Ever heard Hubert Eisdell or Trevor Jones sing? Nowadays, their style of singing might be considered a bit unfashionable, but no one could ever find fault with their diction – clear as a bell. Especially in ballads and Victorian songs where so much of the enjoyment and understanding of the song is bound up in the lyric, it has to be all about clear enunciation.

Some of the best artists to listen to for this are those who recorded before 1930 when the use of microphones became more common. Music Hall artists of the early part of the twentieth century are also good examples. They had to make themselves heard – often over very noisy audiences.

Even now, not everybody will be lucky enough to have a perfectly attentive audience in a hall or room with a perfect acoustic. It's a help if the audience already knows what you are singing about – but people still enjoy hearing the words no matter how beautiful the tone quality.

In songs that are not in the language of those present, make sure that you understand the true meaning of the lyric as far as possible and that you can convey it in character to the audience. Do the research using a book like wonderful Lieder Line by Line: And Word for Word by Lois Philips (Duckworth 1979). Some excerpts – including Gretchen Am Spinnerade and Schäfers Klaglied – are available to view online in Google Book Search. 

Remember the cardinal rule, Thou shalt make thyself heard. Not just by volume but also by intelligently interpreted, beautifully clear words.