Vocal music majors will spend time in their studies with at least a few of the Twenty-Four Italian Songs and Arias. These masterpieces cannot and should not be avoided. The book is often referred to as “the voice teacher’s bible” because each song is filled with pedagogical opportunities to build classical vocal technique. Buzzfeed, the Internet news/entertainment wonderland, posted a “definitive” ranking of the 24 songs that cleverly summarizes each aria with a one-liner. For a laugh, check out the article and compare your interpretations with any of the songs you have studied, such as these:
-“Tu lo sai” by Giuseppe Torelli. What it means, basically: You def know that I like you, so can we just be exclusive already?”
-“Come raggio di sol” by Antonio Caldara. What it means, basically: I might be smiling on the outside, but I am a HOT MESS on the inside.”
-“Caro mio ben” by Tommaso Giordani. What it means, basically: Bae, my heart’s sad without you.” 1
All modern vernacular jokes aside, I have often asked myself what’s so great about these songs? Why do we continue to go back to them when there is so much repertoire for young singers? The answer is in the vocal line. These melodies were created for singers by the finest composers of the day. Basic music history informs us that opera was born in the 1600s. The hot composers, poets, and musicians of the time all got together and decided that collaboration would be a sweet buzzword for the ages and they began creating bigger staged works with more performers, pomp, and circumstance. Caccini wrote directions for ornamentation in Le nuove musiche, and Monteverdi solidified the operatic musical form with enough spectacle to make Italian audiences weep. Out of this extraordinary time in vocal music history, the European elite attended opera performances—or at the very least, bought the sheet music for “Lasciatemi morire!” from Monteverdi’s Arianna to display on their fortepianos.
This is all fine and good for the days of yore, but what about now? Why do we still display the same sheet music on our pianos? The Italian narrative style and poignant melodies transcend time. Carol Kimball posits that Monteverdi’s song “Lasciatemi morire!” is an important representation of the compositional style of the early 1600s specifically because of the tonal melody and natural declamation of the text. She also notes the aria’s popularity was due to its availability through publication, and that “helped establish the lament as a regular feature of later operas.”2
Pedagogical Biz
Each of the 24 songs is composed within the diatonic scale going through the passaggio, ascending and descending in patterns that benefit singers in establishing their classical vocal technique. Singers learning these songs must navigate the vocal register changes by singing evenly through their passaggi. They must be able to sing with dynamic variety and engage the breath to sustain phrasing in both meaningful and technical displays.
Not all of the 24 songs are virtuosic for the high coloratura voice or the basso profundo, because the range is typically in the staff. Stylistic ornamentation is appropriate, so the creative and knowledgeable singer can beautifully sing the basics and still show off with higher and lower notes in fermatas and cadences or when the “A” section returns in “ABA” form.
Listen to recordings of fine singers through the ages displaying their interpretations of these songs, and if you aren’t inspired, then perhaps this isn’t the major for you. Two of my favorite recordings currently available on YouTube are Luciano Pavarotti’s 1973 live performace of “Danza, danza fanciulla” and Eglise Gutiérrez’s rendition of “Nel cor più non mi sento”. Both of these singers present these classic songs with thrilling vocal agility, spot-on accuracy, and a sense of emotional abandon that is simply sensational.
Published Collections
Alessandro Parisotti edited the Arie Antiche, a three volume work containing over 60 Italian songs and arias for Ricordi in 1894. The “yellow book” now published by G. Schirmer and held as the modern standard throughout the 20th century, contains a selection of Parisotti’s arrangements. Through the years, these songs have been altered to suit modern tastes, and Pietro Floridia published these songs and more in 1923 with liberal changes to the harmonies and accompaniments.
In Floridia’s foreword to Early Italian Songs and Arias, he writes, “In this collection there has been no intention of entering the field sacred to those who devote themselves to . . . historic development of the Song . . . The aim of this edition is to present a selection from the best melodies of the early Italian masters in such a form that they can be fully understood and appreciated by everyone who loves music.”3 Floridia unabashedly romanticized the songs and, although they are lovely in context, they are no longer in publication.
John Glenn Paton, editor of 26 Italian Songs and Arias published by Alfred in 1991, writes in his preface to the collection that his new edition is dedicated to preserving the songs as they were originally intended. “The best composers of earlier times still have something important to give us,” Paton writes. “We can learn from them and enjoy their music if we have it in the most honest form possible . . . Most of the arias have been completely revised, using the earliest sources of information that could be found. If no early manuscript or printed source is known, the familiar version is left intact.”4
Paton spent 15 years researching original manuscripts, and his edition presents piano realizations from figured bass, corrected text, and authentic harmonies that the composers intended. The “purple book” includes editor-suggested ornamentation, dynamics, and breath marks in lighter grey print.
In 2007, Roger Nichols edited 30 Italian Songs and Arias, published by Edition Peters. Nichols, like Paton, looked to the original manuscripts and stayed true to the composer’s intent. “I have not introduced any editorial dynamics, since singers until the mid-18th century were in the habit of applying their own, based on the words they were singing,” Nichols explains. “Today’s singers should do the same—there is no reason to suppose that singers in the 21st century are less imaginative and intelligent. Neither have I introduced editorial phrasing . . . or tempo markings, nor suggested any ornamentation for the vocal lines. This does not mean that singers should forgo ornamentation . . . but I have preferred to leave this to the singer’s own taste.”
The scholarly student can use the Paton or the Nichols editions, but some pianists and teachers prefer the Parisotti realizations. NATS has made no ruling on the matter, so although classical singers may still use the phrase “Twenty-Four Italian Songs and Arias,” please know that whichever edition you have purchased is going to be a meaningful study.
Sing Out, Louise
The following songs exemplify the collection of the 24 songs and why they remain part of the fundamental repertoire for teaching vocal techniques through song. If you think these songs are “easy” or not “winners,” I urge you to take another look. Flip open the book and wherever it opens, your time can be well spent. By practicing these songs with attention to technical detail and the grand musical gesture, you will discover for yourself why these songs have withstood the test of time.
“Caro mio ben” by Tommaso Giordani
Arguably the most popular Italian art song, “Caro mio ben” deserves her glory because her melody is lovely and expressive. The text is only a few sentences, so singers can work on vocal technique and characterization without an overwhelming amount of memorization. The emotional connection to true love rings as true for your 14-year-old students as it does for your 90-year-old grandmothers.
“O del mio dolce ardor” by Christoph Willibald von Gluck
If forced to pick a favorite, then Gluck’s “O del mio dolce ardor” would be my jam. For years I have adored the urgent drive of the piano part partnered with the legato vocal line and the expansive rubato on the minor cadences. This song begs for a warm, rich, resonant tone and can be a marvelous show of vocal agility. There are moments for messa di voce that can break hearts when done well. Gluck reformed the entire Italian opera genre with directions to forget audacious ornamentation and simply sing what was written.
“Amarilli, mia bella” by Giulio Caccini
Caccini’s little ditty “Amarilli” is the perfect song to master your [a] vowel and your double consonants, both of which are essential in your quest to master Italian diction. If you are heartbreak-o-phobic, then “Amarilli” is your chance to practice commitment to your imaginary Amarilli.
Caccini composed for the Medici family and lived up to and beyond the highest standards of the day. He called “Amarilli” a madrigal, which was meant to be a through-composed piece with a dance rhythm. Caccini did not mean for it to be as slow as the Parisotti 4/4 time implies. Study the cut time version in the Paton and just sing it!
So, what’s so great about these songs? Basically everything. They are great for technical vocal work, great for character work, great for teaching, great for NATS auditions, great for scholarship auditions, great for recitals, and great for your job serving at Macaroni Grill. Sing these songs well and you will sing the rest of your repertoire even better. If you do not own your own copy, order the 24, 26, or 30 version of Italian Songs and Arias from www.classicalvocalrep.com (#getitfromglendower) and carry on the tradition of the masters by learning and performing these marvelous songs. Pace e bene.
