Many writings by scholars and composers on the relationship between words and music are centred on issues of intelligibility or coherence. It would be relatively easy to become sidetracked into a long discussion of the diverse aspects which may increase or decrease the coherence of a text delivered in musical terms, whether spoken, sung, or involving hybrid modes. It would be tempting to consider questions of room acoustic, where clear understanding of text can easily be impeded while listening to music. Also pertinent is the role of clear diction in performance, not just where the lazy vocal performer might be berated for inhibiting clear perception, but perhaps raising the question whether singers who possess unusually good diction potentially wield this notional excellence to the detriment of other important aspects of collective musical expression. There are many occasions in musical performances where we might recognise imperfect balance – voices (and the accompanying words) being lost in a welter of orchestral colour. In another situation we might find a performance less than gripping, conceivably because we cannot fathom the language of the text or because we are beguiled (especially in the case of a high-lying soprano tessitura) by the vocal quality which seems to prevent clear textual perception. Finally, we might find the notion of florid contrapuntal vocal textures an inhibiting factor in terms of accurate and sympathetic perception of the words, in an echo of discussions which have permeated much of musical history.

It might therefore sound odd to ask why we need to pose the question about the desirability of hearing the words when listening to vocal music. It might seem self-evidently desirable, even necessary. If we are in a theatre watching and listening to an operatic work, we wish to understand as much as possible of what is going on, not just the actions on stage, but also the words emanating from soloists and chorus.

If the production is in our own language, our concentration might be somewhat relaxed, with the expectation – sometimes disappointed – that we will inevitably catch the majority of the words uttered. In the case of a poor auditory performance, we might find ourselves of necessity listening in frustration with perversely enhanced concentration.