Sara Gamarro, Italian Opera coach
www.cantareitaliano.org
The unequaled Franco Corelli has become in my teaching jargon a synecdoche command for "let go of your tongue and lips NOW, so that you can bring the diction, the appoggio and the emission back where they belong - and that is THE FARTHESTAWAY from mouth and throat".
(I alternate the "Corelli" command with "pretend your dentist gave you anesthesia", or "pretend that you fell asleep on the subway and are talking in your sleep" - you are welcome.)
The great(³) tenor's instrument's relaxation was such that when he sang he sounded like he had a lisp, that he so did NOT have when he spoke.
The reason was that only a lisp-like relaxation ensured him enough the perfect legato and perfect vowel shaping he needed to carry out with effortlessness and elegance his vocal lines amidst the most terrifying operatic pages he rendered at a legendary level.
In other words, that lisp was his very unique path to perfect FOCUS - vocal and mental.
Here I am discussing with a tenor student how such a smoothing technique works wonders on the other instrument of the singers - their first one, in fact- which is never to be afraid, macho'd, forced or traumatised: the psyche.
(Fascinating, how we could perfectly apply Corelli's legacy to contemporary music and to our specific repertoire of interest, which was Luigi Nono's "Intolleranza 1960" )
La Maestra ⚡
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Негізгі бет Franco Corelli's lisp: technique or mental attitude? ...or both?
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