VADEMECUM

FOR THE

OPERATIC ARTIST
BY

CELESTINO SAROBE
PROFESSOR OF SINGING AND GRAND OPERA
OF THE
CONSERVATORIO DEL LICEO

BARCELONA
1947

ENGLISH TRANSLATION BY NICHOLAS SCHOLL

Lecture
given at the Institute of Hispanic
Studies at the University of Paris,
on the 11th day of January of 1936.

It is not out of coquetry that I speak to you today in French,

because as there are many listeners among you who are unfamiliar
with Spanish, I would like for you all to understand me well.
Perhaps you thought that Im might talk about how to sing
the jota, which by the way is said to be very modern, from the 18th
century, although some claim that its name comes from the Latin
saltare, sotare, or also the Arab xata or xota, which means to
dance.
Some thought I would speak about singing flamenco,
analyzing soleares, polos, seguidillas, etc., etc., which constitute
such a varied and interesting whole in which the heart seems to
ooze to the very last drop of suffering in its vocalizations.
No; I want to speak about singing in general, above all else
the Italian bel canto, which has been the schooling of Spanish
singers, too. This bel canto is relevant to all singers, whether they
interpret Scarlatti, Rameau, Schumann, Verdi, or Falla.

This problem has earned us a copious literature. I come here

precisely to clarify some obscure points and submit myself to your
judgment with some vocal demonstrations.
Each time that Ive done some public demonstration like
this, they say to me: Ah, of course; but youre just gifted with
exceptional abilities.
No; its not that at all. My privilege is to have had as my
teacher Mattia Battistini, who was a resplendent example and was
applauded by the entire world.
Everything I had read in the singing method texts, all the
advice I had received up till then, had not cleared away the thick
fog that hid from me the true path of correct vocal emission.
To sing well, you must emit the voice well, and all connoisseurs
praise the emission of the Italian school. Spain accepted this
school without hesitation.
The prolonged stays of singers like Mateucci, Farinelli,
and others [in Spain] established Italian taste and so: Gayarre,
Aramburo, Uetam were Italians singers by their schooling and
their repertoire.
The singing methods by Eslava, Barber, Vias, and others
represent, in Spain, the Italian school (though I will never accept
that a choirmaster or doctorEslava and Barbershould write
singing method). This school has exercised its influences in all
countries. For example Musica moderna prattica, overo maniera
del buon canto, by Herbst, published in Nuremberg in 1642, or
Lart de bien chanter, by Millet, published in Lyon in 1666.
Nevertheless, those authorsjust like the Italians Caccini,
Tosi, Mancinigave us interesting advice, but the core of the

technique is unknown to us. Their words are like the mysteries of

Eleusis to those who are uninitiated.
To what do we owe our disorientation? Well, to the fact that
these excellent teachers worked chiefly with children, who sang
while progressing in their musical studies, and if they had a very
pure voice, they remained sopranos forever. By which I mean, a
barbaric operation forced them all into such purity.
These old singers, trained from childhood to be well versed
in the musical theory and in the music of only the most excellent
composers, had the advantage over modern singers of being good
musicians. But they were satisfied just writing out exercises for
vocal gymnastics without telling us the manner in which they
should be done.
At the beginning I promised to clear up some problems with
technique in singing. Lets take a look at a case of a beautiful voice
that could be called theatrical.
As for range, this kind of voice must have two octaves (Garca
says that there are few with that range). The ancient Greeks had
the same opinion. They said that the voice should have 15 diatonic
notes, which is to say: two octaves. According to Mancini, even
more range was required in his day, and still both he and Tosi
spoke of the decline of singing in the 18th century, just as we speak
today about our singing. Since the voice were examining is mine,
lets see if it fulfills the two octaves requirement. (Sarobe performs
the double scale.) So we can acknowledge that my voice, by its
range, can be considered theatrical.
Lets see how we classify the voice. For that we will study its
timbre and tessitura.

Timbre. A well trained ear can classify a voice as tenor,

baritone, bass, soprano, mezzo-soprano, and contralto. If the
soprano (treble) has very extensive voice which is slender and agile,
we call it leggeroor coloratura, in the German nomenclature.
Spain has been very fruitful in this kind of voice.
Tessitura. The tessitura is the comfort of a voice in the
diversity of sound levels, which the technicians call la altura
[height]. Suppose now that the timbre and the range of a voice
makes us hesitate to classify as either, say, mezzo-soprano or
soprano. Then we have to classify it by its tessitura, which is to
say, if the voice has great difficulty and discomfort singing high
G5, then we have to define it as a mezzo-soprano.
How many voices are spoiled by not being classified correctly!
In Germany they lose many basses because they are classified as
Heldenbaritone = heroic baritone. Volume is also a factor that
must be taken into account.
As the subject of study is my voice, I will say that by its
timbre, it can be classified as baritone by majority of the public
and as tenor by those who hear me sing high notes so easily and
presume that I should sing Samson or Walkre. I have to answer
to them that I would find myself very uncomfortable in those
scores and therefore have to sing the baritone where comfort is
infinitely greater. The same thing occurred with Battistini and
Tita Ruffo: in their early days, they sang as tenorsby the
mistake of their teachersdue to the great range of their voices.
Another example: the bass Mardones has for years sung in New
York with voice much deeper/profundo than Chaliapin, Didur,
Pinza, Pasero, etc.; still, he can sing a high A4.

We can laugh at the malicious critics who called Battistini

and Titta Ruffo tenori mancati (tenors gone wrong or failed
tenors). How you can support such a forced paradox when both
have made glorious careers, unsurpassed, as baritones?
When a student begins studying, he encounters great
difficulties while ascending the scale and often even a change of
timbre. He seems to be encountering insurmountable barriers. By
analogy with the organ, these changes of timbre have been called
changes of register. And in our age of the automobile, we could
could call them changing gears.
Almost all technicians talk about chest register and the
falsetto register, a term that means false, in opposition to the
true timbre, which is the chest voice.
By those terms, chest voice and falsetto voice, we refer to
the voice that creates vibrations in the chest and voice that creates
vibrations in the larynx and above it, which is also called head
voice (later in this book, well see the confusion in these terms).
In the 19th century, we read a work from the Academy of
Sciences of Paris, which says, The voice has, according to the
opinion of all artists, three registers: chest, falsetto, and head;
according to Garca, chest and falsetto-head, which is to say, two
registers. It is known that when the human voice rises from low to
high, whether in the chest voice or in the falsetto-head, the larynx
gradually rises and by the shortening of the vocal tube, makes
higher pitches (eminent scholars give an explanation thats too
simple and incomplete).
I also acknowledge two registers in the unplaced voices [voices
properly put together by training] and another third that mimics

the female voice that should not even be taken into consideration
in singing. The physiological explanation follows: the sound
from the larynx is formed by two elements: 1st) the movement
or vibration of the vocal cords excited by the exhaled air; 2nd)
the vibration of the column of air that goes through the larynx,
divided into very rapid waves, a consequence of the movement of
the vocal cords. These movements produce vibrations in the air that
are synchronized with those of the vocal cords. Lets call vibration
of the vocal cords primary and the vibration of the air secondary.
A fine and experienced ear can distinguish the dual nature of the
sound. The low notes or chest register correspond more greatly to
the primary vibrations, and high notes to secondary vibrations.
Our vocal organ compares to an instrument (see below
comparisons made by various experts) with a flexible membrane
or reed, such as the clarinet, where the air column is enclosed
within the instrument.
Lets turn to the exhibition of the Academy of Sciences.
They attribute high notes to the shortening of the vocal tube by
analogy with the above instrument, whose tube is shortened by
the pressing of its keys. However there is also a shortening of
the vocal cords. Therefore we begin to get fully into the study of
vocal physiology with the study of various musclessuch as the
arytenoids, thyroarytenoids, cricoarytenoids are so important in
understanding the functioning of the vocal cords.
Here are the theories about the change of register. According
to some physiologists, it is because the cords have to change
in thickness, as when ascending the scale on the violin, whose
strings need to be increasingly thinner; for others, as you ascend

the scale, the vibrating part of cord is smaller, i.e. the cord is
shorter; for others, it is a question of more or less opening of the
glottis; for these folks over here the shape of the glottis has to
change, becoming elliptical, as an eyelet; for those over there, its
is a matter of total movement of the larynx; those that believe that
the larynx is shortened, especially in the cricothyroid direction
Oh! thousands and thousands of opinions, to which I would
add the question of the behavior of the cover or lid called the
epiglottis
Did we say that for some physiologists, as we ascend the scale,
the vocal cords become thinner? When viewed in cross section,
it doesnt appear that way, as when Dr. Gardel tells us that in its
laryngeal stereoscopic views, the vowel [i] on A4 needs wider vocal
cords than in the lower octave, A 3.
Didnt it seem to us that the cords should shorter in the
emission of high notes than in the low? Well Dr. French has seen
that the cords are longer in the high notes, keeping the width the
same, with the only variation being aperture of the glottis. All
this has made Dr. Morell Mackenzie exclaim: the glottis, be it
cartilaginous, be it ligamentous, varies with each singer (see pages
27 and 29).
Various methods have been used to study the larynx:
touching and listening to it, examination with the laryngoscope,
studying the larynges of animals, giving an incision above the
thyroid cartilage. experiments with artificial larynges; finally,
studying graphical outputs of the vibrations of the voice. (Today
we use procedures that Ill explain later.)
In my dual role as singer and doctor, I must say that there

are many problems that physiologists have not resolved. The most
progress has been made with the help of a laryngoscope, but with
that instrument in the mouth, it is impossible to sing. Normal
singing, with the voice fully deployed and the intralaryngeal
muscles in full action, is what interests us. In addition, one would
have to do experiments with singers who really know how sing,
who use their larynges well. But they are rara avis.
I want my colleagues, doctors, to guide singers studies but
with great caution. They should possess the art of singing based on
good technique. Where are the physiologists who join their marks
of distinction and their brilliant degrees the celebrity acquired in
concert halls or opera houses?
I do not want fall into the exaggeration of the English
physician Morrell Mackenzie, who wrote: The teaching of singing
based on anatomy is absurd. What would we think of a dance
teacher who began the course with a meticulous explanation of
the structure of the lower extremities? Neither do I identify with
the great French tenor Duprez, for whom Donizetti wrote La
favorita and Lucia di Lammermoor; he showed great contempt for
the physiological study of the voice.
The mouth. How should you open your mouth? Its a
very important question. According to the teacher Mancini, from
the 18th century, it is essential. Almost everyone says it should
be smiling. Okay, but more like barely cracking a smile, just a
hint of smile. The sound should be round (round and clear, both
qualities being absolutely necessary), and the mouth should be
round. It should be well opened, but not too much either in the
vertical or horizontal direction because this causes contractions

of the muscles of the neck and the face. Not open enough and
the sound would be smothered. The lips should not cling to the
teeth, pressing on them; the lips should be completely free of any
and all contraction and only make the tiniest movement forward
when a vowel like [u] requires it. The grimaces that some singers
make are deplorable.

*************** [short redaction] *************

ILLUSTRATIONS AND MORE TEXT FOLLOW ON THE NEXT PAGE.

With these mouth shapes, there are

interfering tensions and tightening that
impede the natural flow of sound.
(Illustrations by Antonio Navaln)

In the mouth of this bronze bust of the baritone [Lon] Melchissdecwho was of the Paris Opera and later a
professor of singing at the ConservatoireI believe the reader can detect a kind of strain in the position of the lips,
which have taken the form of a fish mouth, which diminishes the naturalness of the sound and of the expression
in the face. One can also observe the sunken cheeks. Compare these two faces and take note of the one that sppears
natural, normal, the way the face should be.

The [i] vowel on middle C

The [o] vowel on middle C

Emission of the voice. So we breathe, as we said, without

force, without any noiseif possible through the nose and if
not, then through the nose and the mouth (generally). When we
have to make a sound, we think as if we could simply release the
air between the cords without producing any more noise than
a bellows. This thought toward the onset of the sound, which
some call the preparatory act, brings the two lower vocal cords
together so they are ready to vibrate at the slightest stimulus.
This stimulus is the exhaled air. But you open the mouth well
(without exaggerating). The sound has to be clean and frank, but
you should not even think twice about the infamous coup de glotte
(with space between the cords) because that would give the vocal
cords a shock, an explosion in the throat.
Now we come to a matter less known, one I have promised
to clarify.
Let us transport ourselves in our imaginations to the home of
Battistini and recreate a lesson on emission just as I had with him.
Following my personal practice, with my baritone voice, we
will begin with the note C3 and end with high F4, because when
youre studying, you should only touch your extreme high or low
notes every once in awhile.
We sing the first notes on the [a] vowel, and so that they come
out a freely as possible, we dont think of leaning down of the
larynx, which would force it to descend. The larynx instinctively
wants to descend in the low notes and rise in high notes, resulting
in very marked changes of timbre and in difficulties in emitting
the voice at all. A large part of the secret of a singer depends on
the larynx; it should not fall capriciously in the low notes nor rise

on the high notes. I insist on on the immobility of this organ.

When the disciple has reached the point of minimal movement
of the larynx and tongue, he is nearing the goal.
So we do a scale: do, re, mi, fa; we see that the voice begins
encountering difficulties on F# (were talking about the baritone
voice). On A the difficulties become impassable. We are at

change in the nature of the sound or the aforementioned change

of register. Battistini tells me: Begin to pronounce less [a]; mix it
with [o] starting at F#3.
He does it and the notes are perfect, full, sonorous, effortless.
For me, theyre difficult; its like Im lost in a void. But with that
mixture of [a] and [o], they come out better. At A I hear that hes
pretty frankly pronouncing the [o] vowel. I do the same. We get
to C#4 and then D4, and then I hear the Battistini pronounce [u].
I cant follow him. Its impossible for me to emit a good sound
on [u]. I feel like my throat is closing, and so I try it with an
[o] instead. Don Mattia does not consent; he emits a free and
sonorous [u] vowel. Don Mattia, I ask, why do we have to work
with the [u] vowel?
My boy, he replied, this difficulty will last quite a while,
but when that [u] rings out well from C#4, the entire voice will
be in place, up and forward. Every sound will come out free, the
throat loose and tranquil.
See the exercises that Caruso practiced: the low notes on [a],
the middle on [o], and high on [u]. Bonci called the [u] the savior
vowel of the high notes.
You all know, dear audience, that with the [o] and [u] vowels,
the larynx does not rise and the soft palate remains domed. You

BAT T IST I N IS VOC A LI Z AT ION

This exercise is for baritone. For the tenor or

soprano, the transformation of the vowels
happens 3 or 4 semitones higher.

C A RUSOS VOC A LI Z AT ION

Tenor scale

SA ROBES VOC A LI Z AT ION

Note: In two places, Sarobe uses a symbol, which probably indicates a mixture of the preceding
vowel with the following vowel.

also know that the voice is darkest in the low voice and clearer in
the upper voice. Making the low notes clearer with the [a] vowel
and removing the stridency of the high notes with [u], the human
voice becomes homogenous, all vowels equalized and sonorous. If
we were to use the [e] vowel to put the voice in position, we would
find that the soft palate descends while we descend the scale, and
the larynx descends, as well. We wouldnt be able to leave the
throat free. The sound would be tight, and when youd want to do
the [o] or [u] vowels you wouldnt find the space; and nevermind
the [i] vowel, which would be unbearably tight. Nevertheless,
once you have managed to free the throat, the [e] vowel is excellent
to use for many exercises.
Be careful of falling into the voce intubata [tubed voice,
depressed larynx, lips pushed forward, as in the Melchissdec
bust]a lamentable defect. Avoid the tightening of the voice, let
the voice come out unhampered, and dont tube it. Both [JeanBaptiste] Faure and the aforementioned Duprez gave this same
advice, the latter repeating: The Italians sing like this.1
In the illustration we see that most of the resonance of
the voice is acquired in mouth and the nose. (There are many
physiologists that dont accept that the latter takes part in the
resonance.) The sensation of feeling the sound in the forehead
[masque] is false, and the sensation of feeling it behind, like at

1 Cest ce quon appelle assez improprement en France sombrer les sons. Les
Italiens nont gure que cette manire de les mettre, et il ne connaissent pas cette
expression.

the nape of the neck (the area behind your collar) is extremely
baddisastrous, in fact.
SHORT SUMMARY OF THE LECTURE
1. Open the mouth well, without exaggerating, taking care
that the tongue is left totally abandoned, with absolutely
no pressure or contraction.
2. Vocalize the lower notes with the [a] vowel, the middle with
[o], and the upper with [u]. With no effort on our part, the
soft palate will rise and the larynx will remain immobile.
Getting the [u] (in the high notes) to sound clearly will take
quite some time. If the high notes are done on an [u] that is stiff,
empty, or darkand this is erroneously considered the same as
a properly placed [u]the effects are disastrous. If the teacher
doesnt know how to listen and distinguish the differenceand
demonstrate the correct waythen the student will go crazy.
Anyone who tries to place the high notes using the [a]
vowelthat is, the open [a] of the low noteswill never sing
with the voice properly put together. The tenor, for example, will
never reach F#4 or G4 on all vowels, with clarity and amplitude,
with sounds that are both clear and round.
CELESTINO SAROBE.

This lecture was published in the April/May/June/July 1936 issue of Lyrica

magazine, official publication of the French Teachers of Singing and the French Academy
of Singing, subsidized by the Ministry of Public Instruction and Fine Arts.