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Updated: June 16, 2025
A brilliant yet mellow glow lay over the whole opposing height, lighting up the houses of Tosi and the white cottages half seen among the olives, while the mountain of Vallombrosa stretched far heavenward like a sunny painting, with only a misty wreath floating and waving around its summit.
Tosi and Mancini do not even mention the subject of breathing. Breathing has been made the subject of exhaustive mechanical and muscular analysis, for one reason, and for only one reason. This is, because the action of breathing is the only mechanical feature of singing which can be exhaustively studied.
To write books in explanation of their system of instruction does not seem to have occurred to the earliest exponents of the art of Voice Culture. The first published work on the subject was that of Pietro Francesco Tosi, Osservazione sopra il Canto figurato, brought out in Bologna in 1723.
A badly produced tone seems to be caught, or as Tosi expressed it, "choaked in the throat." The singer's throat seems to be tightened and narrowed so that the sound has not sufficient passageway to come out properly. On the other hand, the perfectly used voice comes out freely, without interference or hindrance at any point in the singer's throat.
A few citations from standard writers on the voice will show the estimation in which ear-training is held. To begin with, the old Italian masters were fully alive to the necessity of cultivating the sense of hearing, as witness Tosi: "One who has not a good ear should not undertake either to instruct or to sing."
"La Spasimo di Sicilia" is the single Passion picture of Raphael's maturity. The predella of "Christ carrying the Cross" at Leigh Court, and the "Christ showing His Wounds" in the Tosi Gallery at Brescia, are both early works painted under Umbrian influence. The Borghese "Entombment," painted for Atalanta Baglioni, a pen-and-ink drawing of the "Piet
Speaking of the most frequent faults of tone-production, Tosi remarks: "The voice of the scholar should always come forth neat and clear, without passing through the nose or being choked in the throat." Mancini also speaks of the faults of nasal and throaty voice: "Un cantare di gola e di naso."
For there are so many individual differences, physical and temperamental, between pupils, that there must be elasticity and adaptability in a method that claims to produce the best results. Knowledge and experience should be combined in a teacher. Garcia wrote a voice-manual; and Tosi published a method as far back as 1723.
In Europe Bellini and Tosi have developed a method for obtaining directed aerial waves which promises to be of considerable utility, enabling them to be projected in a single direction just as a searchlight beam and thus restrict the number of points at which the signals could be intercepted and read.
As Tosi explains it, "Voce di Petto is a full voice, which comes from the breast by strength." For a precisely similar reason, viz., the sensation of vibration in the head felt in singing the higher notes, this portion of the voice was called by the old masters the "head register."
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