Mozart: Il Mio Tesoro | Don Giovanni • John Fisher Masterclass • BPYAP • Snape Maltings
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- Опубліковано 2 сер 2024
- Alex Aldren (tenor) and Maya Irgalina (piano) work with John Fisher on accuracy and detail in melisma, getting rid of tension and some work on Mozart technique.
Filmed at Aldeburgh Festival 2018, as part of a series of masterclasses on the Britten-Pears Young Artist Programme with John Fisher, Julia Faulkner and Matthew Rose.
Find out more about courses: brittenpearsarts.org/take-par...
The important thing when a student wants a masterclass is to know who his teacher will be ... Who is John Fisher? And what impact has he had as a singer in the world of opera? Modern technique ruins many young voices ...
John Fisher is one of the finest vocal coaches and musicians in the world.
@@stevenwhite1844 You will be his great friend, I suppose.
The young tenor sings with enthusiasm but uses a very open voice "goat" technique, without projection, but the aspirant has a beautiful instrument to improve (raw material) he only needs better singing teachers in his career. The technique in "maschera" is not specifically the one that should be worked on in the video, precisely the false technique in "maschera" should never sound nasal, quite the opposite.
A teacher must always show the student how to do it, singing the passage properly, John Fisher only speaks ... also his spoken voice sounds nasal too. As a repertorist he can be a good teacher, but as a singing teacher he must first know how to sing. An opera singer should never open the voice always "aperto ma coperto" and with projection (squillo) to be able to sing over a large orchestra. Mosquito and small voices ruin the careers of many promising youngsters.
I can't deny that I totally agree with your opinion. This young guy is too nasal to start with.
"You don't have a throat! Don't worry about your throat." YES! I love the humor and wisdom in those statements. British humor will identify the problem, provide some brief comedy, and also a solution. Why some Americans think this is snubbish is beyond me. And I say all of this as an American.
Dmn I love the pianist
Good Voice!!
Stay away from John Fisher as far as possible.
The second refrain blew me out of the water!
Really? He seemed in trouble by 2:12
Molto Fantastico !
Do all conductors want to be singers and voice teachers?- This seldom ends well
Bravo
the more he sings the tighter his tone gets and more he sings in the throat. Wonderful voice though. He hold a lot with his jaw too.
bravo for breath support!!! that is literally the longest phrase mozart wrote and its such an accomplishment to not sneak in a breath. he has such a dark tone, i wonder if that is natural or suppressing the mechanism? the tessitura is of this is not nearly as challenging as other tenor roles and a brighter, forward resonance is important to access the higher register.
Dark tone? His voice is overly bright - too high larynx and falsetto mix throughout.
Also, there is no such thing as forward resonance. The voice is produced by the vocal folds and amplified in the pharynx - nowhere else.
Have you taught tenors before? which area of the pharynx do you focus on the most? laryngo.. maybe if you want to get pollups. he talks about it at 9:30. in the mask, a lift. although I dont agree with talking about the mask.. it is focused on the naso pharynx, so a forward projection rather than falling back into the throat, is the only way to have the squillo. the darker you get the more problems you encounter. kaufmann had to have nodules removed.. his tone is too dark for the robustness of the tenor repertoire.
@@danielc9483 I am a tenor. I focus on the part of the pharynx that needs adjustment at the time, of course. Why do you ask?
Again, you can't focus, project, place or move the voice in any way - it's anatomically and acoustically impossible. The voice is created and amplified in the pharynx. By lowering the larynx, lifting the soft palate and getting the root of the tongue out of the pharynx you create the perfect resonance chamber for the note and vowel you are singing - amplifying the needed harmonics, making the voice loud enough to be heard. Squillo comes from clear vowel shaped in the pharynx (and NOT in the mouth).
The problem is not too much darkness, but artificially created darkness be pressing down the larynx with the back of the tongue - like the awful sounding Kauffman does.
Madame Heinz you keep talking about the pharynx which includes the larynx, i dont understand why you disagree with the vernacular i was using. suppression into the larynx would be the opposite of forward resonance. squillo is not exclusively made from vowels. Although most of your statements are true, in teaching it is not effect to say get rid of your jaw tension and don't suppress your tongue. if that works for you, why aren't u teaching the masterclass.
@@danielc9483 the larynx is not a part of the pharynx. The larynx is connected to the larynx (larynx/oro-larynx/naso-larynx). The pharynx is the open adjustable space behind the oral cavity, extending down to the larynx and up behind the soft palate.
But since you can't place the voice why call it forward placement? It's just confusing, misleading, wrong, and doesn't describe what you actually mean.
So when you say "forward placement" what physical adjustment are you looking for and how does it affect the timbre?
Oh dear dear.
Promising voice. Some technical things (slightly nasal sometimes) to practice but otherwise really enjoyed the performance. Please do not listen to those who recommend to give up the covering. Those really don't know much about it. Stay in it and, use your chest and train. You are on the right track. And good breathing by the way.
He voice is 100% nasal placed.
He has great potential with relaxed troaght but he needs a teacher that removes his voice from the nasal placement.
@@xamuca22 Actually easy to remove.
@@thevoicepath Yes the difficulty here is finding a teacher that knows how to do it because i see a lot of new opera singers with extremely nasal voices specially tenors
@@xamuca22 I do remove it from all within a few lessons. Online and in person. But prefer real lessons. Works faster.
@@xamuca22 Anyway, this young man's potential is good. For sure he knows by himself what to work on.
Such a lack of squillo he almost seems down an octave!
Too concerned with "placement" and trying to stay within that muffled, covered sound. The Italian would be helped by thinking of pronunciation and accentuating the words properly. Everything is too contained in a box, so to speak. Good tenor but open up the throat and sing!
Che lingua è mai questa??? Però bravo
inglese xD
For God sake put the brakes on the pianist !! its way too fast .and getting faster as they progress through the aria . great voice though and good results at the end at a much better tempi . Bravo!
NEEDS TO LEARN ITALIAN....THAT WOULD CHANGE RADICALLY HIS STRANGE SOUNDS AND CRISPATION.....THE WORD IS THE MOST IMPORTANT THING TO BE ABLE TO REACH THE "SOUL" OF WHATEVER SOUND (VOWEL AND CONSONANT...) IN ANY LANGUAGE, YOU SING, NO MATTER WHICH KIND OF MUSIC YOU PRETEND TO SING.
...it is the tenor who rushed the tempo pursuing “in one breath” .doesn’t solve anything!...the coloratura is muddled beyond pitches......good material though.
Nasal, high larynx... Yep, sounds like modern singing.
Modern technique ruins young voices. Is a reality....
@@OGrauMusic of course it does. And while there are lots of ways to fine tune voice with traditional technique, the key here is that the fundamental technique whatever the aesthetic is breath support, openness and pharyngeal based. Do this and the larynx will drop itself and get lower and more stable over the years as the fundamental technique develops. Then it’s up to the person / teacher to blend the voice correctly according to style, fach etc.
This takes about 10 years, and unfortunately most modern study courses last 3, so it’s no surprise that all the teaching establishments want to achieve the “best” possible results in as little time (to bolster their reputation and earn $$$s). So they go for teachers who use modern placement technique which because it doesn’t require proper breathing keeps the larynx high and tight. Of course this technique works great short term and you can get singers sounding great by the end of their course! But like driving your car permanently in 1st gear, the life of the voice is cut permanently short because of the damage this technique does. And then all of the teachers and establishments will say “ahhh but the hustle and bustle of a career in this day and age takes its toll and you should expect to have a career for no more than about 20 years”. Thus brainwashing another generation of young singers!
Pls the pianist. Play slow. You play too fast and it makes the singer hurry.
👎👎👎
Completly nasal placement.
Pianist played to fast and made hia colloratura a mess.
He needs someone to teach him how to place those vowels
Agreed
I should be there instead
He is just not ready to sing this area in front of people
Strumento con potenzialita', ma non ha avuto buoni insegnanti: tutto molto spinto e la dizione non è buona.