Lucia Cossu, voice lutist
Voice teacher, singing, vocal technique, Cossu’s research
Italian and french, contralto and mezzosoprano soloist in opera, oratorio, chamber music, lieder. She was dedicated to an acting career: student winner of a partnership for merit at Accademia Internazionale di Teatro in profesisonal courses 1994/95 and the same time studying popular music with Giovanna Marini, ancient music, vocal improvisation with Antonella Talamonti she was convinced by the last one to leave theater for the talent she showed in music. Her first teacher was Giannella Borelli in 1995. She entered the Conservatorio A. Casella in Angelo degli Innocenti class in 1997 and performed as the soloist for Conservatorio Choir and Orchestra final concert in June 1998. Her professional career started in 2000 and lasted in 2003 for a medical condition caused by an abdominal surgery malpractice (the surgeon was sentenced for malpractice and for causing the end of the career). In those three years she had yet solid recognition: she is the soloist voice in the national premier of Carlo Crivelli’s La doppia luna di Shakespeare (Jonathan Williams horn soloist), few months later Carlo Crivelli calls her to record the romanza for the credits of Michel Placido’s “Un viaggio chiamato amore” in competition at the “59° Mostra internazionale del cinema di Venezia”, she is the alto in J. S. Bach Magnificat for the “Concerto per la vita e per la pace” of Christmas 2003 worldwide broadcasted by Raitv. Her collaborations have been with Carlo Crivelli, Jonathan Williams, Lorenzo Arruga, Anna Cuocolo, Sergio Rendine, Cesare Scarton, Simone Genuini, Angelo degli Innocenti, Claudio Curti Gialdino, Francesco Sorrentino, Vittorio Antonellini, Luciano Bellini, Giorgio Carnini, Anna Cuocolo, Diego Conti, Angelo Manzotti, Sergio la Stella, Toni Candeloro, Federica Carnevale. She sung for, among others, Teatro Marrucino, Festival Frentano, Teatro comunale dell’Aquila, Società dei concerti B. Barattelli, Orchestra sinfonica abruzzese, Festival internazionale di Andria, Festival di Anagni, Corso per organista e maestro di cappella_l’Aquila, Concerto per la Vita e per la Pace 2003 (worlwide broadcasted by Rai3 and Rai International), Auditorium YMCA Jerusalem, Teatro Vascello Roma, Teatro dell’Unione Viterbo.
She studied with Giannella Borelli, Anna di Stasio, Giovanna Canetti, Angelo degli Innocenti, Cesare Scarton, Giovanna Marini, Antonella Talamonti and followed seminars and masterclasses with Charles Spencer, David Jones, Cinzia Spata, Franco Fussi, Gretchen Parlato, Cathrine Sadolin.
Her repertoire was very extended: opera, chamber music and oratorio, lieder, going from Schütz to Mahler, Verdi and Bach, Mozart, Schumann, Brahms, Schubert and Berg, Pergolesi, Vivaldi, Wagner, Berlioz, and many others. Her smooth and rich voice of contralto had a good high-notes technique permitted her to sing some pieces out of the ordinary alto repertoire such Wagner’s Wesendonck Lieder and Carlo Crivelli and Luciano Bellini’s pieces, written for a soprano tessitura. One of her charachteristic was the work on sound, the possibility of the sense of fraseggio and music given by the work on sound in itself.
The health in 2004 degrades, then the misconduct and after some time to recover she dedicates to teaching. She develops her method having as a starting point the Classical italian Belcanto technique she was trained in, but the research is in the instrumental starting point that is now generally different. She founds sometimes useless to wotk on sounds when the instrument can’t simply produce them with sufficient elasticity or ring or streght or colour. She asks herself the how to work directly in the muscles involved in all the characteristics of musical production and how to proper connect them in the desired way to the voice production and style and how to teach the new coordinations without using the old orders used for not proper voice production but creating orders for every requirements and then to learn with the propers feedback. She creates exercises simple and safe, some are yoga or dance movements changed and shape for the precise purpose she is following. It is now something as 50 exercises and a certain number of vocalises that gets more precise every year. What is beyond expectances was to discover that when you connect properly by a created order and the gained possibility of the muscular chains to make a function the voice will seem to have that function naturally as in those who had it by what is called “natural instrument” and after a while they totally forget all the emotional uncomforts related at the previous reactions to the improper function. The experience has shown that it has been possible to make that kind of work with a sufficient efficacy for the established goals in a 98% of the cases, without a difference in musician or not musician participants. And in singers when the muscular setting is in the balanced and related way I have found necessary and sufficient the voice will be able to have a proper training in any style. She modifies her technique to have the same principles applied also to a non classical sound and use. She specialises in teenagers, in adolescent’s changing voice period, in optimization of the effort for professional contemporary and jazz singers and she defines the research program on her method. The results are beyond any happy expectancy on nodules, hypomotilities, disphoniaes, deficiencies in adduction. She defines herself a voice lutist in the meaning of the craftsman who make instruments and without entering in the specific contemporary or rock or jazz styles (that of course she doesn’t pretend to teach not having practiced them on stage and leaving that to the professionals they practice it). She finds her work complementary to those, seen that she works on the instrument and the possibilities of the voice instrument in a specific and not damaging way.