José: if I were a betting man, I would always bet on your success as a tenor. Why? Because clearly your IQ is high, your intuition is pegged scale high, and your curiosity for technique is insatiable. Always protect your instrument no matter what. Thank you for the shout out! God bless! Jack
…And completely neurotic don’t forget that! 😂🙏🙏 thank you my dear Jack, that is the highest compliment one can hope to achieve! Thank you for all that you do! Sending my best wishes to you and your family!
I am 62-year-old soprano and I went through many difficulties of my singing journey. You’ve given me a lot of inspirations. Thank you so much from my heart❤
Your journey mama Mia boy do I understand your journey! Yes I have been through it all. Not with all your highly successful teacher, coaches, conductors etc but in my own circle I still can relate. Singing from 3 years old, what joy living in this world! But the criticism, the disection was too much for my voice to handle! I lost my joy with all of them down my throat! Your discussion wow I can sooooo relate. Thankyou for being You . Your openness revealing your experience was relieving for me. You possess such a beautiful instrument and mind too!! Thankyou sooo much for your honesty!!! It have taken me years to relax from all that! It was a woman , Ina Challis, a voice teacher,coach, opera singer with her own small opera company in SF, where I found release! Thank God.
Jack li Vigni rocks and in the few lessons I’ve been privileged to have with him I’ve felt like a million bucks, singing challenging arias and feeling like I could go in a do a whole opera after all of it. So glad to see you gave him a spotlight and so glad you continue to make these videos
Thank you for another great video!:) Don't you think that may be Corelli and MDM used the same technique as you and did basically the same, and the difference in sound is defined just by the nature of their voices? It's like you can use the same running technique as Usain Bolt, but you'll never be so fast as he is. People completely forget about nature sometimes...
Exactly, I mention that in the video. They obviously did the right things they just did it with their voices. They didn’t mimic anyone else. We have to do the same, do the technique with your natural given voice. If you start impersonating then it won’t work.
You’re not a voice teacher? You’re wrong there. You may not take students but your insights are invaluable. It’s hard to break down these concepts into something that can be clearly understood in words but you do a great job.
I rarely drops comments but this time I'll just have to because I'm so damn grateful. Finally I'm able to deliver consistent high Cs, all thanks to you and Jack Liivigni. It is your 3 party tenor talk that convinced me that you know what you're talking about and that I should check out Jack's method. And voila, "yawn/tilt+chord closure+soft chord+epiglottis down = High C"! Thank you so much for protecting amatures like me who rely solely on the internet for tenor singing.❤
What you say about using Melocchi-type technique as an occasional training tool rather than as a way to sing on stage is very astute. Historically, this is exactly how the best teachers and singers working in such a technical style have concieved of that training (even someone as extreme as del Monaco said that he would train with Melocchi's technique but do the opposite on stage). Intentionally and aggressively overdoing things can fix many problems and clarify certain things very quickly, but if you overdo it you can create other problems just as fast. I don't subscribe to Melocchi's technique myself and think there can be significant drawbacks in rigid adherence, but it is important to recognise the value and application of certain parts of the approach. Excellent clarification on the Bernoulli effect, by the way.
Consistency is so important. And we're psyched out of accomplishing it for a bunch of unnecessary reasons. Because we aren't looking at how to make OUR instrument work well within itself. Optimal technique ends up being so personal, because we do the same steps that are universal, and the cards fall however they will since our voice will be what it is.
I’m really enjoying these videos, Jose. Thank you for taking the time to make these videos and for sharing some of your knowledge and experience with the world. That’s very kind and generous of you. Having been on the same stage with you I can attest to the beauty and consistency of your voice throughout rehearsals and performances. Wishing you continued great success!
Jose mi hermano. I have been singing quite a bit longer than you and yet... you have explained and taught more about singing to me in these last couple wks since I've come across your content.... I don't think I could possibly return the favor but maybe some day. Keep up the good work and stay generous, stay focused, and keep growing. A good musician never stops learning. " Dad when I grow up, I wanna grow up to be a musician just like you " ( what do you think the Dads response is? )
Right?!! " HARDEST WAY TO MAKE AN EASY LIVING" you should have somthing like an outro graphic or something with you performance dates or any type a thing. Like, I would have really enjoyed sitting in on some of the masterclass I've seen of you and other performers. I know you probably post it on Instagram or snap what what but for us FuDds. I promise it won't be presumptuous or DiVA like, infact I think the opposite.
Thank you so much for correcting yourself about Bernoulli's effect because it is a false idea which can lead to big mistakes in singing research. You are very nice!
good evening,i would like to ask you for specific information about the video of Jack livigni ,because i didn't find that video ,thank you very much！！！
I am honestly not well versed enough in other styles to answer that question with confidence. I would say if you know that the German fach system was mainly created out of convenience for opera houses and casting purposes at the time. (They used to keep Lists of singers by fach to facilitate hiring and casting.) then outside of operatic context it shouldn’t make a difference or really matter. As long as what you’re singing feels comfortable in your voice, the range feels good, nothing feels unhealthy, or damaging…then go for it. The approach to a lot of these different styles is also much different than operatic singing, the big one being that you can use a microphone…so alot of the support mechanism is substituted by amplification. A lot of Falsetto singing is allowed in these style as well so the danger of vocal damage is a lot less. “Volume” “timbre” and “tessitura” don’t seem to apply or criticized so much in styles outside opera anyways…I sing some Josh Groban songs and Malcom Robert’s in my spare time. :) 👍
Just wanted to mention that the Melocchi method created the greatest operatic voices of the XXth century like Mario del Monaco, Franco Corelli, Giuseppe Giacomini, Gianfranco Cecchele, Nicola Martinucci, Angelo Mori, Silvano Carroli, Amadeo Zambon, Robert Kerns, Gastone Limarilli and I could go on like this for quite a while. So in my opinion it's not very intelligent to criticize a method that created the most famous singers in the history of opera.
@@Tenor_Simerilla Did you study with Marcello del Monaco or any students of Marcello del Monaco or Arturo Melocchi that you say that you include the method when singing? Well the method is quite "manly" in way that doing special exercises you strengthen the laryngeal muscles that fully lower the larynx. Also neither Melocchi nor Mario or Marcello ever spoke about head voice ;)
@@ignas0220 you’re more than welcome to sing your own way bud. I only share what has benefited me in hope that it helps others. I wish you the best of luck on your journey! 👍
Corelli had a brief career and retired being only 55 - stating that his voice was in fact tired. Monaco and Corelli both had marvellous voices that many tenors have tried to mimic - with huge costs to their health. Being so hard on your voice is something few can survive in the long run. Look at tenors like Rudy Park, Rolando Villazon or the likes, burning out way too soon. Another person worth mentioning singing 'hard' on the voice is Rockwell Blake - he also retired being only 54. Working with voices for many years I've lost count of the numbers of singers that gave up singing after pushing too hard, trying to mimic the testosterone voices.
Jack Livigni can certainly train leggero tenors, his training is very good for Rossini and that type of repertoire. How many great dramatic tenors have Jack Livigni trained? The answer is zero, he really doesn't understand dramatic voices. How many great dramatic tenors did Melocchi train? Certainly far more than Jack Livigni. Don't dismiss the technique simply because you don't have a dramatic voice. It is interesting how much effort people have placed into trying to dismiss the Melocchi method for decades now, but at the same time no one can produce real dramatic tenor voices. If you have a lyrical voice, you can certainly follow Jack Livigni teachings, it will be helpful. But his teachings will not be helpful for a real dramatic voice. Dramatic voices aren't supposed to sound and work like lyrical voices. What makes you think that Corelli and Del Monaco actually forced their voices? If anything their voices sounded very free and unrestricted. You either have a big dramatic voice or you don't, singers have been trying for decades now to sing with such big voices and they have all failed, there haven't been singers with these vocal sizes for decades. Corelli and Del Monaco did not sing with artificial darkness, woofyness or constriction. Even Bonisolli and Giacomini had voices that were a few sizes smaller than Del Monaco and Corelli, they were consistent and they also had reasonably long careers, so it seems somewhat disingenuous to say otherwise, they had longer prime periods than Pavarotti. Although I guess you were also trying to say that everyone should do what works for them. They also followed an open throat principle. Corelli and Del Monaco did not even have the same technical approach. Del Monaco was a full out verismo dramatic tenor he tried to create a very even sound from top to bottom, he simply had a stronger middle register than most tenors. Corelli also had many verismo tendencies, but at the same time he also follow a few bel canto ideals as well. Mainly that you lighten your middle voice and resolve on top. But again, even if you have a very strong middle register it will remain strong even if you do lighten it. He was more similar to some of the older dramatic tenors. These days singers are over darkening or rounding their middle registers to create a fake dramatic sound. The voice might sound slightly more dramatic on a recording if you add a lot more emphasis on the middle register in this manner, but in the theatre it does not change the size of your voice. It still remains a small voice.
Correct, I agree. The point of what I am saying in the video is that singers like Corelli and del Monaco indeed sang with their voices and the sound they produced was more or less natural to them. And I encourage all singers to be honest of their natural sound and transparent, the problem lies when mimicry and impersonation start. That’s when all the artificial and fake darkness in voices are constructed and manipulated. Voices that are lyric trying to sound dramatic because of certain idolization with Corelli and del Monaco, and the obsession with melocchi method. Perhaps you missed this point of the video. I implore not to impersonate dramatic voices simply by trying to sound “dramatic” its recipe for disaster. Your voice is what you’re born with and the more natural you sing and stay true to your sound, devoid of all mimicry, the closer you will be to sounding your best. Franco, and del Monaco did it with theirs, all singers should learn to love and embrace their sound. As far as the melocchi method, I think it is a great training tool to build strength and coordination but just that, a training tool. Even del Monaco said he trained melocchi method for practice and did the opposite in performance. There are a variety of other schools and methods of singing those singers also adapted, not just melocchi. Also I would suggest in the future not to put down a highly respected teacher like Jack livigni who has done an incredible amount for the singing community. There are better ways to communicate your opinion without putting down others.
José: if I were a betting man, I would always bet on your success as a tenor. Why? Because clearly your IQ is high, your intuition is pegged scale high, and your curiosity for technique is insatiable. Always protect your instrument no matter what. Thank you for the shout out! God bless!
Jack
…And completely neurotic don’t forget that! 😂🙏🙏 thank you my dear Jack, that is the highest compliment one can hope to achieve! Thank you for all that you do! Sending my best wishes to you and your family!
You are absolutely amazing. Your humility is so refreshing. Your ability to impart the knowledge you have is awe inspiring. Thank you.
Maestro Jack Levigne es fantástico. Gracias!!! Eres un ser maravilloso. Sin mentiras y sincero. Bendiciones
I am 62-year-old soprano and I went through many difficulties of my singing journey. You’ve given me a lot of inspirations. Thank you so much from my heart❤
Your journey mama Mia boy do I understand your journey! Yes I have been through it all. Not with all your highly successful teacher, coaches, conductors etc but in my own circle I still can relate. Singing from 3 years old, what joy living in this world! But the criticism, the disection was too much for my voice to handle! I lost my joy with all of them down my throat! Your discussion wow I can sooooo relate. Thankyou for being You . Your openness revealing your experience was relieving for me. You possess such a beautiful instrument and mind too!! Thankyou sooo much for your honesty!!! It have taken me years to relax from all that! It was a woman , Ina Challis, a voice teacher,coach, opera singer with her own small opera company in SF, where I found release! Thank God.
I really do love your videos! I’m a professional singer and vocal teacher for over thirty years and I really can say:you are right right right!
Thank you Jose for sharing your knowldge, experience and point of view!
Jack li Vigni rocks and in the few lessons I’ve been privileged to have with him I’ve felt like a million bucks, singing challenging arias and feeling like I could go in a do a whole opera after all of it. So glad to see you gave him a spotlight and so glad you continue to make these videos
I love that you're doing this, thanks so much!
❤️
Hello! Jack Livigni Part 1,2 not available anymore. Maybe somewhere else?
I'm a tenor, i love your videos, thanks!
Thank you for another great video!:)
Don't you think that may be Corelli and MDM used the same technique as you and did basically the same, and the difference in sound is defined just by the nature of their voices? It's like you can use the same running technique as Usain Bolt, but you'll never be so fast as he is. People completely forget about nature sometimes...
Exactly, I mention that in the video. They obviously did the right things they just did it with their voices. They didn’t mimic anyone else. We have to do the same, do the technique with your natural given voice. If you start impersonating then it won’t work.
You’re not a voice teacher?
You’re wrong there.
You may not take students but your insights are invaluable. It’s hard to break down these concepts into something that can be clearly understood in words but you do a great job.
I rarely drops comments but this time I'll just have to because I'm so damn grateful. Finally I'm able to deliver consistent high Cs, all thanks to you and Jack Liivigni. It is your 3 party tenor talk that convinced me that you know what you're talking about and that I should check out Jack's method. And voila, "yawn/tilt+chord closure+soft chord+epiglottis down = High C"! Thank you so much for protecting amatures like me who rely solely on the internet for tenor singing.❤
❤️
The funny part is that only the singers who sang like themselves are recognized in history. The hundreds of imitators are mostly forgotten singers.
What you say about using Melocchi-type technique as an occasional training tool rather than as a way to sing on stage is very astute. Historically, this is exactly how the best teachers and singers working in such a technical style have concieved of that training (even someone as extreme as del Monaco said that he would train with Melocchi's technique but do the opposite on stage). Intentionally and aggressively overdoing things can fix many problems and clarify certain things very quickly, but if you overdo it you can create other problems just as fast. I don't subscribe to Melocchi's technique myself and think there can be significant drawbacks in rigid adherence, but it is important to recognise the value and application of certain parts of the approach.
Excellent clarification on the Bernoulli effect, by the way.
Consistency is so important. And we're psyched out of accomplishing it for a bunch of unnecessary reasons. Because we aren't looking at how to make OUR instrument work well within itself. Optimal technique ends up being so personal, because we do the same steps that are universal, and the cards fall however they will since our voice will be what it is.
I’m really enjoying these videos, Jose. Thank you for taking the time to make these videos and for sharing some of your knowledge and experience with the world. That’s very kind and generous of you. Having been on the same stage with you I can attest to the beauty and consistency of your voice throughout rehearsals and performances. Wishing you continued great success!
I am glad you are enjoying the videos! Thanks for the support! ❤️ 🙏
Thank you so much Jose, I'm aligned so much with what you said ! Please more talks 🙏🏼
❤️
No need for an apologizing. Thank you for your further explanations.
Bravoooo!! Well said!
Jose mi hermano. I have been singing quite a bit longer than you and yet... you have explained and taught more about singing to me in these last couple wks since I've come across your content.... I don't think I could possibly return the favor but maybe some day. Keep up the good work and stay generous, stay focused, and keep growing. A good musician never stops learning.
" Dad when I grow up, I wanna grow up to be a musician just like you " ( what do you think the Dads response is? )
“You can’t do both”….although my answer would be…”don’t do it it’s too stressful!” 😂
Right?!! " HARDEST WAY TO MAKE AN EASY LIVING" you should have somthing like an outro graphic or something with you performance dates or any type a thing. Like, I would have really enjoyed sitting in on some of the masterclass I've seen of you and other performers. I know you probably post it on Instagram or snap what what but for us FuDds. I promise it won't be presumptuous or DiVA like, infact I think the opposite.
@@SergServs yea it is.I have a website. My schedule is always there. 👍
Right on, Man!
Thanks a lot!!!🙏💪👏
Thank you so much for correcting yourself about Bernoulli's effect because it is a false idea which can lead to big mistakes in singing research. You are very nice!
Great video! :)
good evening,i would like to ask you for specific information about the video of Jack livigni ,because i didn't find that video ,thank you very much！！！
Hi, you can find his videos under MOS Mediterranean Opera Studio. As a student of Jack’s I also can not recommend these more highly.
@@OliSheff Thank you so much for your reply and help! I can't wait to watch those videos! I wish I had the chance to learn from Mr. jack!
Question: how do you feel about vocal fach in regard to non-classical genres like pop/rock/etc.? Is it appropriate outside of a classical context?
I am honestly not well versed enough in other styles to answer that question with confidence. I would say if you know that the German fach system was mainly created out of convenience for opera houses and casting purposes at the time. (They used to keep Lists of singers by fach to facilitate hiring and casting.) then outside of operatic context it shouldn’t make a difference or really matter. As long as what you’re singing feels comfortable in your voice, the range feels good, nothing feels unhealthy, or damaging…then go for it. The approach to a lot of these different styles is also much different than operatic singing, the big one being that you can use a microphone…so alot of the support mechanism is substituted by amplification. A lot of Falsetto singing is allowed in these style as well so the danger of vocal damage is a lot less. “Volume” “timbre” and “tessitura” don’t seem to apply or criticized so much in styles outside opera anyways…I sing some Josh Groban songs and Malcom Robert’s in my spare time. :) 👍
Please time each topic spoken as in the first TENOR TALK
The mess happen because the traditional Italian fach is not understood in US today ...
❤❤❤❤❤❤❤❤
Just wanted to mention that the Melocchi method created the greatest operatic voices of the XXth century like Mario del Monaco, Franco Corelli, Giuseppe Giacomini, Gianfranco Cecchele, Nicola Martinucci, Angelo Mori, Silvano Carroli, Amadeo Zambon, Robert Kerns, Gastone Limarilli and I could go on like this for quite a while. So in my opinion it's not very intelligent to criticize a method that created the most famous singers in the history of opera.
@@Tenor_Simerilla Did you study with Marcello del Monaco or any students of Marcello del Monaco or Arturo Melocchi that you say that you include the method when singing? Well the method is quite "manly" in way that doing special exercises you strengthen the laryngeal muscles that fully lower the larynx. Also neither Melocchi nor Mario or Marcello ever spoke about head voice ;)
@@ignas0220 you’re more than welcome to sing your own way bud. I only share what has benefited me in hope that it helps others. I wish you the best of luck on your journey! 👍
Why Jack!!!! Why did you make it provate?
Jose. love ur content, but what is goinig on with camera`???? 😛
No idea, I am using a PIVO. It can’t decide where my face is 😂
I sure love how inconsistent franco corelli and mario del monaco were and how they lost thier voices 10 years into their career! Oh wait....
Corelli had a brief career and retired being only 55 - stating that his voice was in fact tired.
Monaco and Corelli both had marvellous voices that many tenors have tried to mimic - with huge costs to their health.
Being so hard on your voice is something few can survive in the long run. Look at tenors like Rudy Park, Rolando Villazon or the likes, burning out way too soon.
Another person worth mentioning singing 'hard' on the voice is Rockwell Blake - he also retired being only 54.
Working with voices for many years I've lost count of the numbers of singers that gave up singing after pushing too hard, trying to mimic the testosterone voices.
For a lyric tenor sure , real spinto or dramatic is not the way ....
Jack Livigni can certainly train leggero tenors, his training is very good for Rossini and that type of repertoire. How many great dramatic tenors have Jack Livigni trained? The answer is zero, he really doesn't understand dramatic voices. How many great dramatic tenors did Melocchi train? Certainly far more than Jack Livigni. Don't dismiss the technique simply because you don't have a dramatic voice. It is interesting how much effort people have placed into trying to dismiss the Melocchi method for decades now, but at the same time no one can produce real dramatic tenor voices. If you have a lyrical voice, you can certainly follow Jack Livigni teachings, it will be helpful. But his teachings will not be helpful for a real dramatic voice. Dramatic voices aren't supposed to sound and work like lyrical voices.
What makes you think that Corelli and Del Monaco actually forced their voices? If anything their voices sounded very free and unrestricted. You either have a big dramatic voice or you don't, singers have been trying for decades now to sing with such big voices and they have all failed, there haven't been singers with these vocal sizes for decades. Corelli and Del Monaco did not sing with artificial darkness, woofyness or constriction. Even Bonisolli and Giacomini had voices that were a few sizes smaller than Del Monaco and Corelli, they were consistent and they also had reasonably long careers, so it seems somewhat disingenuous to say otherwise, they had longer prime periods than Pavarotti. Although I guess you were also trying to say that everyone should do what works for them.
They also followed an open throat principle. Corelli and Del Monaco did not even have the same technical approach. Del Monaco was a full out verismo dramatic tenor he tried to create a very even sound from top to bottom, he simply had a stronger middle register than most tenors. Corelli also had many verismo tendencies, but at the same time he also follow a few bel canto ideals as well. Mainly that you lighten your middle voice and resolve on top. But again, even if you have a very strong middle register it will remain strong even if you do lighten it. He was more similar to some of the older dramatic tenors.
These days singers are over darkening or rounding their middle registers to create a fake dramatic sound. The voice might sound slightly more dramatic on a recording if you add a lot more emphasis on the middle register in this manner, but in the theatre it does not change the size of your voice. It still remains a small voice.
Correct, I agree. The point of what I am saying in the video is that singers like Corelli and del Monaco indeed sang with their voices and the sound they produced was more or less natural to them. And I encourage all singers to be honest of their natural sound and transparent, the problem lies when mimicry and impersonation start. That’s when all the artificial and fake darkness in voices are constructed and manipulated. Voices that are lyric trying to sound dramatic because of certain idolization with Corelli and del Monaco, and the obsession with melocchi method. Perhaps you missed this point of the video. I implore not to impersonate dramatic voices simply by trying to sound “dramatic” its recipe for disaster. Your voice is what you’re born with and the more natural you sing and stay true to your sound, devoid of all mimicry, the closer you will be to sounding your best. Franco, and del Monaco did it with theirs, all singers should learn to love and embrace their sound. As far as the melocchi method, I think it is a great training tool to build strength and coordination but just that, a training tool. Even del Monaco said he trained melocchi method for practice and did the opposite in performance. There are a variety of other schools and methods of singing those singers also adapted, not just melocchi.
Also I would suggest in the future not to put down a highly respected teacher like Jack livigni who has done an incredible amount for the singing community. There are better ways to communicate your opinion without putting down others.