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The Italian singing technique Bel Canto instructs, "He who knows
how to breathe and how to pronounce, knows how to sing." Singing:
The First Art incorporates the techniques of Bel Canto along with
those of masters like Berton Coffin and Manuel Garcia to promote
and facilitate vocal excellence. Many concepts are described, from
correct posture and alignment to improving and maintaining proper
breathing, from good pronunciation and diction to producing an
even, pure tone, and from vocal ranges to singing within and
smoothly shifting between vocal registers. Mannes Vocal Faculty
member Dan H. Marek effectively breaks down these complicated
concepts with clear exercises, helping the vocal student to achieve
freedom and complete control over his or her instrument. A primary
section on the history of singing stresses the importance of
understanding vocal history while inspiring and motivating the
student through the experiences of opera stars such as Enrico
Caruso, Maria Callas, and Jussi Bjoerling. The second section
explains vocal techniques, including the use and proper
pronunciation of the IPA (International Phonetic Alphabet), and
provides 64 specific exercises with clearly defined goals designed
to overcome faults and to develop vocal virtuosity. Complete
instructions for transposing the exercises for both male and female
voices are included, as well as drawings of the exercises, musical
examples from vocal literature, excellent anatomical illustrations
by Frank Netter, MD, and copious photographs of opera stars.
Singing: The First Art is an invaluable text for students,
professionals, singers, conductors, composers, and vocal medical
professionals, or anyone interested in understanding and
appreciating the vocal art.
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
forty 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,
conductors, 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 sixty 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.
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