April 28, 2019

The Flute

This is how the Lamperti School thought of the larynx and the pharynx surrounding it.

One learned to breathe and play at the top of the pharynx, thereby creating a column of breath in the body (see my previous post). 

It’s a simple idea really, from a time when voice teachers had only a rudimentary understanding of vocal physiology.

Find the rest of this post at VOICETALK 2.0. 

April 21, 2019

Column of Breath

What did the Last Great Empiricist Francesco Lamperti teach? 

Sing on the breath, but not with breath.

What does this mean? 

Practically-Speaking, it means students were taught to create a column of breath by shutting the mouth and inhaling up and into the middle of the head—initiating a reaction, not only in the torso, but also in the head and face—the reaction itself being the column. 

Find the rest of this post at VOICETALK 2.0.

April 14, 2019

Pauline Viardot-García's Pure Vowels

Some think Pauline Viardot-Garcia studied singing with her brother, while others believe she studied with her mother. It depends on who you rely upon to ascertain the matter. Me? I think the Oracle of Paris studied with herself; that is, regardless of who she happened to work with during her lifetime, Viardot-García was as near an autodidact as you can be—subsuming everything that passed in front of her eyes and ears. The big clue? She spoke multiple languages fluently without accent, sight-read and sang Tristan und Isolde for the composer from the orchestral score, and played her student’s accompaniments from memory. 

Her brother, the legendary Manuel García—the father of voice science—called Viardot-García “the real genius of the family.” 

What don’t you read about regarding Viardot-García? 

Read the rest of the blog post at VOICETALK 2.0.