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What does LEGATO mean in the Italian Bel Canto (according to Jerome Hines and Fausto Cleva)

Il basso Jerome Hines, celebre artista del Metropolitan, spiega cosa significhi il "legato" per gli italiani in un'intervista del 1990. Il concetto pratico del leggero portamento nel legato viene esposto come connesso con il canto italiano da diversi cantanti, maestri di canto e trattatisti tra i quali il primo che viene in mente è Manuel Garcia padre, nel suo meno conosciuto manuale "Exercices pour la voix (avec un discours préliminaire)" uscito per la prima volta a Parigi circa nel 1820. - http://belcantoitaliano.blogspot.com/... What does "LEGATO" mean? Bear in mind that the American singer is fundamentally being raised under a German school. That is fine for Mozart, Strauss, Wagner and any German repertoire, but it creates a serious problem with regard to Italian repertoire and the meaning of the word "legato". You will find no accord between Germans and Italians on the subject (and I know from fifty-eight years of experience in dealing with them). Any coach who will tell you that "legato" means getting as fast as you can from one note to the next, with no vulgar Italian slurs, is definitely of a German school. Met coach, Jan Behr, and I argued many, many times about the meaning of this crucial word―—and never could agree. I knew that he worshipped Fausto Cleva as a conductor and one day the three of us happened to meet in the hall. I quickly took advantage of the situation and asked Cleva to define the word "legato". "Why," he said, "legato means 'tied together.' So, it is a small portamento between the notes." [Perchè? "Legato" significa 'unito assieme'. Quindi, si tratta di un piccolo portamento tra le note!] The shock on Jan's face was unmistakable. (from: Jerome Hines - THE FOUR VOICES OF MAN - Limelight Edition, 1997) N.B. - The American operatic bass Jerome Hines studied with Gennaro Mario Curci, the brother-in-law of the great coloratura soprano, Amelita Galli-Curci. ("A member of an Italian noble family, Mr. Curci had studied music at the St. Cecilia Conservatory in Rome. He began an operatic career in Naples in 1910. He sang in opera throughout Europe before coming to the United States in 1917 as Mme. Galli-Curci’s voice coach...." - "New York Times", April 15, 1955)