The Mechanism of the Human Voice
We are living in an age which is singularly poor in fine voices, both male and female, and with regard to the tenors of the present time there is this additional misfortune, that, as a rule, their voices do not last, but are often worn out in a very few years; in many instances while their owners are still under training, and before they have had an opportunity of making their appearance in public. If we remember that there was a time when most beautiful and highly cultivated voices were so plentiful that even in comparatively small towns there were to be found Opera Companies consisting of excellent singers, we may well ask ourselves how this remarkable change for the worse has come about.
People have attempted to account for it in various ways. Up to the middle of the last century women were forbidden by Ecclesiastical Law to take part in church music. The voices of boys being available only for a very short time, means were taken to prevent their voices from breaking, and thus a class of male soprani and contralti was created, who made their first appearance in Rome in the beginning of the 17th century, and to these singers the education of the female voices was soon almost exclusively entrusted.
In the middle of the last century, however, when women were permitted to participate in church music, there was no longer any occasion to procure artificial female voices, and these singers gradually died out, though there were still some of them living and teaching in the beginning of the present century.
Emil Behnke (Author), Douglas Woolley (Narrator)
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