Low Larynx and High notes, Old-school Opera Technique. Bianca al par. Les Huguenots. Meyerbeer
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- เผยแพร่เมื่อ 5 ต.ค. 2024
- www.theoldschoo...
In a conversation with one of my students today I realized that the topic of the low Larynx is still a little bit confusing topic around, not to my students, but in general.
For example, if you think about Giacomo Lauri Volpi, do you think he used the low Larynx?
Listen carefully and you will see that before a high note he really digs, I will prove it to you myself in this video.
People say that he always sang very high and Squillante, well, that is absolutely true, BUT to reach that squillo you need to dig.
But you need to dig with the real Method, The Garcia Method is not the one that you find in books, that is just a soft guide to the tip of the iceberg.
The real exercises and mechanisms are heritages passed from generation to generation and I can prove you this in my own voice.
That’s why I am able to mix the vocal training of the Melocchi Method with the Garcia School successfully on me and my students.
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#operasingersofinstagram #operaperformance #giancarlomonsalve #ugonotti #gliugonitti #biancaalpar #LesHuguenots #oldschoolofsinging
#Huguenots #meyerbeer
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Compadre y compatriota, felicidades. Ni idea que eras Chileno hasta que te Googleé. Eres un grande. Por favor sigue subiendo contenido que es de gran beneficio para este rubro y para todo el mundo. Saludos...
how low or how high u reach, u should lower ur larynx.
that is how i learned n keep my healthy voice
Thank you for your help. You opened your mouth on one of the videos. I could see where my tongue should be. I am 70 and love to sing!
Thank you for your message, and I'm thrilled to hear that my videos have been helpful for you! As a Maestro of the Old School of singing, I believe that singing is a lifelong journey that can be enjoyed by people of all ages and skill levels.
In fact, I have had the pleasure of working with students ranging from 20 to 75 years old, from all around the world and with varying levels of experience in singing. It's always a joy to see singers of all ages and backgrounds discover the beauty and power of their voice, and I'm honored to play a role in their vocal development. Thank you for your support, and keep singing!
Excellent.! J'adore vraiment!
You choose a wonderful model!!!
I'm pretty sure the neighbors heard it anyway.
Thanks for sharing this. But can you give a brief idea about the Melocchi’s method? And how it is different from Garcia’s method.
Who is Garcia please??
The man who showed Melocchi's method is Mario del Monaco
There is an accent on the "chest register" (emphasized darkness) which goes in hand with voice dampening. So, singer won't fully reveal his/her potential
Garcia method is overall about a true Bel Canto approach (before a second half of the 20th century). Lauri-Volpi (the man who was mentioned here) almost personified it and is truly an exemplar of vocal art
Bravo
nice! very usefull, master.
I guess this answers my questions about belting
Interesting. A lot of so called voice teachers on TH-cam tell but don't do. This sample gives a fair idea of your singing technique. Since you mention Garcia, maybe you can tell me something. It's my recollection that he considered singing scales forte in the low to middle range was how to develop the voice. As I recall this was a key element in the vocal rehabilitation of Jenny Lind, and was quite difficult for her. I was told that Lilli Lehmann sang slow five note scales for two hours every day. Can you imagine!?
Thank you for the observation, @marksmith3947. Manuel Garcia indeed advocated for the development of the voice through scales, which was reflective of the bel canto tradition of building strength and flexibility. Jenny Lind's vocal rehabilitation under Garcia's guidance using scales is well-documented, as is Lilli Lehmann's dedication to her slow five-note scales. These techniques are testament to the discipline required in classical singing and are integral to my own teaching and practice. It's a demanding process, but the results can be incredibly rewarding.
@@giancarlomonsalve Thank you for the informative response. My teacher showed me how to do five note scales ala Lehmann. I couldn't recall the specifics, but I do remember it was very difficult. Singing a scale slow and legato with an even volume is much more challenging than singing a scale at a moderate or fast tempo. A very long time ago I read or saw Domingo recommend only singing your octave scale up, because going down was much harder. I thought that was odd.
brother i dont really know what type of baritone i am but i can say im a bass baritone because i can comfortable sing "your man by josh tuner" my highest is f4 without mixing lowest e2
I want to sing Olympico by dimash kudaibergen but my Chest range is only E4 plus I'm going to learn how to sing round with my chest mix
Its crazy how much franco corelli sound like lauri volpi
Lauri Volpi was coaching Corelli for some time if I’m correct
What's about the price of your classes on line Maestro?
How can I tell if I’m using my false cords vs true cricothyroid?
The glottis is closed when you make high notes?
Hi, what do you mean by "dig before high notes"?
I'm an amateur pop singer.
Is it true that developing head voice and mixed voice can help you sing high notes better in chest voice?
Indeed, @bradycall1889, in operatic singing, the full chest voice is foundational, and what might seem like mixing is actually the result of a fully developed vocal technique that connects all registers: low, middle, and high. In a complete operatic voice, chest, head, and tracheal resonances are always interconnected. This connection allows for the cranium's resonance to enrich the sound without losing the chest voice's fullness. So, when I sing high notes, it is with a connected chest voice, complemented by the seamless integration of head resonance. This ensures the robust and powerful sound that opera is known for, while also maintaining vocal health and sustainability
From VietNam, I really love classic voice :'( but my ability has limitation
Classic voice , u can do it mix voice?
Absolutely, @Ronoldmelodi. Mixing voice is an essential part of a well-rounded vocal technique. It allows for a seamless transition between registers, which is crucial for the kind of repertoire I sing. It provides the versatility to tackle various stylistic demands while maintaining vocal health. I work on blending timbres and smoothing out to bypass passaggio with my students all the time, to ensure they can express the full palette of vocal colors.
Dam i want to learn that technique sir 😅😁
Where is your studio located?
👏🏼👏🏼👏🏼👏🏼👏🏼👏🏼