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Kenneth E. Querns Langley Doctor of Philosophy

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Kenneth E. Querns Langley Doctor of Philosophy Reconstructing the Tenor ‘Pharyngeal Voice’: a Historical and Practical Investigation Kenneth E. Querns Langley Submitted in partial fulfilment of Doctor of Philosophy in Music 31 October 2019 Page | ii Abstract One of the defining moments of operatic history occurred in April 1837 when upon returning to Paris from study in Italy, Gilbert Duprez (1806–1896) performed the first ‘do di petto’, or high c′′ ‘from the chest’, in Rossini’s Guillaume Tell. However, according to the great pedagogue Manuel Garcia (jr.) (1805–1906) tenors like Giovanni Battista Rubini (1794–1854) and Garcia’s own father, tenor Manuel Garcia (sr.) (1775–1832), had been singing the ‘do di petto’ for some time. A great deal of research has already been done to quantify this great ‘moment’, but I wanted to see if it is possible to define the vocal qualities of the tenor voices other than Duprez’, and to see if perhaps there is a general misunderstanding of their vocal qualities. That investigation led me to the ‘pharyngeal voice’ concept, what the Italians call falsettone. I then wondered if I could not only discover the techniques which allowed them to have such wide ranges, fioritura, pianissimi, superb legato, and what seemed like a ‘do di petto’, but also to reconstruct what amounts to a ‘lost technique’. To accomplish this, I bring my lifelong training as a bel canto tenor and eighteen years of experience as a classical singing teacher to bear in a partially autoethnographic study in which I analyse the most important vocal treatises from Pier Francesco Tosi’s (c. 1653–1732) treatise ‘Opinioni de' cantori antichi e moderni‘ (1723) to ‘Garcia’s Treatise on the Art of Singing’ (1924). I analysed the treatises for concepts of registration, timbre, breathing and resonance tuning. Subsequently, I researched contemporary accounts of several tenors to develop a ‘picture’ of their individual voices and to distinguish voice types, and then analysed multiple extracts from operas to determine range, tessitura, dynamic ability, and melodic contour markers for each singer. Using performance practice methodologies in the teaching studio, I was able combine all these elements to produce a valid and effective historically informed reconstruction of the historical tenor ‘pharyngeal voice’ and pedagogy. Page | iii Acknowledgments This dissertation is the outgrowth of my lifelong dedication to bel canto singing. It not only represents my fondest desire to bring the bel canto firmly under the auspices of the historically informed performance practice movement, but also to contribute to both its study as history and as living practice. During my time at the Royal College of Music I have been inspired to work closely with some of the greatest artists from around the world to found the London Bel Canto Festival where bel canto techniques are taught to a new generation of singers, and where we provide a platform for the historically informed performance of great bel canto works as well as further scholarship with associated academic conferences on singing. Without the following people, none of this would have been possible. I wish to thank them for their contribution to the submission of this dissertation and everything it has meant to me. Firstly, I would like to thank my supervisor Richard Wistreich, without whom this dissertation would not have been as fruitful. His guidance as a researcher and his experience in the historical reconstruction of singing practice has been pivotal. In the same vein, I owe an enormous debt of gratitude to Natasha Loges, Head of Postgraduate Programmes, who supported me in proving myself and the value of my work at the RCM. There are also three people without whom I would have never been at the RCM in the first place: Ashley Solomon, Ingrid Pearson, and Amanda Glauert. It was their belief in my work and capacity to complete that made it all happen. It’s because of their acceptance that my family and I moved from the United States to London on a few months’ notice to take on this challenge. Thank you for taking a chance on me and my work. There are two libraries that have been enormously helpful in my research. Firstly, the RCM Library and its staff, with special thanks to Monika Pietras, who was able to source so much material for me from all around the world. She worked tirelessly and made some difficult situations more manageable. I am also thankful to the British Library and the entire staff of the Rare Books and Music Reading Room who make so much research possible. I would also like to thank the RCM Studios and staff, especially videographer Martin Phillips who was so kind and helpful in the recording process. Page | iv I would very much like to thank my PhD transfer examiners: John Potter who was my external examiner, and once again Richard Wistreich who was my internal examiner before taking on the role of my supervisor. Both were so helpful in guiding my research with their keen insight and in giving me a very positive upgrade. It was that moment when I finally felt at home in the RCM. I would also like to thank Norbert Meyn who was a research supervisor during the pre-upgrade phase of my research. His support and kindness made a significant difference to two very difficult years. There are so many friends and associates who helped me along the way. I would like to thank Bruce Ford for being such a musical inspiration, great friend, and mentor. His love of bel canto and personal support has made so much possible for me. I would also like to thank Richard Bonynge, Aprile Millo, Nelly Miricioiu, Harriet Lawson, Greg Kunde, Sherman Lowe, Georgyn Geetlein, Roberto Bertuzzi, and Fiona Janes, each of whom offered their personal and professional support which has been so pivotal in helping me support bel canto throughout my career, especially here in London, and inspiring me to continue this work. I owe special thanks to Irene Susantio, Jeff Fuchs, Alya Al Sultani, Benjamin Poore, Ian Howell, Debbie Winter, Ken Bozeman, Erin McHugh, each of whom have supported me on the journey of this dissertation in their own wonderful way. I would also like to thank all the students with whom I have worked over the years helping me to refine my craft as a teacher, particularly those seven who took part in this research, who, because of the need to protect their anonymity, I unfortunately cannot name here. I would also like to extend my gratitude to that Conservatoires UK Research Ethics Committee for giving me ethics clearance to perform my research, without which Section III would have been impossible. There is one person without whom nothing would be possible, research or otherwise. I’m eternally grateful to my partner Ernest J. Phillips for his emotional, physical, and financial support. He made it possible for us to move to the UK, to set up our home, and to maintain a life together while I focused on my career. His love and encouragement are without end; he keeps me believing in what I can accomplish. He is a wonderful constant in an ever-changing world. Page | v Table of Contents Abstract ................................................................................................................................................ ii Acknowledgments ............................................................................................................................... iii Table of Contents .................................................................................................................................. v Tables................................................................................................................................................. viii Table 1: Illustrations....................................................................................................................... viii Table 2: Graphs ................................................................................................................................ ix Table 3: Musical Examples ............................................................................................................... xi Table 4: Audio / Video Examples .................................................................................................... xii Introduction .......................................................................................................................................... 1 Defining the ‘Pharyngeal Voice’ ........................................................................................................ 5 Section I – Historical Treatises and Terms .......................................................................................... 10 Introduction .................................................................................................................................... 10 Pedagogical Concepts ................................................................................................................. 23 Understanding Registers ................................................................................................................. 25 Blending Registers: Complications of registers and their interactions ........................................ 28 Feigned Voice .............................................................................................................................. 31 Manuel Garcia: Falsetto-Head Register and Anterior Phonation ................................................ 36 Mezza Voce ................................................................................................................................
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