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Glad it helped! Greetings!

Thank you very much!!! Well done today!!!

Muchas gracias

Thank you ever so much. Glad it helped. Greetings

“Y aunque tengo poco tiempo estudiando…. Puedo dar constancia”. Tu argumento es incongruente. Un cordial saludo y mucha suerte.

@@tecnicaantica pues la comodidad al cantar ahí está, tú no eres yo, ni yo soy tú, como dije y vuelvo a decir cada voz es única, saludos

A estudiar

Ok. Show me you can do better 😉

​@@tecnicaantica Lol 😂 I promise you I have done a resonant A1 in CHEST VOICE (though it was temporary and most of the time I have to croon below G2 admittedly and below E2 or Eb2 I need to fry) but I never recorded it. It's also very common for me to hit a Bb1 that sounds like your F2. I'm not in the mood for demonstrating right now but maybe another time pal 😉

I will be able to give you my opinion when I hear it. Otherwise that’s just dust in the wind “pal”. Greetings.

@@tecnicaantica If it makes you feel better, you had some slight resonance on G2 it seemed, maybe not a whole lot but a little bit. To do it without crooning or sounding breathy while being a lyric tenor is rather impressive.

I have nothing to prove really. Not anymore, so no need to tell me anything to make me “feel better” I am a teacher. I teach vocal technique so others can be better. Thanks for your comments. They help with the algorithm 🤣

Well, thank you.

But you did however lose power below C3 which is common for tenors and it’s fine.

Totalmente de acuerdo. Hay una grabación de “Così fan tutte” con Elizabeth Schwarzkopf, Christa Ludwig, Alfredo Krauss y Giuseppe Taddei que ilustra perfectamente esta teoría. La voz de Kraus en aquella época ( Estudiante de Mercedes Llopart en Milán ) no tenía nada que ver con aquella nasalidad patente en los años 80 y 90. Nunca he comprendido el porqué de este cambio. Estoy seguro de que Lauri Volpi no le habría dedicado tan gráciles palabras al escucharlo después del “cambio” ( Volpi lo escuchó en la década de los 50 justo antes de su debut en La Scala en Rigoletto). Un muy cordial saludo y gracias por su comentario.

Es inententible correcto. Cómo igual de incomprensible que él mismo no se diera cuenta de ese cambio, teniendo en cuenta también que sus tenores favoritos eran Fleta, Schipa y Pertile que nada tienen que ver con la maschera... Lauri Volpi murió en los setenta creo, así que no le dió tiempo a escuchar a ese Kraus tan nasalizado 😂. Un saludo y muchas gracias por sus conocimientos.

True. After much research I found out that indeed only a small portion of the mucosa found in the “true vocal” folds vibrates during falsetto phonation. The fact is that many singers ( mainly contemporary ones ) Use the false vocal folds to add an effect to this sound and create the illusion of “bigger sound” ( Grunting, growling etc ). Thus the confusion. Thank you for the input and feedback. Greetings.

I do not fully understand your comment. Would you mind elaborating please?

People discuss Kraus and mask singers "nasality" by watching CZcams videos. When you're actually in the house his voice carries clear to the back, bright and pinging with no hint of nasal sound. That being said, i agree there are mask singers who are incorporating far too much nasality and that should be discussed as negative. But just because you're singing in the mask doesn't automatically equate a nasal sound.

Singing in the "mask" really just is what your voice sounds like with a neutral larynx and not pulling back your tongue. Your tongue should be neutral and against your bottom teeth or very slightly apart from it. Not in a hook, a letter U, or shove backwards and knotted into a ball. Tensionless is the goal. @@tecnicaantica

Take Jonas Kaufman for example, tell me which one do you prefer in this video comparing his old sound to the new sound, before he went to pressure and artificial coloring. Which sound do you think carries better in the house? czcams.com/video/MciuIWDPQvI/video.html @@tecnicaantica

I agree with most you are saying. However I do not agree on your Corelli’s POV. He was way to scared to push. In fact that’s how he discovered his “messa dog voce”. Greetings.

Well, thank you ever so much.

My pleasure! I hope it helps! All the very best!

Thank you for your comment. Gigli studied under Cotogni ( Lauri Volpi’s teacher ) and Rosati ( Who also taught/coached Mario Lanza ). Herbert E. Caesari ( A teacher and author ) wrote several books on singing technique such as: Science And Sensations Of Vocal Tone, Vocal Truth. Some of the Things I Teach, Alchemy Of Voice, and Voice of the Mind, wrote “Tradition and Gigli” on 1958. He described Gigli as “The most natural singer that ever lived”. The fact is that Giglis’ technique was impecable! A true phenomenon that could produce the sweetest tones to the most dramatic sounds. Truth be told, his mannerisms were very exaggerated ( As any other singer from the same era ), but his approach to phonation was simply incredible ( In my humble opinion ). However, Gigli was such an instinctive singer that once told Magda Olivero that “If he were to teach anybody, he would ruin them, because he could only explain that the voice comes out through the lips and the air makes it run” ( More and less of my memory doesn’t fail me ). Some people ( Kraus among them ) criticized his use ( or abuse ) of “falsettone” to produce his wonderful piano tones ( L’elisir d’amore, les prêcheur de perles ), but the amazing fact was his sheer ability to get in and out of the voice, incredible legato ( when the repertoire demanded it ) an extremely beautiful voice and great elegance. Mario del Monaco always listened to Gigli when preparing a new role, in fact he believed he sounded like him!!! Then truth is that Gigli’s voice ( That of a lyric tenor ) had an unsurpassed squillo ( Listen to his Manon Lescaut ). So yes, his technique was simply extraordinary ( The true Italian traditional vocal technique). Greetings.

Glad you enjoyed it. I hope it helps! All the very best.

@@tecnicaantica It did, although I'm still trying to really-really understand how to retract false vocal chords. If there are some other ways I'd be glad to hear abt them. Thank you for your work and kindnes.

True, but isn't it common?

It is common indeed. As one gets older the vocal fold epithelium grows thicker and thus the voice becomes darker and lower. Mother Nature. Greetings.

Thank you ever so much

Gracias por su respetuoso comentario. Aún así, no estoy de acuerdo con usted. Creo que comprendo muy bien la técnica de Kraus ( Al que no caricaturizo ) y por lo tanto me autorizo a caricaturizar la técnica que predicaba a los cuatro vientos pero que poco tenía que ver con lo que actualmente hacía como cantante. Una cosa es cantar y la otra enseñar. En cuanto a los alumnos que cita… El canto de Aquiles Machado es extremadamente abierto pero cubre el agudo como todo hijo de vecino. La voz de Kunde a día de hoy nada tiene que ver con aquella que supuestamente había trabajado con Kraus. Un muy cordial saludo y gracia de nuevo por su mensaje.

Thank you. Much appreciated

Hi. When going to head/falsetto, try to imitate the sound of an awl ( Try O/U ) and be sure you do not push the heady sound, it must be very light and unsupported. The purpose of this exercise is to teach the arytenoid to abduct and the support system to react. When “dropping” to legit, do not approach it overly aggressively.. “blend in”. I will try to make a video about it. All the very best.

Efectivamente. Y pensar que el Maestro Marcello del Monaco no se dedicaba “profesionalmente” a este mester, lo deja a uno perplejo. Sacó adelante una generación de cantantes líricos (Su gran mayoría tenores) que no ha tenido precedente. Un cordial saludo.

Hello. “Inhaling until you can’t inhale anymore “ will certainly lead to unnecessary tension. I believe what you have found is your optimal subglottal compression whilst emoting certain sounds. However, one must not confuse one concept with the other, since as I stated before, “over breathing” will possibly hinder your vocal production. Greetings.

@@tecnicaantica Hi thank for your respond Mr Rafael, i just done watching of some your videos, it really open my mind of the new idea even more. because i'm actually kind of sceptical about paying attention to breathing patern while singing. i've been watch michael trimble channel that also said del monaco hold their breath in the throat. now i overwhelmed ended up into many of different ideas, while what i only actually looking for is to increase endurance/vocal stamina 🥲 i've also studying about glottal compression/breath stop/valsalva meunaver i think they all the same is to stop the breath against the cord closure, not to leak air. thats true i can easily do glottal compression when my breath is fuller, but it strain my chest 😅

@@dleqw I am glad you enjoyed the videos. I hope they help! All the very best.

Gracias por su “testamento”. Efectivamente el canto lírico es una gran paleta de colores y cada uno tiene su opinión. Sería aburrido que todos los cantantes siguieran un mismo patrón. El “problema” es que los patrones modernos han hecho mucho daño al mundo de la lírica y en eso creo que coincidimos. Eso es todo. Si al maestro Kraus le funcionaba su método me parece estupendo. Fue un gran cantante y muy longevo. A mi nunca me gustó ni su voz ni su emisión, pero para gustos : colores. De nuevo el problema es tratar de crear “clones” ya sea con el canto “in maschera” o con la “tecnica di affondo”. Un cordial saludo

@@tecnicaantica Amén

Thank you very much

Muchas gracias por su amable comentario. Cualquier pregunta no dude en ponerse en contacto conmigo, será un placer ayudarle. Un muy cordial saludo.