The great lesson of Manuel Garcia son, now so contemporary.

I intentionally call it contemporary now, meaning that now his technical statement is something that gives answers to this precise historical and artistic moment. I call his precise statement the first ten vocalises of his method, and what he really wants in them. My teachers had misunderstood how to do them and they all said to avoid doing, that chest voice was too heavy and dangerous. Garcia did not want the chest voice as XXth century has understood it; he wanted a very special way of proceeding to find it. He wanted something that some will find not balanced enough, it is instead able to structure the breathing before pronounciation. He wanted before to structure muscles and after to start putting movement and pressure in it. He wanted that A belcantista that you find by having an inside position of O or U (it depends on subjectivity, after it becomes the neutral position of Seth Riggs) and having the breath just creating the sound without any kind of real pronounciation and letting an elastic movement into the larynx. For some can be a too high larynx position, and it is true if badly intended. If well executed it is just the light principle and what was called to sing on the soffio del fiato, meaning on the just surface of breathing. This is something that was the centre and specialization of Italian belcanto school, so useful for damaged and young voices, so useful to find a sound that seems more from the Universe and the void and the lights of it than from Earth and for this in those days of changement so contemporary. It is like to get into the light and meaning of notes avoiding too much of what Frenchs call ‘chair’, the flesh, the so moving and plenty of things flesh is but too plenty of muscles and vessels and liquids and taste to be the straight the urge of modern needs. It will of course change again (I am yet working to have it back in sound but from this new starting point, and not the old too grounded, and know that it will be correct the time of training it, a couple of years for musical market), but it is the difference between contemporary yoga vinyasa and Iyengar, the flow and the new way of absorbing and using prana, and using yoga to render hommage, consistency and phisiology to changes. I love Seth Riggs work, I love my great master Giannella Borelli, I think now we need and understand better how to use Garcia really and completely and then surpass him, thanking him for this so contemporary statement as it was Schumann’s one (true innovators talk especially to some generations after, really after). Think that contemporary is using Garcia to get to Rihanna through Mozart (listen to Love on the Brain and Mozart Abendempfindung and you will have a surprise if you listen well)  and new music, as to really get to Schubert I think you have to get through Schumann and take away from him the heavy old romantic sense and find that light and kind of direct dialog thet now we can see so well in the ordinary days.

P.S.: I yet talked about him and the contemporary changes here  and here 

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