Відео

Very Very Interesting .... Mezza Voce master

Deliziosa spiegazione ed utilissima! Grazie ! 🙏🏻😍

The one and only Cantare Italiano ARKive: 60+hours (and growing daily) of #ItalianLyricDiction - libretti, full roles, arias, encores & art songs lyrics - spoken and chanted with their orthoepy and diction enunciates (and with many diction rules often repeated and explained): it will save you more than half the time of your sessions, once you know my method, and it's just awesome that it exists. For you, for free, forever. 👉 CantareItaliano.org/ARKive (in bio) La Maestra ⚡ ⏺️ #thecantareitalianoarkive #cantareitaliano #saragamarro #vocalcoach #voiceteacher #belcanto #operasingersofinstagram #opera #italiandiction #italianforsinging #italianlanguage #italianopera

Grazie 😊

I pioppi curvati dal vento, rimugghiano in lungo filare...da Terra e Mare.

Fantastica.

Molto interessante questa lezione....mi è servita!

Ciao, in base all' ascolto del video e della tematica, mi sono fatta una domanda: io canto mettendo in fuori le labbra (si dice pesciolino) altrimenti non mi escono bene i suoni e poi è questa la tecnica della mia insegnante la quale ha studiato con Mariella Devia. Penso che quando i suoni escono bene e non si fa fatica dovrebbe essere la tecnica giusta no? Adesso ho sentito che il modo di cantare come ho imparato io sarebbe sbagliato... però vorrei capire il perché. Grazie! Ti seguo....

Cerco un centro di gravita' permanente! Questo é cio' che cerco!

Magica!!!!!

Che le corde si Adducano con l immagine mentale non so ....può darsi ....quello che ho capito è che il corpo si prepara con il respiro.....

Quando arriviamo però alla "A" sugli acuti bisogna coprire con un po' di "o" giusto?

Parlerai anche delle altre vocali che per me sono più difficili, tipo la "e" ?

Thank you so much!

Idiots. Corelli was from Bologna where the language was spoken with a lisp.

Genial! Grazie!!

Magnífico! Molto grazie!! Molto ciara spiegazione. Por fin!🎉❤

Madame.

Absolute rubbish - what alternative to using his technique did he have? His nerves were there all the time, even if his voice was in good shape for a performance. If it wasn't he simply cancelled.

🌹👏

Un'ottava sotto ha tutta questa voce? :O Incredibile. Chi è?

❤

How much brighter his voice became when he just spoke Italian was amazing!!

I'm absolutely floored that you post your lessons and have this genuine and authentic Italian Opera channel, only 611 subscribers?!?! There is no way.. I truly hope you get the credit and attention you deserve. Keep it up! 🤗

Absolutely brilliant! Tysm!!❤

Sei bravissima…ho appena finito di divorare il tuo libro…complimenti ❤

As a Ferrari fan this is very helpful❤🇮🇹

Cantiere etimologicamente è legato all'asino da soma. Cantare invece è legato al cantare, pregare, fare poesia. Nessuno dei due c'entra alcunché con le pietre.

TOP MAESTRAAAA

Amazzziiiiing

la differenza tra un teologo e un santo?

Absolutely fantastic

sexy opera

gosh that's so helpful!!! Thank you so much! I wish my teacher could have taught me this way

...Grazie Mille...!!!

First, this is strange in that you see one person on the video and the mysterious voice from somewhere. I guess I don't find much at all useful here, but I do agree that Franco's Calaf was the only one. "Technique to quiet nerves" just makes no sense to me. Obviously a singer a performer has to have confidence in his technique-it's what makes it possible, and controllable when things are not going to plan, or the unexpected turns up. Unless I misunderstand the word "phlegmatic"-I don't think Corelli had a phlegmatic bone in his body. Was Pavarotti smart-in some ways yes, and understood his technique and voice-but not so "smart" acording to R. Bonynge. Why would anyone not understand that the essence of a spinto, robusto tenor-especially in Corelli's era was to be macho? What does the lisp (which is largely an urban myth) in the header have to do with anything?

It is *consistently* a joy to see these videos here and on Instagram. I never cease to be amazed by you, Sara!

I have 3 cats, but all are dangerous, my cat has become very fat, she just keeps sleeping all day long.😢😂

Your explanations are so clear, make so much sense! I am so grateful for this insight. Preparing the sound, envisioning everything, then relaxing, sleeping on the breath, and finally diction. This is so comfortable! Why wasn't I taught this before? Thank you

Great tips! Often put this aria in my warming-up routine 🙏

Thank you for reminding us that Bel Canto originated in such arias! Wonderful music, wonderful technique, wonderful tips!

He suffered an injury in his youth, one which required plastic surgery. It was also a contributing factor to the Corelli lisp. (Rene Segher's book)

mamma miaaaaaa!!!! che orrore ! tutto canto di gola ! TUTTO SBAGLIATO ! Mi piacerebbe sentir cantare un' aria d'opera a questa giovane signorina(che pertanto non credo abbia alle spalle esperienza teatrale).

...le parole si fanno dire e percio' sono relative....e non sempre corrispondono alla fisiologia reale. Ma lei ha mai cantato in teatro con lo'orchestra e coro? e che ruoli? Tutta questa energia cinematografica(per cui mi congratulo con lei) la sa applicare anche in palcoscenico, in situazioni estreme? e con quali risultati vocali?

These are some good observations your lessons seem to very good, Corelli had a certain vulnerability which makes it more easier to connect with him emotionally. In the Corelli documentary that was produced by La Scalla they also note Corelli had a big cello like voice, with note of sadness and vulnerability. However, I do think a big problem is that people do not understand big or dramatic voices. People listen to studio recordings where the voices of lyric tenors are amplified a lot to sing dramatic roles. Then they expect dramatic singers to sound exactly the same as lyrical voices but simply louder. That is not how dramatic voices works. Dramatic tenors are not always just trying to be macho on purpose, it takes force and effort to move something around that is really big, that is what people will hear, they hear more of the effort and the force when a big voice sings. Anything that is bigger have different challenges. Dramatic voices are less flexible because they are bigger, they are far more prone to singing in a stentorian fashion then with legato. The problem is reversed as well, when lyrical voices sing big roles they struggle to sound stentorian or to sing in forte for long phrases, and if they do this they can easily damage their voices. People need to start thinking more or they need to understand the purpose of these different voices. Why would people have lyrical expectations for a dramatic tenor? In that case someone should just watch a lyrical tenor. Dramatic voices are best for very strong emotions and expressions, they also often have to express some of the darkest emotions. For example like in I Pagliacci, Vesti La Giubba is not suppose to be a beautifully sung aria, with nice legato lines. It is an aria of someone who is desperately losing their mind, and they are about to kill two people. There is a problem of people who do not seem to understand what is needed in some of these heavier roles, it not always suppose to be pretty. And dramatic roles often requires powerful singing, these characters are often warlords, princes and soldiers. The voice of Rodolfo the poet shouldn't be singing the warlord Radames. Corelli was really last in the great traditions of the earlier years. His technique was mixture of bel canto and versimo, as a result he had great legato which is not something you will often find with big dramatic voices. He was the last dramatic tenor who was able to sing some the great bel canto roles, or the tenor assoluto roles. In the times of Caruso we had dramatic tenors singing the roles such as Guillaume Tell, Les Huguenots, Poliuto or Le Prophete. Corelli was really the last of this breed, now we have leggero tenors singing these same roles.

Un artista es un artista y ninguno se parecen. Corelli fue como Miguel Ángel en las artes plásticas: "un personaje sublime al que sólo hay que disfrutar su obra y punto".

Tenors rely on their technique to guide them through an opera. Usually, the better the technique, the better the tenor, along with an abundance of breath control. When the voice is sometimes not responding to it's optimum level, good technique saves the singer. A Bjorling review in Manon Lescaut suggested that the tenor was lost in the first 2 acts of the opera, but came alive in the 3rd act. His fine technique came to the rescue. Corelli was extremely nervous on stage and resorted to some mannerisms as a crutch to lean on, like excessive portamento where not written, occasional scooping, running ahead of tempos, to get o his great high notes, and then rewarding his listeners by holding on to high notes forever. His diction was not excellent and his lisp was very noticeable in French, but hardly when singing Italian. Corelli did NOT use these mannerisms in the security of the studio where he was a better singer. However, Corelli was NOT defined by these shortcomings and had a complete vocal arsenal that any tenor could only dream of. Mezza voce, diminuendo, warm quality of voice that created an intimacy with his audiences, great high notes, and upper high notes, creating a visceral sound and a handsome stage presence. Few tenors have had all of these great qualities. So much for being a perfectionist! Remarkably, Corelli received more negative than positive reviews from his performances at the Met. Never for his great voice, but how he used it, siting the items I mentioned above. Critic, Irving Kolodin stated that Corelli seemed to be a force onto himself, ignoring the score, and singing to the rafters, and holding on to high notes forever. In spite of several poor critical reviews, Corelli was known as Mr. Soldout and Prince of Tenors during his 15 year period at the Met. In My Opinion, it's definitely more important how an artist reaches his listeners rather than what critics write. But a critic may give us a point of view we may never have thought of. Corelli was a great tenor and is one of my favorites.

Come sempre molto interessante. Il discorso sule regole della poesia siciliana fa sorgere spontanea una domanda: se la confusione tra "e" ed "o" aperte o chiuse non sussisteva data la diversa grafia, erano però consentite rime tra vocali diverse quali una "e" chiusa e una "i", oppure tra una "o" chiusa e una "u"? Era possibile, per esempio, la rima tra "amore" (se ho ben capito scritto "amuri") e "scuri"?

Good observation. Love Franco's power and signature sound. Steven from Ohio US.

Absolutely fantastic video. Deserves many more views and likes 👍👌