I am a voice teacher specialised in technique and solutions for professional singers and future professionals.�I come from a soloist career in classical music interrupted by a long septicaemia. I relate to Italian belcanto technique and some exercises I invented to make a step forward in the possibility of working on voices. I had results also in vocal issues of organic and functional origine, called by their doctors or speech therapists, here some results certified https://luciacossu.com/cossu-method-program/�I work in a very individualised way, and in a more generic by little classes on specific abilities and fundamentals of voice production. �I have a Conservatory degree in Classical soloist voice, I studied with some italian relevant voice teachers as Giannella Borelli, Anna di Stasio and Giovanna Canetti and attended courses and masters from jazz to chamber music and popular music or contemporary. �I did sing as soloist in prominent international Festivals and productions and I recorded the credits for Michele Placido Un viaggio chiamato amore in competition at 59th Venice International Film Festival. I have credits from some italian professional singers and the thanks for our work in the cover of Surya of Eleonora Bianchini. �For other credits just get t�o listen to the demos from not professional students in my Instagram @lucia_cossu_voiceteacher or Soundcloud. �I have some objective results on singers and not singers with issues not solved by training or therapies of excellent level.�I can work both in a very individualised way and a more generic, depending on the context (age, class, goals and level or awareness and expertise of the student or of the class). �I work on the voice for all styles, since I mostly work on the patterns and functionalities of the voice and their use in the repertoire. �I relate to Italian Belcanto and my cossumethod because it is a good reference for this technical work but I use everything that I did study and developed for voice purposes, but more difficult to label. �I am happily returning to sing something since my health issues are in remission.
I work in person and online, lessons and workshops in English, French or Italian.
You can contact me here or at cossuvoiceteacher at gmail.
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Is our voice really like a horse?

Last week a voice teacher in a group of professional teachers I follow wrote a witty and brilliant post with a list of points he follows in its lessons. I wrote that all the ones from his point 2 are mine and this takes away all the other points but the last. The last was on having a perfectly clean bathroom, yeah everybody still in lockdown and online lessons.

What was his second point to take away every other one? He does not accept students who do not sing in pitch: and as him many others do, as those who not have yet a voice. He asked me about my answer and I told him that basically I have all the students out of pitch the others did not want, the singers who start losing their pitch or never solved it really and have by that some career problems and I have had also many teachers when they start losing something and they do not know what to do about. In my concept they have to be treated in the same way, because they have something in common and it is the main reason teachers historically do not accept them.

To explain that I do a little diversion: some decades ago, as teen, it was discovered I could bring back into balance horses got dangerous. I am a pretty serious soul and I spent then summers in Uk to perfect my training skills and also there they gave me school horses not happy with kids anymore, or with various stiffnesses inexplicable or after surgeries while I did refine the technique. What I thought was that I could use some movements that were typical of a happy and joyful situation to change the emotional state of the horse, so to destress him and take away the preventive fear, and open back to what they mostly love: playing and collaborate with us. Also the joyful and happy gesture will improve and condition muscles and muscular chains and patterns so to have them present in every moment more than before. The origin being a physical trauma or not skilled kids moving heavy on their back or a not respectful or violent or inappropriate trainer? If repeated with no other input they would go in burnout as we do. So I was just putting back functionality and reopening the thing horses love most doing with us.

Why do I talk about horses? The voice is a horse and reacts as a horse. So is the student the horse? Not exactly. The student or the singer is both the horse and me, meaning by that the one the horse live playing with. Why teachers do not want the kind of singers we said previously? Because they have a bad horse? Not exactly, they do not refuse the horse but something the person clearly have shown of not being able to do: they have a burnout horse. So again: is the horse?

Do you remember bullies at school? Were they fragile or strong kids? We well see they are kids with a huge energy that has taken a bad flip, we see and experiment them as fragile as violent. Violent, not aggressive; their energy is not well expressed and it becomes the frustration of it in burst of violence. When do they save themselves, they discover that this fantastic energy they have inside is a hell of a gift. Taking care of their burnout horse is easy and will give some fresh air and good vibe to the other part, the smell of what they can really be and have inside. They will then have to learn not to always escalate but reopening easiness for their horse and by that the dialogue and playing with the other players. They have to learn to restrain themselves not to act the bully actions, suspending them for a certain time and thus letting the place for other things.

If they do then they will be the singers ev’ry teacher and musician want, as many of my students or professional have become. It is not easy and sometimes really annoying, and as teacher you must not have a problem in being profoundly straight as profoundly respectful of the human inside and fond of his qualities, with the vibe of the admiration of the true soul you have in front, acting protecting the horse but not loving less the non horse of that person. How this: not teaching the person but teaching on focusing and freeing and respecting the horse, that at the end is what we call in music listening and playing. Because a happy horse is sign of a hell of a rider ;).

In the group I will only write of how to free technically the horse. Have a good weekend everybody.

Alice and me the series the end

*the series was streamed on YouTube where it remained available for some months (then it was time to let it go and look at the future). Now some clips and a resume in the page dedicated here and some on Instagram  @lucia_cossu_voiceteacher    #aliceandme #aliceandmetheseries

We are at the end of these 6 weeks, Alice performs again. She decides to stream it on her Instagram while we stream on Youtube. She decides to sing 5 songs. She risks more, enjoy.

Talks on Cossu method

What nice to talk with a former student who has an interesting view on our work and my method from his medical job; and so nice that not only he is smart as he was but his band will get back rehearsing. Thank you Alex, still pleased of having had you between my students.

What means in sound the proper diaphragm connection in yet good singer.

Singer since very young, it is twelve months she studies with me. You will hear that she is quite in order but there is a huge difference in bewteen the Dianne Reeves and Alicia Keys’s songs and Withney Houston’s one: this is the diaphragm connection that I long looked for her, not perfect yet in all the passages but connected and so it will be possible to train it and have those passages perfects just by using it and remaining connected. Enjoy!

Vocal technique: some talks on fundamental questions.

My first two talks on some fundamental questions of vocale technique, often not so clear in students and singers and not clearly explained through their effects and consequencies so that they remain scary and refused in the first step. Often they are related as the fact that when you cover the sounds you will have in your sound not the effect of copertura but the disclosure of the state of your sustain and appoggio. I mean that not covered sounds have a different kind of pressure from the effective and true sustain (a true sustain always have a copertura effect), so you cover and the vocal folds do not respond anymore to the excess of pressure not correct. You will immediately hear how much the correct and true sustain is developed and the really good news is that with copertura it is safe and not tricky to develop the effective and true sustain. So if you refuse covering you will probably never develop a real and effective sustain, and this just because you were scared by the sound after copertura that was just the first step of the process and not the arriving point of the process. Many things in vocal technique present this two step process, I will try to clarify some of those for you on Istagram in my IGTV.
And the first is on copertura. 🙂

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Why you must not be scared by the covering of the sounds, the also called copertura and why if you initially feel of losing your sound it will just be a transitory phase and you will have back your sound but in a safe and healthy way. All the misunderstanding about why the sound get darker and with a lack of stamina in the first step. A series of technical talks on vocal fundamentals. I am a voice teacher specialised in technique and solutions for professional singers and future professionals. I come from a soloist career in classical music interrupted by a long septicaemia. I relate to Italian belcanto technique and some exercises I invented to make a step forward in the possibility of working on voices. I had results also in vocal issues organic and functional, called by their doctor, https://luciacossu.com/cossu-method-program/

A post shared by Lucia Cossu (@lucia_cossu_voiceteacher) on

Songs the interpreter do not want to sing

She did not want to record this. We discussed a lot, her saying it did not represent her and that she wanted to to be represented by other songs, without yet realising that if she was pursuing a professional career it would be normal to sing some things not choosen by her. This scare of some interpreter is valid when they cannot choose nothing, but to have to sing a part of repertoire not choosen refine the interpreter personality and skills to be himself going  more in the comprehension and depth of what he is, and also discover sides and shades not suspected. Some says it is the better song of her demo, not sure about this for me that I love her peaks in intensity and energy but it is just subjective this. Enjoy!