Lucia Cossu, voice lutist
Voice teacher, singing, vocal technique, Cossu method
Italian and french, voice teacher, previously contralto and mezzosoprano soloist in opera, oratorio, chamber music, lieder. She was dedicated to an acting career: student winner of a scholarship for merit at Accademia Internazionale di Teatro in professional courses 1994/95 (while she was 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, she sings for Anna Cuocolo in Festival of Andria. 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 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 muscles that produce the voice before even vocalization. Her method works on solving and stabilising the instrumental body that generally provokes a handicap in voice production or study. The development goes to rehabilitate field (there are some examples of patients solved that were sent to her by the voice department of an hospital), or the breathing strain solved in professional kickboxer. She tries to solve why sometimes it is useless to work on sounds, on the instrument that can’t simply produce them with sufficient elasticity or ring or strenght or colour. She creates exercises simples and safe, some are yoga or dance movements changed and shaped for the precise purpose she is following. It is now something as a corpus of 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 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 to the previous consequencies of 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 90% of the cases, without a difference in musicians or not musician participants. 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 studio program on her method. The results are beyond any happy expectancy on nodules, hypomotilities, disphoniaes, deficiencies in adduction.