National Schools of Singing?

National Schools of Singing – Italian, German, French, Scandinavian, Slavic, Spanish?  Good singing is quite simply good singing!  In spite of a considerable amount of conjecture suggesting the existence of different schools of singing, unless one is talking about a direct association with a particular master vocal pedagogue who profoundly influenced generations of singers, I do not believe that there has ever been significant evidence to justify a true distinction discerning nationalistic origins of singing schools beyond that which occurs naturally when moving from one culture and language to another.  It only follows that differences in the flavor and character of visual art, literature, architecture and music from country to country are equally apparent in the languages and personalities inherent within each individual culture and people.  These elements have a tremendous influence on singing and vocal performance practices. After W.W.II, when the center of vocal culture and training moved from Western Europe to North America, anything even vaguely resembling nationalistic schools amalgamated to become what might well be called the “North American School”.  Especially today, there is not really any discernable national school of singing unless it is that.  The bulk of all most frequently performed vocal music originated in Western Europe.  North Americans have always been required to perform equally well in all languages and styles; therefore, we are required to develop technical abilities that allow us to switch easily from one to another in the mere blinking of an eye – or a brief two-minute break between groups in a recital.  It is language, poetry and style that most affect vocal color choices, nuance and other performance subtleties.  Certainly most of us are familiar with the writings and teachings of Garcia, Lamperti, Cesare, Marchese, Vaccai and others.  European singers prior to W.W.II rarely performed music outside of their own language and culture.  This fact in itself lends credence to the idea of national schools of singing; however, the artists of that time who could successfully perform music other than that which was composed in their native countries are the exceptions who support the notion that, given the opportunity, all well trained singers are capable of the vocal technical sophistication and artistic flexibility that are required when performing in different languages and styles – utilizing and not compromising their personal vocal identity and basic vocal technique. Back