it is a very disconcerting book. there are a lot of great singers (by
classical standards) in this book who don't just have great voices, they sing
well. but none of them seem to have the faintest idea how they did it.
they all sound like they're reading from their horoscopes.
there are a couple of them who seem to be somewhat sensible. i think
mario sereni's recommendation of using a tape recorder as much as possible is
a great suggestion. i think it is a singer's most valuable tool. even if
you never learn anything new, you can certainly remanage what you already
have and you can use a tape recorder quite effectively for that purpose.
there is an odd thing that sereni and quilico both talk about and that
is a sensation of opening inside the larynx (sereni describes it with a hand
gesture of trying to open his fingers while holding them closed with his
other hand. hines' next book should be 'great origami by great singers').
i had no idea what they were talking about until i read about jo estill's
idea of retracting the vestibular folds through the action of imitating
laughing, claiming that in laughter, these folds retract allowing uninhibited
vibration of the vocal folds.
i love this line from franco corelli "the vibrations that propagate in
the cheeks, jaws, eye sockets, the frontal parts of the head, perhaps serve
in directing the breath, giving beauty to the voice, giving a more effortless
trajectory to the breath". (and they say del monaco was the dumb one.)
mike
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