Opera on the Move in the Nordic Countries during the Long 19th ...

Formed to Perform
ters were joined as imperceptibly as possible in the area of change. In the
nineteenth century, however, vocal teachers began to strive for unity of the
registers; the sound quality should be even throughout a register with no
noticeable breaks. This phenomenon was called the voix mixte and is often
confused with the so-called middle register. Voix mixte means a complete
integration of all registers and, from a physiological point of view, is possible
only when all muscles concerned operate in balance with their opposing
muscles. In this case we can speak of equalisation instead of evening out
the register breaks (Husler & Rodd-Marling 1983, p. 93). From a physiological
point of view, which would entail considering the concept of “register”
as a distinct and clearly definable muscular process, the voix mixte cannot
be regarded as a register.
An investigation of singing masters’ views on registers therefore tells
us whether they adhered to the older pedagogical method of description
based on the concept of registers of the eighteenth century or emulated the
newer, French model of three registers and the voix mixte. The latter would
suggest an influx of ideas and a wider vocal network.
Breathing techniques
The second point of attention is breathing technique. At the beginning of
the eighteenth century very little was generally known about the physiological
function of the lungs. An awakening interest in physiological matters,
sparked by enlightenment ideas, did, however, supply several theories,
evident for instance in Bérard’s and Agricola’s treatises. 20 During the
Baroque period the French and Italian methods of controlling breath pressure
differed; the French relied on a constant subglottic pressure, whereas
the Italians preferred a flexible pressure, adjusting to the amount of breath
needed for each expression, tone and dynamic quality (Sanford 1995, section
2). Needless to say, breathing techniques do not occupy many pages
in the manuals of the eighteenth century; it seems probable that vocal instructors
did not teach breathing to the extent that would be done in the
nineteenth century, or for that matter, today. Breathing was important, but
not important enough to warrant specific chapters in teaching manuals. The
20 Bérard published an accurate picture of the lungs in his treatise, and the description
he gives of their texture leads me to believe that he had taken part in a dissection, a
growing field of interest in the eighteenth century. (Bérard 1757, introduction.) Whether
any of the Swedish singing masters did the same is unknown, but public dissections
were arranged at the anatomialc theatre in South City Hall in Stockholm in the 1730s
and 1740s. Carl von Linné took part in some of these when he practiced as a doctor in
Stockholm 1738–1741. (Landell 2004)
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