Instructional materials for Opera and Classical singers

Review: The Singer's Companion combines the author's extensive research on hundreds of professional singers' and singing teachers' books with 30 years of personal teaching experience. The book concentrates on traditional vocal and artistic development, as employed at the most renowned universities and conservatories. At the same time, the presentation is extremely practical and accessible. The language is simple, and minimal space is given to theory. As each aspect of good singing and artistry is explained, enlightening quotations from dozens of the best singers and teachers, such as Enrico Caruso, Luciano Pavarotti, Eileen Farrell, Manuel Garcia, and Emma Seiler, help the singer to grasp the concept. The building of the vocal instrument and the artist is the focus. Topics include stance, breathing, phonation, resonance, range, health, choosing a teacher, vocal exercises, musicianship, pronunciation and diction, interpretation, performance, and selecting material. Many illustrative diagrams appear in the text. The book includes exercise sheets, sample songs, and an illustrative CD. Any singer, from the would-be professional to the diligent choir member, can benefit from this easy-to-use, thorough companion.

Songlist: Stance, Breathing / The Torso, Phonation / The Throat, Resonance / The Head, Range And Timbre, Singing And Health, The Teacher / The Lesson, Practice / Vocal Exercises, Musicianship, Pronunciatiation And Diction, Interpretation, Performance

Review: Carol Kimball's comprehensive survey of art song literature has been the principal one-volume American source on the topic. Now back in print after an absence of several years, this newly revised edition includes biographies and discussions of the work of 150 composers of various nationalities, as well as articles on styles of various schools of composition.

Songlist: Acknowledgements, Preface, What is Style?, Components of Style, Melody, Harmony, Rhythm, Accompaniment, Poets - Texts, Secondary Factors of Style, Components of Style Overlap, Developing Style Sheets, Creating Style Sheets for Single Songs, Creating Style Sheets for Individual Composers, Style Sheet Examples for Selected Composers, Literature

Review: Italian bass Cesare Siepi (born 1923) is one of the legendary opera singers of the 20th century generally considered to be one of the finest basses of the post-war period. He was a star for decades on the world's great opera stages, including the Metropolitan Opera, La Scala (Milan) and Covent Garden (London). His Met career was extraordinary, with 450 performances spanning 24 consecutive seasons. In 1962, the charismatic Siepi stretched his talents to perform a lead role on Broadway in Bravo Giovanni!, a musical conceived just for him. His professional career was remarkably long, from his debut at age 18 in 1941 until his retirement from the opera stage in the early 1990s. This edition presents 12 signature arias, with Siepi's distinctive interpretations notated in the score and discussed in essays and explanatory notes. A biography of the singer is included.

Songlist: Deh, vieni alla finestra, Ecco il mondo , Ella giammai m'am?, Fin ch'han dal vino, Infelice! e tu credevi, La calunnia ? un venticello , Le veau d'or, O tu, Palermo, terra adorata, Son lo spirito che nega, Vecchia zimarra, senti, Vi ravviso, o luoghi ameni, Vieni, o Levita!... Tu sul labbro de' veggenti

Voicing: Bass
Style: Opera

Review: Now in its second edition, A Handbook of Diction for Singers is a complete guide to achieving professional levels of diction in Italian, German, and French, the three major languages of the classical vocal repertory. Written for English-speaking singers and offering thorough, consistent explanations, it is an ideal tool for students and an invaluable reference for voice teachers, vocal coaches, and conductors. The book combines traditional approaches proven successful in the teaching of diction with important new material not readily available elsewhere, presenting the sounds of each language in logical order, along with essential information on matters such as diacritical marks, syllabification, word stress, and effective use of the variety of foreign-language dictionaries. Presented in an attractively concise format, the book goes into greater detail than comparable texts, providing specific information to clarify concepts typically difficult for English-speaking singers. Particular emphasis is placed on the characteristics of vowel length, the sequencing of sounds between words, as well as the differences between spoken and sung sounds in all three languages. Featuring significantly expanded coverage of each of the three languages and illustrated with numerous examples, this second edition of A Handbook of Diction for Singers is an exceptional text for courses in diction and a valuable reference source for all vocalists.

Songlist: Introduction, International Phonetic Alphabet Symbols for Italian, Italian Vowels, Glides in Italian, Italian Diacritical Marks, Italian Dipthongs, Italian Tripthongs, Vowel Length In Italian, Italian Consonants, Single and Double Consonants, More About Vowels, Phrasal Doubling in Italian, Singing Consonant Clusters, Musical Settings of Italian Diphthongs, Italian Dictionaries, Sample Texts, Appendix, Introduction , International Phonetic Alphabet Symbols for German, The Umlaut, Word Origin: Germanic and Non-Germanic, Word Stem, Word Stress, Vowel Length, Diphthongs and Adjacent Vowels, The Glide, German Monosyllabic Word Patterns, Glottal Separation in German, Phrasal Consonant Clusters in German, German Dictionaries and Pronunciation Reference Books, Sample Texts, Introduction, International Phonetic Alphabet Symbols for French, French Diacritical Marks, Definition of Terms Relating to French Diction, French Syllabification, Word Stress in French, Mixed Vowels, Nasal Vowels, Glides in French, French Consonants, Liaison, French Dictionaries, Sample Texts, Bibliography, Index of Sounds by Spelling, General Index

Review: Written to meet the needs of thousands of students and pre-professional singers participating in production workshops and classes in opera and musical theater, Acting for Singers leads singing performers step by step from the studio or classroom through audition and rehearsals to a successful performance. Using a clear, systematic, positive approach, this practical guide explains how to analyze a script or libretto, shows how to develop a character building on material in the score, and gives the singing performer the tools to act believably. More than just a 'how-to' acting book, however, Acting for Singers also addresses the problems of concentration, trust, projection, communication, and the self-doubt that often afflicts performers pursuing the goal of believable performance. Part I establishes the basic principles of acting and singing together, and teaches the reader how to improvise as a key tool to explore and develop characters. Part II teaches the singer how to analyze theatrical work for rehearsing, and performing. Using concrete examples from Carmen and West Side Story, and imaginative exercises following each chapter, this text teaches all singers how to be effective singing actors.

Songlist: Introduction, Believability: The Territory and Tools, The Divine Marriage, To Become or not to Become, Playing in the Moment, Judgments and Trust, Creating Your Character, Neither "Right" nor "Wrong", Your Character's Universe, Your Character's World, Your Character's Heart's Desire, Motivating Your Character's Actions, Your Character's Inner Voice, Preparing for Performances, Being Believavle in Any Role, Getting The Part, Getting Good, Delivering a Believable Character, Appendices

Review: Dorothy Uris' 'To Sing in English' is an invaluable handbook for any singer, particularly the American vocalist, culled from decades of experience as an actress and teacher, on Broadway and in films. As Dorothy Tree, she was a contract player for Paramount and Warners and had featured roles in such films as 'Abe Lincoln in Illinois', 'The Asphalt Jungle' and 'The Men'. After her acting career ended ('I left Dorothy Tree in Hollywood!') she taught acting, speech and diction at the Mannes College and Manhattan School of Music for over two decades, and was English diction coach for the Metropolitan Opera. All of this experience results in a practical, thorough step by step approach to improving a singers' diction, including an introduction to learning the IPA (International Phonetic Alphabet), and the correct pronunciation of individual vowels and consonants, separately and in context. American singers in particular will benifit from the study of this book, as Mrs. Uris uses good American speech as her model.

Songlist: The Many To Thank, Illustrations, Foreword (and Backward), The Range of Diction, Structure, Sense, and Stress, Rhythms Within Words, English, A Legato Language, The Vowel Content of American English, The Shapes and Sounds of the Consinants, Invitation to a Diction Class, Appendices

Review: Enrico Caruso rose from a childhood of poverty in Naples to become the first great tenor and superstar of the recorded era. His fearlessly pure, lyric vocalism and heartfelt acting still come through, even on the scratchy old recordings. This collection of arias and songs associated with the tenor includes an interesting biography, an article about his artistry, and notes on the signature Caruso interpretation of each aria, followed by standard vocal/piano editions of all the arias. This collection affords a careful musical consideration of a legendary artist.

Songlist: 'A vucchella (Tosti), Addio, fiorito asil from MADAMA BUTTERFLY (Puccini), Amor ti vieta from FEDORA (Giordano), Celeste Aida from AIDA (Verdi), Che gelida manina from LA BOH?ME (Puccini), Cielo e mar! from LA GIONCONDA (Ponchielli), Core 'ngrato (Cardillo), Dai campi, dai prati from MEFISTOFELE (Boito), E lucevan le stelle from TOSCA (Puccini), Ideale (Tosti), L'alba sep?ra dalla luce l'ombra (Tosti), La donna e mobile from RIGOLETTO (Verdi), Santa Lucia (Cottrau), Una furtiva lagrima from L'ELISIR D'AMORE (Donizetti), Vesti la giubba from I PAGLIACCI (Leoncavallo)

Voicing: Tenor
Style: Opera

Review: Non-technical advice to aspiring singers from two of the greatest singers: care and training of the voice, tone emission and attack, voice faults and more.

Songlist: Luisa Tetrazzini, Breath Control The Foundation of Singing, The Mastery of the Tongue, Tone Emission and Attack, Facial Expression and Mirror Practice, Appreciative Attitude and Critical Attitude, Career of Enrico Caruso, From a Personal Viewpoint, The Voice and Tone Production, Faults to be Corrected, Good Diction a Requisite, Pet Superstitions of Great Singers

Review: This book consists of three parts: PART I describes the vocal mechanism and its functions briefly and in simple non-technical language. A general knowledge of the instrument often helps the student to clarify a question of tone production. PART II, forming the major portion of the book, consists of basic, fundamental vocalises carefully selected to develop the specific voices for which the book is written. PART III presents the important elements of diction in the five languages most commonly used in singing: English, Italian, French, German and Spanish.

Songlist: The Breath System, The Phonating System, The Resonating System, The Articulating System, General Remarks, Fundamental Exercises, The Covered Tone, Agility Studies, Sustained Tone Studies, Chromatic Studies, Messa Di Voce, The Head Voice, Style, Special Problems, English Diction, Foreign Language Diction, Glossary of Musical Terms, Songs for Baritone and Bass, Recordings of Great Singers

Voicing: Baritone Bass
Style: Classical

Review: This book consists of three parts: PART I describes the vocal mechanism and its functions briefly and in simple non-technical language. A general knowledge of the instrument often helps the student to clarify a question of tone production. PART II, forming the major portion of the book, consists of basic, fundamental vocalises carefully selected to develop the specific voices for which the book is written. PART III presents the important elements of diction in the five languages most commonly used in singing: English, Italian, French, German and Spanish.

Songlist: PART I, The Breath System, The Phonating System, The Resonating System, The Articulating System, General Remarks, PART II, Fundamental Exercises, The Turn, The Soprano Registers, Pianissimo Studies, Staccato Studies, Trill Studies, Messa Di Voce, Style , Special Problems, PART III, English, Foreign Language Diction, Italian, French, German, Spanish, Glossary of Musical Terms, Songs for Sopranos, Recordings of Great Singers

Voicing: Soprano

Review: A method that has long been highly regarded among teachers and students alike. Each of these books consists of 3 parts: Part I describes the vocal mechanism and its function briefly and in simple, non-technical language. Part II consists of basic, fundamental vocalises carefully selected to develop the specific voices for which the book is written. Part III presents the important elements of diction in the 5 languages most commonly used in singing: English, Italian, French, German and Spanish.

Songlist: PART I, The Breath System, The Phonating System, The Resonating System, The Articulating System, General Remarks, PART II, Fundamental Exercises, The Turn, The Soprano Registers, Pianissimo Studies, Staccato Studies, Trill Studies, Messa Di Voce, Style , Special Problems, PART III, English, Foreign Language Diction, Italian, French, German, Spanish, Glossary of Musical Terms, Songs for Tenors, Recordings of Great Singers

Voicing: Tenor

Review: Franco Corelli (8 April 1921 - 29 October 2003) was an Italian tenor who had a major international opera career between 1951 and 1976. Associated in particular with the spinto and dramatic tenor roles of the Italian repertory, he was celebrated universally for his thrilling upper register. Dubbed the 'Prince of tenors', Corelli possessed handsome features and a charismatic stage presence which endeared him to audiences. He had a long and fruitful partnership with the Metropolitan Opera in New York City between 1961-1975. He also appeared on the stages of most of the major opera houses in Europe and with opera companies throughout North America. As in the previous volumes in this series, 11 arias from Franco Corelli's signature tenor repertoire is presented with specific interpretive details noted, including melodic variants, breaths, fermatas, and all other nuances. Includes an artist biography, as well as an article about Corelli's unique artistry. In Italian and English.

Songlist: Ah! S?, ben mio...Di quella pira, Come un bel d? di maggio , La fleur que tu m'avais jet?e, La vita ? inferno all'infelice...O tu che in seno agli angeli, Nessun dorma!, Non piangere, Li?!, Se quell guerrier io fossi!...Celeste Aida, Svanir le voci!...Meco all'altar di Venere...Me protegge, S?, fui soldato, Un d? all'azzurro spazio, Una parola sola...Or son sei mesi

Voicing: Tenor
Style: Opera

Review: Diction lessons on each aria in the series recorded by top language coaches from the Metropolitan Opera and the Juilliard School plus International Phonetic Alphabet and word for word translations. With these book/CD packages that match the standard aria collections edited by Robert L. Larsen, any singer anywhere has access to the best diction coaching available at a very affordable price. Each aria is recorded twice. In the first version the coach recites the text as an actor would speak it, showing flow of the language and the mood. The second version is a slow, deliberate lesson, allowing time for the student to repeat each line. These experienced language coaches adapt the 'R' in German and French in the slow versions for singers. They also are very sensitive to liaisons between word sounds in the musical settings. The book includes International Phonetic Alphabet for each aria and word for word translations. The native speaking professional diction coaches from the Metropolitan Opera and the Juilliard School are: Corradina Caporello for Italian, Pierre Vallet for French, Irene Spiegelman for German, Kathryn LaBouff for English, Yveta Synek Graff for Czech, and Gina Levinson for Russian. Companion to 50481100 Arias for Baritone.

Songlist: Ach, Wir Armen Leute, Ah Per Sempre Io Ti Perdei, Ah Pescator, Avant De Quitter Ces Lie, Bella Siccome Un Angel, COME PARIDE VEZZOSO, Deh vieni alla finestra, Der Vogelfanger bin ich ja from Die Zauberflote, Di Provenza Il Mar Il Suol, Donne mie, la fate a tanti from Cosi fan tutte, Ein Madchen Oder Weibchen, Fin ch'han dal vino from Don Giovanni, Hai gia vinta la causa from Le Nozze di Figaro, Largo Al Factotum, Mab, La Reine Des Mensonges, Minnie, dalla mia casa son partito, O Du Mein Holder Abendst, O Vin, Dissipe La Triste, Pari Siamo (Rigoletto), Questo Amor, Vergogna Mia, Si Puo? Si Puo?, Vision Fugitive, Voila Donc La Terrible Cite, Votre Toast, Je Peux, Warm As Autumn Light, You Rascal, You I Never Knew You, Zaza, Piccola Zingara

Voicing: Baritone
Style: Opera

Review: Diction lessons on each aria in the series recorded by top language coaches from the Metropolitan Opera and the Juilliard School plus International Phonetic Alphabet and word for word translations With these book/CD packages that match the standard aria collections edited by Robert L. Larsen, any singer anywhere has access to the best diction coaching available at a very affordable price. Each aria is recorded twice. In the first version the coach recites the text as an actor would speak it, showing flow of the language and the mood. The second version is a slow, deliberate lesson, allowing time for the student to repeat each line. These experienced language coaches adapt the 'R' in German and French in the slow versions for singers. They also are very sensitive to liaisons between word sounds in the musical settings. The book includes International Phonetic Alphabet for each aria and word for word translations. The native speaking professional diction coaches from the Metropolitan Opera and the Juilliard School are: Corradina Caporello for Italian, Pierre Vallet for French, Irene Spiegelman for German, Kathryn LaBouff for English, Yveta Synek Graff for Czech, and Gina Levinson for Russian. Companion to 50481101 Arias for Bass.

Songlist: Ah,Un Foco Insolito, Als Bublein Klein, Aprite Un Po' Quegl'occhi, Come Dal Ciel Precipita, Dalle Stanze, Epouse Quelque Brave Fille, Gremin's Aria (Onegin), Il Lacerato Spirito, In Diesen Heil'gen Hallen, Infelice! E Tuo Credevi, La Calunnia, La Vendetta, Le Veau D'or, Let Things Be Like They Always Was, Madamina! Catalogo E Ques, Miei Rampolli Femminini, Non più andrai from Le Nozze di Figaro, O Isis Und Osiris, O Tu, Palermo, O Wie Will Ich Triumphir, Pour Les Couvents C'est Fini, # Quand La Flamme De L'amour, # Schweig' S--Damit Dich Niemand W, # Se vuol ballare from Le Nozze di Figaro, Vecchia Zimarra, Vi Ravviso (Sonnambula), Vous Qui Faites L'endormie, What What Is It

Voicing: Bass
Style: Opera

Review: Diction lessons on each aria in the series recorded by top language coaches from the Metropolitan Opera and the Juilliard School plus International Phonetic Alphabet and word for word translations. With these book/CD packages that match the standard aria collections edited by Robert L. Larsen, any singer anywhere has access to the best diction coaching available at a very affordable price. Each aria is recorded twice. In the first version the coach recites the text as an actor would speak it, showing flow of the language and the mood. The second version is a slow, deliberate lesson, allowing time for the student to repeat each line. These experienced language coaches adapt the 'R' in German and French in the slow versions for singers. They also are very sensitive to liaisons between word sounds in the musical settings. The book includes International Phonetic Alphabet for each aria and word for word translations. The native speaking professional diction coaches from the Metropolitan Opera and the Juilliard School are: Corradina Caporello for Italian, Pierre Vallet for French, Irene Spiegelman for German, Kathryn LaBouff for English, Yveta Synek Graff for Czech, and Gina Levinson for Russian. Companion to 50481098 Arias for Mezzo-Soprano.

Songlist: Acerba Volutta, Ah, Michele, Don't You Know, Amour Viens Aider Ma Faiblesse, Augusta, How Can You, Chacun A Son Gout, Che Faro Senza Euridice?, Cruda Sorte..Gia So Per Pratica, En Vain, Pour Eviter, Faites-Lui Mes Aveux, Il Segreto Per Esser Felici, L'AMOUR EST UN OISEAU REBELLE, Lullaby , Mon Coeur S'ouvre A Ta Voix, Must The Winter Come So Soon?, Nobles Seigneurs, Salut, Non Piu Mesta, Non so più cosa son from Le Nozze di Figaro, O Mio Fernando, Pres Des Remparts, Printemps Qui Commence, Que Fais-Tu, Blanche Tourterelle, Smanie implacabili from Cosi fan tutte, Stride La Vampa, Una Voce Poco Fa, Va Laisse Couler Mes Larmes, Voce Di Donna, Voi Lo Sapete, Voi, Che Sapete, We Cannot Retrace Our Steps, When I Am Laid In Earth

Voicing: Mezzo-Soprano
Style: Opera

Review: Diction lessons on each aria in the series recorded by top language coaches from the Metropolitan Opera and the Juilliard School plus International Phonetic Alphabet and word for word translations. With these book/CD packages that match the standard aria collections edited by Robert L. Larsen, any singer anywhere has access to the best diction coaching available at a very affordable price. Each aria is recorded twice. In the first version the coach recites the text as an actor would speak it, showing flow of the language and the mood. The second version is a slow, deliberate lesson, allowing time for the student to repeat each line. These experienced language coaches adapt the 'R' in German and French in the slow versions for singers. They also are very sensitive to liaisons between word sounds in the musical settings. The book includes International Phonetic Alphabet for each aria and word for word translations. The native speaking professional diction coaches from the Metropolitan Opera and the Juilliard School are: Corradina Caporello for Italian, Pierre Vallet for French, Irene Spiegelman for German, Kathryn LaBouff for English, Yveta Synek Graff for Czech, and Gina Levinson for Russian. Companion to 50481097 Arias for Soprano.

Songlist: Ach, ich f?hl's, Adieu, Notre Petite Table, Ah Je Rise De Me Voir, Ah Je Veux Vivre, Batti, batti, o bel Masetto from Don Giovanni, Bester Jungling, The Black Swan, Caro Nome, Deh Vieni, Non Tardar, Donde Lieta, Dove Sono I Bei Momenti, Elle A Fui, La Tourterelle, Fair Robin I Love, Je Dis Que Rien Ne M'epouvante, Kommt Ein Schlanker Bursch Geg-, Mi Chiamano Mimi, Monica's Waltz, O Mio Babbino Caro, O War Ich Schon Mit, Porgi, amor from Le Nozze di Figaro, Quando Men Vo, Saper Vorreste, Signore Ascolta, Silver Aria, The, Stridono Lassu, Sul Fil D'un Soffio, Tu Che Di Gel Sei Cinta, Un Bel Di Vedremo, V'adoro, Pupille, Vedrai, Carino, Willow Song

Voicing: Soprano
Style: Opera

Review: Diction lessons on each aria in the series recorded by top language coaches from the Metropolitan Opera and the Juilliard School plus International Phonetic Alphabet and word for word translations. With these book/CD packages that match the standard aria collections edited by Robert L. Larsen, any singer anywhere has access to the best diction coaching available at a very affordable price. Each aria is recorded twice. In the first version the coach recites the text as an actor would speak it, showing flow of the language and the mood. The second version is a slow, deliberate lesson, allowing time for the student to repeat each line. These experienced language coaches adapt the 'R' in German and French in the slow versions for singers. They also are very sensitive to liaisons between word sounds in the musical settings. The book includes International Phonetic Alphabet for each aria and word for word translations. The native speaking professional diction coaches from the Metropolitan Opera and the Juilliard School are: Corradina Caporello for Italian, Pierre Vallet for French, Irene Spiegelman for German, Kathryn LaBouff for English, Yveta Synek Graff for Czech, and Gina Levinson for Russian. Companion to 50481099 Arias for Tenor.

Songlist: Ach, So Fromm, Amor ti vieta from Fedora, Amore O Grillo, Be Not Afraid, Che gelida manina from La Boh?me, Com'e gentil, Dal Labbro Il Canto, Dalla sua pace from Don Giovanni, De Miei Bollenti Spiriti, Dies Bildnis ist bezaubernd sch?n from Die Zauberfl?te, E La Solita Storia Del Postore, Ecco Ridente In Cielo, En Fermant Les Yeux, Firenze E Come Un Albero FioritoFrisch zum Kampfe! from Die Entfuhrung aus dem Serail, Horch, Die Lerche, I Know That You All Hate Me, Il mio tesoro from Don Giovanni, Inkslinger's Song, Je Crois Entendre Encore, La donna e mobile, La Fleur Que Tu M'avais Jetee, Lenski's Aria, Lonely House, O wie angstlich from Die Entfuhrung aus dem Serail, Outside This House, Pourquoi Me Reveiller, QUANTO E BELLA, Questa O Quella, Salut Demeure Chaste Et Pure, Spirto Gentil, Un'aura amorosa from Cosi fan tutte, Una Furtiva Lagrima, Vainemant, Ma Bien-Aimee

Voicing: Tenor
Style: Opera

Review: Diction lessons on each aria in the series recorded by top language coaches from the Metropolitan Opera and the Juilliard School plus International Phonetic Alphabet and word for word translations With these book/CD packages that match the standard aria collections edited by Robert L. Larsen, any singer anywhere has access to the best diction coaching available at a very affordable price. Each aria is recorded twice. In the first version the coach recites the text as an actor would speak it, showing flow of the language and the mood. The second version is a slow, deliberate lesson, allowing time for the student to repeat each line. These experienced language coaches adapt the 'R' in German and French in the slow versions for singers. They also are very sensitive to liaisons between word sounds in the musical settings. The book includes International Phonetic Alphabet for each aria and word for word translations. The native speaking professional diction coaches from the Metropolitan Opera and the Juilliard School are: Corradina Caporello for Italian, Pierre Vallet for French, Irene Spiegelman for German, Kathryn LaBouff for English, Yveta Synek Graff for Czech, and Gina Levinson for Russian. Companion to 50483986 Coloratura Arias for Soprano.

Songlist: Alcina, Ariadne Auf Naxos, Un Ballo In Maschera, Il Barbiere Di Siviglia, Les Contes D'Hoffmann, Les Deux Avares, Dinorah, Don Pasquale, Die Entfuhrung Aus Dem Serail, La Fille Du Regiment, Die Fledermaus, Hamlet, Lakme, Linda Di Chamounix, Lucia Di Lammermoor, Manon Lescaut, Martha, Mignon, The Pirates Of Penzance, I Puritani, Der Schauspieldirektor, La Sonnambula, The Telephone, Die Zauberflote , Zolotoj Petushok

Voicing: Soprano
Style: Opera

Review: Singer and actors are a unique group of performers, relying almost entirely on their voice for the professional livelihood. Jet lag, amplification, allergens, stress, pollution, and vocal strain all affect vocal performance. Written for the performer, the teacher, and the vocal coach, Care of the Professional Voice offers clear explanations and medical advice on vocal problems and vocal health. Care of the Professional Voice is written by experts in laryngology in the United States and Great Britain. This new edition includes a singer's guide to self-diagnosis. This volume should become a staple of every singer/actor's library.'- James Morris, Metropolitan Opera. 'Anyone whose voice is their livelihood will welcome this succinct and user-friendly book.' - Sir Anthony Hopkins

Songlist: List Of Illustrations, Forewords by Bryn Terfel, James Morris & Sir Anthony Hopkins, Acknowledgements, Preface, Anatomy and Physiology of the Vocal Mechanism, Development of the Larynx and the Voice, Age and Voice, Attributes of a Good Vocal Performer, General Considerations Before Performance, Laryngeal Disorders: Diagnosis, Treatment and Prevention, Anxiety, Artistic Temperament and the Voice, Popular Music and the Musical Theatre, Travel and the Vocal Performer, Medications and the Professional Voice, General Medical Considerations in the Vocal Performer, A Visit to the Laryngologist, Surgery and the Vocal Artist, A Singer's Guide to Self-Diagnosis, Suggested Reading, Glossary, Index

Review: A series of carefully graded progressive exercises to improve singing technique, for both solo singers and choirs. Includes exercises focussing on breathing and breath control, the production of vowel-sounds and consonants, good singing technique, and ear-training.

Songlist: Voice Placing Exercises for Loose Throat, Forward Tone and Resonance, Tongue Loosening Exercises, Sustained Notes, Attack, Flexibility and Rhythm, Voice Placing Exercises, Sustained Notes, Breath Pressure Variation, Attack and Staccato , Flexibility and Rhythm, Voice Placing Exercises, Flexibility, Major Scales and Arpeggi, Attack, Staccato, and Legato, Minor Scales, Breath Pressure Variations, Range Extension and Ear Training, Single Vowel-Sounds, Compound Vowel-Sounds, Consonants, Breath Pressure Variations

Voicing: Soprano Tenor

Review: This is a reproduction of the original book published in 1923. One of the great masters of the vocal arts shares his timeless thoughts. Most interesting.

Songlist: General Onservations, Preliminary Studies, The Vocal Organs, Studies in Tone, Exercises for Steadying the Vocal Attack, Vocal Development, Blending of the Registers, Vocal Agility, The Trill, Tones, Observations on Change of Register, Remarks on Musical Style, Care of the Voice, Conclusion

Review: The sterling value and great usefulness of Concone's lessons have been so long recognized, that their extensive adoption caused the issue of numerous editions in almost every country where the study of the Art of Singing is cultivated. No edition, however, is as thorough and complete as his 'Fifty Lessons' series. The purpose of these lessons, in the author's own words, are 'to place and fix the voice accurately,' and 'to develop taste while singing broad, elegant and rhythmical melodies.' This is a vocal training series not to be missed!

Songlist: 40 Lessons for Low Voices

Voicing: Low
Style: Classical

Review: The sterling value and great usefulness of Concone's lessons have been so long recognized, that their extensive adoption caused the issue of numerous editions in almost every country where the study of the Art of Singing is cultivated. No edition, however, is as thorough and complete as his 'Fifty Lessons' series. The purpose of these lessons, in the author's own words, are 'to place and fix the voice accurately,' and 'to develop taste while singing broad, elegant and rhythmical melodies.' This is a vocal training series not to be missed!

Songlist: 50 exercises

Voicing: High
Style: Classical

Review: The sterling value and great usefulness of Concone's lessons have been so long recognized, that their extensive adoption caused the issue of numerous editions in almost every country where the study of the Art of Singing is cultivated. No edition, however, is as thorough and complete as his 'Fifty Lessons' series. The purpose of these lessons, in the author's own words, are 'to place and fix the voice accurately,' and 'to develop taste while singing broad, elegant and rhythmical melodies.' This is a vocal training series not to be missed!

Songlist: 50 exercises

Voicing: Low
Style: Classical

Review: The sterling value and great usefulness of Concone's lessons have been so long recognized, that their extensive adoption caused the issue of numerous editions in almost every country where the study of the Art of Singing is cultivated. No edition, however, is as thorough and complete as his 'Fifty Lessons' series. The purpose of these lessons, in the author's own words, are 'to place and fix the voice accurately,' and 'to develop taste while singing broad, elegant and rhythmical melodies.' This is a vocal training series not to be missed!

Songlist: 50 exercises

Voicing: Medium
Style: Classical

Review: This excellent book combines Theory and Sight-Singing instruction into 73 different exercises. A student with the ability to read music already will get the most use out of this very thorough instructional.

Songlist:

Style: Classical

Review: A giant of postwar music and the most powerful figure in the contemporary French music scene, Pierre Boulez talks about his career as one of the world's most controversial conductors and daring programmers of musical text. These candid interviews give us vintage Boulez: his bold views, enigmatic wit, practical wisdom, and uncompromising beliefs.

Songlist: Acknowledgments, Foreword, Preface, A Journey, Conducting To Compose, Choosing the Works, On Gestures, Pleasure and Authority, Rehearsing, Recording, Settings, Audiences, France And Its Orchestras, The Future, Education of Conductors and the Changing of the Guard, Colleagues, Body Language, Notes to the Interviews, Selection of Programs Conducted by Boulez, Discography, Index

Review: Jennifer Hamady has performed the world over with many of the top names in the music business. Also a voice coach to television actors, Broadway performers, and award-winning vocalists, she has written a ground-breaking book on singing and the psychology of performing that is a must-read for every artist working today. Using the medium of the voice, Jennifer shares her insights and experiences as a coach and a singers that will opern your eyes to how we all - musicians and non musicians alike - allow fear, doubt, preconceived notions, and overthinking to get in the way of clear, healthy, optimal singing - and living. The accompanying CD - in Jennifer's own voice - captures a conversation about her ideas and journey, as well as excercises that will help you discover and release your true and best instrument. Performers of all ages and abilities will gain valuable insight into the mechanics, psychology and physiology of singing.

Songlist: Finding the Voice That Was Never Lost, Language, Learning, The Brain in Singing, Fear and the Psychology of Singing, Putting Theory into Practice , Strengthening the Diaphram, Voiced Consonants, Voiced Lip Trills, Engaging the Singing Voice, Vocal Integration, Vibrato, Hearing versus Feeling, Strengthening the Voice, Register Shifts, Interpretation as a Vocal Tool, Melodic Context, Fine Tuning / Trouble Spots

Review: Initiating a new series of coordinated diction manuals and anthologies, this book helps students to move beyond diction to clear understanding and authentic style. Thomas Hampson says, 'This guide not only achieves an excellent study of the tools for proper translation and diction, it goes much deeper and more importantly to the teaching of musical and poetic expression from the inner side of the language.' Every German example word or phrase is translated into English and is also spoken perfectly on the included CD by trained actress Dr. Nora Henry, from Hanover, Germany.

Songlist: Phonetic Concepts, Germanic languages and German dialects, Characteristic Patterns and Sounds in German, What makes German sound German?, How German words are formed - Grammatical ending, How German words are formed - Compound words, Syllabication for singers. , Syllabication of simple words , Syllable separation before vowels, Do you have to make a glottal stop?, Long and Short Vowels, How vowel length works in German, Why must singers understand vowel length., Vowel quality, vowel length and syllabic stress, German Diction in Musical Context, The role of stress and unstress, Practicing words with mixed vowels, Adjusting consonants for singing, Singing doubled consonants, A final checklist

Review: As part of a series of coordinated diction manuals and anthologies, this book helps students to move beyond diction to clear understanding and authentic style. Thomas Hampson says the series, 'not only achieves an excellent study of the tools for proper translation and diction, it goes much deeper and more importantly to the teaching of musical and poetic expression from the inner side of the language.' Every Italian example word or phrase is translated into English and is also spoken perfectly on the included CD by linguist and native Italian Dr. Anna Siragusa.

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Review: This vocal pedagogy textbook breaks the mold. Making complex concepts easily understood has been the hallmark of Kathi Rundus' teaching career. Filled with anatomical drawings, pictures, graphs and valuable vocal exercises, this book is wisely and attractively organized. Plus, every chapter includes a section specifically for the choral director! Katharin Rundus is a nationally recognized teacher, conductor and singer. Her most recent performances include: Arianna a Naxos for the inaugural conference of the California Haydn Society, soprano solos for Arvo Paart's Passio, Vaughn Williams' Dona Nobis Pacem, Handel's Dixit Dominus, Mozart's Requiem, Haydn's Creation, Beethovan's Mass in C, and Bach's St. John's Passion and B Minor Mass. In addition to her private studio at CSULB, Dr. Rundus is the coordinator of Vocal Studies at Fullerton College, where she also conducts the Chamber Singes and the Women's Chorale. She received her Bachelors of Music from Coe College, her Masters of Music from Westminster Choir College, and her PhD in Musical Arts from the Claremont Graduate University.

Songlist: Release of Tension, Opening the Vocal Tract, Breathing for Singing, Onsets and Releases, Resonance, Registers of the Voice, Focus of the Tone, Articulation, Musical Expression, Vocal Health, Aphorisms for Singing, Feelings and Emotions, List of Illustrations

Review: In Singing and Communicating in English, internationally renowned diction coach Kathryn LaBouff provides singers with an accessible guide to the principles of English diction they need to communicate the text successfully. Her thorough and much sought-after technique clarifies the physiology of speech, emphasizes the studied practice of careful and articulate pronunciation, and focuses on the study of English cadence. Covering aspects of phonetics from vowels to diphthongs to fricatives, the book includes multiple practical exercises in International Phonetic Alphabet (IPA) transcriptions, helpful diagrams, and pronunciation drills, each chosen from the most essential English art song and operatic repertoire. In addition to standard American and British English, a variety of regional dialects and accents are covered in depth. A companion website features a full range of vowel/consonant drills, poems read aloud by the author and by theater and voiceover actor John Keating, as well as an exercise answer key, and publishers' lists to help the singer locate a vast array of English language works for performance. This book is an invaluable resource for all vocalists (both professional and aspiring), diction instructors, teachers, and coaches, and choral directors. Kathryn LaBouff teaches English Diction and English Vocal Literature at the Juilliard School of Music, the Manhattan School of Music, and the Curtis Institute of Music. Diction Coach for the Metropolitan Opera, New York City Opera, Houston Grand Opera, and Washington Opera, she has coached and prepared more than 300 professional opera productions in English.

Songlist: Foreword, Introduction to Diction, Communicating the Thought, Introduction to Vowels, The Fronting Vowels, The Backing Vowels, The Mixed Vowels, Dipthongs, The Three Semi-Vowel Glides, Introduction to Consonants, The Plosives, The Fricatives, The Nasal Consonants Plus the Lyrical L, The Owner's Manual, Singing in the British Dialect, The Mid-Atlantic Dialect, Afterword , Appendices, Glossary, Music Publisher's Guide, Selected Bibliography and Resources, Index of Song Texts, General Index, Exercise Guide

Review: This book of the 'bel canto' series by author Kendrick Jacocks takes the anatomical and physiological route to explaining why the 'bel canto' position achieves the timbres, calibration, and control native to it. The book proves the functional aspects of the nasalis (nose muscle system), and provides detailed descriptions of the paranasal sinuses: ethmoid, sphenoid, maxillary, and frontal, and their effect on tone quality. It explains chest tensions; the connection between the pelvic floor and mask in supporting the breath, and the chest position. The books explains how to use the muscles that open and close the tone, the importance of the relaxation of the spine, and explains resonance. The book provides anecdotes from such writers, artists and teachers as Giovanni Sbriglia, Joan Sutherland, G.B. Lamperti, Regine Crespin, and Manuel Garcia. Kendrick Jacocks is a professionally active dramatic tenor, pedagogue, and critic whose life is dedicated to the practice of opera as a means of transmitting human emotion. He has performed with symphony orchestras and opera companies in the United States, Europe, Eurasia, Canada, and Central America. He received a BM in voice and literature from University of Illinois at Champaign-Urbana, and his MA in voice pedagogy and performance from the University of ND at Grand Forks. He plans to complete a DMA at Rutgers University.

Songlist: Bel Canto Technique, Anatomy of the Nose, Soft Palate, Tongue and Jaw, Breathing and Support, Discussing the Ancient Manner, The Cavities of the Head, Head Resonance, Buccel Resonance, Chest Vibrations, Open and Closed Tones, Pelvic Support, Chest Voice, Chest Tone, Stage, Consonants, Technique of Chest Resonance, Sbriglia, Closing

Review: This guide somatically explains how to sing using fundamental 'bel canto' technique. It is unique because it explains the physical technique of 'bel canto' in plain words, rather than discussing opinions and observations, style, vocalises, history and theory. The author, Kendrick Jacocks, has used the method, which was identified as 'bel canto' by professionals in the field as he prepared for his debut performances of Verdi's 'Otello' with the Donetsk State Opera in The Ukraine and on tour in Spain. His performances held interest for his unique ability to transmit real emotion through the use of timbre, intensity, and dynamics, which was enabled by three essential physical movements. The 'bel canto position' was taught to him by the successful 'bel canto' teacher and soprano Virginia Zeani. The technique was then applied by the actions he sets forth in this book, and aided by his own studies and practice. The second half of the book provides helpful remedies, suggested listening, a short explanation of the teachings of Manuel Garcia II, Enrico delle Sedie, Mathilde Marchesi, and Giovanni Sbriglia, 'Constantin Stanislavsky on Singing in the Mask', quotations on the value of humming and suggestions from Zinka Milanov, Virginia Zeani, Marian Anderson, G. B. Lamperti, Jean de Reszke, and Rosa Ponselle, and a short gallery.

Songlist: Introduction, Foundation of Bel Canto the Development of Bel Canto, The Magic Word "HUNG", Tone of Bel Canto, Legato of Bel Canto, Attack of Bel Canto, Consonants, Agility, Pianissimo, Messa di Voce, Mezza Voce, Vocal Registers, Breathing, Breath Support for Bel Canto, Bel Canto Resonance, Timbres of Bel Canto, French The Language of Bel Canto, Beauty of Tone, Increasing the Higher Range, Summary

Review: An indispensable guide for modern singers, this rare resource offers exercises and instructions for attaining the absolute breath control, vocal sheen, evenness of tone, agility, and elegance of the 18th-century Italian vocal technique. Includes studies for scales, turns and trills, vocalises, solfeggio studies, more. Damorea was the famous French soprano who created at the Paris Opera (1825-35) the principal roles in Rossini's 'Le siege de Corinthe', 'Moise, Le Comte Ory' and Guillaume Tell and in Auber's 'La muette de Portici', being known for her pure tone and stylish ornamentation.

Songlist: General observations and preliminary excercises, Rossini's exercises to develop the voice, Arpeggio exercises, Scale exercises, Chromatic exercises, Exercises on the turn and trill, Various ways of connecting notes, To place the voice and connect two notes, On the turn, On scale passages, On arpeggios, On agility, On chromatic passages, Six vocalises on style, Virtuoso passages, candenzas and reprises

Style: Opera

Review: This remarkable book is one of the most influential works on the art of singing ever written. Its author was one of the first great international superstars of opera. German soprano Lilli Lehmann enjoyed a long and brilliant career that began in Prague and Danzig and soared to the heights of operatic renown in Berlin, Vienna, London and New York. Coached by Wagner himself, she took part in the first complete Ring cycle at Bayreuth in 1876, and sang in the first performances of Tristan and Isolde and the complete Ring cycle in America.

Songlist: My Purpose, Preliminary Practice, Of the Breath, Of the Breath and Whirling Currents (Singing Forward), The Singer's Physiological Studies, Equalizing the Voice - Form, The Attack and the Vowels, Nasal-Nasal Singing-Singing Toward the Nose-Covering the Tone-Chanter Dans Le Masque-Nasal Twang, The Head Voice, The Sensation and Position of the Nose-the Nose Form, The Sensations of the Palate, The Sensation of the Resonance of the Head Cavities, On Vocal Position-Three Are No Vocal Registers-Propaation-Form, White Voices, Theodor Wachtel and the Vocal Technique of Tenors, The Highest Head Tones-Staccato, The Tremolo, The Cure, The Tongue, The Position of the Mouth (Contraction of the Muscles of Speech), Connection of Vowels, The Lips as a Means of Expression, The Vowel-Sound AH of Former Days, Italian and German, Auxiliary Vowels, Resonant and Disconnected Consonants, Practical Exercises, The Great Scale, Velocity, Trill, How to Hold One's Self When Practising, Pronunciation-Consonants, Concerning Expression, Before the Public, Interpretation, Indispositions, Note: A Good Remedy for Catarrh and Hoarseness

Style: Opera

Review: Rather than a technical book on singing techniques, this volume contains many priceless pointers that Lillian Nordica acquired through experience. She discusses early training and the choice of a teacher; the cultivation of calmness, self-control, and confidence; overcoming obstacles such as self-consciousness and stage fright; and stage fright; and numerous other important skills that lead a singer toward success. Her practical counsel ranges from the advantages of wearing comfortable attire to the caution required when signing contracts.

Songlist: Choice of Singing as a Profession, Choice of a Teacher and Where to Study, How to Study, Obstacles to Be Met With and How to Overcome Them, Stage Deportment: Either Concert or Opera, Concert, Opera and Its Apprenticeship, Wagner, Singer and Audience, The Making of a Career

Style: Opera

Review: Achieving a successful singing career, especially in opera, can seem almost impossible to many singers because of fear of high notes, lack of projection, and confusion on how to express the music unhampered by technical preoccupation. Master Teacher and accomplished opera singer Lois Alba is aware of these pitfalls. She knows the best teaching involves an acute sense of the art form based on sound, intuition and imagery. The focus comes from the mind. It is interpreted through the ear and the body. When the body and mind come together harmoniously the result is beautiful sound.In this clear and legible guide, Lois Alba shares her formidable experience, voice training insight, and philosophical wisdom about the creative nature of singing. She works to de-program the singer as to the many myths about singing recurring themes that flood vocal studios and ultimately damage voices. Vocal Rescue is an amalgamation of many precepts from a large library of rare treatises and the concepts outlined come from the fine art of vocal mastery known as bel canto. The text provides a seven step system that demystifies the secrets to beautiful singing, and promises to take all singers to a new level of technical proficiency and expression. Recorded illustrations on CD/DVD demonstrate the vocal principles with lessons and vocalises for singers in all voice ranges to follow.

Songlist: Resonance, Registers, Vowels and Timbre, Legato, Agility, Recitatives and Cadenzas, Voice Freedom, Discovering Your Voice, Releasing Your Creativity, A Collection of Rare and Original Vocalises, Introduction to the Vocalises, Voice Types, Singing Roles, and Learning from the Best, Introduction to the Voice Types, The Professional Singer, Preparing for a Role, Voice Rescue, A Career in Singing

Review: Lucie Manen's career - as lieder and opera singer and physiotherapist - uniquely qualified her to write this manual. Here are the findings of her extensive investigations into the 'lost' art of Bel Canto, its history, and its techniques.

Songlist: Preamble, Introduction, Investigation of Bel Canto Voice-Production and Breath-Control, Characteristics of Bel Canto, Building the Bel Canto Instrument, Bel Canto Breath-Control and Voice Production, Fundamental Principles of Bel Canto, Mastery Of Bel Canto Technique, Coloratura, Articulation, Voice Types and Vocal Timbres, Appendix: Summary of Research, Bibliography

Review: Maria Callas returned to the stage in 1971 to teach master classes at Juilliard. This intriguing forum later inspired Terrence McNally's acclaimed play Master Class. Outspoken and uncompromising in her artistic beliefs, Callas worked through her legendary arias from Mozart, Verdi, Rossini, Puccini, and others. John Ardoin brilliantly captures the insights of a thoughtful singer who reveals herself to be not the imperious diva of her reputation, but a supremely self-aware artist concerned with passing along a great musical tradition.

Songlist: Foreword by Nicola Rescigno, Introduction, Prologue, The Classes, Mozart: Don Giovanni, Mozart: Cosi fan tutte, Mozart: Die Zauerflote, Beethoven: "Ah! Perfido", Beethoven: Fidelio, Cherubini: Medea, Spontini: La Vestale, Rossini: Il Barbiere Di Siviglia, Rossini: La Cenerentola, Rossini: Gugielmo Tell, Bellini: Il Pirata, Bellini: La sonnambula, Bellini: Norma, Bellini: I puritani, Donizetti: Lucia di Lammermoor, Donizetti: Anna Bolena, Donizetti: Don Pasquale, Verdi: Nabucco, Verdi: Ernani, Verdi: La battaglia di Legnano, Verdi: Rigoletto, Verdi: Il Trovatore, Verdi: La Traviata, Verdi: I Vespri Sciliani, Verdi: Simin Voccanegra, Verdi: Un Ballo in Maschera, Verdi: La Forza del Destino, Verdi: Don Carlo, Verdi: Aida, Verdi: Otello, Berlioz: La damnation de Faust, Gounod: Faust, Gounod: Romeo et Juliette, Bizet: Carmen, Massenet: Werther, Ponchielli: La gioconda, Boito: Mefisofele, Leoncavallo: I Pagliacci, Mascagni: Cavalleria rusticana, Puccini: Manon Lescaut, Puccini: La boheme, Puccini: Tosca, Puccini: Madama Butterfly, Giordano: Andrea Chenier, Cilea: Adriana Lecouvreur, Epilogue, Glossary, Index

Review: Marilyn Horne (b. January 16, 1934, Bradford, Pennsylvania) is an American mezzo-soprano opera singer who is particularly associated with the music of Rossini and Handel. She began her career as a light lyric soprano; however, as the years progressed, the voice settled and matured into a mezzo-soprano instrument with a full and rich timbre equipped with extreme flexibility and great size. She specialized in roles requiring a large sound, beauty of tone, excellent breath support, and the ability to execute difficult coloratura passages. This collection features celebrated arias as interpreted by the great Marilyn Horne. In addition to a brief biography, each selection, in standard voice and piano format, is followed by notes which indicate the variants, breaths, fermatas, and all of the nuances that Horne employed to turn these arias into masterpieces of interpretation. A wonderful reference tool for vocal coaches, professional singers and voice students.

Songlist: Belt? crudele (Rossini), Cruda sorte! Amor tirrano! from L'ITALIANA IN ALGERI (Rossini), Oh Patria! - Di tanti palpiti from TANCREDI (Rossini), Il risentimento (Rossini), Il trovatore (Rossini), L'invito (Rossini), Mura felici from LA DONNA DEL LAGO (Rossini), Una voce poco fa from IL BARBIERE DI SIVIGLIA (Rossini)

Voicing: Mezzo-Soprano
Style: Opera

Review: This is the first practical guide to historical singing styles, covering the early baroque period to the present and spanning Europe, Russia and the United States. In chapters devoted to separate historical eras, Martha Elliott Discusses singers and composers of the time, the vocal repertoire, stylistic conventions, and more, drawing everything together into a convenient handbook for the student and the amateur of professional performer.

Songlist: Acknowledgments, Introduction, The Early Baroque, Italy, England, France, The Late Baroque, Italian Influence, Germany, France, The Classical Era, Italian Bel Canto, German Lieder, French Melodies, Second Viennese School, Early Twentieth-Century Nationalism, Russia, Spain, England, United States, Working With Living Composers, Notes, For Further Reading, Index

Review: The Boosey Voice Coach is an entirely new concept in learning about technique and interpretation through the repertoire itself, with 20 songs in English by Purcell, Handel, Haydn, Warlock, Finzi, Britten, Copland and Rorem. Each piece is discussed at length, starting with the words, moving to meaning and interpretation, and then addressing the technical difficulties the music presents. Expressed in clear language, Mary King's approach is direct, practical and not limited to one particular teaching method. Any student will find that these books enrich and complement their vocal studies.

Songlist: Music for a while, Man is for the woman made, Sweeter than roses, O sleep, why dost thou leave me?, Where'er you walk, The mermaid's song, The spirit's song, My mother bids me bind my hair, The countryman, The bayly berrith the bell away, There is a lady sweet and kind, Rollicum rorum, Fear no more the heat o' the sun, Oliver Cromwell, The salley gardens, The trees they grow so high, Why do they shut me out of heaven?, Heart we will forget him, Orchids, The Serpent

Voicing: High
Style: Classical

Review: The Boosey Voice Coach is an entirely new concept in learning about technique and interpretation through the repertoire itself, with 20 songs in English by Purcell, Handel, Haydn, Warlock, Finzi, Britten, Copland and Rorem. Each piece is discussed at length, starting with the words, moving to meaning and interpretation, and then addressing the technical difficulties the music presents. Expressed in clear language, Mary King's approach is direct, practical and not limited to one particular teaching method. Any student will find that these books enrich and complement their vocal studies.

Songlist: Music For a While, Man is for the Woman Made, Sweeter than Roses, O Sleep, Why Dost Thou Leave me?, Where'er you Walk, The Mermaid's Song, The Spirit's Song, My Mother Bids me Bind my Hair, The Countryman, The Bayly Berith the Bell Away, There is a Lady Sweet and Kind, Rollicum Rorum, Fear No More the Heat o' the Sun, Oliver Cromwell, The Salley Gardens, The Trees They Grow so High, Why do They Shut me Out of Heaven?, Heart we Will Forget Him, Orchids, The Serpent

Voicing: Low
Style: Classical

Review: Bel canto (Belcanto, bel canto) (Italian, beautiful singing), an Italian musical term, refers to the art and science of vocal technique which originated in Italy during the late sixteenth century and reached its pinnacle in the early part of the nineteenth century during the Bel Canto opera era. Bel canto singing characteristically focuses on perfect evenness throughout the voice, skillful legato, a light upper register, tremendous agility and flexibility, and a certain lyric, 'sweet' timbre. This volume embodies Madame Marchesi's 'vocal alphabet,' or basic instructions and exercises that formed the voices of her great pupils. An introductory text discusses breathing, attack, registers and similar matters, while the remainder of the book contains many exercises and vocalises that teach voice management and projection. Marchesi's book is today even more important than when it first appeared, for it offers the basis for a construction of the bel canto training system. At the time the book appeared, the bel canto system had gone out of fashion in favor of more modern schools that seemed to offer more rapid maturation, voice volume, and dramatics. Today, a more realistic reevaluation has revealed that the bel canto system gave the singer much longer performing life, a more pleasing voice, and far greater musical ability. As Phillip Miller states in his introduction, 'a solidity, a sure technical mastery, an even scale with no register break... strong, even and secure trills, their coloratura masterly.' In addition, the resurgence of interest in early 19th century opera renders a work like Marchesi's indispensable to the modern singer.

Songlist: Part One: Elementary and Progressive Exercixes for the Development of the Voice, Chromatic Slur, Diatonic Slur, Portamento, Scales, Exercises for blending the Registers, Exercises on two notes, Exercises on three notes, Exercises on four notes, Exercises on six notes, Exercises on eight notes, Chromatic Scale, Minor Scales, Exercises for Flexibility, Varied Scales, Repeated Notes, Triplets, Arpeggi, Messa di Voce (Swelled Sounds), Apoggiatura - Acciaccatura (Crushed Note) - Mordente, The Turn, The Shake (Trill), Shakes by Thirds, Part Two: Development of the Exercises in the Form of Vocalises, Attack, Portamento, Sostenuto, Diatonic Scale, Dotted Diatonic Scale, Minor Scale, Major and MInor Scales alternating, Chromatic Scale, Repeated Notes, Triplets, Areggi, Appoggiatura and Acciaccatura (Grace Notes), Mordente and Turns, Syncopation, Long Intervals, Staccato, Mezzo Staccato, and Accented Notes, Shakes

Style: Opera

Review: This very complete guide to Marchesi's style of vocal training has everything from a written guide for students, to a wealth of different exercises, each with instructions on vowel use and mouth placement. This method has been in use now for almost 100 years and has been of great use to singers of all styles. A tried a true means to get the most out of your voice.

Songlist: Practical Guide for Students, Exercises for Blending the Registers, Chromatic Scale, Minor Scales, Exercises for Flexibility, Varied Scales, Repeated Notes, Triplets, Arpeggi, Messa de Voce (Swelled Tones), The Appoggiature, The Turn, The Trill, Trills Separated by a Third, Development of the Exercises in the Form of Vocalises

Style: Classical

Review: Learning to sing means beginning an artistic journey full of rich and unexpected experiences. human voices touch hearts in every nation and yet the best singing has qualities that Italy originated and taught the world to admire. Singing can approach a quality of timeless beauty, yet songs preserve for us the feelings of particular times, whether recent or long ago. Singing gives both the singer and the listener a sensation of freedom and heartfelt expression. Vaccai's masterly Method won increasing popularity with time, and was eventually used in conservatories all over the world. Even today it is often used by singing teachers, who consider it a collection of attractive Ariettas, each serving a particular funtion. And it is quite easy material, perfect for the beginning student. This method book is tailored towards High Soprano voices.

Songlist:

Voicing: Soprano
Style: Opera

Review: Learning to sing means beginning an artistic journey full of rich and unexpected experiences. human voices touch hearts in every nation and yet the best singing has qualities that Italy originated and taught the world to admire. Singing can approach a quality of timeless beauty, yet songs preserve for us the feelings of particular times, whether recent or long ago. Singing gives both the singer and the listener a sensation of freedom and heartfelt expression. Vaccai's masterly Method won increasing popularity with time, and was eventually used in conservatories all over the world. Even today it is often used by singing teachers, who consider it a collection of attractive Ariettas, each serving a particular funtion. And it is quite easy material, perfect for the beginning student. This method book is tailored towards Soprano and Tenor voices.

Songlist: ,

Voicing: Soprano Tenor

Review: Vaccai's masterly Method won increasing popularity with time, and was eventually used in conservatories all over the world. Even today it is often used by singing teachers, who consider it a collection of attractive Ariettas, each serving a particular function. And it is quite easy material, perfect for the beginning student.

Songlist: The Scale, Intervals of a Third, Intervals of a Fourth, Intervals of a Fifth, Intervals of a Sixth, Intervals of a Seventh, Intervals of an Octave, Semitones, Syncopated Mode, Introduction to Roulades, Ascending and Descending Appoggiaturas, The Acciaccatura, Intro to the Mordent, Different Types of Mordent, Intro to the Turn, The Turn, Intro to the Trill, Roulades, The Vocal Portamento, The Second Type of Poratamento, The Recitative, Epilogue

Voicing: High
Style: Opera

Review: Vaccai's masterly Method won increasing popularity with time, and was eventually used in conservatories all over the world. Even today it is often used by singing teachers, who consider it a collection of attractive Ariettas, each serving a particular function. And it is quite easy material, perfect for the beginning student.

Songlist: The Scale, Intervals of a Third, Intervals of a Fourth, Intervals of a Fifth, Intervals of a Sixth, Intervals of a Seventh, Intervals of an Octave, Semitones, Syncopated Mode, Introduction to Roulades, Ascending and Descending Appoggiaturas, The Acciaccatura, Intro to the Mordent, Different Types of Mordent, Intro to the Turn, The Turn, Intro to the Trill, Roulades, The Vocal Portamento, The Second Type of Poratamento, The Recitative, Epilogue

Voicing: Baritone Mezzo-Soprano