As a
rule, Italian singers have a better ear for pitch, breathe more
naturally, and execute more easily than German and French singers,
whose guttural and nasal sounds they also avoid. The difference
between the average Italian and German singers is well brought out by
Dr. Hanslick, in speaking of the Italian performances which formerly
used to alternate with the German operas in Vienna: "Most of our
Italian guests," he says, "distinguish themselves by means of the
thorough command they have over their voices, which in themselves are
by no means imposing; our German members by powerful voices, which,
however, owing to their insufficient training, do not produce half the
effect they would if they had been subjected to the same amount of
training. With the Italians great certainty and evenness throughout
the role; with the Germans an unequal alternation of brilliant and
mediocre moments, which seems partly accidental."
It is this element of accident and uncertainty that lowers the value
of many German singers. Herr Niemann, for instance, has moments--and,
indeed, whole evenings--when his voice, seemingly rejuvenated, not
only rises to sublime heights of dramatic passion, but possesses rare
sensuous beauty; while on other occasions the sound of his voice is
almost unbearable.
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