This is SO interesting thank you!! As a singing student, you tackled everything I'm obsessed with. It so generous to put your thoughts and tips on UA-cam 🙏
13:00 Every composer is infinitely thanking you for this from wherever they are. Every fan of opera thanks you as well. It sounds a million times better without aspiration (I'm sure it is healthier as well, but that's definitely not my area of expertise 😝). Ps: The dedication you show to your fans by taking the time to answer every question as thoroughly as possible is amazing. It never ceases to amaze me how passionate you seem to be about your craft. It says a lot about you as an artist.
Just found you. I am basically retired now. Have worked with some amazing sopranos and always they did what you are taking about. I watched them all closely. I asked them what they did and some said they didn’t really know. Which I took to mean, too hard to explain. The one thing was all the work is done from the chest down. Sutherland said if she felt anything in the throat she would stop singing out in rehearsal. Which by the way she seldom did She also never aspirated and was, like you, totally against it. I am really enjoying your posts. Loving hearing a young singer expressing such good advice. Thank you.
Hi Donald,how are you going?,hope you’re keeping well and still singing,met you at Plenty Ranges,South Morang,many years ago when you did a Morning Melody’s Show!👍🙏🏼🎹
This is literally the most valuable information on UA-cam. I am in my 40s and am a working soprano and have been avoiding working on the hole in my voice (first passagio) and now I’m going to actually sit down and address it. I’m really scared but it’s time. Also thank you for saying what you said about vocal size. The way I spent so many years pushing my voice 😭
I’m a pianist, and since all of us instrumentalists are wannabe singers (or SHOULD be), I’m fascinated with this discussion of breath. It’s of utmost importance at the keyboard too. I also admire your confidence, self-possession, and apparent lack of inhibiting self-consciousness. You are simply you. Free. You sing that way, you speak that way. You surely must have worked to develop this. Perhaps you could discuss this brave journey you’ve taken to become who you’ve become. I would like to wish you a career that is always rewarding for you.
Michael Gast thank you so much for these kind words, Michael. I definitely feel like spending more time in front of a camera has helped me get more comfortable. It helps to speak on a subject I feel passionate about! :)
I really liked your section about extension. This has helped me a lot, as I am (most likely) a lyric coloratura, but my high E and F are not reliable. I feel as if I’m manufacturing them/faking them. Your anecdote was super relatable, and I really appreciate you sharing it. It’s really inspiring to see a successful high soprano who doesn’t necessarily have a super high extension.
Same here! Also a possible lyric coloratura, I have the same problem with E and F. The only way I can sing them is in whistle register, guaranteed. If I try in head voice, I might get it, I might not.
Thank you for your fabulous videos! I love your singing and your technical approach. I now teach at a university and I send your videos to my students to help explain what I teach but through slightly different words. I am a lyric coloratura and I sing everything from Monteverdi to Strauss. I like how you talk about singing coloratura but I believe there is another approach that is necessary for a lot of early music coloratura and is used a little bit in Mozart and bel canto (especially Rossini) as well...throat articulation. This is not an h or aspirated sound as that should never be used in my opinion but rather quick laryngeal shifts with a steady breath pressure from below. The work is not done in the larynx...rather the larynx is allowed to shift quickly on its own with the steady breath pressure from below. The larynx feels loose like in a trill. This can be heard most obviously in trillos (repeated pitches) and super quick passagework. I’m just curious if you ever apply this throat articulation technique or if you prefer the h for repeated pitches and super quick coloratura?
Hey there Tracy, I definitely think throat articulation is better than aspirated coloratura, even in Rossini and fast florid music. But there are definitely differing schools of thought; the H may be helpful for articulation purposes or for repeated pitches (though you can absolutely do a repeated pitch and articulate without an H) and in certain cases is appropriate and really up to the singer to train whichever technical approach is appropriate for them. I think laryngeal shifts supported by the breath is ideal bel canto coloratura, because as you said it's produced with support of a loose but controlled larynx. It's how I trill! :) I hope this helps.
The breathing and support section is so very helpful, thank you so much! I’ve been taking singing lessons for years and couldn’t understand how breathing exactly worked. I actually tried keeping the ribs open while singing an aria just now and I could already feel the improvement. Also, my throat feels totally free and not tired at all. 😅
She's soooooo gorgeous inside and outside and you can really see her kind heart, grace and beautiful soul! Thank you Lisette for everything you do! As a singer- interpreter and as coach/teacher!
Hola Lisette Querida! Podrías subtitular vídeos en español?No lo pido por mi, yo entiendo todo lo que dices pero hay mucha gente que no sabe inglés y se está perdiendo tus excelentes indicaciones y consejos. Gracias, toda mi admiración y respeto por ti en todos los aspectos!!!
I find the best teachers are usually performers instead of full-time teachers. Because they will actually tell you what to do and how to sing, while lots of teachers are just telling me what I have already learnt from my biology classes.
Thank you Lisette! This was great, from the breathing to the legato coloratura. I am so tired of hearing singers gargling and aspirating their way through bel canto operas. Listening to you is like rubbing a balm on my ears. You and your talent are unique.
@@LisetteOropesaSoprano I know. And I very much appreciate you saying sometimes a bit of aspiration is sometimes necessary to make pitches heard in a large, resonant house, and that it is also a matter of taste. I guess having cut my teeth on Callas and Sutherland, aspirated coloratura sounds jarring to me. And I also know a few people who insist that all coloratura has to be aspirated. My personal preference is to hear the coloratura sung legato, articulated and clean, but legato. I feel I can hear the arc of the melody when it's sung that way rather than hearing a series of notes.
Shahrdad I am in complete agreement! Like I said, I just feel like the ‘h’ is sneaky and can work its way into other parts of the phrasing where it doesn’t belong. Legato, all the way! Haha 😅
@@LisetteOropesaSoprano There is a wonderful video of a masterclass with Elisabeth Schwarzkopf, where she discusses how an "h" can sneak its way into places where it doesn't belong, and once your hear it, you can never un-hear them when they show up again. At some point when you have a bit of time, I would love to discuss with you your thoughts about rapid weight loss and its effect on breath support and the voice. I am an anesthesiologist, and I have taken care of obese patients who come for bariatric surgery, and then I see them a year or two later when they return for plastic surgery. And the respiratory physiology and spontaneous breath pressures generated by the body are radically different between when they're heavy and when they're much thinner. Of course, I see these difference when they're under anesthesia and paralyzed, but I can't imagine that the same physiologic differences wouldn't come into play when they are awake, upright, and singing. A colleague of mine who is a vocal cord surgeon and I have been discussing a possible study. You are one of the only operatic singers I've heard who has negotiated this perilous journey and emerged better than ever, and it would be great to hear your thoughts.
Wow your point of view sounds very well informed. I think I worked it out carefully because I lost weight quite slowly and did it during my student years, so that when I emerged from being a young artist, the weight loss was more or less complete.
Thank you for this video! I am a professional singer, lately making a reeducation with the Alexander Technique, because for 10 years all I've learned how to sing while cheating at my own voice to be efficient. It has always worked but I have always been tired in a half hour of practice. None of my 12 singing teachers have noticed the big tensions I had in my shoulder and throat... SO when I hear a singer like you who knows exactly what she's doing with her own body and knows perfectly what is good or bad to her, I am envious. I really admire that. I would like so much to have lesson with you!!
I'm glad you are on your way to finding a better method for addressing your tension. I have found wonderful vocal "training" outside of the voice studio as well, many times. It's kind of amazing how many other practices tie into it. You getting to know your own body and mechanism is the best thing you can do for yourself!
Lisette Oropesa, Thank you very much for this video. I learned a lot interesting things from this video. Thank you for sharing your knowledge, for me it means a lot.❤ I think that the most interesting topic is breathing, because not all teachers say how to breathe correctly. So it’s very interesting what real professionals say. Thank you❤
Hi Lisette! Thank you for answering so many questions, I've seen this video like 3 times :-) I saw you a couple of weeks ago at the Met Opera singing Manon and you were just beyond words, your french diction was immaculate and your middle register is very clear. I am having difficulties maintaining an even vibrato through my voice, especially in the middle as a soprano coloratura. I just started to work on my trills since I belive that would be. Do you have any advice or exercises to work on vibrato specifically? I am asking because you have such as amazing evenness throughout your voice and your sound is always spinning, the vibrato never falters. Thanks.
Hi! I sparked interest in you when you took over the Met Opera page last week during La Traviata and the clips from your Violetta are so dramatically fiery and vocally beautiful. I completely respect your voice and the uniqueness of it in today’s Opera scene. Thanks for being so open about your career and singing techniques via your platform. Truly an inspiration!
This was marvelously generous of you. Thank you. This matches the high quality of all your singing content (and vlogging too). Is there a performance / recording you are most proud of and / or think you sound best (two separate questions)?
Getting stuck in a tax filing meeting prevented me from attending a masterclass you did in Alexandria (near DC) in 2020. I’m an accompanist and I can’t tell you enough how grateful I am for this video, inspiring! Merry Christmas Lisette!
anyone in the comments have breathing exercises/tips for singers with asthma? I can't take deep breaths, but I feel there may be breathing exercises I could do to strengthen my abdomen
Hey I can recommend two things, a chiropractor and an aerosol I use thermus water or a type of sea water, it works like magic, I love in a polluted city so my allergies and asthma has grown worse but I stared the aerosol and it really helped by breathing fuller, not feeling blocked or wheezing because of the lungs . Hope this was useful
@@angeliquegeorgiou604 Can you explain more about the aerosol, thermus and sea water? I don't know what those are. Also, how do you use them? Sorry for the ignorant question. I just haven't heard of these before.
This could not have arrived at a more perfect time. Such a relief to have answers to my technical questions during a challenging period of singing. Thank you so so much, Lisette!
I feel a HUGE difference in my passagio at f-G#. For years it was a disaster for me. Now it's a little better but still super annoying lol. But I'm still In school so I have time. Narrowing placement is a very interesting idea I am going to try!
Gentilissima signora Lisette, può fare, a noi tantissimi fans italiani, un saluto, seppur breve, nella nostra amata lingua ? La ringrazio anticipatamente. Con assoluta stima e ammirazione, ( la Sua bravura è una cosa impressionante ) cordialissimi saluti, Massimo
RITA D'ALESSANDRO concordo completamente. Una cantante formidabile. Non posso dire con certezza, ma sembra ugualmente una persona fantastica. Fortuna per le persone che possono vantare la sua amicizia...
Hi Lisette! I know this video is a little old, but I just wanted to say thank you for all your awesome advice! I just got accepted to do a summer program where I'm singing a bunch of new repertoire. As excited as I am, I'm also feeling very overwhelmed. This video was incredibly helpful in calming some of my anxieties, and for giving me ideas on how to rehearse. Thank you again!
Thank You from The very bottom of my heart!!!! So much wisdom and generosity!!! But I have to tell You that for some moments your earrings took my attention away!!!!
Dear Lisette, you are treasure))) I'm happy to know that Your breath technique is absolutely the same one my italian vocal maestra tries to put into my muscles and my belly))) Thank You so much for Your generous advices and fantastic mix of hardworker and vivid smiling lady which You are!!!
So if the belly should stay out while singing how does one continue the support and the leaning of the breath ? The minute the stomach goes out doesn’t the Breath go out
Hi Angela, It's an exercise in resistance. As you are singing, try to keep the belly expanded as long as possible. It's not easy but it can be done. It's especially helpful for supporting high notes and singing forte.
I loved this - thanks so much! You are so intelligent. I found most interesting, and perhaps controversial, was the section on aspirated coloratura. I would love to hear your opinion on the extreme - the glottal coloratura (Deutekom). I found the most helpful was the section on breathing. The breath seems to be a mysterious concept in singing pedagogies, littered with strange analogies. I am not a good singer and probably never will be (I only started lessons around 18), but I hope one day I would be able to at least make an attractive sound I can bear to listen to. Never stop making these Q&A's, please!
Thank you! That was helpful. 😊I wonder what you think about vibrato in early music? I sing mostly baroque and renaissance repertoire. My voice is very light, high and I feel comforable with coloraturas. Most people around me say that it's good to avoid vibrato in early music in order to sound more natural, more autentic. But... my vocal teacher says that vibrato is a natural characteristic of a well produced voice. She tells me that I loose quality of my sond when I am so concerned about controlling it. I am a bit confused about this... 🤔
Very interesting, thanks. However, like many viewers, I visit many vocal coach channels here on UA-cam, trying to achieve better understanding, naturally much advice gets repeated. Nevertheless, I watch/listen, and still I have imperfect understanding. Breath control. Take in a deep breath and one's belly area naturally inflates as one's insides tries to make room for the air taken in. Start to sing a note and the only direction left for it can go, as it and everything else expands to push the air out, is back in. If one didn't take such a deep breath to begin with, allowing one to deliberately push the belly out as one commences singing, then it seems that something else needs to expand even more/work harder to push the air back up & out. This seems to be contradictory, especially since the other advice is not to start by contracting the lungs and pushing from there. Could you please clarify for me ? Thanks. By the way, can you explain what a resset is please ? That's what I heard as you referred to your opera part, and the transcript heard the same. I'm just curious as I couldn't find a definition. Thanks again.
So spot on with the pianissimo comparison, fake vs real. Sticks out like a sore thumb when other singers just shove the sound in their nose to sing pianissimo, or in their throat!
Oh my heck you are opening up a whole new world to how many countless people! Thank you for this taste of knowledge - I can't wait to watch all your videos
The most helpful section for me personally was the breathing and support. It has always been difficult for me to understand that concept but when you explained it as if it was coming from the bottom (foundation) and up - it totally made sense. Kind of like how chakras are in perfect alignment, so is your breath! I'm inspired and going to the practice room now :) Thanks Lisette!
I really like how you said in the practicing section that it's not a good idea to learn a part/aria from a recording, because every singer has it's own style of singing that part, it's best to learn it in your own style how your voice adjust to that part and make you different from other singers
Thank you for explaining so clearly and taking the time to do this. As a (very) mature student who only started voice lessons three years ago in my 60s, I have a great deal to learn and also a lot to unlearn due to many bad habits acquired over the years. I am privileged to have a brilliant teacher but I am always seeking out information. For me the topics on vocal size and vibrato are the most useful because they are pertinent to my current stage of development (small light soprano voice which is becoming bigger with training even though I didn't expect that to happen, and a fear of developing an "old lady wobble" leading to not having enough vibrato most of the time.) This whole video is pure gold and I shall be returning to it many times. How generous of you.
Me ha encantado toda la explicación y la manera sencilla de como te aplicas a tus roles y ejercicios!! cuando sea grande, deseo ser como vos. :) te admiro mucho y espero seguir aprendiendo de tus coaching sessions! hugs from Nicaragua.
Thank you so much for this! Tomorrow I will be asking my teacher to work with her again my breathing technique because as you said it is so important!!! You are helping me so much in this journey of finding inside me my best vocal version thank you so much for that!
5 років тому+1
Thank you so much Lisette! I am learning l' Elisir d'amore and this video was very helpful
Thank you, Lisette, you are a real inspiration! Singers rarely do learn these things at school! Thanks for making an effort to explain the complicated issue of support. For me personally it is important at the same time when I keep the belly open, to feel the pelvis and low back muscles active and keeping the support down. Like having the tail bone tucked in. Some people have a hollow back position and they curl their spine and lose the anchoring in spite of having their belly out. Especially in high heels it can be difficult to feel the lower belly because the knees get too extended.
Could you please do a video about professionalism. I mean being on time, knowing your music etc but I want you talk about ‘diva’ attitude and being difficult to get along with others and working with others.
Hey there, great suggestion! I do talk about attitude in my "the business" video, which is part 3 of this series. Time stamps are in the description box. Hope that helps!
This is SO interesting thank you!! As a singing student, you tackled everything I'm obsessed with. It so generous to put your thoughts and tips on UA-cam 🙏
So glad you got something helpful out of it! :)
Yes really valuable thank you 🙏❤️
That pianissimo demonstration showed up beautifully on the video! Love this video.
13:00 Every composer is infinitely thanking you for this from wherever they are. Every fan of opera thanks you as well. It sounds a million times better without aspiration (I'm sure it is healthier as well, but that's definitely not my area of expertise 😝).
Ps: The dedication you show to your fans by taking the time to answer every question as thoroughly as possible is amazing. It never ceases to amaze me how passionate you seem to be about your craft. It says a lot about you as an artist.
Just found you. I am basically retired now. Have worked with some amazing sopranos and always they did what you are taking about.
I watched them all closely. I asked them what they did and some said they didn’t really know. Which I took to mean, too hard to explain.
The one thing was all the work is done from the chest down. Sutherland said if she felt anything in the throat she would stop singing out in rehearsal.
Which by the way she seldom did
She also never aspirated and was, like you, totally against it.
I am really enjoying your posts.
Loving hearing a young singer expressing such good advice.
Thank you.
Hi Donald,how are you going?,hope you’re keeping well and still singing,met you at Plenty Ranges,South Morang,many years ago when you did a Morning Melody’s Show!👍🙏🏼🎹
Wonderful information for young singers - Brava! Thank you for sharing-extremely valuable and all so right on point!
This is literally the most valuable information on UA-cam. I am in my 40s and am a working soprano and have been avoiding working on the hole in my voice (first passagio) and now I’m going to actually sit down and address it. I’m really scared but it’s time. Also thank you for saying what you said about vocal size. The way I spent so many years pushing my voice 😭
I’m a pianist, and since all of us instrumentalists are wannabe singers (or SHOULD be), I’m fascinated with this discussion of breath. It’s of utmost importance at the keyboard too. I also admire your confidence, self-possession, and apparent lack of inhibiting self-consciousness. You are simply you. Free. You sing that way, you speak that way. You surely must have worked to develop this. Perhaps you could discuss this brave journey you’ve taken to become who you’ve become. I would like to wish you a career that is always rewarding for you.
Michael Gast thank you so much for these kind words, Michael. I definitely feel like spending more time in front of a camera has helped me get more comfortable. It helps to speak on a subject I feel passionate about! :)
I really liked your section about extension. This has helped me a lot, as I am (most likely) a lyric coloratura, but my high E and F are not reliable. I feel as if I’m manufacturing them/faking them. Your anecdote was super relatable, and I really appreciate you sharing it. It’s really inspiring to see a successful high soprano who doesn’t necessarily have a super high extension.
Same here! Also a possible lyric coloratura, I have the same problem with E and F. The only way I can sing them is in whistle register, guaranteed. If I try in head voice, I might get it, I might not.
41:41 OMG.
Thank you so much for taking the time to do this recordings and all the information you share with us.
Thank you so much for all this exceptional advice. I enjoyed every second of it. I love your presenting style too. Fabulous🌹
Thanks Maureen!! Glad you enjoyed!
Very straightforward! Thank you!
Dear Lisette, that was a great group of super clever and useful thoughts.
Thank you so much for this! I asked a question on Instagram and am a huge opera fan. I found it very interesting on how you learn new parts!
Love this thank you!!!! Please make more videos like these!
Can you make a video about singing trills?
Oh yes, please! 😀
I love that song!😃
Thank you for your fabulous videos! I love your singing and your technical approach. I now teach at a university and I send your videos to my students to help explain what I teach but through slightly different words. I am a lyric coloratura and I sing everything from Monteverdi to Strauss. I like how you talk about singing coloratura but I believe there is another approach that is necessary for a lot of early music coloratura and is used a little bit in Mozart and bel canto (especially Rossini) as well...throat articulation. This is not an h or aspirated sound as that should never be used in my opinion but rather quick laryngeal shifts with a steady breath pressure from below. The work is not done in the larynx...rather the larynx is allowed to shift quickly on its own with the steady breath pressure from below. The larynx feels loose like in a trill. This can be heard most obviously in trillos (repeated pitches) and super quick passagework. I’m just curious if you ever apply this throat articulation technique or if you prefer the h for repeated pitches and super quick coloratura?
Hey there Tracy, I definitely think throat articulation is better than aspirated coloratura, even in Rossini and fast florid music. But there are definitely differing schools of thought; the H may be helpful for articulation purposes or for repeated pitches (though you can absolutely do a repeated pitch and articulate without an H) and in certain cases is appropriate and really up to the singer to train whichever technical approach is appropriate for them. I think laryngeal shifts supported by the breath is ideal bel canto coloratura, because as you said it's produced with support of a loose but controlled larynx. It's how I trill! :) I hope this helps.
Can you provide some example of what you are describing? I would like to understand this technique discussion a bit more
Brava Lisette! This is wonderful for voice students!
Awesome, I hope you got something useful out of it! :)
thank you so much for your teaching , it is so useful !
The breathing and support section is so very helpful, thank you so much! I’ve been taking singing lessons for years and couldn’t understand how breathing exactly worked. I actually tried keeping the ribs open while singing an aria just now and I could already feel the improvement. Also, my throat feels totally free and not tired at all. 😅
OMG! Thank you so much for this!
Prepared but neutral.
Fabulous advice.
She's soooooo gorgeous inside and outside and you can really see her kind heart, grace and beautiful soul! Thank you Lisette for everything you do! As a singer- interpreter and as coach/teacher!
Fantastic video! And I am new to your content, happened to just see this video in my recommendations and thought to check it out. Much appreciated
Hola Lisette Querida!
Podrías subtitular vídeos en español?No lo pido por mi, yo entiendo todo lo que dices pero hay mucha gente que no sabe inglés y se está perdiendo tus excelentes indicaciones y consejos. Gracias, toda mi admiración y respeto por ti en todos los aspectos!!!
Me sumo totalmente a esta propuesta: en español también POR FAVOR, Lisette 🙏
Magari anche in italiano
Just to tell u
I love u and i adore your work ❤❤❤❤
I find the best teachers are usually performers instead of full-time teachers. Because they will actually tell you what to do and how to sing, while lots of teachers are just telling me what I have already learnt from my biology classes.
Thank you Lisette! This was great, from the breathing to the legato coloratura. I am so tired of hearing singers gargling and aspirating their way through bel canto operas. Listening to you is like rubbing a balm on my ears. You and your talent are unique.
Shahrdad I am not trying to critique other singers! I am just trying to share what works best for me
@@LisetteOropesaSoprano I know. And I very much appreciate you saying sometimes a bit of aspiration is sometimes necessary to make pitches heard in a large, resonant house, and that it is also a matter of taste. I guess having cut my teeth on Callas and Sutherland, aspirated coloratura sounds jarring to me. And I also know a few people who insist that all coloratura has to be aspirated. My personal preference is to hear the coloratura sung legato, articulated and clean, but legato. I feel I can hear the arc of the melody when it's sung that way rather than hearing a series of notes.
Shahrdad I am in complete agreement! Like I said, I just feel like the ‘h’ is sneaky and can work its way into other parts of the phrasing where it doesn’t belong. Legato, all the way! Haha 😅
@@LisetteOropesaSoprano There is a wonderful video of a masterclass with Elisabeth Schwarzkopf, where she discusses how an "h" can sneak its way into places where it doesn't belong, and once your hear it, you can never un-hear them when they show up again.
At some point when you have a bit of time, I would love to discuss with you your thoughts about rapid weight loss and its effect on breath support and the voice. I am an anesthesiologist, and I have taken care of obese patients who come for bariatric surgery, and then I see them a year or two later when they return for plastic surgery. And the respiratory physiology and spontaneous breath pressures generated by the body are radically different between when they're heavy and when they're much thinner. Of course, I see these difference when they're under anesthesia and paralyzed, but I can't imagine that the same physiologic differences wouldn't come into play when they are awake, upright, and singing. A colleague of mine who is a vocal cord surgeon and I have been discussing a possible study.
You are one of the only operatic singers I've heard who has negotiated this perilous journey and emerged better than ever, and it would be great to hear your thoughts.
Wow your point of view sounds very well informed. I think I worked it out carefully because I lost weight quite slowly and did it during my student years, so that when I emerged from being a young artist, the weight loss was more or less complete.
Thank you for this video! I am a professional singer, lately making a reeducation with the Alexander Technique, because for 10 years all I've learned how to sing while cheating at my own voice to be efficient. It has always worked but I have always been tired in a half hour of practice. None of my 12 singing teachers have noticed the big tensions I had in my shoulder and throat... SO when I hear a singer like you who knows exactly what she's doing with her own body and knows perfectly what is good or bad to her, I am envious. I really admire that. I would like so much to have lesson with you!!
I'm glad you are on your way to finding a better method for addressing your tension. I have found wonderful vocal "training" outside of the voice studio as well, many times. It's kind of amazing how many other practices tie into it. You getting to know your own body and mechanism is the best thing you can do for yourself!
Mrs. Oropesa leri mi ha fatto una sorpresa su RAI canale 5. So so so good singing, my compliments to you.
Thank you very much! Very helpful! Turn into a huge fan of you right away!
Very helpful, thank you!
Thankyou very much!!!
Lisette Oropesa, Thank you very much for this video. I learned a lot interesting things from this video. Thank you for sharing your knowledge, for me it means a lot.❤ I think that the most interesting topic is breathing, because not all teachers say how to breathe correctly. So it’s very interesting what real professionals say. Thank you❤
love this. Thanks for sharing, Lisette!!
Hi Lisette! Thank you for answering so many questions, I've seen this video like 3 times :-) I saw you a couple of weeks ago at the Met Opera singing Manon and you were just beyond words, your french diction was immaculate and your middle register is very clear. I am having difficulties maintaining an even vibrato through my voice, especially in the middle as a soprano coloratura. I just started to work on my trills since I belive that would be. Do you have any advice or exercises to work on vibrato specifically? I am asking because you have such as amazing evenness throughout your voice and your sound is always spinning, the vibrato never falters. Thanks.
Hi! I sparked interest in you when you took over the Met Opera page last week during La Traviata and the clips from your Violetta are so dramatically fiery and vocally beautiful. I completely respect your voice and the uniqueness of it in today’s Opera scene. Thanks for being so open about your career and singing techniques via your platform. Truly an inspiration!
This was marvelously generous of you. Thank you. This matches the high quality of all your singing content (and vlogging too).
Is there a performance / recording you are most proud of and / or think you sound best (two separate questions)?
The shade at 40:04 😂💖
Ahh thank you so much! This is super helpful :)
Bravissima Diva!
Thank you for sharing your knowleges and experience!!!
Getting stuck in a tax filing meeting prevented me from attending a masterclass you did in Alexandria (near DC) in 2020. I’m an accompanist and I can’t tell you enough how grateful I am for this video, inspiring! Merry Christmas Lisette!
anyone in the comments have breathing exercises/tips for singers with asthma? I can't take deep breaths, but I feel there may be breathing exercises I could do to strengthen my abdomen
Hey I can recommend two things, a chiropractor and an aerosol I use thermus water or a type of sea water, it works like magic, I love in a polluted city so my allergies and asthma has grown worse but I stared the aerosol and it really helped by breathing fuller, not feeling blocked or wheezing because of the lungs . Hope this was useful
@@angeliquegeorgiou604 Can you explain more about the aerosol, thermus and sea water? I don't know what those are. Also, how do you use them? Sorry for the ignorant question. I just haven't heard of these before.
This could not have arrived at a more perfect time. Such a relief to have answers to my technical questions during a challenging period of singing. Thank you so so much, Lisette!
As i follow ur breathing technique i feel like a pro opera singer hahha. *jk
Gosh this so hard.
Thanks for your explanation
iam following an online masterclass later on this day with you and i don't know what questions to ask
Thank you very much for all the advices and singing tips! ❤️🎶
All sections were helpful but The most most helpful section for me was the breathing, thank you ❤️
I feel a HUGE difference in my passagio at f-G#. For years it was a disaster for me. Now it's a little better but still super annoying lol. But I'm still In school so I have time. Narrowing placement is a very interesting idea I am going to try!
Can you explain more about manufacturing the high F with strengthening whistle tone? What is the difference? Do you have examples?
Gentilissima signora Lisette, può fare, a noi tantissimi fans italiani, un saluto, seppur breve, nella nostra amata lingua ? La ringrazio anticipatamente. Con assoluta stima e ammirazione, ( la Sua bravura è una cosa impressionante ) cordialissimi saluti, Massimo
Una donna meravigliosa, vero? Umile e generosa, oltre che una cantante eccezionale, come poche ultimamente.
RITA D'ALESSANDRO concordo completamente. Una cantante formidabile. Non posso dire con certezza, ma sembra ugualmente una persona fantastica. Fortuna per le persone che possono vantare la sua amicizia...
Thanks a lot for this wonderful, and most helpful video!
Hi Lisette! I know this video is a little old, but I just wanted to say thank you for all your awesome advice! I just got accepted to do a summer program where I'm singing a bunch of new repertoire. As excited as I am, I'm also feeling very overwhelmed. This video was incredibly helpful in calming some of my anxieties, and for giving me ideas on how to rehearse. Thank you again!
Thank You from The very bottom of my heart!!!! So much wisdom and generosity!!! But I have to tell You that for some moments your earrings took my attention away!!!!
Gosh, your singing really attacked my left ear during the passaggio part! Even the mic was a little distorted! Opera singers really are loud!
you are amazing!
Dear Lisette, you are treasure)))
I'm happy to know that Your breath technique is absolutely the same one my italian vocal maestra tries to put into my muscles and my belly)))
Thank You so much for Your generous advices and fantastic mix of hardworker and vivid smiling lady which You are!!!
So if the belly should stay out while singing how does one continue the support and the leaning of the breath ? The minute the stomach goes out doesn’t the Breath go out
Hi Angela, It's an exercise in resistance. As you are singing, try to keep the belly expanded as long as possible. It's not easy but it can be done. It's especially helpful for supporting high notes and singing forte.
Thank you sooooo much for the reply and clarification . I will surely work on it like you suggested . God bless you
I loved this - thanks so much! You are so intelligent. I found most interesting, and perhaps controversial, was the section on aspirated coloratura. I would love to hear your opinion on the extreme - the glottal coloratura (Deutekom). I found the most helpful was the section on breathing. The breath seems to be a mysterious concept in singing pedagogies, littered with strange analogies. I am not a good singer and probably never will be (I only started lessons around 18), but I hope one day I would be able to at least make an attractive sound I can bear to listen to. Never stop making these Q&A's, please!
Thank You ❤️🎶🎶🎶
Excellent Q&A thank you so much 💐💐💐
Thank you! That was helpful. 😊I wonder what you think about vibrato in early music? I sing mostly baroque and renaissance repertoire. My voice is very light, high and I feel comforable with coloraturas. Most people around me say that it's good to avoid vibrato in early music in order to sound more natural, more autentic. But... my vocal teacher says that vibrato is a natural characteristic of a well produced voice. She tells me that I loose quality of my sond when I am so concerned about controlling it. I am a bit confused about this... 🤔
Very interesting, thanks. However, like many viewers, I visit many vocal coach channels here on UA-cam, trying to achieve better understanding, naturally much advice gets repeated. Nevertheless, I watch/listen, and still I have imperfect understanding.
Breath control. Take in a deep breath and one's belly area naturally inflates as one's insides tries to make room for the air taken in. Start to sing a note and the only direction left for it can go, as it and everything else expands to push the air out, is back in. If one didn't take such a deep breath to begin with, allowing one to deliberately push the belly out as one commences singing, then it seems that something else needs to expand even more/work harder to push the air back up & out. This seems to be contradictory, especially since the other advice is not to start by contracting the lungs and pushing from there. Could you please clarify for me ? Thanks.
By the way, can you explain what a resset is please ? That's what I heard as you referred to your opera part, and the transcript heard the same. I'm just curious as I couldn't find a definition. Thanks again.
So spot on with the pianissimo comparison, fake vs real. Sticks out like a sore thumb when other singers just shove the sound in their nose to sing pianissimo, or in their throat!
So incredibly helpful! Thank you for making these videos!
Oh my heck you are opening up a whole new world to how many countless people! Thank you for this taste of knowledge - I can't wait to watch all your videos
Wow, that was a lot of information and extremely helpful and clear! Thank you so much for using your time sharing all that knowledge with us! 🥰
Has anyone tried the MI-RE-LA-MI exercise? How long did it take you to achieve that?
The most helpful section for me personally was the breathing and support. It has always been difficult for me to understand that concept but when you explained it as if it was coming from the bottom (foundation) and up - it totally made sense. Kind of like how chakras are in perfect alignment, so is your breath! I'm inspired and going to the practice room now :) Thanks Lisette!
I just started opera lessons wish me luck ad Tenor I think Im a Leggiero Tenor or maybe a Countertenor C#3- A#5
I really like how you said in the practicing section that it's not a good idea to learn a part/aria from a recording, because every singer has it's own style of singing that part, it's best to learn it in your own style how your voice adjust to that part and make you different from other singers
I just can't get tired of watching you in this vids, you are so generous! Thank you Lisette!
Thank you for explaining so clearly and taking the time to do this. As a (very) mature student who only started voice lessons three years ago in my 60s, I have a great deal to learn and also a lot to unlearn due to many bad habits acquired over the years. I am privileged to have a brilliant teacher but I am always seeking out information. For me the topics on vocal size and vibrato are the most useful because they are pertinent to my current stage of development (small light soprano voice which is becoming bigger with training even though I didn't expect that to happen, and a fear of developing an "old lady wobble" leading to not having enough vibrato most of the time.) This whole video is pure gold and I shall be returning to it many times. How generous of you.
Me ha encantado toda la explicación y la manera sencilla de como te aplicas a tus roles y ejercicios!! cuando sea grande, deseo ser como vos. :) te admiro mucho y espero seguir aprendiendo de tus coaching sessions! hugs from Nicaragua.
Thank you Lisette you are wonderful as a person and a wonderful singer!
I noticed that you clear your throat. Do you have a way to get rid of the throat glop? I have a problem with glop, especially when the seasons change.
This was super helpful! Thank you!
Thank you so much for this! Tomorrow I will be asking my teacher to work with her again my breathing technique because as you said it is so important!!! You are helping me so much in this journey of finding inside me my best vocal version thank you so much for that!
Thank you so much Lisette!
I am learning l' Elisir d'amore and this video was very helpful
Thank you, Lisette, you are a real inspiration! Singers rarely do learn these things at school! Thanks for making an effort to explain the complicated issue of support.
For me personally it is important at the same time when I keep the belly open, to feel the pelvis and low back muscles active and keeping the support down. Like having the tail bone tucked in. Some people have a hollow back position and they curl their spine and lose the anchoring in spite of having their belly out. Especially in high heels it can be difficult to feel the lower belly because the knees get too extended.
I'd love 2 meet u one day...anyways i believe i will
Gracias por tu generosidad Lisette!!! Es maravillosa tu forma de cantar y tu estilo tan personal!!!
Very helpful, thank you for taking the time to do this :-)
She looks so down to earth. Thank you for all your advices!
Could you please do a video about professionalism. I mean being on time, knowing your music etc but I want you talk about ‘diva’ attitude and being difficult to get along with others and working with others.
Hey there, great suggestion! I do talk about attitude in my "the business" video, which is part 3 of this series. Time stamps are in the description box. Hope that helps!
따봉! Priceless!! I regularly coming back to this to remind me of things ^^ Thank u, Lisette!!
This was great, thank you so much!
Maravillosa! Muy buenas explicaciones y una voz preciosa! Ojalá pueda hacer algún vídeo en castellano. Saludos desde España!
omg i have no idea your speaking voice is that low!
Wow , wonderful. Thank you 🙏🏾
This is so wonderful! So kind of you to share.
This was surprisingly helpful in breadth and depth given how unique each singer is.
Me parece admirable que compartas toda esta información, muchas gracias Lisette!
Exceptional explanation! Thank you!!
好希望有德语或者中文的字幕，这样我的英语就不会是问题了！
Ahora una versión del video en Español
Lisette por favor haznos uno en español !!!!! Por favor!!!!
Very helpful and generous! Thank you! Could you give a reason why some notes
" pulsate"? ( rather than vibrate)
Amazing! Thank you!!!!