What is legato? (And how is it done?)

[@andrewwhitebaritone5974]

Thank you for addressing so nicely this poorly understood but central concept. Some additional topics I'd appreciate seeing you address. 1. Messa di voce 2. Portamento 3. Rubato 4. Phrase direction 5. Chiaroscuro 6. Voix mixte 7. Voix blanch vrs. sombre timbre 8. Appoggio 9. Coup de glotte 10. Vowel purity 11. The even scale 12. Tenuto vrs. marcato

[@pureffm]

Also glissando vs. portamento, squillo vs. chiaroscuro

[@vegtamvanderveg]

omg there's a lot to learn!

[@jimbuxton2187]

Andrew.... you got any more? 😆

[@andrewwhitebaritone5974]

Sure, but these are all geared towards late 19th century pedagogy.

[@andrewwhitebaritone5974]

Ok, here's another one for you: the "Melba point."

[@khalidsaleemmusic6571]

This is the best video I have ever seen on legato singing it’s amazing when she talks it seems like she is talking in legato too thank you so much for making such an valuable video

[@jimbuxton2187]

Its true! We all should speak connected without all the glottal attacks we do now. I try to teach without using glottal attacks. The sound should start from no where...

[@draganvidic2039]

Camarena vs Patzak… Perfect illustration!

[@AntoineGarnier]

Julius Patzak's example is amazing and such a perfect lesson of intonation and legato. Thank you very much.

[@tatjanakultaniemi988]

I fully agree. His singing is the best example of legato.

[@banaabekwegirl5731]

and yes, hot.

[@baizhanghuaihai2298]

My late voice teacher described legato as “the vowel movement in time”, and also that the voice is a continuous “pipe” of air always moving, and little mice (consonants) scurry across the top of the cylinder.

[@jimbuxton2187]

Neat! I teach to make a continuous sound and just FLICK the consonants in with out interrupting or stopping the sound......

[@jimbuxton2187]

The Muppet insert was hilarious! ( but still so...legato)

[@Tenortalker]

I am so pleased that you mentioned Ada Alsop. British singers were not on the move so much back then as they are now , but she made a successful tour of America and was a well known name due to her BBC broadcasts. Her repertoire focussed on oratorio and songs mainly , including quite a few popular ballads. She was certainly among the best singers of her time with the sopranos counting Isobel Baillie , Elsie Suddaby & Ena Mitchell who sang a similar repertoire. I love your comments on legato singing . Thank you for sharing them.

[@ginap8414]

Thank you so much. By far this is the best explanation I have found for legato singing. At last I know what is meant by the "string of pearls." From now on I will be driving forwards with my headlights straight ahead !

[@timothytikker3834]

OK: this presentation confirms a suspicion that I've had for many years now: singers and instrumentalists use the term "legato" differently. For instrumentalists, it means slurring notes so that there is no space at all between them: notes sharing one bow-stroke on the violin and the other bowed string instruments, or notes not being individually tongued in wind instruments, or not releasing a note on a keyboard until the next note has begun. But, when you plainly state in your closing summary that a singer must maintain legato even when singing staccato, this is obviously a very different definition of legato. Perhaps this could also be called consistency, continuity, continuousness... Of course, this really makes me wonder if this vocalist's definition of legato is one that used to be used by instrumentalists, and that this usage was sometime lost many years ago...?

[@SethStories]

Honestly, it makes no sense. Singing staccato and legato simultaneously is impossible. I think there must be a difference in modern definitions and old ones that aren't lining up well.

[@lightbulbfish]

​@@SethStorieshi just out of curiosity would you happen to be the Seth who was my roommate in college? This is Ricky.

[@davidpnewton]

"But, when you plainly state in your closing summary that a singer must maintain legato even when singing staccato, this is obviously a very different definition of legato." It is also a WRONG definition of legato. Legato is the opposite of staccato. Legato: deliberately joined notes. Staccato: deliberately separated notes. If you are singing staccato notes they CANNOT be legato notes as well. She is simply wrong in her claims about the definition of legato in this video.

[@HallieWiseleyCraig]

I’m a vocalist and voice teacher, and I share your understanding of legato.

[@HallieWiseleyCraig]

I do understand the concept she’s explaining, but I wouldn’t call it true legato. I tell my students to connect the notes rather than to “place” them. When I do it wrong, it feels like setting the notes on stairsteps. When I do it right, it feels a bit like sliding around from note to note. It always sounds less messy than it feels. We can say that we “think legato” even when singing staccato. That’s how she means it. I think the term “sustenuto” is much more useful for this application.

[@artdanks4846]

My first voice teacher (whose name was also Rae, when I was in High School) taught me that I could compare the connected vocal line with a jar of honey, or molasses, being slowly poured out of a jar. That really helped me.

[@AlexOrozco-Social-Pariah]

I really love to read all these imagery and similes some teachers used to help students understand legato, gives you different ways to imagine the internal muscle process and memory.

[@emmagutierrez1408]

To practice legato, my teacher taught me to slowly rip a piece of paper from the moment just before you begin singing to the moment just after, slowly, regularly, without slowing down or hurrying up. Highly difficult but highly efficient!

[@zamyrabyrd]

It's breath control as Magda Olivero described Biniamino Gigli's techniique.

[@emmagutierrez1408]

@@zamyrabyrd yes! Breath control is necessarily connected to legato, isn't it? I mean if the flow of air is sustained without interruption, then the legato is made easier. Don't you think?

[@zamyrabyrd]

The Schola Cantorum taught that a candle placed in front of the choristers should not be snuffed out. What does that mean? It means less is more, in fact almost a standing wave when there is a feeling of equilibrium between in coming and outgoing air. The supporting muscles when strong enough allow it to happen.

[@AntonyN]

Feel like I'm masquerading because I'm not an opera singer and have no interest in trying to become one, rather I much prefer pop and RnB. However, modern technique was getting me absolutely NOWHERE for a whole year and a half: frequent sore throats, voice was tired after only an hour of practice, and I just hated the way I sounded. Threw out modern technique altogether and decided to go classical and have seen dramatic improvement in only a couple months. Singing just feels (physically and mentally) so much more free when the only thing I have to think about is my breathing, compression of the breath, and I suppose a bit of attention towards my mouth shape. I've only watched two of your videos so far, but I've already subscribed. More videos on technique please.

[@zamyrabyrd]

The ability to sing legato is necessary, even indispensible but also how to sing staccato and being able to do a messa di voce or swell. Legato in German and English is difficult but not impossible when the musical phrase is carried through separated consonants. Italian and French speech have elision or "liason" which makes it easier to sing those languages, also pure vowels and not dipthongs.

[@MartyMusic777]

10:40 "If you don't know who he is, keep it that way" FLOORED me. I know who Mssr. J is, but damn that was funny. The examples are wonderful, and even though it sounds "simple" to execute true legato, it takes so much control, openness, and BREATH to do it right, then make it look easy.

[@puccini4530]

I thought it was bloody rude and totally unnecessary.

[@hannah-yi2su]

@@puccini4530 Yes, maybe, but he does squeeze the sounds. The only performance I like of him is Stabat Mater, but still. Either way, I understand why you find it disrespectful, I find it a little mean too haha.

[@astridmariakneier5365]

@@puccini4530 Who is this guy?

[@grigorialatirseff-ravoajan7377]

@@puccini4530 I don't, I kind of agree too. I've always hated Jaroussky's affected way of singing, it feels over produced to me. He seems to push lyrical sounds to baroque. I though the comment was very funny

[@alexchan3287]

I think for a man to sing in that pitch, his output has to be extremely controlled and limited to avoid strange overtones. So it may sound "squeezed", but it's actually the Legato technique to the fullest. I do think that it's totally unnecessary for a male's voice to sing in that range since it only serves to restrict the expressiveness in one's singing.

[@mrs.g.9816]

I have never sung in my life, but I do love listening to opera. I also like learning about what I enjoy listening to or watching. Thanks for all the videos you've put out there!

[@Csanfer14]

love you're teachers voice so clear and firm ☺️

[@dmw0077]

1st, I just want to say I am totally mesmerized by you in your videos. It feels like I'm getting a masters class in singing (and I'm not even a singer). It's a privilege to watch, listen & learn from you. 2nd, have you ever thought about starting another channel that focuses on non-operatic, popular music, and what they do well and/or could improve. For example, I could listen to Lea Salonga all day long (literally) but I would love to hear your type of thoughtful, honest and respectful analysis of her singing. You could also compare recordings of other modern popular singers with those of previous generations. Just a thought.❤

[@voisapere4074]

So beautiful to honor your voice teacher! Brava! Please keep doing your inspiring videos teaching, as well as those with your singing and wonderful way of collecting the sound !

[@zayvier69]

I think Barbra Streisand sings with legato and that adds to the beauty of her singing- in addition to her diction, phrasing, elevated speech singing style, tension and release

[@PhantomsoftheOpera]

Yes, she’s an excellent singer and performer. She can make any song her own and embodies what she is singing 100%

[@Shrinksjp]

Also Connie Francis was known for legato before Streisand. It can also be called slurring. This is found on several of her million sellers and many of her superb LP recordings.

[@rexoxley6328]

@@Shrinksjp No, slurring is not the same as legato. they are very different; in approach, execution and results

[@Shrinksjp]

@@rexoxley6328 Slurring or legato is what you call it when playing the violin. Vocals call it legato.

[@GDMiller419]

I grew up on gospel, and a lot of the techniques and ideas you describe in bel canto are ones I am familiar with from that genre. Legato and clear phrasing being two of them.

[@zanhaerjianaer9476]

Best explanation! Love it and understood the difference

[@missbiancaleigh100]

I couldn't really hear the difference between the women, but I found the contrast between the men very striking. Patzak sounds so incredibly smooth and, like you said, forward... I've had several teachers tell me not to think 'up' when hitting high notes.

[@cwilsonwolf]

Beaker and the Swedish Chef performing the Habanera!!! Brilliant!

[@karenkenny978]

I remember listening to Caruso on a 78 recording on a gramophone when the Caruso Postage stamp was exhibited for the first time. I got to attend the ceremony. What a difference. Hearing the Caruso recording as it was meant to be played was eye opening then. It felt like he was in the room. I love your videos on legato. They are wonderful.

[@saltburner2]

In their early days at Dresden, Richard Tauber and Tino Pattiera used to listen every morning to Caruso recordings. Tauber later said all singers could learn so much from him. Tauber's perfect legato had been learned from his teacher, Carl Beines. Sir Henry Wood later described Tauber's voice as the closest he knew to Sims Reeves, who never recorded, though Tauber's great aunt Jenny Ney sang with Reeves in London.

[@GrainneGillisContralto]

I'd love to know what exercises you learned from your teacher Rae to work on achieving legato? A video on those would be great.

[@wsudance85]

Good lord, the technique is breathtaking.

[@annmcewan6080]

Thank you for this information. I will try the Pavarotti lights trick.

[@MousesInHouses]

An addition a former teacher of mine offered to Rae’s ideas (which I believe might have come from Roy Henderson; my then teacher was another Roy Henderson student) was that final consonants always belong to the next word. Thank you for another insightful video; I’m really enjoying working my way through all of them!

[@thiagopasin1]

Beautiful examples! Although I am almost sure you are not a great fan of Pavarotti but his legato is amazing! One good example of legato and agility is Cristina Deutekom effortlessly doing the Queen of the Night.

[@walterrymarczyk8271]

Excellent lesson marvelously taught

[@laprimmadonna2341]

Gracias por tu vídeo, muy ilustrativo, los ejemplos geniales. Lo de los muppets me gustó mucho. Gracias

[@Kref3]

the Patzak recording is really beautiful. And at many moments you can hear, how he connects the consonants by adding small vowels. at 8:55 - 9:00 he sings „mein Herz mit neuer Regung füllt.“ the connection between mit and neuer is quite difficult so he actually sings mit-e-neuer (or maybe more correctly mit-Ə-neuer). he adds a very soft schwa sound inbetween allowing him to connect consonant to vowel to consonant. the first example was … well … bad. of course it was obvious, that the singer did not speak German, because he also mispronounced words (isch instead of ich), but it sounded hacked appart in total.

[@nathansharplin564]

Thank you so much for these videos! I nearly fell off my couch when Beaker and Swedish chef made their appearance! 🤣😂🤣😅

[@ericwortman3180]

In the Mozart example both tenors sound like they're singing mostly 'al portato', though here's some legato here and there. That's what my ear is picking up. Your teacher's teacher has a lovely legato!

[@barrymorentz5190]

Lovely, informative video. Her speaking is music itself!

[@ricardovenancio894]

Beautiful work! I love the way you explain all the details. So beautiful!!! Your voice is blessed. It has a natural tone and very "suave"... Thank you:-)))) I was wondering if you can make an analyze of Bidu Sayão. She has a very particular voice and maybe she was trained differently from others of her time. Her consonants are a bit heavy in my opinion but she has her good qualities. I was curious about your opinium about her. Thanks again:-)))

[@7ennifer]

Your videos have introduced me to beautiful singing in the operatic style for the first time in my life. But I despair at the modern singing. please tell me, are there any good modern opera singers at all??

[@boricua_in_wa]

Not a vocalist here so trying to understand. In the end, she says you can sing legato even in staccato passages. I thought staccato meant short separated notes.

[@lovepuppy2242]

I notice the lack of this a lot when non spanish speakers sing in spanish (or any latin language). In spanish poetry we have a thing called sinalefa, a rule of metric where if a word that ends in a vowel is followed by a word the begins with a vowel, an h, or a y, then the last syllable of the first word and the first syllable of the second become one beat, but not necessarily one syllable. This rule is found throughout the latin languages. I love seeing how something similar is applied in the teachings of older opera. The woman singing Carmen without legato sounds (to my latin ears) like she has no idea what she's saying, or at least that those syllables make words at all. Applause to those who can sing like this in non latin languages, I'm yet to master it.

[@Ben-kv7wr]

I wish your videos were out when I was in high school, I might have stayed on the path to performing opera

[@iluvpepi]

The Muppets were inspiring. 😊❤️

[@sianross999]

It is such a relief to hear this!

[@hashatz]

Well stated and illustrated. The interpretation is already in the music itself. The musical line has its own energy. It must be identified AND respected. Otherwise, what have we accomplished?

[@hannah-yi2su]

Are there any specific exercises that can be done to practice legato? Im having difficulty recognizing if Im doing legato, or not, with my voice sometimes. Help, if possible, would be very much appreciated. Either way, amazing video, thank you so much.

[@jjthejetplane23571]

Yes! If you’re working on a specific piece sing through it only on the vowels. Consonants only break up the flow of sound, so by taking them out we can practice having one unbroken vocal line. Once you’re comfortable singing through something with just the vowels try and add the consonants back in, but keep the feeling of singing on connected vowels with the consonants just dropped in

[@andreiiliepopescu6393]

Thank you for the video. I better understand the concept legato. Is it specific to a certain period ?

[@paulphillips6970]

This segment brought tears to my eyes. Where has breath and phrasing gone?

[@allonszenfantsjones]

my dear teacher would say 'that is singing' or 'I don't what that is, but it's not'. I loved the sound of her speaking voice--she would simply say, using the most ridiculous range, 'there is no up there is no down listen to the words they just come out on the breath on the breath I can say anything up here and down there there is *no difference* ' While I was waiting for my lesson, I would see her working with another student, just raise a finger--that meant the breath had been stopped--so start again, over and over, gently reminding until the effort disappeared to be replaced by memory and the sense of ease.

[@pete4096]

I wonder whether it would be easier for some listeners to hear the distinctiveness of legato or sostenuto with an example from a piano. My piano teacher required me to practise scales of either kind (staccato or legato) on demand (while still playing the respective notes from each hand at exactly the same time). The difference in the 2 techniques shown on the piano is stark! Thank you for a wonderful series!

[@elebecepe]

¨...if you don´t know who that is, keep it that way¨ oooooh, shading galore. Respect! I did´t come here for the tea but found a flagrant steaming cup ;)

[@charlesvanderhoog7056]

Yes, the old way is more natural. Like a sung phrase of something the singer wanted to say instead of a blob of notes.

[@raymondhouser5174]

Very informative. I think I actually like the performances without legato better. But I like Danielle DeNiese and Philippe Jaroussky. I actually have a lot of DVD's of their opera performances, primarily Handel. This series has also been good at getting to what I like about opera and classical vocal performances. I would much rather watch than just listen to opera. Whether its Leo Slezak, Danielle DeNiese, Hana Blazikova, or Patricia Janeckova, it's watching them perform that enhances the vocal performance for me. I am a visual learner. Thanks again for these videos.

[@helenacorreia7613]

I think the maker of this channel is a bit frustrated, to be honest. Saying " if you don't know who he is keep it that way" it's a bit rude considering thay Jaroussky is a really good singer. I don't like everything he does neither this performance of Lascia ch'io Pianga in particular, but I think that, as you said, him and Danielle deNiese are great singers who deliver beautiful performances.

[@danielintheantipodes6741]

I am wondering if the poor love at 3:20 has been told that she has to prioritise enunciation at all costs? She is, I think, the diametrical opposite of Joan Sutherland. Thank you for the video! PS: Something else that annoys me about thid young man at 10:40 - his facial contortions. It looks all so hard when he sings! Of course, singing is hard, even singing badly, but . . . seriously, it should not look that hard!

[@raynardi2326]

Molto istruttivo. Grazie infinite

[@MariaClaraSena8]

loving your channel! thank you for this

[@maeraich5423]

Can't stop listening to the first recording of Rae coming in like an absolute goddess in the messiah piece, is there a way to get the full recording?

[@d4t4b4s3f4c3]

In the drawing at 9:30, can someone comment on or explain the spacing of the piano keys?

[@burmesecolourneedles4680]

Thank you again, dear channeller of divine phantoms. The "pear" effect has been an intense pet hate of mine for as long as I can remember, and I've never heard it described like this before (or come to think of it, at all) - I'm delighted to find someone, especially you, in agreement. I find it utterly unmusical, and it always sounds to me as if it's partly a nervous thing: as if the singer is not confident of hitting each note bang on, and hence suppresses the start (in so doing, also destroying legato and sostenuto of course). I even hear it in choirs occasionally - quite hideous! Even more than your previous ones, this video demonstrates the towering superiority (for me) of the old styles, singers and recordings. Stroke of madcap genius to include Beaker and the Swedish chef, too! :o)

[@PhantomsoftheOpera]

Windup Merchant As soon as I came across the Muppet Carmen I knew I had to use it! There’s a link to the full video in the description box. The pear-shaped notes do sound nervous and unsure compared to the fearless, trumpet-like attack of the 19th century singers (as I mentioned when talking about Tamagno), but I think by this stage it has become a stylistic convention that students hear and imitate and so it becomes the norm.

[@HomeAtLast501]

Phantom, I've noticed that some pop vocalists seem to vary their enunciation of consonants, especially at the end of a verse or phrase. I noticed, for example, that Paul McCartney would sometimes drop them completely and just let the arc of a vowel fade away before he announced the consonant. At other times he would soften a consonant, and at yet other times he would enunciate the hard form of the consonant. Is there any body of established theory on when to harden and when to soften? I assume that if a piece is softer, slower, more intimate, that you would soften, and a louder piece that is more dynamic and has much louder orchestration would require harder enunciation so that you can maintain verbal structure for the audience's comprehension. Would this be correct?

[@dersg1freak]

Thank you so much! However just one minor remark - when comparing two pieces of audio, the uninitiated ear and brain will prefer the louder of two by default. I would have prefered a closer match between levels. Besides that, I'm thankful for the A B comparisons, as my mother never bothered to play me anything without proper legato.

[@nohaylamujer]

Glorious Rae Woodland....

[@danyelnicholas]

Interestingly, the « pearl stroke » was the mid 18th c. word for perfect portato bowing.

[@michaelladerman2564]

Hi. If you're still reading comments here: I'm glad KZbin recommended two of your videos to me. I am a flutist who studied with the late Alain Marion, one of the last flutists still practicing Taffanel's tradition of bel canto flute playing in an uncompromising way - as he said, avec fantaisie, which could best be explained in English as "with spontaneous, expressive rubato". I love the interpretations of the great singers of the acoustic recording era. But I'm a little surprised by the idea that in singing, if I understand you correctly, you should never use staccato. Staccato is part of the technique of every instrument and has been for quite a long time; I seem to remember Monteverdi even used the word for the string players in L'Orfeo, but I'd have to double check. But perhaps I'm misunderstanding, because you say even when notes are separated, you should maintain the connection between them, or something similar. The way we flutists would say it is that you maintain your support during the rest or in between the staccato notes, so that each note doesn't sound completely unrelated to the others (unless you want it to for a special effect or because there's a long rest between them). As the French flute teachers explain, to a flutist, support means that you flex the muscles below your diaphragm and move them up and out (when I teach it, I mention that the muscles on the sides also move out, as do the muscles at the equivalent location on the back, but less so). But anyway, do I have it right that it's sometimes fine for a singer to use staccato notes, if they maintain their support and phrase the notes together?

[@annedanotha-thing2509]

I think a good example in the video is Pavarotti, where the legato is maintained through the staccato and through rests...

[@michaelladerman2564]

@@annedanotha-thing2509 Thanks, but that combination of antonyms doesn't make any more sense to me when it's stated by two different people. Don't you mean the support is maintained between staccato notes and during rests?

[@danyelnicholas]

Very good, thank you. Patzak is a fantastic example. As far as Early Music is concerned, your example was certainly terrifying. But fortunately there are others, those without leather ties: have you heard Catherine King sing Dowland or Airs de Court?

[@lt.savior141]

When you say head-lamps. That really strikes. Cristina Deutekom said the voice is in a fixed position. Don't think higher when the voice ascends. Keep the voice rooted in the support with each note.

[@timothytikker3834]

Interesting: J. S. Bach's son Carl Philipp Emanuel used the same analogy of a string of pearls to describe ideal keyboard touch in his keyboard method book, Versuch über die wahre Art das Clavier zu spielen (1753).

[@grr8048]

Did I miss your teacher's thought about legato somewhere in your clip? I would like to hear more about how you were taught about legato from your singing teacher.

[@eguogwukingsley3955]

This is something I really need to work on as well as breath control

[@maxpetronio8906]

3:50 "mi mi mi mi mi mi mi miiii" AHahahahahahah! Just spit my water!

[@EmilyGloeggler7984]

Thank you so much for sharing this video! ^_^

Thank you so much for making this video. It's helping me a lot

[@adolphsanchez1429]

I only have a passing interest in opera, but I watch these videos because she is the most uncommonly beautiful woman I have ever seen.

[@samcotten2416]

I... didn’t not hear legato in Danielle de Niese’s Habañera. It sounded pretty tied together to me.

[@tishdup]

I agree with you

[@samanthathompson9812]

Yeah she disconnected occasionally but seems like it was for emphasis.

[@glissandoconcertseriesbost9523]

Indeed! And the diction was crystal clear and it had a lot of color.

[@joannathesinger770]

@@glissandoconcertseriesbost9523 She has crappy French, to begin with, but Bizet intended for there to be a smooth, continuous line in Habañera (also in Sequedilla and Duet)...not the chopped-up mess she presented. His accompaniment gives us the contrast he hoped to impart to the solo.

[@ThatOneBard_BritzOP]

Very good video!! I'm just confused about how it's possible to sing staccato with legato If you could clarify that, I'd be very grateful!!

[@selda_KZ]

U teach really amazing. ❤️

[@RoninofRamen]

However, if legato fully escapes you by the end of the video, you don't know who that fellow is and need your curiosity sating, the full Lascia ch'io pianga is here: kzbin.info/www/bejne/f4nYoJtohpycm7s

[@jpsother1183]

Added points for Beaker👏👏👏👏

[@jennybarton6057]

Beaker has many musical talents!

[@hpthiruvalla5773]

Amazing movement!!

[@cliffgaither]

Can you please give us your opinion of Bartoli's voice, technique, facial schizophrenia ... ?

[@williamanthonynow]

Please perform for us, you are brilliant ❤

[@hamandcheeseplease]

Thank you very much, misses legato

[@islezeus]

Question, though, when the music calls for dynamics as in a transition from forte to piano, how does legato apply there?

[@enkiitu]

I insist on singing legato to all of my students all the time. I got that from Pavarotti as well, funnily enough. Although some times you should or could break it as an effect, when I hear non legato singing it gets very boring very quickly. Just sing as a cello, the bow never stops moving.

[@timharris2291]

Joan Sutherland's lines always seemed pear-shaped to me, though I lacked that way of putting it.

[@glypnir]

I had an experience with spoken legato watching memoirs of a geisha. Japanese has lots in common with Italian, including legato. Chinese seems to be about as non legato as you can get. I’ve spent a fair amount of time in both countries. The English accents tend to preserve the tendencies of the native languages. The male leads were Japanese, and my disbelief drifted sweetly away on the smooth silky speech. Then the Chinese female leads hit me with the machine gun and I suddenly left Japan and found myself sitting in a movie theater. Maybe a bel canto opera will manage to suspend my disbelief too.

[@wookinooki9023]

omg the "tape going backwards" analogy, I've been saying that for 30 years. I HATE IT. I also call it the waAP waAP sound. Gratuitous subito piano at EVERY word!!! what about Emma Kirkby?

[@lmaraya]

I wonder what you think of Stephen Smith’s book “The Naked Voice”?

[@dispositivo0065]

"If you don't know who he is, keep It that way!" He should be singing with Bee Gees.

[@jaimereyespena690]

Podrías escribir aquí en los comentarios sobre lo que dices en este vídeo sobre legato por favor . Me serviría de mucho ya sólo hablo español.

[@pureffm]

Does legato prevent diminuendo or crescendo?

[@lucasgust7720]

10:25 Who is he?

[@alexchan3287]

His name is Philippe Jaroussky

[@annedanotha-thing2509]

String of pears! Pearfect description. Can you do a video on how this came about?

[@PhantomsoftheOpera]

Anne D'Anotha-Thing That will certainly feature in a future episode which I have planned. Watch this space...

[@bash060656]

Legato is quite beautiful. I grew up around Italian women. Sometimes I wish they'd say what they mean instead of mean what they didn't say. Damn those women are fiery and passionate.

[@sarahmishelldeguzman4647]

Is this aplicable to pop music?

[@ecisme10]

Legato is certainly difficult and beautiful but in some songs it can make the singing seemed rushed. Interesting video.

[@Rosannasfriend]

I’m not sure I saw the difference between legato and without legato. Lol.

[@andreiiliepopescu6393]

Could anyone tell me why the Phantoms of the Opera lady is so aggressively disrespecting Philippe Jarrousky? I mean people can have different views on how to approach music but she is treating him like an unmentionable thing and doesn't give a reason. It-s perplexing.

[@RinaldoCezarAmawta]

Você não entendeu nada explicado no vídeo!!! Você tem problemas...

[@bostaurus1]

The moden and historic examples are nor comparable because of a different recording technology

[@SethStories]

Im still confused on how legato is done. I dont fine metaphors about pearls or sasauges helpful at all.