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Updated: June 22, 2025
The most perfect singer that I remember in my Berlin experience was Theodor Wachtel in this respect, that with his voice of rare splendor, he united all that vocal art which, as it seems, is destined quite to disappear from among us. How beautiful were his coloratura, his trills, simply flawless! Phrasing, force, fulness of tone, and beauty were perfect, musically without a blemish.
"You have shown such wonderful breath control in the way you sustain high tones, beginning them softly, swelling then diminishing them." "Ah, yes, the coloratura voice must always be able to do those things," was the answer. "Should you ever care to become a dramatic singer?" she was asked.
Luisa Tetrazzini has been called the greatest exponent of coloratura singing that we have at the present time. Her phenomenal successes in various quarters of the globe, where she has been heard in both opera and concert, are well known, and form pages of musical history, full of interest.
She only sang the coloratura music, though she loved Wagner and dramatic music. Not long before she died she said to me: 'Luisa, always keep to the coloratura music, and the beautiful bel canto singing; do nothing to strain your voice; preserve its velvety quality. Patti's voice went to C sharp, in later years; mine has several tones higher.
It is seen that a single tone can be sung correctly when, first, the singer knows the sound of the perfect musical tone, and second, the vocal organs are not hampered by muscular stiffness. When these conditions are fulfilled nothing but practice is needed for the acquirement of technical skill. Coloratura singing presents the highest development of vocal technique.
Thereafter in Danzig I sang from eighteen to twenty times a month in coloratura and soubrette parts; also in Leipzig, and later, fifteen years in Berlin. In addition I sang in very many oratorios and concerts, and gave lessons now and then. As long as my mother lived she was my severest critic, never satisfied. Finally I became such for myself.
Of course all depends on the mentality how long a process of training the singer needs. The coloratura requires more time to perfect this manner of singing than others need; but some are much quicker at it than others. "It is well I am blessed with good health, as my task is extremely arduous. When on tour, I sing every night, besides constantly rehearsing my company.
At one time, when I was about to be subjected to great exertions, and did not practise it every day, but thought it was enough to sing coloratura fireworks, I soon became aware that my transition tones would no longer endure the strain, began easily to waver, or threatened even to become too flat. The realization of it was terrible!
Both are used in their proper place, according to the demands of the music. The player, however, who desires a clean, reliable technic, should first acquire a coloratura hand before attempting a melody hand. The Art of Practise
When at work in daily study, I sing softly, or with medium tone quality; I do not use full voice except occasionally, when I am going through a part and wish to try out certain effects. "I was trained first as a coloratura and taught to do all the old Italian operas of Bellini, Rosini, Donizetti and the rest of the florid Italian school.
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