I had time to write a few more things now on this topic, with
respect to some of the finer points for more experienced singers.
I was watching a concert violinist the other day... doing a very
lyric solo and noticed something again that I had seen before...
the left-hand action of the vibrato did not cease when the bow
changed direction, but the timing of the vibrato oscillation was
perfectly coordinated with the change in the bow direction.
One of the most beautiful things I can describe in singing is the
lilting vibrato that seems to be perfectly timed with the changes in
pitch in the middle of the phrase. I think its an important point to
mention... (and this is my opinion) that to the ear of the listener
the perception of the legato is enhanced by consistent vibrato,
especially vibrato that seems to be uninterrupted even when non-
voiced consonants are present in the text.
This is not to say that a beautiful legato line requires vibrato
(depending, of course on how you describe 'beautiful'). Very early
in my musical training, I was blessed to hear (and speak with) the
famous English Countertenor Alfred Deller, and I had opportuntity to
sing with his son, Mark, and another countertenor, Willard Cobb
(formerly of the Early Music Quartet). All three of these guys could
construct a compelling, almost hauntingly beautiful legato line, with
full dynamic expression, but without significant vibrato. I did not
know then, but do know now how they did it... by judicious use of
smooth breath flow, light registration and careful attention to the
essentials of vocal line and textual declamation.
Best Regards,
Steven Fraser
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