Vocalist.org archive


From:  "Lisa M. Nuske" <earthbounddiva@w...>
"Lisa M. Nuske" <earthbounddiva@w...>
Date:  Sun Feb 18, 2001  1:59 pm
Subject:  RE: [vocalist] pianissimo -- how did Milanov do it?


Hi Isabelle,
I have achieved this sound, I think, once or twice in my attempts to get to
what you're looking for. The way I do it is to think of the notes as
smaller in size than the rest of them. I still have to REALLY support them,
but they have to feel smaller in my head. They also have to feel as if they
will never end, like the sound goes on endlessly to the horizon. With
everything else, they have to feel very open in my throat - just like all
other notes.

I don't consciously think of less air - because I don't think it takes less
air - but I consciously think of less volume. At the same time, I think of
a full sound - but not a loud sound. Some other terms that come to mind are
sparkle, soft (as in not edgy), shiny...

This is what works for me and as with most of *my* other ideas, they
originated with my wonderful teacher, Patrice Michaels (formerly Patrice
Michaels Bedi)...

As Christine pointed out with my last post, I am definitely a singer who
uses mostly imagery to get to where I need to go - but it works for me. I
hope some of this works for you...

Have a great day!

Lisa M. Nuske
Soprano and Voice Teacher
Appleton, WI
http://home.att.net/~earthbounddiva

You are the music while the music lasts.
~ T. S. Eliot ~


-----Original Message-----
From: Isabelle Bracamonte [mailto:ibracamonte@y...]
Sent: Friday, February 16, 2001 12:55 PM
To: vocalist-temporary@yahoogroups.com
Subject: [vocalist] pianissmo -- how did Milanov do it?


Who can give me a "how-to" opinion on pianissimi?

I'm experimenting with a bunch of different things
lately -- and the bottom line may be that I'm just too
young to have it all together yet -- but I'd like to
know how all you singers or teachers make a pianissimo
happen. A high one, I mean.

To my ear, there are two different types of pianissimi
out there. One is a fluffy, floaty soft tone I have
no use for -- Sumi Jo is the epitome, as are Ruth Ann
Swenson and Fleming. It's a nice, pretty sound, but
it's not my conception of an operatic pianissimo; it's
just breath and space.

The other is a cored, whittled-down, pinpoint of sound
that makes you gasp for breath and lean forward in
your seat, a tiny thread of sound that is quiet but
not soft. I heard Ana Catharina Antonacci do one last
year. Tebaldi, Milanov, Callas have all recorded good
ones.

Unfortunately, most of the singers' comments I have
heard go along the lines of, "How do you achieve your
divine pianissimo that makes the fans go wild?" "I
was born with it." Except Milanov. She says that she
had to work for it, which gives me hope.

If you go to this web site, you will hear (if your
computer browser auto-loads .wav files) a clip of
Milanov to see what I mean:
http://ourworld.compuserve.com/homepages/handelmania/

I know Dr. Diane studied with Milanov... did she
share?

Or the rest of you -- how to you do/teach a good
pianissimo? And do you agree with me that there are
two different types out there?

Isabelle B.

=====
Isabelle Bracamonte
San Francisco, CA
ibracamonte@y...
ibracamonte@y...




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