Abstract Though critic Paul Scudo predicted in 1850 that the French romance would be ‘more respected by posterity than many weighty scores’, the once-ubiquitous song genre has all but disappeared from modern recitals and musicological histories. While the reasons for this erasure are undoubtedly multifaceted, I argue that the loss of the vocal performance practices that animated the genre played a significant role. Specifically, French singers in the domestic sphere – commonly labelled ‘ romance singers’ and exemplified by figures like the tenor Richelmi – cultivated an entirely different vocal production than the one popularzied by Gilbert Duprez and typically heard in classical singing today. This technique, known as the timbre clair (clear timbre), was produced using a rising larynx and a lowering soft palate, resulting in a bright, thin, delicate, and even slightly nasal sound that became a hallmark of early and mid-nineteenth-century French singing. Moreover, composers and audiences expected singers to adopt a declamatory approach when performing romances , to constantly vary the colour of their voices for expressive effect. By so doing, performers imbued these seemingly simple songs with a sophistication and nuanced meaning not readily apparent in the scores themselves. This study of timbral aesthetics – which, I suggest, ought to be more seriously explored in modern performance contexts – undercuts conceptions of the genre as vacuous or meaningless and sheds light on an essential aspect of the nineteenth-century French sound world.
Nathan Dougherty (2026) studied this question.