Life in music is a life of study. Independent of the instrument, every musician needs to continuously refine their technical skills, learn about the music, the composers, performance practice, historical, social and political context, deepread the scores, research for repertoire, how to apply embellishments and write ornamentations, explore other styles, etc. The more we learn, the better we can understand the music that we perform and the better we can express what the composers have created. In addition, we need trusted people around us to be our external ears. They can inform us about the effect of what we do and how we come across. Curiosity may have symbolically killed the cat, but it is the fuel for our art. There is always more to learn in order to better serve the music.
Masterclasses
Sergio Foresti is teaching for many years, inside and outside of conservatories. He recently joined the teaching staff of the Conservatory 'G.B. Pergolesi' in Fermo, Italy. He also teaches masterclasses, either as a single teacher and/or in collaboration with colleagues such as Costantino Mastroprimiano. Such masterclasses may assist students with specific questions about a piece of music or technical challenges. It is also possible to organize projects around a theme, such as 18th century opera or vocal chamber music.
For more information and for suggestions, feel free to write at either info@sergioforesti.com or at info@dueventi.com.
Learning from our predecessors
On his YouTube channel, Sergio Foresti is creating several playlists for learning and enjoyment: interviews with great singers from the past, documentaries about artists' lives and art, and teachings and masterclasses. There will be regular updates. Our colleagues of the past are the bridge to 'how it was'. When it comes to the great tradition of singing, we stand on their shoulders. Whether or not we want to follow in their fotosteps, there is much to learn from them.
Masterclasses
Sergio Foresti is teaching for many years, inside and outside of conservatories. He recently joined the teaching staff of the Conservatory 'G.B. Pergolesi' in Fermo, Italy. He also teaches masterclasses, either as a single teacher and/or in collaboration with colleagues such as Costantino Mastroprimiano. Such masterclasses may assist students with specific questions about a piece of music or technical challenges. It is also possible to organize projects around a theme, such as 18th century opera or vocal chamber music.
For more information and for suggestions, feel free to write at either info@sergioforesti.com or at info@dueventi.com.
Learning from our predecessors
On his YouTube channel, Sergio Foresti is creating several playlists for learning and enjoyment: interviews with great singers from the past, documentaries about artists' lives and art, and teachings and masterclasses. There will be regular updates. Our colleagues of the past are the bridge to 'how it was'. When it comes to the great tradition of singing, we stand on their shoulders. Whether or not we want to follow in their fotosteps, there is much to learn from them.
Highlighted singer: Claudia Muzio
Claudia Muzio (1889-1936) was an Italian soprano. She made her debut at the age of 21 as Manon in Massenet's version of the opera. Due to heart failure she died at the young age of 47. Her repertoire ranged from Bellini to Puccini and Cilea. She made many recordings in the period between 1911 and 1935. The aria below is her version of 1935 of Mimì in Puccini's La Bohème.
Her voice seems to float on top of the music. The use of the voice is always light, even in the darker tones. Her voice has squillo in all the registers, meaning that it is brilliant, almost shiny, yet warm. She places great emphasis on the declamation of the text. You can understand every word, and she adapts the colors of the voice to their meaning. She manages to sing softer (diminuendo) while holding the musical line and the meaning of the text. That is extraordinarily difficult to do.
The singing is always legato, it seems to flow from the beginning to the end. Throughout the aria, Muzio uses the embellishments that come from the belcanto style of singing, such as portamenti, cercar della nota, and a controlled vibrato. There is a calm in her voice that suggests that we are in the same room with her. The result of this all is that there is a sense of personal contact, as if Mimì shares her personal story directly with us.
Her voice seems to float on top of the music. The use of the voice is always light, even in the darker tones. Her voice has squillo in all the registers, meaning that it is brilliant, almost shiny, yet warm. She places great emphasis on the declamation of the text. You can understand every word, and she adapts the colors of the voice to their meaning. She manages to sing softer (diminuendo) while holding the musical line and the meaning of the text. That is extraordinarily difficult to do.
The singing is always legato, it seems to flow from the beginning to the end. Throughout the aria, Muzio uses the embellishments that come from the belcanto style of singing, such as portamenti, cercar della nota, and a controlled vibrato. There is a calm in her voice that suggests that we are in the same room with her. The result of this all is that there is a sense of personal contact, as if Mimì shares her personal story directly with us.