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

Legato is a rare thing in opera these days, so I was told by the adjudicator of a singing competition when I first started learning. But why is that? In this video I hope you will learn to hear it and to sing it, too!
Here is a link to the Muppet video in full: • Habanera | Muppet Musi...

[@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."

[@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......

[@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...

[@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.

[@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.

[@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.

[@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.

[@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.

[@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.

[@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 !

[@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.

[@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.

[@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!

[@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!

[@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.❤

[@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.

[@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.

[@cwilsonwolf]

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

[@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.

[@Csanfer14]

love you're teachers voice so clear and firm ☺️

[@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.

[@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!

[@nathansharplin564]

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

[@jimbuxton2187]

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

[@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 !

[@zanhaerjianaer9476]

Best explanation! Love it and understood the difference

[@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.

[@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.

[@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.

[@maxpetronio8906]

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

[@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.

[@raynardi2326]

Molto istruttivo. Grazie infinite

[@wsudance85]

Good lord, the technique is breathtaking.

[@iluvpepi]

The Muppets were inspiring. 😊❤️

[@annmcewan6080]

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

[@danyelnicholas]

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

[@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??

[@nohaylamujer]

Glorious Rae Woodland....

[@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?

[@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.

[@walterrymarczyk8271]

Excellent lesson marvelously taught

[@barrymorentz5190]

Lovely, informative video. Her speaking is music itself!

[@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!

[@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?

[@dispositivo0065]

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

[@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).

[@eguogwukingsley3955]

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

[@laprimmadonna2341]

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

[@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:-)))

[@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?

[@HomeAtLast501]

Applying the legato technique to pop music, I noticed that this is one of the techniques Elvis used to transform black rhythm and blues into his brand of rock 'n roll. The black artists whose songs he covered, such as Big Mama Thornton's "Hound Dog', Chuck Berry's "Memphis, Tennessee", and Parker Junior's "Mystery Train", sang in a more staccato manner, and Elvis sang their lyrics with legato. In addition, he removed the syncopation to even out the rhythm, and he increased the tempo. These three changes combined helped transform this more static form of rhythm and blues into a more dynamic form of rock 'n roll.

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

[@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.

[@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 ;)

[@TRUTHorSTFU]

3:48 and 14:00 ABSOLUTELY loveable puppets!!! Brilliant! lol

[@selda_KZ]

U teach really amazing. ❤️

[@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.

[@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.

[@jordanscott8854]

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

[@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.

[@EmilyGloeggler7984]

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

[@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?

[@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!

[@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.

[@sianross999]

It is such a relief to hear this!

[@MariaClaraSena8]

loving your channel! thank you for this

[@williamanthonynow]

Please perform for us, you are brilliant ❤

[@Rosannasfriend]

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

[@riohenry6382]

OK. PJ might not be the 'best' singer but his ability to transmit deep emotions is unparalleled. Unparalleled !

[@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.

[@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.

[@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?

[@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?

[@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.

[@paulphillips6970]

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

[@bostaurus1]

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

[@Delifine]

In one of her books Luisa Tetrazzini said that Russian language was best after Italian for opera singing. English was one of the worst. I'm Russian and recently heard an Italian speak English with the Italian accent. At first I thought it was a Russian speaking with a Russian accent.

[@laprimmadonna2341]

Pues muy buena información, en mi humilde opinión me parece que es así, la ópera en ruso es increíble. Saludos cordiales

[@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.

[@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.

[@jennybarton6057]

Beaker has many musical talents!

[@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

[@ecisme10]

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

[@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.

[@hpthiruvalla5773]

Amazing movement!!

[@jpsother1183]

Added points for Beaker👏👏👏👏

[@DarthChichiri]

I know absolutely nothing about singing, so this may be way off. But the non-legato examples sounded almost like a subtle version of "sing-talking". Many of the new musical movies with untrained actors have them almost talking through the song, rather than singing. While the non-legato examples given were not that extreme, to my ears they sounded much closer to talking the words than the legato examples did.

[@dansingsoul]

👏🏻👏🏻👏🏻

[@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...

[@omghaha9980]

Legato is a technique to create a distinctive "Affekt" (can be translated as "mood"). Legato is simply not appropiate all the time, that's why it's as wrong to use it all the time, as it is wrong for a violin player to play each note with vibrato. And old records of a Händel or Mozart-Arias are no proof for the theory, that singers should simply ignore, what the composers wrote down and sing permanently legato. Back then they thought, that any music must be performed just like they did it with post-Wagner music. Big mistake!

[@bocaratonopera409]

Always keep your legato no matter if you're singing staccato? Well, sorry, that's an oxymoron. The recordings of old show what singers did when they were in front of a new invention that they knew couldn't capture their natural performance. So their recordings give a tainted testimony of their art, unfortunately. Not all ancient art is necessarily better than the current. Particularly when we talk about singing. Also, art evolves. The emission of Jonas Kaufmann would have been anathema by the standards of 19th century or prior singing. However, given the broader palette we can accept today, there is much to be enjoyed in this new style of singing. There will never be another Michelangelo. But are we going to say that Durero or Dalì, for that matter, did not know what they were doing? Also I think that Jaurovsky doesn't deserve the low blow. He is presenting a different approach, but he has the ability to transmit much passion and breath new air into a certain area of the repertoire that the prevalently post-romantic approach of the operatic scene was not very fond of. To each his or her own. But he certainly isn't an abject ignorant that deserves to remain anonymous. Just a thought. I like your topics and commend you for the effort and serious thought and analysis you put in your videos. Congrats.

[@fcouperin]

exactly that. what a 19th century singer can prove about Händel? how can we know that the technique didn’t change since then, while almost everything else in music changed? Legato seems ,to me, to be a Romanticism fixation. And I don’t particularly like monsieur J. either

[@crazyvvirgoactions2416]

@@bocaratonopera409 Haha you could have just said you're a bigger fan of modern style instead of the older one. Save yourself the trouble.

[@KlausMiehling]

Legato can not be demanded for Monteverdi. In this style singing should be a "recitar cantando" or "cantar recitando". I wonder how far back legato singing could be traced. Bérard (1755, French, however) demands a shortening of the notes - more or less, according to the affect of the piece. In the 18th century a clear and rather short articulation was usual in instrumental music, and there was no general difference between singing and playing an instrument: Singers were advised to imitate good instrumentalists and vice versa.

[@islezeus]

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

[@SethStories]

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

[@zenaniv]

Oh the Muppets 😅😂

[@LukaFric]

Good work, keep it up

[@d4t4b4s3f4c3]

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

[@ken1midjourney]

Thank You

[@pureffm]

Does legato prevent diminuendo or crescendo?

[@Rog5446]

I preferred Javier Camarena's going out of tune than Julius Patzak's in tune singing. BTW I do know who the mystery counter tenor is, it was Philippe Jaroussky, who I saw at his Proms debut a few years ago.

[@notnek202]

🤣😂🤣😂🤣😂🤣😂🤣

[@OrpheoCT]

I think the string of pears effect is a misunderstanding of the, imo imperfect because ambiguous, string of pearls image: The pearls in a necklace ~are~ detached from each other and the pears just exacerbate this effect. You can even imagine how the first non-legato singer you showed ~could~ be described as singing in pearls, one note after the other. This is just one of many misunderstandings that are observable in modern singing.

[@findelka1810]

You are right, it could be misleading- but if one starts listening to piano music and looks for the pearl-like effect of quick passages (of which e.g. Chopin was an expert), one will have the idea what the pearl necklace was supposed to mean. Chopin was known to have admired the bel canto singing of the 1830s and 40s and that’s what he was emulating in all his piano pieces.

[@lmaraya]

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