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General Radames
Добавлен 18 мар 2013
My Soprano Student Singing A Mezzo Aria
My student sent me a clip of a rehearsal. She was practicing for an Audition for a Mezzo soprano position. I thought I would post it. She is not a Professional.
Просмотров: 2 076
Видео
My Student Soprano Singing Suicidio from La Gioconda.
Просмотров 4,7 тыс.2 года назад
My Student singing Suicidio From Ponchielli's La Gioconda. She is not a professional yet.
Vocal Placement Good or bad for singers? Richard Miller
Просмотров 4,2 тыс.2 года назад
Richard Miller Vocal Pedagogue. Vocal placement. Mask Singing. Vocal sensations.
Reynaldo Hahn on Women's Chest Voice
Просмотров 2 тыс.2 года назад
Women's Chest voice."On singers and singing : lectures and an essay" by Hahn, Reynaldo, 1875-1947 pg 215 - archive.org/details/onsingerssinging00hahn/page/n9/mode/2up
The Great Sopranos Yvonne Gall
Просмотров 1,1 тыс.2 года назад
1. Yvonne Gall, "La Prière" ("Vissi d'arte")- 1925, Tosca. Giacomo Puccini. 2. "D'amour l'ardente flamme" Romance de Marguerite. 1925, La Damnation de Faust. Hector Berlioz.
Must See Video for all Singers on Vocal Anatomy. Part 2 of 2.
Просмотров 3,1 тыс.2 года назад
"The Vibrating Larynx". 1960's video by the Voice teacher Wiliam Vennard and Vocal Scientist, Jan willem van der Berg. Vocal anatomy and function.
Must See Video for all Singers on Vocal Anatomy. Part 1of 2.
Просмотров 3,5 тыс.2 года назад
"The Vibrating Larynx". 1960's video by the Voice teacher Wiliam Vennard and Vocal Scientist, Jan willem van der Berg. Vocal anatomy and function.
The Great Mezzo's and Contralto's Alice Raveau
Просмотров 1,3 тыс.2 года назад
Forgotten singer of the past Great French Contralto Alice Raveau. 1. J'ai perdu mon Eurydice, Orphée, Gluck 1910? (1934) 2. Mon coeur s'ouvre , Samson et Dalila, Saint-Saëns 1931
French Art Song Specialist Baritone Gerard Souzay
Просмотров 4,6 тыс.3 года назад
Gérard Souzay 8 December 1918 - 17 August 2004 French baritone 1. "Invitation au voyage" 1960's, Henri Duparc, 2. Don Quichotte à Dulcinée, Maurice Ravel, 1960's a. Chanson romanesque b. Chanson epique c. Chanson a boire
The Great Baritones Hans Reinmar
Просмотров 2,1 тыс.3 года назад
Musikstadt Berlin: Hans Reinmar Wotans Abschied Die Walküre c. 1936 Source Jozef Sterkens Channel. Baritone, 'Hans Reinmar'. ruclips.net/channel/UCaHfesWK6LXQXWrWdzgneCA
The Great Basses Bulat Minzhilkiev
Просмотров 1,5 тыс.3 года назад
Bulat Minzhilkiev Soviet era Bass. 1. ‘Le veau d’or’, Faust Méphistophélès’s Act II aria Gounod 2. "Boris' monologue", Mussorgsky, Boris Godunov. 3. "Kutuzov S", War and Peace, Prokofiev.
Vocal Resonance for Singers- The Vocal Tract
Просмотров 11 тыс.3 года назад
The video shows what the true resonator of the voice is. The video also demonstrates some of the important anatomical elements to singing. The video Sites great Pedagogues of the past. William Vennard Douglas Stanley Manuel Garcia Johan Sundberg Resonance, volume, loud and soft singing. open throated singing. vocal placement.How to sing.
Joseph Shore On the "Death of Opera", part 2.
Просмотров 1,9 тыс.3 года назад
This is from Joseph Shore's RUclips page. I do not necessarily agree or endorse everything he says or the sounds he makes. I thought it is a valid contribution to the discussion of this topic. And I leave his videos for you to contemplate. Joseph Shores channel; ruclips.net/channel/UClZv...
Jospeh Shore On "The death of Opera" Part 1.
Просмотров 2,2 тыс.3 года назад
This is from Joseph Shore's RUclips page. I do not necessarily agree or endorse everything he says or the sounds he makes. I thought it is a valid contribution to the discussion of this topic. And I leave his videos for you to contemplate. Joseph Shores channel; ruclips.net/channel/UClZvXrOKd5Kkcqbba8erFQQ
Vocal Technique you Shouldn't Imitate Part 2 High Larynx
Просмотров 15 тыс.3 года назад
Vocal Technique you Shouldn't Imitate Part 2 High Larynx
The Great Duets Trios and Quartets Ferruccio Tagliavini, Pia Tassinari.
Просмотров 1,9 тыс.3 года назад
The Great Duets Trios and Quartets Ferruccio Tagliavini, Pia Tassinari.
The Great Mezzo Sopranos Pia Tassinari
Просмотров 1,1 тыс.3 года назад
The Great Mezzo Sopranos Pia Tassinari
The great Mezzo's And Contralto's Fiorenza Cossotto
Просмотров 2,3 тыс.3 года назад
The great Mezzo's And Contralto's Fiorenza Cossotto
The Great Operatic Duets Renata Tebaldi And Richard Tucker
Просмотров 1,7 тыс.3 года назад
The Great Operatic Duets Renata Tebaldi And Richard Tucker
Great voice teacher Manuel Garcia on the Singing Voice.
Просмотров 5 тыс.3 года назад
Great voice teacher Manuel Garcia on the Singing Voice.
Maestro Joseph shore on Empirical concepts of Voice Training
Просмотров 2,5 тыс.3 года назад
Maestro Joseph shore on Empirical concepts of Voice Training
Vocal Technique you Shouldn't Imitate. Part 1
Просмотров 6 тыс.3 года назад
Vocal Technique you Shouldn't Imitate. Part 1
RARE video 68 year old Tenor Ferruccio Tagliavini Live 1981
Просмотров 3,1 тыс.3 года назад
RARE video 68 year old Tenor Ferruccio Tagliavini Live 1981
Vowels of the Singing voice. How vowels are created.
Просмотров 7 тыс.3 года назад
Vowels of the Singing voice. How vowels are created.
The Great Baritones Sesto Bruscantini
Просмотров 13 тыс.5 лет назад
The Great Baritones Sesto Bruscantini
Cornelius Reid was a notoriously bad teacher who ruined many singers. His approach worked for choral singers. You are so wrong about singing. Stop posting videos.
Your arguments are so convincing. I'll stop now and delete my channel. Thank you for the rare insight.
Your advice is so dangerous.
It's not correct or incorrect, that is ignorant. You have no idea what you are talking about and Lord help anyone who believes you!
I'm reading this Miller's book and I'm into it. Very awesome! I learn so much each day. About vocal technique, I feel that I never know, I always need to improve. When I get started in singing, my voice was more in mask, in forward placement and I had more difficulty for to sing high notes. I simply couldn't it! Actually, I feel more space in my throat and it's more easy to go up for higher. Today I see how I was more wrong and how I learned wrong, also.
So awesome and instructive video!! I learned so really much! Thanks!💙
Forget the insignificant first song. Go to the Wagner. Superb!
the amount of squillo 😍
The problem nowadays is teachers teaching both musical theater belting and classical singers alike. They take this theory of forward placement or singing in the mask that female belters do and applying it to classical material. I have studied with several teachers over the past geez.... 32 years now. Both as a completely open belter as a tenor in musical theater and as a countertenor, where I studied with a teacher intensively who promoted open throat and low larynx. It's never fully achieved, in my opinion, the low larynx throughout, but it's a practice that is always something to aim for with every breath you take. Over time, of course, it gets better. My take on it is process vs results. Mask and placement is coming from working towards a result, trying to create squillo by artificially creating a sound that the singer can immediately hear is pingy to his own ears, while the open throat and low larynx may in fact sound way more ingolato to the singer themselves but in the house, it's balanced.
People tend to address singing in terms of resonance instead of in terms of creating a function. Resonance is a result of function. Playing with it produces limited results. I tend to teach the focus of creating through intention of sound ideals and ignoring the sound produced. Once we clap our hands, we have no influence on the sound. I get the student to focus on the source of vibration which includes pitch and vowel. The resonance takes care of itself when we correctly produce a vowel sound at a pitch and allow the physicality to correctly adjust to the conception. Everything will adjust to the smallest degree to accurately amplify the voice. The tuning will be accurate. Sensation of placement are not necessary. Only necessary for the human need to control. If we give the throat vertical space and allow this to change as needed the larynx will sit comfortably at a low position. Opening the ears and back of the jaw helps establish this position in an unforced manner. Corelli said, like a ball on water. If you push the larynx down it will want to push back. Singing like life is about finding balance and equilibrium. If we concentrate on sensations of resonances our thought is usually higher than the larynx. this will automatically cause the larynx to move upwards with the thought position. Our focus should be at the vibratory position of the larynx. The larynx will then not feel the need to rise. And should stabilize without any feeling of force or pressure. This is an internalizing action. It takes time to produce sound and vowel and isolate it to vibration. Forget about making sound anywhere else. But allow the sound to sit at the larynx. Forget about perceptions on how things should sound. We are cursed because our brain is higher up and our mouth and consonant articulators are also higher up above the larynx. Babies produce healthy stamina sounds because they do not use consonants. Their primal sounds are located at the larynx. The larynx is their true mouth. Ingolata and other noises are acts of constriction of the larynx and distortion of the vocal tract. Remember the larynx is independent of the head. It sits on the trachea part of the breathing apparatus. We do not have to feel it in the face and head. If we sing well our sensations may not be what we thought, they should or could be. That is why we should not let someone guide us that way. Chiaro or Scuro is not a position but a free efficient function with an open throat. Focusing on vibration instead of squillo is better. both are the same. But one can easily induce constriction and a high larynx. Whereas we can follow and maintain the creation of a free-flowing vibration which leads to greater freedom and efficiency. Thanks for your comment.
Over blown just loud!
Very much. However, his singing instrument was amazing. I prefer others like Mattia Battistini.
Bravi Schipa and Kraus....both are divos
I agree but The examples arennot rigrh and in The same pitch or conditions
The interviewer sounds like a nut case
Giacomini when he was younger sounds amazing
Tre formidabili leoni. Caruso è sempre il solito, non canta per lui, canta per te, per la Musica... e ti arriva dentro come nessuno mai.
8:32 - "Amour viens aider ma faiblesse" 10:24 - "Là ci darem la mano"
The greatest baritone, or just the loudest?
She lost her voice because she eliminated her lower register like an idiot.
Thank you millions.I have been very confused about the correct singing. The mask style (like Rene Fleming) has been taught everywhere as the superior voice. With my own ears I make my own decision as I watch these videos. It is very helpful.
This is pure beauty - Helen Traubel forever❤
What’s the duet at 11? And who’s the soprano
This is a love duet from Andrea Chenier. This scene comes from RAI television recorded in 1956. Antonietta Stella as Magdalena. Also in the whole recording Giuseppe Taddei was Gerard. The whole opera with them you can find here in RUclips.
Always that beautiful "qualita la voce" Grande artista
What is then the middle voice which Manuel García talks about?
I’m curious as to your thoughts on Kraus if mask singing is incorrect. He infamously preaches singing lighter to sing higher. What are your thoughts on this? Which is correct pharyngeal resonance or mask resonance how he uses it or both? Can they both be used at the same time?
Who gives this person the authority To make such minute what he or she might call "criticisms"? They all sing beautifully with different timbers and that's what makes singers interesting, variety. So Eileen Farrell is being lipsinked with an attractive actress actually singing the aria? I thought she had never looked like that; beautiful singing though!
❤🎶🌹🌺📚🎨🌻🏵🍒🇻🇦✝️✝️🍋🇻🇦🌼💛🌸🌿🇦🇲💒🇦🇲🍒🏵🦁✒📃📚🎶🌻🧭🕊🇵🇸💐💮⛑🍒🏵🌿🌺🇲🇬💒🇲🇬🌺🌿💛🎨🧸🌍🕯🇻🇦💐🍋✝️🍋🇻🇦🌼💮💐⛑🌻🏵🍒🌿🙋♂️
Beautiful rich sound not placed deep in the throat like the majority of bass voices. Always a pleasure to hear him sing.
Nonsense in your Pavarotti/Sutherland duett. He himself said that he learned to sing by listening to and singing along her to her, he greatly admired her. And rightfully so. Her sound is wide and focused at the same time.
Not Sing. He said he Learned to breathe and support from her. Who cares about facts.
Wow! I would have shouted bravo. Some audiences don’t know a great tenor in front of them.
Heard him many times- unfukinbelievable.
que c'est beau la musique et chantée de cette sorte. merci Clara
RUclips trolls criticizing these amazing artists. They are up on those stages with amazing careers. Your at home sitting at your computer trolling. Get a life.
Did I criticize them? Is that all you got from this video?
giacomini ingolata??? 🤦♂️🤦♂️🤦♂️🤦♂️
In each of these clips, the student gets noticeably worse as a result of the teacher’s instruction. It’s wild that Tebaldi clearly had no idea no idea how to help that young soprano.
Das nie gesungen stimmt auf keinen fall...zb.im Troubadour Terzett 3.Akt live mit L.Gencer ist es eindeutig ein C ...und ausserdem ist es besser ein B zu singen als ein gequältes oder verunglücktes C...wie gesagt..Geschmackssache
Truer words have never been spoken, alas. I love opera, but I no longer attend live performances because it's too painful to see and hear what has become of this once exalted art form. It is very sad. Now I cherish the recordings of my favorite artists of the past. At least we can honor their legacy that way. Thank God!
OMG the tenor singing nessun dorma. Painful to listen to, and I heard a “bravo” SMH
♥️♥️♥️🔥🔥🔥
I think you need to account the age of Tito Schipa vs Alfred Kraus. Alfred is already at a mature age. And also the venue. Alfred is performing in a concert while Tito is performing for a film probably. The variables are different. But maybe I am wrong.
IL PIÙ GRANDE TENORE ED ARTISTA AL MONDO!!!!!!!!!!
Although ostensibly a basso cantante Pinza had a most sonorous low D (only Siepi, another basso cantante, could come close to matching him & ventured even a tone deeper on some occasions). Still the Pinza sonority was something unique on any level of dynamics, which one hears here.
There is nothing natural about what we do. Whether it be creating more space in the back, lifting, resonating the sound forward or back, or allowing the larynx to release on the inhalation, etc, they are all micro-manipulations that lead to the sound we hope to have. Mask singing is just another term for directing the sound to vibrate in the sinus cavities where the bones are hard in an effort to produce more overtones. Whether you do it or not, classical and operatic singing is not a natural phenomenon.
Hello Matthew. Thank you for your comment. I disagree about the concept of "natural". It is important to keep yourself open to different concepts as it will greatly impact on how you perceive singing and its training. The term "natural" itself can be argued with. If someone does it. Is it not natural? What does natural actually mean? (Rhetorical) I will explain "natural" in relation to occurring without training. Because the way many people are taught, we get the impression that technique is something we have to do to achieve a result. Like the things you describe. It become a little too mechanical in creation. There is a loss of spontaneity and visceral connection. Personally, I think technique is learning to do things without conscious control. As with speaking. You decide what you want to say, and you say it. And what needs to be adjusted will happen in response to the desire to sing. Singing is thus going for the right sound. This is how the brain body response works overall. Just a quick example about, for example, lifting the soft palate. You can decide to try to manipulate the muscles to lift it. Or you can go for an appropriate vowel sound concept which will achieve a similar result. The first is a voluntary muscular manipulation with no subtle adjustment. The other adjusts appropriately for the desired sound. with the correct minute adjustments for the desired outcome. Considering there are a large number of muscles moving in a holistic way to achieve one resultant sound let alone continuous adjustments within a song. Some of these muscles are not voluntary muscles(i.e they cannot be directly controlled) Considering we can only control a few muscular actions at a time. A singer has no time to directly interfere with the process. Only with the desired result. Sing on stage, follow the conductor, act etc. There is no time for anything like that. Read Read Herbert Caesari's Book. "Tradition and Gigli." 1958. Pg 34. "The term, "Completely Natural Voice, needs explaining in some detail.... First of all, the natural is not consciously aware of any actual vocal adjustments, nor does he appear to want to know. Everything vocal just happens. he merely thinks of the words and tune and wills himself to sing, and that's that. If you lavish praise on his vocal efforts, he may not even look pleased, for the automatic mechanism is taken for granted. In all probability the natural doesn't know a note of music, and low or high pitch is all the same to him vocally speaking, for he is just a subconscious singing machine." I have experienced a number of Completely natural singers. There are many examples of the greatest singers being untrained. Just coached for roles. Titta Ruffo, Rosa Ponselle, Amelita Galli Curci, Luisa Tetrazzini etc. I wrote too much already. Watch my other videos on the nasal mask singing playlist. There are no true resonance int he sinus cavities or bones. Playing resonance as opposed to function is quite different in results. Resonance is a result of an action and cannot be controlled. Sensations are superficial and subjective. I hope this helps. I cannot post links. RUclips does not allow it.
This is a great video with so much great information ‼️😎
Verrett was phenomenal! Such open, round and resonant sound. Fantastic!
Clearly the mask singing arrives farther and it's no true that there is no mask singing on them they all use mask. Just the Horne voice is not so supported on her body as the other two, but technique is the same the only thing changing is what they do in the back of their moth and that involves more throath in those you consider best, that's why lower notes are fuller. Too much analysis for good singers that deserve to be heard as art.
More videos please!!!!
WHEN HE SINGS ... ALL MY FIBERS TREMBLE...
❤❤❤
Every vocalist should be required to see this video.
Every vocalist should be required to see this video
Incredibile!❤