Basics Where to feel appoggio and sustain

There is only a way of being appoggiati and sostenuti, and it depends on a certain precise connection between diaphragm and larynx. You can hear it in a certain kind of overtones for the sustain and a related way for the appoggio, being that relation perfect when you can correctly execute a messa di voce (from pianissimo to forte or fortissimo and back to pianissimo). The way you perceive them and where you feel in the body depends on style, vocal range, individual body and body specifities, technical level (the higher level pass from a point of similarities of perceptions). All the places everybody can feel must work during the correct vocal gesture, so often in the training we have to work what you will never feel while singing, because it is the balance of all the places of diaphragm insertions with some wanted overacting that make the correct appoggio and sustain for style and voice.
On this subject one of the more common mistakes is to overwork the insertion you want to be heard in the sound, without noticing that it is the lack of some others that make its work not satisfing, the second being the fear for the overdoing of some specifics and the choice to make every voice simply and prudently just balanced without any specifics (losing in that way what of personal and truly specific a voice can produce in a deeper level).

On contemporary voice

One thing that has been a defeat to classical singers and teachers, and still persists as an issue, is the comprehension of musical and sound requires by voices used for contemporary purposes and the reject of some sounds in the voice. We (classical singers and techers category) have not made properly, in the past 40 years, the path toward the appreciation, the recognition and the knowledge about pop, rap, jazz, rock and extensively contemporary voices and so depriving of the appropriates and correct tools coming from our technique for this different kind of use of voice instrument. I still hear judgements on the quality of sounds in classical terms to judge and comprehend those voices. Please make a step forward  and understand that many things can be done even with not round and classically sustained sounds, as my work and many singers show. They need our tools, modified and readjusted for their sound and we need to be and to shape and use the knowledge we have for musical needs and not ideal singers of always the same repertoire.

Basics Larynx height

Often it is said that the larynx has to be low; and in my experience this is often a misunderstood concept. In the high notes it has to be high enough to be correct for their production. There is a range of movement that is correct for voices and notes production and it is in this range that we have to manage its movement. Tha larynx has to be in that range for every note, just lowering in the moment of voice production. To have in all the extension an innatural low larynx will create more problems then it solves, and will need an exaggerate need of pressure that can be accepted and desired only for the last notes of each tessitura or in certain cases of belting. The larynx will come up and down in a controlled way along the tessitura, just it will lower a bit in the correct attack.