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. The result is pretty good and lol it is the song more played in her playlist. Enjoy!

A new born

Today the postman did bring a new born in which I have some responsibility. ❤

IMG_0020Dear Eleonora Bianchini, you thank me for my instrumental wisdom. ✨ I thank you for your music and the great joy of this technical path made together, and the total trust you had in letting me shape your muscles and coordination bringing your voice in an unknown land that now is home.

Good luck Surya, Eleonora Bianchini made some songs I would not forget.




Who am I

I am someone who can solve the reason why some people can’t be effective in a vocal technique or style, or when a professional can’t have the full or correct use of its instrument even with excellent teachers or coaches.  I was a soloist and being trained in Italian Belcanto technique. A chronic disease that affects my inflammation level in the body related to a medical malpractice made my career  last just three years during which I achieved goals I even had not dreamt about (further details
I started then teaching,  vocal technique. Being frustrated by seeing some structural issues that made some singers think about them and never relax into a deeper dialog with music I tried to found ways to solve them forever with the same approach to sound I had when I was a soloist. So I invented some physical exercises and discovered in what they were useful to a wider range of persons, even if invented on someone specific. This became a corpus of exercises, some totally invented by me, some are yoga or dance exercises modified to be useful for voice muscular chains. I have so found some principles to work on the reason why some can’t have a proper vocal technique even with good teachers. I found the relation voice-muscular chains in a way not imagined by professionals and now also the way some Manuel Garcia vocalises were intended and why even my excellent belcanto teachers couldn’t use them correctly. . It is a very specific work, nothing to do with others body practises for singers, useful  but less precise for a vocal purpose.  To be sure that the results with my students were really appropriate I put some people with and without vocal problems under medical control before and after our work together and  it was confirmed the solution of their vocal problems in very short time, while a medical prevision of no improvement possible ( 7 years old/ M. 7 anniOne of the participants to my study last year) and those with no issues had confirmed an improvement in voice and posture.
When I say it is new I don’t mean that my work comes from nothing and goes to a new land, no. I mean that it is a step forward in what is the italian belcanto technique. I mean that it brings to the vocal land many that couldn’t previously reach it. And those who are yet there have a way to refine and obtain more.

That it is: a way to bring to voice and voice styles and technique or even just natural voice those who couldn’t before.
It is a sort of way to put everybody to the zero point.

Letter to my students

In italian below.
My dear italian students I told you I will move from Italy and some of yours are in a profound worry and difficulty. When I first started studying singing I went to Giannella Borrelli, I often entered after Sumi Jo or Chiara Taigi, before and after the lessons I heard her talking to agents or to students winning competitions and roles and inviting her to the theatres where they had roles. She was excellent: a thinking, a vocal wisdom and knowledge, the precious sense of colours and overtones, the so many nuances of the belcanto italian technique which regularly come back being the core of every technique that knows about voice. She classified me as light soprano e in our lesson of 8:45am of 45 minutes (she refused to make longer, and now that I also teach I perfectly understand the reason) I had to make a lots of vocalisation till the high Bb5. My classification was wrong, I am a contralto and I yet know it, entering the Conservatorio I left her lessons. I made something I am asking you to do, something I always ask after a certain time together: I acted as the singer I then became, I made what I have always choosed and used as a methodology that rendered possible the points of my careers and now as a teacher. I have always thought she was an exceptional mentor, an exceptional vocal teacher, and the most I progress in the comprehension and teaching of the voice the more I get convinced of that. She was not less excellent for her mistake, it happened I was into her technical blind angle, and it was me who had to actively learn even from that shadow point. She was not less able or refined because of the blind angle (we all have, bigger or smaller), that shadow exists and can happen to be stuck in. I have tried to learn from there, also not going to her anymore, and make what was seeded being nourished for a long time. Not going anymore was the way not to submit my career to her mistake. This is something that I eventually ask you after a time, not to be lazy in something you care about, not to be narrow but generous and right, not to expect others to come to you with their knowledge, but to also recognise and cheer knowledge even when it doesn’t recognise you or when it is wrong about you. I ask you to be artists and generous and the musicians I expect you’ll be, even in the awkward of shadow (and as you know well I create a shadow and put you in there sometimes in purpose to see if have this reaction). I am that generous and wise with you, now I am asking you to act that on me and my moving abroad. I am moving where a school with a yet grown ground will use me, where a research is normal and not subjugated by a system as the italian one. I ask you not to feel abandoned, you know there is Skype for all who want to go on and a sofa in every place I will go. I am asking you to change perspective, to be deeply blessed by my moving, to be enthusiast that I can go build a future that in here exists only in your progressing. Do not feel betrayed or not considered, feel and realise it is the opposite; realise that I will betray you if I remained, getting wasted in my talent and skills for a country that now for historical and market reasons do not have the natural place for my work, exactly as I would have betrayed and wasted my career if I remained studying with Giannella Borrelli lamenting then of the impossibility of making of me a singer. I usually create conditions to make you do that step, and I am even tough in avoiding you to escape and usually happens solving some deep vocal problem or on stage. I am asking you this time to do thatstep by clear and choose choice. Be the singers and the artists I teach you to be.

Quando cominciai a prendere lezioni di canto andai da Giannella Borelli, quando cambiai orario entravo dopo Chiara Taigi o Sumi Jo e la sentivo parlare di allievi che vincevano concorsi e che la invitavano nei vari teatri dove avevano ruoli. Era bravissima: un pensiero, una sapienza, il senso delle sfumature della tecnica belcantistica italiana che regolarmente ridiventa la base di ogni vocalità che sa quel che fa. Mi catalogò come soprano leggero e la nostra lezione delle 08:30 am di 45 min (per sua imposizione e ora che insegno so perché, mentre io la avrei voluta di 60) consisteva in vocalizzi fino al Sib sovracuto. Aveva sbagliato catalogazione, sono un contralto e già lo sapevo,  entrando in Conservatorio la abbandonai perché sapevo non essere un soprano leggero. Feci con lei una cosa che faccio con voi e che dopo un po’ che ci conosciamo chiedo sempre anche a voi: feci quella che poi sarei diventata come cantante, feci quello che avrei sempre fatto e che metodologicamente ha reso possibile i risultati che ho avuto da cantante e ora da insegnante. Ho sempre pensato fosse una eccezionale didatta vocale, man mano che miglioro insegnando lo penso sempre più. Non era meno brava per il suo errore, ero io a dover far qualcosa per imparare nonostante fossi nel cono d’ombra del suo sguardo tecnico. Ho cercato di farlo e di imparare da quello che aveva seminato anche senza che lo sapessi, pur non andandoci più, e quindi evitando di avere una modifica significativa del mio percorso. Questa è una cosa che dopo un po’ che siamo insieme comunque vi chiedo, ovvero di non essere pigri su una cosa che vi interessa, di diventare voi attivi e capaci, di essere oggettivi e generosi anche quando siete o vi troverete nel cono d’ombra (e come sapete delle volte vi ci metto apposta nel cono d’ombra per controllare che reagiate come si deve). Io lo sono con voi, e questo vi chiedo ora che vi sto dicendo che andrò via dall’Italia. Spero che una scuola con un terreno già formato mi voglia o che un centro di ricerca sia interessato alle mie ricerche e se non la troverò la creerò in luogo meno inadatto di questo come ho già fatto. Come sapete conoscendomi non vi abbandono, solo vi metto nelle condizioni di dimostrarmi che avete imparato e siete in grado di attivare ciò che di meglio vi posso insegnare: ovvero a essere  e mettere voi quella cura e allegria e profondità e disordine utile e a far quel passo che comunque la musica e il palco richiedono e che ci fa ritrovare come colleghi con tutti quelli che finora questo passo lo hanno fatto. In genere vi spingo e vi metto anche incastrati a non poterlo svicolare e avviene con il palco o risolvendo i difetti a lezione, qui vi chiedo di farlo per vostra scelta precisa. Vi chiedo di non sentirvi abbandonati, perché mi conoscete abbastanza da sapere che skype esiste e ci si fa lezione molto bene se si vuole, e anche un divano per chi vuole passare a trovarmi ma di spostare la prospettiva e essere anzi entusiasti che io vada dove si può costruire per me quel futuro che qui è tutto solo nel vostro progredire. Non sentitevi traditi o non considerati dal mio partire, è il contrario. Fate il cambio di prospettiva e pensate che vi tradirei se rimanessi, smentirei quello che insegno se rimanessi dove per motivi strutturali e storici vado sprecata, come avreste il diritto di sentirmi vacua se invece che andar via dalla Borelli fossi rimasta lamentandomi poi della mia mancata carriera per sua responsabilità. Siate i cantanti che so che siete e che vi insegno a essere.

Vocalise useful and funny

A vocalize useful to make a stretching of the tongue and an appropriate movement of the center of the basis of the tongue going up on higher notes without putting a voluntary control on, and avoiding the stiffness of larynx often possible with the other exercises with a close pharynx.
And laughing while working can be useful and nice and helping concentration. A funny vocalise of mine, 😀