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It depends on the quality of the voice. I think every dramatic singer should cultivate coloratura to some extent should study smooth legato scales and passages. To listen to some of the dramatic rôles of to-day, one would think that smooth legato singing was a lost art. Nothing can take its place, however, and singers should realize this fact."
"Paderewski advises studying scales and arpeggios with accents, for instance, accenting every third note, thus enabling each finger in turn to make the accent impulse: this will secure evenness of touch. Double passages, such as double thirds and sixths, should be divided and each half practised separately, with legato touch. Octaves should be practised with loose wrists and staccato touch.
When single fingers can make accurate up and down movements, we can put two fingers together and acquire a perfect legato. I teach three kinds of legato the passage legato, the singing legato, and the accompanying legato; the pupil must master the first before attempting the others.
A "Prologue" is for such plays as The Prisoner of Zenda and The Only Way, not for such plays as His House in Order. The question whether a legato or a staccato opening be the more desirable must be decided in accordance with the nature and opportunities of each theme.
In front of the ugly, bare little station I turned, and stretching out my hands I blessed the little city with all my heart, murmuring in my glowing, passionate mother tongue: "Benedetto sia 'l giorno e 'l mese e 'l anno E la stagione e 'l tempo e 'l ora e 'l punto E 'l bel paese e 'l loco ov' io fu giunto Da duo begli occhi, che legato m' hanno." "Dear Lucia, will you hear me a moment?
If Sir Victor's life had been badgered during the past fortnight, his wife's life had been rendered nearly unendurable. Inez knew so well how to stab, and she never spared a thrust. It was wonderful, the bitterest, stinging things she could say over and over again, in her slow, legato tones. She never spared.
Every tone full of strength and character. A sympathetic quality. Ample power. A clear, telling resonance in every tone. A pure legato and sostenuto. Perfect freedom in production throughout the compass. A perfect swell, that is, the ability to go from pianissimo to full voice and return, on any tone in the compass, without a break, and without sacrificing the tone quality.
A charming quaint effect is got by the accompaniment of the air, played legato on the swell, with an echo, staccato, of its own chords on the great. The interlude is a tender melody, beautifully managed. The two "Concert Pieces" are marked by a large simplicity in treatment, and have this rare merit, that they are less gymnastic exercises than expressions of feeling.
Those two were floating round the room in the old slow legato step, which recalled to Smithson the picture of a still more spacious room in an island under the Southern Cross the blue water of the bay shining yonder under the starlight of the tropics, fire-flies gleaming and flashing in the foliage beyond the open windows, fire-flies flashing amidst the gauzy draperies of the dancers, and this same Gomez revolving with the same slow languid grace, his arm encircling the svelte figure of a woman whose southern beauty outshone Lesbia's blonde English loveliness as the tropical stars outshine the lamps that light our colder skies.
Everything conspired to push her in that direction. The few factors which did not were mere imbecile idealism, or downright hypocrisy. She drew a long breath. "Shan't I play you some Beethoven?" she asked, "something with a legato passage and great solemn chords, and a silver melody binding the whole together?" "Oh yes, do!" he said softly.
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