"Passaggio" is of course the Italian School word for "passage." It actually is an acoustical phenomenon which occurs from approximately B-flat to F-sharp in the head voice range. This is why Alan Lindquest describes the passaggio as the entire range of the head voice. A slight acoustical change will occur at each half-step when the throat is open and free. Some teachers describe this as "vowel alteration". Vocal science has proven that we cannot pronounce "pure vowels" above the staff or even in the passaggio area without closing the throat. I have often found that problems can arise when a singer begins to coach repertoire. He/she might be asked to pronounce "pure vowels" throughout the passaggio and above the staff. The result is a closed throat and a "throaty tonal quality". Clarity of diction is actually achieved through the freedom in the throat as the singer ascends into the higher register. Vowels must be allowed to alter in order for the throat to stay open on ascending passages. |
Alan Linquest |
Kirsten Flagstad |
Alan Lindquest studied with Inge Börg Iséne and Joseph Hislop, both students of Kirsten Flagstad's beloved teacher Dr. Gillis Bratt. Dr. Bratt was a throat doctor in the morning, a voice teacher in the afternoon, and an operatic baritone at the Stockholm Opera in the evening. It was Dr. Bratt who brought the concepts of Manuel Garcia to Sweden. Dr. Bratt worked with Flagstad on "cord closure," a concept which has caused much controversy among teaching professionals. Lindquest constantly warned not to "over-do" the cord closure. However, it is necessary to have good adduction of the cords in order to coordinate the pivot of the larynx and the vowel alteration. These concepts work in a coordination with proper passaggio training. |