One of the fundamental points in technique is when and with what position making the  copertura, especially related to the first turn of the larynx for the first bridge. Great part of national schools and national taste in sound is given by this position and way of making the copertura. If you prefer you can think about it as the first point in which you make the turn of the larynx, being the second the necessary one to obtain the high notes in female voices, falsetto in men and a certain kind of  successive slightly turn for high notes in men voices while sustaining when it is not desired a falsetto sound.
It gives the clear and precise english sound in medium and medium high register with its quite high position and the habit of not getting below, the somewhat flatted and falsetto sound in France, the velvet and lightness of accent and high tones in the spanish due to the involvement of soft palato to obtain their copertura, the always connected to sustain and back of american school that gives more strenght to the nearly same position then english school but less poetry in the ovetornes, the low position in german school that need to put some intubation to make the turn possible and connected, the perfect balance of all these elements in Italian belcanto school, the slightly below positions of the swedish italian belcanto that gives more weight by the lower position and greater use of back diaphgragm connection, the russian school which now is the closest to the XXth century italian belcanto we have.
The first turning point can be moved and managed both by pronounciation or use of mask muscles and soft palate or internal nose muscles and the sustain and appoggio muscles and the posture in itself. It is something to think about when starting a training and also it is to have a strategy about according to repertoire and market in which the singer is working or going to work.