ЗА БЕЛКАНТОТО И КАНТОТО (ИЛИ КОГАТО ЕМПИРИЗМЪТ СЕ ТРАНСФОРМИРА В СИСТЕМА)
ON THE BEL CANTO AND THE CANTO (OR WHEN EMPIRICISM TRANSFORMS INTO A SYSTEM)

Summary/Abstract: The objectives of this report are several, two of which are fundamental. The first is to formulate the principles of bel canto, as comprehensively as possible, in order to remind us that it is not merely a singing technique, but a complex school for mastering the art of music-drama. The second is to seek the projections and continuation of bel canto traditions all the way to modern pop music within the evolution of music for entertainment. Whilst the complex and continuing processes of affirmation, flourishing and ‚retreat‘ of this kind of singing are taking place, several new interesting phenomena are noticeable. For the first time, during the bel canto era (the late 18th and early 19th senturies), it is visible how powerful and important the soloist is and how his figure can influence not only the artistic but also the economic realization of the musical product. It was also the first time that composers attempted, and it seems the last time, that they succeeded, in resisting the hegemony of the star-singer. This article is a sort of reminder about the importance of the bel canto tradition and an attempt to exonerate it as a comprehensive vocal-artistic and methodological system.

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