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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