Although aspirated fast notes are sometimes called for by the musical and dramatic demands of an aria, in general, aspirated singing has never been considered the proper way to achieve rapid note singing. The fast notes are meant to be connected without any kind of detachment. The rapidity of note change is achieved through proper coordination of breath with vocal fold adjustments but neither the breath nor the tone should be stopped and restarted such as in aspirated singing.
Learning to sing coloratura or fioratura etc. requires great skill. It is an extremely refined vocal process and should never be achieved through any kind of overpowering energy. The vocal folds are some of the fastest muscles in the human body; they can negotiate rapid changes that are startling and they can do it without the need to start and stop the breath. A continuous flow of breath is the ideal and the rapidity of the notes should never be taken faster than the individual voice can handle. For this reason, some leeway is allowed in the tempos of arias or sections of arias that contain a lot such scales, roulades, etc. etc.
If a violin were to play a fast scale on the stroke of one bow, that would exemplify the ideal singing form of a similar vocal scale. If the violinist were to change bow direction for each note of a rapid scale that would be similar to an aspirated rapid vocal scale. And, as we all know, violinists do it both ways but which method is used is determined by the music score, it is not usually considered acceptable for the violinist to chose one that is not so marked in the score.
Vocal scores usually have similar markings put there by the composer. They should be observed. At times, singers may find it easier if each note is given a slight pulse to differentiate it from the preceding and following note but even this must be done with the greatest of taste and refinement. The pulsing of short notes is more common to the lower mens voices because of the thicker nature of their vocal folds yet many of the finest basses and baritones achieve rapid note production without the need to pulse individual notes.
In short, aspirated fast notes are not considered good vocal technique and it is sometimes even labeled as a kind of vocal “cheating”. Overdone pulsing of short notes can fall into this same category if it is overdone.
Finally, aspirated singing is very wearing on the vocal folds; it requires a greater slamming of the vocal folds against each other and, through the years, an advanced thickening of the vocal folds results.
All of the above says nothing about present day or individual preferences. But preferences do not change the proper demands of the singing genre nor do they remove the wear and tear on the vocal instrument. A singer must be true to both the demands of the music and the proper care of the voice.