I think that’s a false statement imo. You learn more from hearing it done correctly over and over than some teacher telling you to use a straw and can’t sing the phrase themselves
@@danielformica-yourvocalteacherit take both of those things. You can hear it done correctly all you want. But that doesn’t automatically mean you’ll do it correctly. It takes demonstration, & a proper guide to tell you the mechanisms, ideas & correct technical formats to do it without hurting your voice. You can’t possibly think just by listening, it’ll be enough.
@@geminikid1617 I think singers were doing fine before all the talk of formants starting dominating the conversation. It’s great to know which frequency is being boosted here and there but if the teacher can’t demonstrate it the student is lost. I can tell you what finger tapping is on guitar but if I don’t show you the string and the note pattern you will be pressing and pulling all over the neck . But if I show you bam you can practice it over and over till you get it to sound correct. And with my guidance because I do it well it will get you there much faster. For some reason singing is the art where the teacher needs no technical ability and singers think that’s ok. Strange.
They all have nasal masque placement in his master class clips. He tries and tries to make the sound ‘piu coperto’, and they simply cannot do it. His sound is in the mouth, theirs is in the nose.
Bergonzi's top notes had a covered sound most of the time, he was rarely able to bring squillo into his B's and C's. When you compare his "O tu che in seno agli angeli" recordings, only in the 68 and 72 recordings does he manage to bring squillo into the final "Pieta" top note. The student has an even more head-heavy sound, he really struggles to bring more chest into the top. Bergonzi used true "A" pronunciation below high B but for B and above it devolved into a "O" sound. As a bartinone, I often find it can be difficult to bring that squilo into the top notes of my range. I always appreciate it when a baritone or tenor manages to do this well.
I get the feeling that Bergonzi tries to ruin the student's clear voice by teaching nasality. I hate it when teachers try to imitate their students. They overdo it in a terrible way which confuses even more.
I don’t think that’s what he’s doing. It seems he’s teaching the student not to sing with voce ingolata; to get him from swallowing or over darkening the voice, along w/a slight cover over the passagio & different dynamics in this piece.
Without a doubt this has to be the best open throat technique I have ever heard. One day Signor Bergonzi one day. A true legend.
Great Maestro Bergonzi !!!
un bel documento, tra l'altro non lo avevo mai visto con i baffi
Que gran aporte!! Muchas gracias!!! La cobertura, llave de la técnica
Fantastico
Grande tecnica.
Uma aula de bel canto e técnica vocal
Bellissimo documento
Is that Dale Fundling at piano?
7:30
17:52
Great opera singers are seldom good educators.
True. Like in this case.....
I think that’s a false statement imo. You learn more from hearing it done correctly over and over than some teacher telling you to use a straw and can’t sing the phrase themselves
No, it is not. Where did the shades go?
I wrote GRAND opera singers.@@danielformica-yourvocalteacher
@@danielformica-yourvocalteacherit take both of those things. You can hear it done correctly all you want. But that doesn’t automatically mean you’ll do it correctly. It takes demonstration, & a proper guide to tell you the mechanisms, ideas & correct technical formats to do it without hurting your voice. You can’t possibly think just by listening, it’ll be enough.
@@geminikid1617 I think singers were doing fine before all the talk of formants starting dominating the conversation. It’s great to know which frequency is being boosted here and there but if the teacher can’t demonstrate it the student is lost. I can tell you what finger tapping is on guitar but if I don’t show you the string and the note pattern you will be pressing and pulling all over the neck . But if I show you bam you can practice it over and over till you get it to sound correct. And with my guidance because I do it well it will get you there much faster. For some reason singing is the art where the teacher needs no technical ability and singers think that’s ok. Strange.
The student did very well at 11：07
Why people don't do what on the score is written?? Il dolce sembiante is piano! La pace tollta is forte and more perche deggio piu forte.
Maybe because hearing the exact same rendition 10 000 times is not very interesting.
????????
They all have nasal masque placement in his master class clips. He tries and tries to make the sound ‘piu coperto’, and they simply cannot do it. His sound is in the mouth, theirs is in the nose.
Bergonzi's top notes had a covered sound most of the time, he was rarely able to bring squillo into his B's and C's. When you compare his "O tu che in seno agli angeli" recordings, only in the 68 and 72 recordings does he manage to bring squillo into the final "Pieta" top note. The student has an even more head-heavy sound, he really struggles to bring more chest into the top.
Bergonzi used true "A" pronunciation below high B but for B and above it devolved into a "O" sound.
As a bartinone, I often find it can be difficult to bring that squilo into the top notes of my range. I always appreciate it when a baritone or tenor manages to do this well.
I get the feeling that Bergonzi tries to ruin the student's clear voice by teaching nasality. I hate it when teachers try to imitate their students. They overdo it in a terrible way which confuses even more.
I don’t think that’s what he’s doing. It seems he’s teaching the student not to sing with voce ingolata; to get him from swallowing or over darkening the voice, along w/a slight cover over the passagio & different dynamics in this piece.