Book Review: Singing in Style: A Guide to Vocal Performance Practices, by Martha Elliott (2006, Yale University Press, ISBN 978-0-300-13632-6)
Whether you have a question about ornamenting a Caccini aria or wonder how to interpret a grace note in a Schubert song, you will find the answer in Singing in Style. Packed with a wealth of information within its little more than 350 pages, this book addresses almost every aspect involved in creating well informed interpretations of vocal music from the Early Baroque to the present. Of the many books on the market addressing issues of historical performance practice, Singing in Style is the only publication written specifically for singers. Useful as both a reference and a textbook, anyone interested in singing in different historical styles will find this book both educational and enjoyable.
The author’s goal is to help singers make sensible repertoire choices, stressing that having the vocal flexibility to reinvent one’s voice to any situation is an unrealistic goal. Elliott reminds singers of the importance of taking into account their voice type as well as their instrument’s natural strengths and weaknesses when selecting repertoire.
Organized by style periods, the book can be read from beginning to end or one chapter at a time. It is a useful quick reference for specific topics, as the chapters are organized by style periods. Following an overview of the general historical, musical, and artistic trends of each style, chapter subsections explore the manifestation of these trends in different geographical regions. A summary of the style period’s most important issues ends each chapter. Ample musical examples (many of which are familiar to singers) further clarify major concepts.
Each chapter begins with information about musical scores of the particular period, giving information about locating the most historically accurate modern editions. Working with original scores is also discussed, explaining clearly how to decipher each period’s unique musical notation.
The chapters follow the evolution of basic musical concepts through the centuries. These include tempo, rhythmic flexibility and alteration, articulation, and interpretation of expression marks. Elliott details how pitch, period instruments, voice types, and vocal ranges influenced musical interpretations. She also explains the differing ways musicians from varying geographical regions may have interpreted the same notation.
Vocal technique through the centuries is deftly addressed. Since most modern “classical” singers have been trained to sing in a Late Romantic style, their ultimate goal is often achieving the ability to transfer this Bel Canto technique into everything they sing. The author addresses this issue both directly and indirectly, pointing out appropriate (and inappropriate) use of vibrato, legato, rubato, and portamento throughout history.
By following guidelines given for executing each era’s embellishments, cadenzas, trills, and florid passages, singers will begin to feel confident in creating their own ornaments. Readers will also find it eye opening to learn the wide range of ways recitatives have been sung through the centuries.
Elliott addresses a variety of questions and topics commonly encountered throughout a singer’s development. Curious about how to ornament a da capo aria? You’ll find extensive information on the subject in these pages. Handel’s music is emphasized, illustrated with several examples from Messiah.
Wondering how to sing appoggiaturas and grace notes—especially those grace notes and turns in Mozart and Schubert songs which are particularly enigmatic? Elliott cleverly explains every kind of musical ornament one might encounter in such vocal music.
Is it acceptable to perform a piece by Haydn, Schubert, or Debussy in a transposition? This issue is addressed as well.
A chapter on the Second Viennese School devotes many pages to the interpretation of Pierrot lunaire and performing Sprechstimme in other works. Suggestions for learning atonal music are particularly helpful to those new to singing this musical style.
The importance and influence of language is emphasized throughout the book. Since vocal music springs from a language’s unique contours and characteristics, effective musical interpretations must also reflect the language’s nuances. This includes attention to the flow of the spoken language as well as to how vowels and consonants influence this flow. A singer’s choice of phrasing should take these things into account.
Throughout history, personal and professional relationships between singers and composers have profoundly influenced composition. Singing in Style includes commentary about many such relationships, both well known and lesser known duos. Particularly interesting are composers’ first-hand accounts about their perception of the singer’s role in their compositions. Discovering that Schoenberg had “an unusually ambivalent attitude toward both performers and audiences” gives the reader a new perspective on his vocal compositions.
The book concludes with an extensive bibliography and “For Further Reading” section. These parts of the book are invaluable and provide long-needed help to singer-scholars who have previously not known where to go to find such information.
Bringing together a wealth of information in one handy volume, Singing in Style is a “must have” for every singer or researcher interested in historical performance practice.
