As some other youtube guy said " the proof is in the singing". Undoubtedly Maestro you are the pudding the proof is in. P.S I discovered "bob" one day and it really was great as you say!
del Monaco’s teacher whose name slipped your mind was Arturo Melocchi. The notion that del Monaco was the only student of the Melocchi school who amounted to anything is false. Gastone Limarilli was a long time direct student of Melocchi. He had a long career in lirico spinto roles and later on also performed very tasteful interpretations of dramatic ones (his ch’ella mi creda comes to mind). Another direct student was Robleto Merolla who performed dramatic and spinto roles internationally for many years. He later became a teacher, taking over the classes of Melocchi at the Pensaro Conservatory. Franco Corelli studied with a student of Melocchi even though he was more influenced by the Method of Melocchi than the few lessons he took with Melocchi himself. Baritone Marcello del Monaco (brother of Mario) studied under Melocchi. He was heavily influenced by Melocchi and became a famous teacher in his own right. From Marcello’s school originated many spectacular tenors, some of them amongst the leading ones of their time. To name a few: Gianfranco Cecchele, Guiseppe Giacomini, Nicola Martinucci. The recently deceased lirico spinto Cecchele had a career spanning over 40 years. He competed with Pavarotti and Domingo over leading roles during the 80s and late 70s. Giacomini had a similar career to Cecchele. His trademark was his gigantic and rich dramatic voice. A real heldentenor during his later prime. Martinucci has now been performing for over 50 years. He is a dramatic spinto and has achieved the status of a legend for his prolific career. Judging by his masterclasses his approach to teaching (the central principle being „appoggiare e cantare“) is close to yours. Kind regards, Manuel
I continue to look forward to your lectures everytime. You are always teaching me something new. Very insightful video as always. In relation to the glottal stop and it's correlation to appoggio, I was also thinking about growling and grunting. This is a phenomenon in modern music styles and I'm wondering if this can be done with the appoggio method of breathing without damage, engagement of muscles in the throat, and without interrupting the natural response of the appoggio. As you always mention babies are great to watch for the primitive use of the appoggio method. I hear tons of babies grunt or squall at times when crying or laughing excessively. Is this wrong to do or hurtful to the voice if even possible while using the appoggio method?
Mr Trimble is a brilliant teacher I never had a teacher who spoke about anything like this because they only could play the piano and couldn’t demonstrate themselves only played scales to stretch your range without knowing anything about anatomical variations. Results = Loss of voice following bad advice .
you are my inspiration michael, I wanted to ask you what you think about my case, I have a problem wanting to occupy more dynamic range and I don't know if it is due to this issue, in strong dynamics it happens that when I record myself I find a tight tone, which loses beauty, sounds bad and it hurts me, I begin to lose my balance in the control, in the soft sounds I know that you should not fit airy, the voice responds to me extremely well and sounds totally free, it is only a matter of making it grow in vocal intensity that all the sound is It turns horrible, it makes me unsteady the bell disappears, it feels forced, tight, I find it screaming or suffered I don't know what to call it that I've got used to singing softly about this situation, what do you think Michael is doing wrong? I try to follow the technique and really commit to analyze it from today, thanks Michael.
