there must be as much room provided as is
needed for all the vowels, with such modifications as each one
requires for itself. The matter of chief importance is the position of
the tongue _in_ the throat, that it shall not be in the way of the
larynx, which must be able to move up and down, even though very
slightly, without hindrance.

All vowels must be able to flow into each other; the singer must be
able to pass from one to another without perceptible alteration, and
back again.

SECTION XXVIII

ITALIAN AND GERMAN

How easy it is for the Italians, who have by nature, through the
characteristics of their native language, all these things which
others must gain by long years of practice! A single syllable often
unites three vowels; for instance, "tuoi" (tuoy[=e]), "miei"
(myeay[=e]), "muoja," etc.

The Italians mingle all their vowels. They rub them into and color
them with each other. This includes a great portion of the art of
song, which in every language, with due regard to its peculiar
characteristics, must be learned by practice.

To give only a single example of the difficulty of the German words,
with the everlasting consonant endings to the syllables, take the
recitative at the entrance of Norma:--

"Wer laesst hier Aufruhrstimme_n_, Kriegsruf ertoene_n_, wollt Ihr die
Goetter zwinge_n_, Eurem Wahnwitz zu froehne_n_? Wer wagt vermesse_n_,
gleich der Propheti_n_ der Zukunft Nacht zu lichte_n_, wollt Ihr der
Goetter Pla_n_ vorschnell vernichte_n_? Nicht Menschenkraft Koenne_n_
die Wirre_n_ dieses Landes schlichte_n_."

Twelve endings on _n_!

"Sediziosi voci, voci di guerra, avvi [Transcriber's Note: corrected
"avoi" in original] chi alzar si attenta presso all'ara del Dio! V'ha
chi presume dettar responsi alla vegente Norma, e di Roma affrettar il
fato arcano. Ei non dipende, no, non dipende da potere umano!"

From the Italians we can learn the connection of the vowels, from the
French the use of the nasal tone. The Germans surpass the others in
their power of expressiveness. But he who would have the right to call
himself an artist must unite all these things; the _bel canto_, that
is, beautiful--I might say good--singing, and all the means of
expression which we cultivated people need to interpret master works
of great minds, should afford the public ennobling pleasure.

A tone full of life is to be produced only by the skilful mixture of
the vowels, that is, the unceasing leaning of o