Soprano
Claire Burrell-McDonald, Soprano
“Morì che duol l’ingrato…” Act III Scena e Romanza from Otello, Rossini, p.59
Translation: “He died—what grief!—the ungrateful, the ungrate… ah me, for weeping does not let me go on.”
Anna Fraser, Soprano
Claire Burrel-McDonald, Soprano
“Mais tout à coup…” Act IV No. 17 from Masaniello, Caraffa, p.59
Translation: “But all at once my strength abandons me.”
Andrew Goodwin, Tenor
Mystery and Threat
“Quel la ricordati…” Act II Scena e Duetto from Semiramide, Rossini, p.56
Translation: “That remembered night of death, night of death.”
Simon Lobelson, Baritone
Gabriel Desiderio, Baritone
Andrew O’Connor, Baritone
Mystery Shaded by Terror and Indignation
“Era già alquanto avanzata la notte…” Act I Scene 21 from Don Giovanni, Mozart, p. 56
Translation: “The night was already somewhat advanced when, in my room, where alone I found myself by misfortune.”
Claire Burrell-McDonald, Soprano
Brianna Morrison, Soprano
Depression
“Dans l’abattement qui suit une forte commotion, la voix sort mate, parce que la respiration ne peut être retenue, et vient se mêler aux sons.”
Translation: “In the prostration that follows a strong shock, the voice comes out flat, because the breathing cannot be held back, and comes to mingle with the sounds.”
“Io credeva che alcuno…” Act III Scena e Romanza from Otello, Rossini, p.56
Translation: “I believed that someone…”
Anna Fraser, Soprano (Version 1)
Anna Fraser, Soprano (Version 2)
Claire Burrell-McDonald, Soprano (Version 1)
Claire Burrell-McDonald, Soprano (Version 2)
Complaint
“Gia langue oppresso” Act II Scene IV from Semiramide, Rossini, p.56
Translation: “Already languishes, oppressed.”
Christina Wilson, Mezzo-Soprano
“Ce caractère mat de la voix est l’opposé du timbre éclatant, métallique, qui convient aux sentiments vigoureux.”
Translation: “This dull character of the voice is the opposite of the brilliant, metallic timbre, which suits vigorous feelings.”
Coaxing tone
“Batti batti o bel Masetto…” Act I No. 12 from Don Giovanni, Mozart, p.55
Translation: “Beat, beat, O dear Masetto, your poor Zerlina.”
Eliza O’Connor, Soprano
Claire Burrell-McDonald, Soprano
Teasing
“La raillerie rend l’organe cuivré, criard.”
Translation: “Mockery makes the voice brassy, shrill.”
“Et quoi déjà déjà tu trembles d’effroi…” Act III No. 14 from Robert le Diable, Meyerbeer, p.57
Translation: “And what? Already, already you tremble with fright, already you tremble with fright, already.”
Simon Lobelson, Baritone
Gabriel Desiderio, Baritone
Andrew O’Connor, Baritone
Aaron Erdstein, Baritone
Tenderness
“Le caractère doux et affectueux que prend l’organe pour exprimer l’amour participe plus du timbre clair que du timbre sombre.”
Translation: “The gentle and affectionate character that the voice takes on to express love partakes more of the clear timbre than of the dark timbre.”
Tender reproach
“Crudel perchè finora…” Act III, No.17 Duettino from Le Nozze di Figaro, Mozart, p.55
Gabriel Desiderio, Baritone
Aaron Erdstein, Baritone
Andrew O’Connor, Baritone
Tenderness
“Asile héréditaire…” Act IV No. 19 Recitative and Aria from Guilaume Tell, Rossini, p.55
Jack Jordan, Tenor
“Mais j’entends une voix…” Act IV Aria from La Juive, Halévy, p.55
Jack Jordan, Tenor
“Là ci darem la mano…” Act I No.7 Duettino from Don Giovanni, Mozart, p.57
Aaron Erdstein, Baritone
Gabriel Desiderio, Baritone
“Pria che spunti in ciel…” Act II No.13 Aria from Matrimonio Segreto, Cimarosa, p.57
Andrew Goodwin, Tenor
Frank Gaiety
“Dans la joie, le timbre devient vif, brillant et délié.”
Translation: “In joy, the timbre becomes lively, brilliant, and nimble/fluid.”
“Fin ch’han dal vino…” Act I No.11 Aria from Don Giovanni, Mozart, p.57
Simon Lobelson, Baritone
Gabriel Desiderio, Baritone
Andrew O’Connor, Baritone
Aaron Erdstein, Baritone
“Largo al factotum…” Act I Cavatina from Il Barbiere di Sivilgia, Rossini, p.57
Simon Lobeson, Baritone
Gabriel Desiderio, Baritone
Andrew O’Connor, Baritone
Aaron Erdstein, Baritone
“Giovinette che fate…” Act I No.5 Duetto from Don Giovanni, Mozart, p.57
Eliza O’Connor, Soprano
“La placida campagna…” Favorit Polonaise (“La placida campagna”) Paer, p.57
Anna Fraser, Soprano
Christina Wilson, Mezzo-Soprano
Jenny Duck-Chong, Mezzo-Soprano
Laughter
“Le rire est une espèce de spasme convulsif qui ne permet à la voix de s’échapper que par saccades, par secousses. Elle parcourt alors, en montant et en descendant, une gamme peu régulière, mais assez étendue. La respiration demande à être fréquemment et rapidement renouvelée, et ce besoin, joint au resserrement qui s’opère dans l’organe, occasionne à chaque inspiration un râle assez fort. Dans les morceaux on doit éviter le plus possible la roideur et la sécheresse de la note écrite, on doit au contraire imiter l’abandon et la cantilène du rire naturel. Un rire franc et musicalement rythmé ne peut s’obtenir qu’à la suite d’un long exercice.”
Translation: “Laughter is a kind of convulsive spasm that allows the voice to escape only in jerks, in bursts. It then runs, rising and falling, through a scale that is not very regular, but fairly extensive. The breathing needs to be renewed frequently and rapidly, and this need, joined to the constriction that occurs in the organ, produces at each inhalation a fairly strong rattle. In musical pieces one must avoid, as much as possible, the stiffness and dryness of the written note; one must instead imitate the abandon and the flowing melody of natural laughter. Genuine laughter, musically rhythmic, can only be obtained after long practice.”
“Lei rider mi fa…” Act I, No.4 Terzett from Matrimonio Segreto, Cimarosa p.52
Part 1:
Anna Fraser, Soprano
Eliza O’Connor, Soprano
Part 2:
Anna Fraser, Soprano
Eliza O’Connor, Soprano
“L’alloco è là…” Act II Recitativo e Duetto from La Cenerentola, Rossini p.52
Simon Lobelson, Baritone
Aaron Erdstein, Baritone
Gabriel Desiderio, Baritone
Andrew O’Connor, Baritone
“Le rire appartient exclusivement à l’opéra buffa; l’opéra seria ne peut l’admettre que dans un sentiment pénible déguisé par un rire forcé, ou dans la folie.
Dans le rire, la voix est aiguë et glapissante, entrecoupée, convulsive.”
Translation: “Laughter belongs exclusively to opera buffa; opera seria can only admit it as a painful feeling disguised by forced laughter, or in madness.
In laughter, the voice is high-pitched and shrill/yelping, broken up, convulsive.”
Research Tools
Primary Sources
Tools
The Bel Canto Team acknowledges the use of Anthropic’s generative AI “Claude” as a tool to translate Manuel García’s Ecole de Garcia, Traité Complet de l’art du Chant en 2 parties in to English.
Anthropic. (2025, May 20). French Translation [Generative AI Chat]. Claude Sonnet 5.
Gallery
Header image: Paris. Rue du Faubourg Poissonnière, numéro 15, Conservatoire de musique 35 x 52 cm. Part of Paris, Conservatoire de musique, rue du Faubourg Poissonnière. Dossier iconographique. Call number 1-EST-01973. Historical Library of the City of Paris, France. Image depicts the inside of the Conservatoire de Paris, where Manuel García taught from 1830-48.