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soprano - Vocalist Online

Videos with tag soprano
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Step 1

The first step of the setup

Channels: How To Sing 

Added: 2458 days ago by VOAdmin

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singing exercises male beginning bouncing for support

Learn setup before useing this exercise - male_beginnng_support

Channels: How To Sing 

Added: 2458 days ago by VOAdmin

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singing exercises male beginning bouncing support

Learn setup before useing this exercise - male_beginnng_support

Channels: How To Sing 

Added: 2458 days ago by VOAdmin

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singing exercises male beginning bouncing for support

Learn setup before useing this exercise - male_beginnng_support

Channels: How To Sing 

Added: 2458 days ago by VOAdmin

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singing exercises Male beginning placement

Learn setup before useing this exercise - Male_beginning_placement

Channels: How To Sing 

Added: 2458 days ago by VOAdmin

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singing exercises male falsetto sliding down blending

Learn setup before useing this exercise - m_falsetto_s8va_side_down.wmv

Channels: How To Sing 

Added: 2458 days ago by VOAdmin

Views: 1792 | Comments: 0

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singing exercises male beginning bouncing for support

Learn setup before useing this exercise male_beginnng_suppo

Channels: How To Sing 

Added: 2458 days ago by VOAdmin

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singing exercises male beginning bouncing

Learn setup before useing this exercise - male_beginnng_support

Channels: How To Sing 

Added: 2458 days ago by VOAdmin

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singing exercises male falsetto slding down blending

Learn setup before useing this exercise - m_falsetto_shee_8av_slide_down.wmv

Channels: How To Sing 

Added: 2458 days ago by VOAdmin

Views: 1178 | Comments: 0

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female only singing exercises using zing into a - 9 tone scale

Learn setup before useing this exercise -more difficult useing zing with the a vowel

Channels: How To Sing 

Added: 2458 days ago by VOAdmin

Views: 1043 | Comments: 0

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singing exercises female voice only - zing into i 5 tone

Learn setup before useing this exercise -useing zing to find the i (ee) vowel

Channels: How To Sing 

Added: 2458 days ago by VOAdmin

Views: 942 | Comments: 0

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singing exercises Female voice only - zing into a 5 tone for placement

Learn setup before useng this exercise - useing zing to find the a (ah) vowel

Channels: How To Sing 

Added: 2458 days ago by VOAdmin

Views: 948 | Comments: 0

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singing exercises female voice only - female zing 9 tone

Learn setup before useing this exercise - 9 tone scale placement exercise useing zing

Channels: How To Sing 

Added: 2458 days ago by VOAdmin

Views: 933 | Comments: 0

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singing exercises male falsetto medium difficulty

Learn setup before useing this exercise - m_falsetto_shoo_54321.wmv

Channels: How To Sing 

Added: 2458 days ago by VOAdmin

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singing exercises female voice only - begining female zing 5 tone

Learn setup before useing this exercise - simple placement exercise useing zing

Channels: How To Sing 

Added: 2458 days ago by VOAdmin

Views: 938 | Comments: 0

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singing exercises male falsetto medium difficulty

Learn setup before useing this exercise - m_falsetto_shoo_543212345.wmv

Channels: How To Sing 

Added: 2458 days ago by VOAdmin

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singing exercises female voice only - beginning female 1 bouncing

Learn setup before useing this exercise - slightly more advanced bouncing for support

Channels: How To Sing 

Added: 2458 days ago by VOAdmin

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famale singing exercise only - zing into "oo" on 5 tone scale

Learn setup before useing this exercise - useing zing to find the oo vowel

Channels: How To Sing 

Added: 2458 days ago by VOAdmin

Views: 960 | Comments: 0

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singing exercises female voice only - bouncing 8va into a

Learn setup before useing this exercise - octave bouncing into the vowel a (ah) for support.

Channels: How To Sing 

Added: 2458 days ago by VOAdmin

Views: 858 | Comments: 0

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singing exercises male placement

Learn setup before useing this exercise - Male_beginning_placement

Channels: How To Sing 

Added: 2458 days ago by VOAdmin

Views: 994 | Comments: 1

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singing lessons male beginning falsetto

Learn setup before useing this exercise - M_falsetto_12321_on_oo.wmv

Channels: How To Sing 

Added: 2458 days ago by VOAdmin

Views: 915 | Comments: 0

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singing exercises female voice only - using zing to set up the i vowel

Learn setup before useing this exercise - useing zing to find the a vowel

Channels: How To Sing 

Added: 2458 days ago by VOAdmin

Views: 919 | Comments: 0

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singing exercises male or female puppy 2 for support and placement

For male and female voice - puppy whine for placement - (some men may not be able to do this - if not, learn and practice the vowel "oo" very softly.

Channels: How To Sing 

Added: 2458 days ago by VOAdmin

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singing exercises female voice only - zing 9 + 3 for placement

Learn setup before useing this exercise - useing zing with longer exercise

Channels: How To Sing 

Added: 2458 days ago by VOAdmin

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Freeing the Jaw

this will show you how to open and release the jaw. For more than 100 free, downloadable, graded vocal exercises go to thevoiceplace.com.

Channels: How To Sing 

Added: 2458 days ago by VOAdmin

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singing lessons male beginning falsetto

Learn setup before useing this exercise - M_falsetto_2_note_on_oo.wmv

Channels: How To Sing 

Added: 2458 days ago by VOAdmin

Views: 1050 | Comments: 0

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singing exercises female voice only - beginning female 2

Learn setup before useing this exercise - simle bouncing exercise to build support

Channels: How To Sing 

Added: 2458 days ago by VOAdmin

Views: 1014 | Comments: 0

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singing exercises male and female - the setup

The routine sets up the body, sets up the breath and gives you a piano introduction so you know when to start the exercises.

Channels: How To Sing 

Added: 2458 days ago by VOAdmin

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singing lessons male beginning falsetto

Learn setup before useing this exercise - m_falsetto_single_tone_sha.wmv

Channels: How To Sing 

Added: 2458 days ago by VOAdmin

Views: 857 | Comments: 0

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singing lessons female voice only - beginning female 3

Learn setup before useing this exercise - slightly longer bouncing exercise for support

Channels: How To Sing 

Added: 2458 days ago by VOAdmin

Views: 920 | Comments: 0

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singing exercises breathing for singers or, finding the back

This video show how to find the back and how to learn to breath into the back. The full power of the voice will be determned by your ability to use open the back.

Channels: How To Sing 

Added: 2458 days ago by VOAdmin

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singing exercises male falsetto medium difficulty

Learn setup before useing this exercise - m_falsetto_sha_54321.wmv

Channels: How To Sing 

Added: 2458 days ago by VOAdmin

Views: 838 | Comments: 0

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singing exercises female voice only - blending exercise bouncing i down double hits

Learn setup before useing this exercise - beginning blending the head and chest voice

Channels: How To Sing 

Added: 2458 days ago by VOAdmin

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MUSIC and VOCAL Lessons for Tenor Lyrical Singing

MUSIC LESSONS in Italy, vocal Lessons for Tenor and Soprano, the lyrical singing techniques of the Italian Bel Canto by The MAESTRO MARIO CANANA "The Italian Tenor Spinto" in his music culture and voice lessons, in Italy, for lyrical VOICE, MELODRAMATIC opera and lyrical culture. In this video the Maestro Canana's explain to students: tenor FABIO DE BENEDETTO how important it's to execute voice and vocal singing exercises for tenors and sopranos to reinforced voice and lyrical vocal cultori. http://www.ilbelcanto.org/ The Maestro Canana and the "Associazione Il Bel Canto in Italy" offers lessons for beginners, Tenors, Baritono, Sopranos and Master Class and international Master Lyrical singing and Melodramatic culture and art conference LOOKING FOR PRIVATE LESSONS OR A CONFERENCE BY MAESTRO CANANA? call in Italy: +39- 333- 6371 644 at http://www.italianbusinessguide.com/ THE ITALIAN OPERA - IL BEL CANTO The bel canto opera movement flourished in the early 19th century and is exemplified by the operas of Rossini, Bellini, Donizetti, Pacini, Mercadante and many others. Literally "beautiful singing", bel canto opera derives from the Italian stylistic singing school of the same name. Bel canto lines are typically florid and intricate, requiring supreme agility and pitch control. The bel canto era style was rapidly popularized by Giuseppe Verdi, beginning with his biblical opera Nabucco. Verdi's operas resonated with the growing spirit of Italian nationalism in the post-Napoleonic era, and he quickly became an icon of the patriotic movement (although his own politics were perhaps not quite so radical). In the early 1850s, Verdi produced his three most popular operas: Rigoletto, Il trovatore and La traviata. But he continued to develop his style, composing perhaps the greatest French Grand opera, Don Carlos, and ending his career with two Shakespeare-inspired works, Otello and Falstaff, which reveal how far Italian opera had grown in sophistication since the early 19th century. After Verdi, the sentimental "realistic" melodrama of verismo appeared in Italy. This was a style introduced by Pietro Mascagni's Cavalleria Rusticana and Ruggiero Leoncavallo's Pagliacci that came virtually to dominate the world's opera stages with such popular works as Giacomo Puccini's La Boheme, Tosca, and Madama Butterfly. Later Italian composers, such as Berio and Nono, have experimented with modernism IL BEL CANTO LIRICO DI ITALIA L'Associazione "Il Bel Canto" programma le proprie attività concertistiche in Italia e nel mondo. Offriamo un ricco repertorio di Arie con i nostri tenori, soprani, baritoni e coro, opere liriche come Aida, Il Trovatore, Nabucco, Traviata, Ernani di Giuseppe Verdi, Turandot, La Bohème, La Tosca, Madame Butterfly di Puccini, Il Barbiere di Siviglia e Mosè di Rossini, La Carmen di Bizet, ed altre opere liriche che definiscono l'arte e cultura lirica Melodrammatica in Italia e nel mondo sotto la direzione del MAESTRO CONCERTATORE MARIO CANANA IL BEL CANTO LIRICO DI ITALIA La asociacion cultural "Il Bel Canto" programa sus actividades y conciertos en Italia y el mundo. Ofrece un rico repertorio de Arias con nuestros tenor, soprano, baritono e coro. Operas liricas como Aida, Il Trovatore, Nabucco, Traviata, Ernani de Giuseppe Verdi, Turandot, La Bohème, La Tosca, Madame Butterfly di Puccini, Il Barbiere di Siviglia y Mosè de Rossini, La Carmen di Bizet y otras operas liricas que definen el arte y cultura lirica Melodramatica en Italia y el mundo bajo la direccion del MAESTRO CONCERTATORE MARIO CANANA

Channels: How To Sing 

Added: 2458 days ago by VOAdmin

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Vocal Lessons Tenors & Sopranos Lyrical Singing il Bel Canto

Vocal Lessons for Tenor and Soprano lyrical singing technique of the Italian Bel Canto by The MAESTRO MARIO CANANA "The Italian Tenor Spinto" in his voice lessons, in Italy, of lyrical VOICE, MELODRAMATIC opera and lyrical culture in Italy. In this video the Maestro Canana's student: tenor FABIO DE BENEDETTO executes voice and vocal singing exercises for tenors and sopranos specific exercise for special voice and lyrical vocal cultori. http://www.ilbelcanto.org/ The Maestro Canana and the "Associazione Il Bel Canto in Italy" offers lessons for beginners, Tenors, Baritono, Sopranos and Master Class and international Master Lyrical singing and Melodramatic culture and art conference LOOKING FOR PRIVATE LESSONS OR A CONFERENCE BY MAESTRO CANANA? call in Italy: +39- 333- 6371 644 at http://www.italianbusinessguide.com/ THE ITALIAN OPERA - IL BEL CANTO The bel canto opera movement flourished in the early 19th century and is exemplified by the operas of Rossini, Bellini, Donizetti, Pacini, Mercadante and many others. Literally "beautiful singing", bel canto opera derives from the Italian stylistic singing school of the same name. Bel canto lines are typically florid and intricate, requiring supreme agility and pitch control. The bel canto era style was rapidly popularized by Giuseppe Verdi, beginning with his biblical opera Nabucco. Verdi's operas resonated with the growing spirit of Italian nationalism in the post-Napoleonic era, and he quickly became an icon of the patriotic movement (although his own politics were perhaps not quite so radical). In the early 1850s, Verdi produced his three most popular operas: Rigoletto, Il trovatore and La traviata. But he continued to develop his style, composing perhaps the greatest French Grand opera, Don Carlos, and ending his career with two Shakespeare-inspired works, Otello and Falstaff, which reveal how far Italian opera had grown in sophistication since the early 19th century. After Verdi, the sentimental "realistic" melodrama of verismo appeared in Italy. This was a style introduced by Pietro Mascagni's Cavalleria Rusticana and Ruggiero Leoncavallo's Pagliacci that came virtually to dominate the world's opera stages with such popular works as Giacomo Puccini's La Boheme, Tosca, and Madama Butterfly. Later Italian composers, such as Berio and Nono, have experimented with modernism IL BEL CANTO LIRICO DI ITALIA L'Associazione "Il Bel Canto" programma le proprie attività concertistiche in Italia e nel mondo. Offriamo un ricco repertorio di Arie con i nostri tenori, soprani, baritoni e coro, opere liriche come Aida, Il Trovatore, Nabucco, Traviata, Ernani di Giuseppe Verdi, Turandot, La Bohème, La Tosca, Madame Butterfly di Puccini, Il Barbiere di Siviglia e Mosè di Rossini, La Carmen di Bizet, ed altre opere liriche che definiscono l'arte e cultura lirica Melodrammatica in Italia e nel mondo sotto la direzione del MAESTRO CONCERTATORE MARIO CANANA IL BEL CANTO LIRICO DI ITALIA La asociacion cultural "Il Bel Canto" programa sus actividades y conciertos en Italia y el mundo. Ofrece un rico repertorio de Arias con nuestros tenor, soprano, baritono e coro. Operas liricas como Aida, Il Trovatore, Nabucco, Traviata, Ernani de Giuseppe Verdi, Turandot, La Bohème, La Tosca, Madame Butterfly di Puccini, Il Barbiere di Siviglia y Mosè de Rossini, La Carmen di Bizet y otras operas liricas que definen el arte y cultura lirica Melodramatica en Italia y el mundo bajo la direccion del MAESTRO CONCERTATORE MARIO CANANA

Channels: How To Sing 

Added: 2458 days ago by VOAdmin

Views: 1991 | Comments: 0

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VOICE LESSONS for BEGINNERS - Hiroki Tanaka (Japan) in "The Bel Canto School in Italy"

VOICE LESSONS FOR BEGINNERS, the Maestro Canana teaching, the "VERY BASIC NOTES AND VOCAL TRAING TIPS AND TECHNIQUES" to reach high notes for a TENOR, to Mr. HIROKI TANAKA that comes from HAKODATE JAPAN to have personal and customized lessons to become an opera singer. Mr. Hiroki Tanaka was studying for Baritone in Japan and the Maestro Canana discovers (after few minutes) that he has a nice TENOR VOICE and after TWO LESSONS his voice and technique are a beautiful surprise because he's becoming a very good tenor. Congratulations to the Tenor's student (today an official Member of the IL BEL CANTO ASSOCIATION) because he has the capabilities to understand and applied very fast the Maestro Canana lessons. HIGH NOTES VOICE LESSONS VOICE LESSONS by the Maestro MARIO CANANA in Italy, professional voice and vocal training techniques and tips to express better singing high notes for professional Sopranos and tenors of the aria and romanza of the operas from ITALIAN BEL CANTO. The Maestro Mario Cananà explain to the tenor'student Hiroki Tanaka his technique to sing in a perfect way, and how important it is to have a NATURAL HIGH NOTES anytime to sing arias and romanzas as vocal professional training ITALIAN LYRICAL MUSIC LESSONS for Sopranos (Soprani) and Tenors (tenori) Music vocal and voice exercises as training of music lessons in Italy. The vocal Lessons for Tenor and Soprano for lyrical singing and voice techniques of the Italian Bel Canto by The MAESTRO MARIO CANANA "The Italian Tenor Spinto" (music culture and voice lessons, in Italy) for lyrical VOICE, MELODRAMATIC opera and lyrical culture. The Maestro Canana explain, in this class, to the Soprano how important it's to execute voice and vocal singing exercises VOCALIZO for sopranos and tenors to reinforced voice and lyrical vocal studies. http://www.ilbelcanto.org/ The Maestro Canana and the "Associazione Il Bel Canto in Italy" offers lessons for beginners, Tenors, Baritono, Sopranos and Master Class and international Master Lyrical singing and Melodramatic culture and art conference LOOKING FOR PRIVATE LESSONS OR A CONFERENCE BY MAESTRO CANANA ? call in Italy: +39- 333- 6371 644 at http://www.italianbusinessguide.com/ THE ITALIAN OPERA - IL BEL CANTO The bel canto opera movement flourished in the early 19th century and is exemplified by the operas of Rossini, Bellini, Donizetti, Pacini, Mercadante and many others. Literally "beautiful singing", bel canto opera derives from the Italian stylistic singing school of the same name. Bel canto lines are typically florid and intricate, requiring supreme agility and pitch control. The bel canto era style was rapidly popularized by Giuseppe Verdi, beginning with his biblical opera Nabucco. Verdi's operas resonated with the growing spirit of Italian nationalism in the post-Napoleonic era, and he quickly became an icon of the patriotic movement (although his own politics were perhaps not quite so radical). In the early 1850s, Verdi produced his three most popular operas: Rigoletto, Il trovatore and La traviata. But he continued to develop his style, composing perhaps the greatest French Grand opera, Don Carlos, and ending his career with two Shakespeare-inspired works, Otello and Falstaff, which reveal how far Italian opera had grown in sophistication since the early 19th century. After Verdi, the sentimental "realistic" melodrama of verismo appeared in Italy. This was a style introduced by Pietro Mascagni's Cavalleria Rusticana and Ruggiero Leoncavallo's Pagliacci that came virtually to dominate the world's opera stages with such popular works as Giacomo Puccini's La Boheme, Tosca, and Madama Butterfly. Later Italian composers, such as Berio and Nono, have experimented with modernism IL BEL CANTO LIRICO DI ITALIA L'Associazione "Il Bel Canto" programma le proprie attività concertistiche in Italia e nel mondo. Offriamo un ricco repertorio di Arie con i nostri tenori, soprani, baritoni e coro, opere liriche come Aida, Il Trovatore, Nabucco, Traviata, Ernani di Giuseppe Verdi, Turandot, La Bohème, La Tosca, Madame Butterfly di Puccini, Il Barbiere di Siviglia e Mosè di Rossini, La Carmen di Bizet, ed altre opere liriche che definiscono l'arte e cultura lirica Melodrammatica in Italia e nel mondo sotto la direzione del MAESTRO CONCERTATORE MARIO CANANA LEZIONI PRIVATE? contattati info@ilbelcanto.org EL BEL CANTO LIRICO DE ITALIA La asociacion cultural "Il Bel Canto" programa sus actividades y conciertos en Italia y el mundo. Ofrece un rico repertorio de Arias con nuestros tenores, tenor, soprano, baritono e coro. Operas liricas como Aida, Il Trovatore, Nabucco, Traviata, Ernani de Giuseppe Verdi, Turandot, La Bohème, La Tosca, Madame Butterfly di Puccini, Il Barbiere di Siviglia y Mosè de Rossini, La Carmen di Bizet y otras operas liricas que definen el arte y cultura lirica Melodramatica en Italia y el mundo bajo la direccion del Maestro de musica lirica y director de orquesta MARIO CANANA

Channels: How To Sing 

Added: 2458 days ago by VOAdmin

Views: 1989 | Comments: 0

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01:00

VOICE LESSONS for BEGINNERS - Andy Thompson (Australia) in "The Bel Canto School in Italy"

VOICE LESSONS FOR BEGINNERS, the Maestro Canana teaching, the "VERY BASIC NOTES AND VOCAL TRAING TIPS AND TECHNIQUES" to reach high notes for a BARITONE, to Mr. ANDY THOMPSON that comes from Melbourne Australia to have personal and customized lessons to become an opera singer. Mr. ANDY THOMPSON was studying for Bass in Australia and the Maestro Canana discovers (after few lessons) that he has a nice DRAMATIC BARITONE VOICE and after two weeks LESSONS his voice and technique are a beautiful surprise because he's becoming a very good BARITONE. Congratulations to Andy, our new Baritone's student (today an official Member of the IL BEL CANTO ASSOCIATION) because he has the capabilities to understand and applied very fast the Maestro Canana lessons. HIGH NOTES VOICE LESSONS VOICE LESSONS by the Maestro MARIO CANANA in Italy, professional voice and vocal training techniques and tips to express better singing high notes for professional Sopranos and tenors of the aria and romanza of the operas from ITALIAN BEL CANTO. The Maestro Mario Cananà explain to the tenor'student Hiroki Tanaka his technique to sing in a perfect way, and how important it is to have a NATURAL HIGH NOTES anytime to sing arias and romanzas as vocal professional training ITALIAN LYRICAL MUSIC LESSONS for Sopranos (Soprani) and Tenors (tenori) Music vocal and voice exercises as training of music lessons in Italy. The vocal Lessons for Tenor and Soprano for lyrical singing and voice techniques of the Italian Bel Canto by The MAESTRO MARIO CANANA "The Italian Tenor Spinto" (music culture and voice lessons, in Italy) for lyrical VOICE, MELODRAMATIC opera and lyrical culture. The Maestro Canana explain, in this class, to the Soprano how important it's to execute voice and vocal singing exercises VOCALIZO for sopranos and tenors to reinforced voice and lyrical vocal studies. http://www.ilbelcanto.org/ The Maestro Canana and the "Associazione Il Bel Canto in Italy" offers lessons for beginners, Tenors, Baritono, Sopranos and Master Class and international Master Lyrical singing and Melodramatic culture and art conference LOOKING FOR PRIVATE LESSONS OR A CONFERENCE BY MAESTRO CANANA ? call in Italy: +39- 333- 6371 644 at http://www.italianbusinessguide.com/ THE ITALIAN OPERA - IL BEL CANTO The bel canto opera movement flourished in the early 19th century and is exemplified by the operas of Rossini, Bellini, Donizetti, Pacini, Mercadante and many others. Literally "beautiful singing", bel canto opera derives from the Italian stylistic singing school of the same name. Bel canto lines are typically florid and intricate, requiring supreme agility and pitch control. The bel canto era style was rapidly popularized by Giuseppe Verdi, beginning with his biblical opera Nabucco. Verdi's operas resonated with the growing spirit of Italian nationalism in the post-Napoleonic era, and he quickly became an icon of the patriotic movement (although his own politics were perhaps not quite so radical). In the early 1850s, Verdi produced his three most popular operas: Rigoletto, Il trovatore and La traviata. But he continued to develop his style, composing perhaps the greatest French Grand opera, Don Carlos, and ending his career with two Shakespeare-inspired works, Otello and Falstaff, which reveal how far Italian opera had grown in sophistication since the early 19th century. After Verdi, the sentimental "realistic" melodrama of verismo appeared in Italy. This was a style introduced by Pietro Mascagni's Cavalleria Rusticana and Ruggiero Leoncavallo's Pagliacci that came virtually to dominate the world's opera stages with such popular works as Giacomo Puccini's La Boheme, Tosca, and Madama Butterfly. Later Italian composers, such as Berio and Nono, have experimented with modernism IL BEL CANTO LIRICO DI ITALIA L'Associazione "Il Bel Canto" programma le proprie attività concertistiche in Italia e nel mondo. Offriamo un ricco repertorio di Arie con i nostri tenori, soprani, baritoni e coro, opere liriche come Aida, Il Trovatore, Nabucco, Traviata, Ernani di Giuseppe Verdi, Turandot, La Bohème, La Tosca, Madame Butterfly di Puccini, Il Barbiere di Siviglia e Mosè di Rossini, La Carmen di Bizet, ed altre opere liriche che definiscono l'arte e cultura lirica Melodrammatica in Italia e nel mondo sotto la direzione del MAESTRO CONCERTATORE MARIO CANANA LEZIONI PRIVATE? contattati info@ilbelcanto.org

Channels: How To Sing 

Added: 2458 days ago by VOAdmin

Views: 1163 | Comments: 0

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Maria Cebotari - Mozart, Concert Aria KV 416

Maria Cebotari sings Mozart's Concert Aria KV 416 (The high soprano aria "Mia speranza adorata" without the recitative, starting at the aria proper "Ah non sai, qual pena sia") in german "Entflohen ist die letzte Hoffnung" Maria Cebotari (Cebotaru) (10 February 1910, Chişinău - 9 June 1949, Vienna) was a Bessarabian born - Austrian soprano and actress of Romanian origin: http://en.wikipedia.org/wiki/Maria_Cebotari http://en.wikipedia.org/wiki/Moldavia Frankfurter Funkorchester Conductor: Hans Rosbaud 2 February 1936 Maria Cebotari se vit conférer le plus important titre honorifique existant à l'époque en Allemagne et en Autriche - Kammersängerin. A part cela, ses mérites exceptionnels furent appréciés par la haute distinction "Coroana României" (« La couronne de la Roumanie »): http://www.moldavie.fr/article.php3?id_article=605 She sang at many opera houses including Berlin State Opera, Vienna State Opera, La Scala Opera House of Milan, Covent Garden, Dresden Semper Opera House. Most of her survived recordings are live and they show her extremely versatile voice. Austrian record label Preiser has issued the recordings "The Art of Maria Cebotari".

Channels: Singers Videos 

Added: 2493 days ago by VOAdmin

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Maria Cebotari - So elend und so treu by Johann Strauss

Maria Cebotari sings aria So elend und so treu from Der Zigeunerbaron by Johann Strauss "Der Zigeunerbaron was the first Viennese operetta set in Hungary and whose main characters were Hungarians and Gypsies. Although this may seem like a bold political gesture at a time when many Viennese felt the influx of Hungarians into Vienna threatened the city's political and financial stability, the context in which Strauss and Schnitzer frame their Hungarian characters preserves the Austrian sense of superiority. Der Zigeunerbaron is based on Saffi, a novella by the Hungarian Mór Jókai. Ignaz Schnitzer, in Vienna, developed a libretto from Jókai's scenario, while Franz Jauner, director of the Theater-an-der-Wien, secured the rights to the work and planned its production" : http://www.answers.com/topic/der-zigeunerbaron-the-gypsy-baron-operetta-rv-511 Maria Cebotari (Cebotaru) (10 February 1910, Chişinău - 9 June 1949, Vienna) was a Bessarabian born - Austrian soprano and actress of Romanian origin: http://en.wikipedia.org/wiki/Maria_Cebotari http://en.wikipedia.org/wiki/Moldavia Maria Cebotari se vit conférer le plus important titre honorifique existant à l'époque en Allemagne et en Autriche - Kammersängerin. A part cela, ses mérites exceptionnels furent appréciés par la haute distinction "Coroana României" (« La couronne de la Roumanie »): http://www.moldavie.fr/article.php3?id_article=605 She sang at many opera houses including Berlin State Opera, Vienna State Opera, La Scala Opera House of Milan, Covent Garden, Dresden Semper Opera House. Most of her survived recordings are live and they show her extremely versatile voice. Austrian record label Preiser has issued the recordings "The Art of Maria Cebotari".

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Marilyn Horne sings Carmen (vaimusic.com)

http://vaimusic.com/VIDEO/DVD_4401_Horne.htm Marilyn Horne sings Carmen "Habanera" (Bizet) From: VAI DVD 4401 Marilyn Horne in Concert The legendary mezzo-soprano Marilyn Horne is at her spectacular best in this 1986 live concert from the Lugano Festival, Switzerland. With the Orchestra della Svizzera Italiana conducted by Hornes long-time collaborator, Martin Katz. Opional English, French, German, Italian, and Spanish subtitles Color, stereo, 120 minutes. Bonus: Audio interview with Ms. Horne. TO PURCHASE THE COMPLETE DVD, PLEASE VISIT www.vaimusic.com OR CALL TOLL-FREE IN THE US 1(800)477-7146 (OUTSIDE OF THE US, CALL 914-769-3691).

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Marilyn Horne - Non Temer D'un Basso Affetto

The legendary American mezzo-soprano Marilyn Horne singing Calbo's recitative and aria Non Temer D'un Basso Affetto from Gioachino Rossini's 1820 opera Maometto II. The composer later revised this work in French as Le Siège De Corinthe (L'Assedio Di Corinto, 1826) with this particular aria being sung by the character of Ismène. It was in this role that, during a 1969 performance at La Scala, Horne received a remarkable mid-act seven minute ovation. I guess it must have been for Non Temer. :) In 1982, the Rossini Foundation awarded her its first Golden Plaque, acclaiming her as "the greatest Rossini singer in the world". She also had a crucial role in bringing baroque opera to the modern American audience and influenced the crème de la crème of US countertenors from Jeffrey Gall and Derek Lee Rading to David Daniels and Bejun Mehta. This video is from a RAI broadcast of Horne's Rossini Opera Festival performance that took place on 30.07.1986. in Pesaro with the Nuova Orchestra Italiana conduced by Charles Mackerras. Subscribe! Subscribe! Subscribe! :)

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Portrait Of Marilyn Horne (1)

Ritratto Di Marilyn Horne (Portrait Of Marilyn Horne), a 1994 documentary produced and directed by Nigel Watts for Italian Classica TV. While the host speaks in Italian, most of the video is in English with Italian subtitles and includes interviews with the diva herself, conductor Henry Lewis (her ex-husband), author Jane Scovell (co-writer of her autobiography), colegues soprano Dame Joan Sutherland and bass-baritone Samuel Ramey. The program features the music of Rossini, Bellini, Vivaldi, Bizet, Copland and many others (both classical and showtunes) in excerpts from Horne's many recitals, operatic performances, TV appearances and masterclasses. A wonderful document about a truely great artist. The most celebrated mezzo of the 20th century, she almost single-handedly revived the forgotten masterpieces of Rossini and brought Handel's operas to American audiences. She was also (and continues to be) a tremendous influence on American mezzos and countertenors alike. Subscribe! Subscribe! Subscribe! :)

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German Soprano Elisabeth Rethberg ~ Ave Maria (1924)

German soprano Elisabeth Rethberg (1894-1976) / Ave Maria (Schubert) / Max Rosen - violinist Recorded: 1924 -- The German soprano Elisabeth Rethberg (September 22, 1894 - June 6, 1976) was an opera singer of international repute active from the period of the First World War through to the early 1940s. Some hailed her as the greatest soprano of her day. (Her chief contemporary rival at the New York Metropolitan Opera was the Italian-American soprano Rosa Ponselle, who possessed a bigger and darker-hued voice.) While she did not break any new ground dramatically or vocally, Rethberg was just as much at home singing in Italian or German. She employed her pure, stunningly beautiful and good-sized lyric voice with such focus that she never seems obscured in old recordings by either loud orchestras or larger-voiced partners. She slotted ideally into delicate Mozartian roles yet was perhaps the greatest Amelia in Verdi's Un Ballo in Maschera that the Metropolitan Opera has ever known. Her singing of the more lyrical Wagnerian soprano parts such as Sieglinde, Eva, Elsa and Elisabeth was unsurpassed in its day and probably since. Rethberg was born Elisabeth Sättler in Schwarzenberg. She studied at Dresden's conservatory with Otto Watrin and made her operatic debut in that German city in the operetta Zigeunerbaron by Johann Strauss in 1915. Rethberg sang with the Dresden Opera until 1922. In that year, she made her Metropolitan Opera debut as Aida in Giuseppe Verdi's opera of that name. She moved to the USA and remained with the Metropolitan for 20 seasons, singing some 30 roles on stage and in the recording studio opposite such famous tenor colleagues as Beniamino Gigli, Giovanni Martinelli and Giacomo Lauri-Volpi. She also was engaged by London's Royal Opera House, Covent Garden, where she sang in 1925 and in 1934-1939. The Salzburg Festival in Austria heard her too, as did audiences in Milan and elsewhere in Europe. Rethberg returned often to Dresden where, in 1928, she created the title role in Strauss's Die ägyptische Helena. The brilliantly dynamic if dictatorial Italian conductor Arturo Toscanini was a particular admirer of Rethberg's vocal talent. During the latter-half of the 1930s Rethberg's voice lost its bloom due to the repeated singing of Aida and other heavy roles. She retired from the stage in 1942. Yet even at her least impressive (for example, in a 1942 recording of Verdi's Otello), she remained a well-schooled singer and a classy reminder of the Metropolitan Opera's great period during the 1920s and early '30s, when her powers were at their peak. In her magnificent prime, Rethberg was remarkable for the combination of a seemingly delicate, feminine sound with a capacity for great vocal intensity, to which she added impressive breath control and dynamic light and shade (from piano to forte notes). She made many splendid recordings of arias and ensemble pieces in Germany and the United States between 1921 and the outbreak of the Second World War. Many of these are available on modern CD transfers. The most fascinating records of her art, however, may be the live Met recordings that capture her (admittedly, past her zenith) in complete operas by Mozart, Verdi and Wagner. These recordings are somewhat difficult to obtain in America because the Met forbids their sale in the United States owing to royalty concerns. They include Mozart's Marriage of Figaro and Verdi's Il Trovatore, Un Ballo in Maschera, Simon Boccanegra and Otello. Rethberg was married to the Russian-born Met comprimario singer George Cehanovsky (1892-1986). She died in Yorktown Heights, New York in 1976 at the age of 81. (wikipedia) ******************************

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Soprano Elisabeth Rethberg: L'enfant prodigue ~ Air de Lia (1930s-1940s)

Soprano Elisabeth Rethberg (1894-1976) / Air de Lia / L'enfant prodigue (Debussy) / Recorded: Late 1930s - early 1940s) -- The German soprano Elisabeth Rethberg (September 22, 1894 - June 6, 1976) was an opera singer of international repute active from the period of the First World War through to the early 1940s. Some hailed her as the greatest soprano of her day. (Her chief contemporary rival at the New York Metropolitan Opera was the Italian-American soprano Rosa Ponselle, who possessed a bigger and darker-hued voice.) While she did not break any new ground dramatically or vocally, Rethberg was just as much at home singing in Italian or German. She employed her pure, stunningly beautiful and good-sized lyric voice with such focus that she never seems obscured in old recordings by either loud orchestras or larger-voiced partners. She slotted ideally into delicate Mozartian roles yet was perhaps the greatest Amelia in Verdi's Un Ballo in Maschera that the Metropolitan Opera has ever known. Her singing of the more lyrical Wagnerian soprano parts such as Sieglinde, Eva, Elsa and Elisabeth was unsurpassed in its day and probably since. Rethberg was born Elisabeth Sättler in Schwarzenberg. She studied at Dresden's conservatory with Otto Watrin and made her operatic debut in that German city in the operetta Zigeunerbaron by Johann Strauss in 1915. Rethberg sang with the Dresden Opera until 1922. In that year, she made her Metropolitan Opera debut as Aida in Giuseppe Verdi's opera of that name. She moved to the USA and remained with the Metropolitan for 20 seasons, singing some 30 roles on stage and in the recording studio opposite such famous tenor colleagues as Beniamino Gigli, Giovanni Martinelli and Giacomo Lauri-Volpi. She also was engaged by London's Royal Opera House, Covent Garden, where she sang in 1925 and in 1934-1939. The Salzburg Festival in Austria heard her too, as did audiences in Milan and elsewhere in Europe. Rethberg returned often to Dresden where, in 1928, she created the title role in Strauss's Die ägyptische Helena. The brilliantly dynamic if dictatorial Italian conductor Arturo Toscanini was a particular admirer of Rethberg's vocal talent. During the latter-half of the 1930s Rethberg's voice lost its bloom due to the repeated singing of Aida and other heavy roles. She retired from the stage in 1942. Yet even at her least impressive (for example, in a 1942 recording of Verdi's Otello), she remained a well-schooled singer and a classy reminder of the Metropolitan Opera's great period during the 1920s and early '30s, when her powers were at their peak. In her magnificent prime, Rethberg was remarkable for the combination of a seemingly delicate, feminine sound with a capacity for great vocal intensity, to which she added impressive breath control and dynamic light and shade (from piano to forte notes). She made many splendid recordings of arias and ensemble pieces in Germany and the United States between 1921 and the outbreak of the Second World War. Many of these are available on modern CD transfers. The most fascinating records of her art, however, may be the live Met recordings that capture her (admittedly, past her zenith) in complete operas by Mozart, Verdi and Wagner. These recordings are somewhat difficult to obtain in America because the Met forbids their sale in the United States owing to royalty concerns. They include Mozart's Marriage of Figaro and Verdi's Il Trovatore, Un Ballo in Maschera, Simon Boccanegra and Otello. Rethberg was married to the Russian-born Met comprimario singer George Cehanovsky (1892-1986). She died in Yorktown Heights, New York in 1976 at the age of 81. (wikipedia) ****************************** ******************************

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Marcella Sembrich sings Chopin - Maiden's Wish, ca 1900

Today, is the 200th ANNIVERSARY OF THE BIRTH OF FRYDERYK CHOPIN (born in Zelazowa Wola, Poland on 1st of March, 1810 - died on 17th Oct 1849 in Paris). As my tribute to one of greatest composers in the history of mankind, let me quote words of Denis Dutton, a philosophy professor at the University of Canterbury in New Zealand: The myriad worlds of Chopin's music are like nothing else in art. Using 10 fingers on a keyboard, he could create imaginative and emotional works that were utterly distinct--from each other and from all other music. He proves that human passion can be at its most intense in the most economical and limited art forms. Even the tiniest of Chopin's works resonates across the universe. ------------------------------------------------------------ Marcella Sembrich (Marcelina Sembrich-Kochańska), soprano - Maiden's Wish (Życzenie) (Frederic Chopin), Sung in Polish with Piano, Acc. played by herself, Recorded by Victor, ca 1900 NOTE: MARCELLA SEMBRICH a great Polish soprano, born in 1858 as Marcelina Prakseda Kochańska at Wiśniewczyk, in then Podolia (Poland), now part of the Ukraine. She first studied violin and piano with her father, who was a strolling music teacher. Later, she entered the Lwów Conservatory and studied piano with her future husband, Wilhelm Stengel. She entered the Vienna Conservatory in Autumn 1875. It was only then that her remarkable voice was discovered. She studied piano with Julius Epstein, and voice with Viktor Rokitansky. After a year it was decided to give up study of the piano and fully devote the young student to voice lessons. She arrived in Milan in September 1876 to study with one of the best vocal teachers on the continent, Giovanni Battista Lamperti. She made her debut in opera at Athens as Elvira in Bellini's "I Puritani" on June 3, 1877. She not only sang "Puritani", but also "Lucia di Lammermoor", "Robert le Diable" and "La Sonnambula". It is a testament to her proper early training and intelligence that a 19-year-old soprano could learn so many roles in a foreign language so quickly! After her grand success in Athens she was to appear with the Vienna Opera, but due to pregnancy she broke the contract. During her pregnancy and after the birth of her first son, she had a long and frustrating search for an opera engagement, until she was hired as a guest at the Dresden Royal Opera House in September 1878, debuting as Lucia. Her success was immediate and she was dubbed the "Polish Patti." At that time she adopted her mothers maiden name, Sembrich, as her professional name. In June 1880 she created a sensation at Covent Garden as Lucia in Donizetti's "Lucia di Lammermoor". She became a great favorite in the characters of Zerlina, "Don Giovanni"; Susanna, "The Marriage of Figaro"; Konstanze, "The Abduction from the Seraglio"; Lady Harriet/Martha, "Martha"; and, of course, Lucia. In 1883, Marcella Sembrich went to the United States to sing in the newly founded Metropolitan Opera company. She made her Met debut as Lucia in the company premiere of "Lucia di Lammermoor" on October 24, 1883, she was also the Met's first Elvira in "I Puritani", Violetta in "La Traviata", Amina in "La Sonnambula", Gilda in "Rigoletto", Marguerite in "Les Huguenots" and Rosina in "Il Barbiere di Siviglia". Yet, due to the terrific financial loss of the company that year, Italian opera was abandoned and German opera reigned supreme at the Met for the next dozen years. Marcella returned to Europe and she was a tremendous favorite at the Italian Opera in St. Petersburg, Russia, from 1890 to 1897. Sembrich returned to the Met in 1898 and she sang more than 450 Met performances in her 11 seasons there. At the height of her career, the 1905-06 season, she was paid $1,000 for each of 45 performances. Her voice, a brilliant and flutelike soprano of marked sweetness and remarkable range, was accounted one of the greatest of the time. Sembrich remained associated with the company until 1909, when the silver jubilee of her Met debut was celebrated with a farewell gala. She gave recitals until 1917, the year of her beloved husbands death. After this date, she taught students from the Curtis Institute in Philadelphia and at the Juilliard School of Music. Her students included Alma Gluck, Hulda Lashanska, Dusolina Giannini, Maria Jeritza. She died on Jan, 11 in New York. . She was a great Polish patriot throughout her life. During World War One she was President of the "American-Polish Relief Committee" of New York. She was wholly devoted to raising money, food stuffs and clothes for her suffering homeland. The Kosciuszko Foundation, Inc., an American Center for Polish Culture in New York City, annually holds the "Marcella Sembrich Voice Competition".

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Vera Trifanova sings Gloria in Excelsis Deo by Handel

Heidelberg 2006 conductor Peter Schumann Vera Trifanova coloratura soprano http://www.veratrifanova.com

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female soprano

voice examination of a female soprano. wonderfull view on her vocal chords.

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step 2

The second step of the setup

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Added: 2856 days ago by VOAdmin

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step 4

the 4th step of the setup

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Voice Lessons: Brett Manning Teaches Taylor Pey

http://www.singingsuccessonline.com/ad/youtube_sso_article/ Title: TAYLOR'S VOCAL THERAPY Date: 07.16.2008 Coach: Brett Manning Artist: Taylor Pey Tags: taylor pey, brett manning, country, head voice, soprano, vocal therapy, vocal damage, nodules, repair Description: Directed by: Jesse Nemitz Taylor Pey lights up Singing Success Online with an update featuring a vocal therapy session she recently had with Brett. The focus is on repairing a voice that's been damaged from over-singing. Taylor has developed a small nodule on her cord. This lesson highlights the slow process of getting a voice back to easy compression if the singer is carrying too much weight into the head voice. The slight damage will cause a glitch in the closure of the cord and special exercises need to be used to rediscover correct compression. The goal is to be able to sing from the bottom to the top without any effort and Brett gives Taylor a great head start with this exclusive warm up session. Approximate Length: 21 minutes 46 seconds Quality: 640x360 -- 959 Kbps

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