The Technics Of Bel Canto Classic Reprint

Excerpt from The Technics of Bel Canto Experience a sensitive ear, and the gift of intuition and individualization. The Vocal Organs may be described briefly as a pipe with double-reed, blown by means of diaphragm and lungs. The Voice results from the projection of an air-current against the Vocal Cords in varying degrees of tension. In forming the voice, three groups of muscles cooperate, namely, the Breathing-muscles, the Vocal muscles, and the Sound-modifying muscles. The mode of breathing required for artistic singing is diaphragmatic breathing. It is the sole method by which a singer can conduct sufficient air tranquilly', and with a minimum of exertion, from the lungs to the vocal organs. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

"Die Technik des Bel Canto" (1905) -- Extended Edition.As the last of the great master-teachers of the "old Italian school" of singing, Giovanni Battista Lamperti taught his students virtuosic vocal techniques handed down from the great castrati of the 17th century: exquisitely rich chiaroscuro tone, seamless flowing legato phrasing, undetectable passaggi register transitions and the delicately poised appoggio breath technique that allowed the astonishingly rapid coloratura typical of baroque music. In the only treatise he ever wrote, Lamperti the younger shares with all students, teachers and enthusiasts of singing, the techniques and skills that made his students that greatest singers of their time: the arcane secrets of bel canto.

Excerpt from The Technics of Bel Canto It appears superfluous and aimless to add a new singing-method to those already before the public. However, during many years devoted to lesson-giving, I have observed far too often how little attention is paid nowadays to individualizing. No two persons are exactly alike, much less any two pupils. In vocal teaching, especially, it does great mischief to try to make one shoe fit every foot. I feel that those of my colleagues will agree with me, who, still possessing a thorough knowledge of the Bel Canto, have often undergone similar experiences. Yet the power of true vocal art, even in this decadent period, has lost but little of its effect on enthusiastic auditors. This is proved by the ever-renewed successes of Marcella Sembrich and others as contrasted with the great multitude of "natural" singers and dubious specialists with more or less voice. It is this fact, in particular, which encourages me to gather together the fruits of my experience in this little volume, for the benefit of my own pupils and other earnest vocal students. Let it be added, that this method has been tested by time, and that I can trace it back to the Italian singing-masters Gasparo Pacchierotti (d. 1821), Giovanni Battista Velluti (d. 1861), and others. Should the technical information contained in these pages be found useful in wider circles, and do its part toward attracting and preserving many a talent to the service of the divine art of song, it would give the author the liveliest satisfaction. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

The Technics of Bel Canto (Illustrated) is a brief overview of technical singing. The original illustrations are included.

As the last of the great master-teachers of the "old Italian school" of singing, Giovanni Battista Lamperti taught his students virtuosic vocal techniques handed down from the great castrati of the 17th century: exquisitely rich chiaroscuro tone, seamless flowing legato phrasing, undetectable passaggi register transitions and the delicately poised appoggio breath technique that allowed the astonishingly rapid coloratura typical of baroque music. In the only treatise he ever wrote, Lamperti the younger shares with all students, teachers and enthusiasts of singing, the techniques and skills that made his students that greatest singers of their time: the arcane secrets of bel canto. Original title: "Die Technik des Bel Canto" (1905)

Giovanni Battista Rubini (1794-1854) was a legendary tenor and the first 19th-century non-castrati male singer to become an international star of opera. The previous two centuries had been the era of the castrati, with tenors and basses relegated to character and supporting roles in the operas of their time. Rubini stood apart because he not only matched the castrati in coloratura and pathos, but he also had an extraordinarily high voice. With Rubini’s rise, and in his wake, several tenors came to sing roles written specifically for them by Rossini, Bellini, Donizetti, and many other lesser-known bel canto composers. Signaling the end of the dominance of castrati on stage, this period would last some 40 years until the advent of Grand Opera, Wagner, and Verdi and the appearance of the first so-called High C from the chest by Gilbert-Louis Duprez in 1837. Since then, the accepted tenor sound has followed the tradition epitomized by Enrico Caruso and, in our own era, Luciano Pavarotti and Placido Domingo. Many composers, conductor, and performers would come to regard bel canto dramatic operas as decorative and vapid until Maria Callas and Tulio Serafin demonstrated the heights this genre of opera could reach. However, opera directors and opera performers of late who have expressed an interest in reviving selected masterpieces from the bel canto tradition have found themselves confronted with the problem of locating tenors versed in the vocal techniques necessary to carry the high tessituras. In Giovanni Battista Rubini and the Bel Canto Tenors: History and Technique, Dan H. Marek explores the extraordinary life of Rubini in order to frame this special period in the history of opera and connect the technique of the castrati who were among Rubini’s instructors. Drawing on the work of Berton Coffin, Marek offers long-sought answers to the challenges presented by high tessitura of bel canto operas for tenors. To further assist working singers, Giovanni Battista Rubini and the Bel Canto Tenors includes over 60 pages of exercises written by Rubini himself before 1840, which Marek, for the first time ever has adapted to acoustical phonetics. Professional singers, teachers and their students, vocal coaches, and opera conductors will find this work indispensable as the only English-language work on high tessitura for tenor and soprano singing.